Creating Sci-Fi 3D Environments for Games in Unreal Engine 5

1. Introduction Trailer: My name is Emil Llegas. I'm a lead three environment artist, and I will be your instructor for this course. In this course, I will teach you everything that you need to know to create large scale, flexible Sci fi environments for games and cinematics in UnwelEngine five. Now, this course will cover a very large number of topics, but the main topics are as followed. One, doing our project planning and creating a pop up blockout scene. Two, creating trim sheets to give our models more detail. Three, creating huge assets that use only table materials with weighted normals. Four creating the tilable materials for those huge assets using substance designer, five, creating custom decals to add much more detail to our scene. Six, creating models with unique textures, and seven doing level art, lighting, composition, and post effects in UnlogenFV. And there will be so much more content in between all of these topics. The general takeaway is at the end, you will have the knowledge on how to create exactly what you see in the images here, and you can apply this knowledge to almost any type of environment. Now for the modeling, we will be using three Max. However, we are using universal techniques, meaning that you can replicate our results in your preferred software as long as you know the basics. For our texturing, we will be using substance signer, substance painter, and Photoshop. Of course, as mentioned, we will be using Unreal engine five for the entire level setup. We will start the course off by planning our environment and creating our blockout assets. During this time, we will already design the entire level layout. Once that is done, we will first need to create our materials and trim sheets so that we can use them on our models. We will teach you how to create highly reusable materials and details. For example, this entire scene only uses one single metal texture. Finally, when we have everything prepared, we will start by creating our final assets. We will also later on create some more small unique assets that will use unique textures made in substance painter. Having everything prepared, we will replace our blockout in NunginFV with our final assets, set up our materials, and place some additional assets that we downloaded from mega scans and other marketplaces, just to add a little bit more life to see. We will then continue by creating our custom decals, which will make our scene look ten times better, and we will finish things off with the final lighting, post effects, and of course, some final polishing. With a total of 21 plus hours of video content, I feel confident that at the end of this course, you will have to know or how to create a wide variety of tri environments. This course does contain some time lapses for very repetitive functions. However, we made sure that those time lapses are also included as untie napsed versions as a bonus. This course will also come with out generated subtitles in English, Chinese, and Spanish. I hope that you will enjoy this course and that it will have a positive impact on your life. 2. 01 Gathering Our Main Reference: Okay, welcome everyone to the very first chapter of our Sci Fi Environment creation course. What we're going to do in this chapter is we are going to go ahead and try and find our main reference, and then based on that, we will discuss our workflows. Because when it comes to Sci Fi, there are a few standardized workflows that you would often use. These are using dilable materials. These are using trim sheets, and these are using modular workflows or more static workflows. Now, of course, all of these things, I cannot tell you yet which workflows we are going to use until we find our main reference. So I want to make this as natural as possible and guide you through how I would go over to find some main reference. So as you can see here, we have R station. Now, what we are actually going to be using is we are actually going to be using AI to find our main reference. Now you might think why am I doing this. There's, of course, a lot of talk going on about the ethical use of AI. Basically, the reason why for this specific project, I'm going to use it is because I want to use the AI basically as our main inspiration for reference. The thing with Sci Fi environments or environments that do not exist, it is really difficult to find exactly the reference that you are looking for. For example, if we would go ahead and just go into R Station, this would be my normal method of finding my reference is I would find some concept. I could go and type in Sci fi over here, for some reason, ctation is really slow lately, so just give it a moment. Then what you can do is you can go up here to the filters and let's say that you would go for environment, concept art and design, for example. Now, what do you notice in first glance? There are two different variations of construct that is pretty much always being made. One is interiors, which we are not going to do. We are going to the exterior, and the other one is way too over the top, large. As you can see over here, if I just want to find some cool reference, all I can really find, of course, within reason is these really over the top, large scale environments like this. It looks really, really awesome. Don't get me wrong. But the problem is that I want to create something that's way smaller that, of course, can be condensed in a tutorial. Now, you might say that there is reference like that out there. That is true, but the reference is often made for video games or movies, which means that it has copyright on it. So this is why for this specific project, after doing some testing, I decided to use Mid journey. And basically, the reason I want to use Mid journey is because we can do a little bit more specific generations. Now we are still going to go, of course, through art station and through, well, we will try Google to get a little bit more inspirational reference. However, the tricky thing with this is, as I said before, Sci Fi, it often doesn't exist in real life. So we cannot just, like, go to Google and find a real life location and just use that. Now, that was pretty much enough talk. So we are going to use, and let's just switch over now over here to Mid journey. I just got a subscription so I can go ahead and use it. You can see some of my old generations. We are going to use Mid journey for our main reference and for inspiration. Please note that Mid journey is not yet good enough to actually give us, such a high quality reference that I know how to make everything. On top of that, something that you really need to keep in mind also with AI, especially when generating stuff that doesn't exist is that the AI doesn't really understand the logics of things. So if I go ahead and, for example, show you some of my test generations, this is, by the way, for artart course that is coming up. Here, for example, I have some test generations. Let's say this one. Like it looks quite cool. However, the AI doesn't really understand the logic of this. Why is the structure built like this? Where is the entrance, all that kind of stuff, what is this structure used for? So we are using AI and then we are building upon that when we are creating our blockout for our final environment. Having that all out of the way, we are going to use Mid journey. If you don't have Mid journey yet, what you can do is you can simply go to Google and you can type in Mid journey and just get it that way. Now, I do recommend that you get a subscription because then you can have an infinite amount of generations. And it just makes everything a little bit easier. So having that done, what you might have noticed over here is that I, of course, already had an idea of what I wanted to create. And that is that I want to create something that has to do with, like, a rocket lounge facility. But I don't just want to have a rocket lounge platform like you have over here like this stuff, I don't want something like that, because once again, it's way too large. Instead, what I want is I want, almost like the administration facility and stuff like that. So knowing that, let's just go all the way down over here, and let's get started. So getting exactly the reference that we want might take a while. So I will show you the ropes of things, and then based upon that, I'm going to probably time maps and try and find exactly what I want. I have also in your source files already created a folder that is called reference, and in here, I will post various reference images that I generate from this. So if you haven't used AI before, it's getting easier and easier, which is both a good and bad thing. But let's say that we want to generate something. We can simply go slash Imagine, and then you press Enter. Now you can enter a prompt. Your prompt is basically a slap of text along with some variables that you can use to basically generate your environment. Let's say that over here, I would like a rock lounge facility and I really like the colors white and the colors orange. I can go ahead and I can get started with spit annoying to type with the microphone in front of me. Let's say a a Sci Fi rocket lounge administration facility with a modern design and accent colors of white and orange. Now, saying this about the colors, it might take it too drastically and might use only white and orange colors, but we will see this is only our first prompt. So here you can see that I'm just trying to condense a lot of stuff in, like, a short command. So Sci fi is what it will look at. Rock lounge and administration and facility, they are all just like keywords, basically. The modern design, I basically want to go for something that's modern and minimalist and not too over the top, and then with my colors. Now on top of this, what I can do is I can press comma and I can give it a little bit more keywords, so to say. I can do keywords like concept, three the environment, for example, and now I can also add some keywords to make everything extra high quality. So ultra realism, ultra detail. And you can just do it's almost like these really typical words like hyper realism, fine detail. And let's start with this. Now, the last one that we want to do is we want to do coma and now we want to choose our format. If you don't give in anything, what it will do is it will cave you a square format. But for us, it's more logical to have a 16 by nine format. So all that we have to do is press dash dash. AR, and it's really specific with your spaces. So make sure to press space and then 16, and then double dots, and then nine. So let's get started with something like this, and we can take it from here. If this is not good, then we can simply alter our sentence, and we will go from there. So I find, excuse me, that in these cases, AI is really, really useful because it's great for reference inspirational source. Of course, there have been a lot of discussions with AI. I will not go over those in this tutorial specifically because there's also like a bad side on AI. But for just using it as inspiration and reference, I definitely really like to use these tools. Now, as you can see over here, it does not understand completely what we mean. Like, it goes, Oh, way too large scale, or, here we go. Like, it has the details. The details are quite nice, like it's modern, it's minimalist, but it doesn't understand that I want like an exterior. So what I can do is I can simply copy this once again. I can go ahead and also the accent colors are working quite well. I can go Imagine again. Enter, paste it, and now I will do exterior of a rocket lounge administration facility and of a small, let's try a small rocket lounge administration facility with a modern design and excellent colors with white and orange. Yeah, let's try something like that. So basically what we're trying to do is we are trying to get close, and then what we will do is we will start generating variations based upon what we have found. And that is something that I've also done previously, but I kind of want to do this in real time so that we can kind of, like, find something good. Now, because it always takes some time to generate these images, at this point, I will start just passing the video every single time that we are generating something. Okay. So here we can see that this is still not what we want. So let's go ahead and alter it again. M. That's also the annoying thing is that with AI, of course, we cannot go get exactly what we want. It's really difficult to explain exactly what we want. And also another thing is you guys will never, ever have the exact same image as I have, unfortunately. So what I can do is exterior of a small rocket, a Sci Fi rocket, lounge. Let's do just facility for now. With a modern design is fine and accent colors is also fine. Concepts for the environment. Yeah, let's try something like this. And basically what I'm looking for is I'm looking for an exterior design, and I can actually I will just show you my test because it's a lot easier to explain to you when I show you some initial test that I made. You can see that over here, it can take quite a while to get something you like. But this is the kind of stuff that I want. It is basically small and compact. Well, small. It's still quite large, but it's closed off. When it's closed off, it's really handy, especially for a tutorial because we can make it like a small little game level and we don't really have to create massive environments going all the way around it. Now, next to that, here you can see, I also quite like going a little bit more in the height, which that's quite cool. You can definitely see that all of this, the generations are not super logical. We will mostly focus on exteriors, but we might create some very basic interiors just to kind of, like, help facilitate with it. But here you can see that over here, this is basically the type of stuff that we are looking for. Now, I was really lucky that when I started generating this, here you can see that I started with something like this. No, wait, sorry, it's a little bit back. Here we go. Here, I started with something like this, and it once again, did the same thing. It didn't really understand, but luckily, it had one image that was pretty close. And as soon as we find that one image, we can kind of, like, work with that. So let me just go down. Okay, so now we have our exterior here, so that's already starting to get a little bit closer. Now what I'm going to do is sometimes it's good to just strip away some details. And, of course, you can just play around to this. You don't have to follow this part of the tutorial if you don't want to if you already know how to use it. Let's see. Exterior of a Sci fi lounge facility. So I'm just going to kind of get rid of rocket because I think it just keeps thinking about the word rocket too much with a modern design, and the accent callers are still fine. Now, let's go ahead and use this one, but what I'm also going to do is I'm going to generate a few more. So let me just copy this. Let's do this. Let's also do slash Imagine and let's do exterior plaza of a small Sci Fi lounge facility. Slash Imagine. So we can actually do like a bunch exterior of a small Sci Fi lounge tran building, for example, so we can do one of those. Once again, slash Imagine. And just like this, we can keep going until we get, something that we like with a modern let's go ahead and go even simpler. So modern exterior of a small Scifi lounge facility. So just like that here, we can just go ahead and we can kind of get a bunch of stuff from here. So now it has already generated this one, which is getting a little bit closer to what we want, as you can see over here. Actually, this kind of stuff is also really cool. This kind of reminds me of, what's it called? I completely forgot. The Battle Real game, but I completely forgot, sorry about that. Let's see what we have here. When I say building, it's too much specific to a building. And when I go lower over here, it goes a little bit too much into this really rough area. Let's say something like this. Um, I quite like this one. Let's try to start getting some variations from here and see if we can get any closer to what we are actually looking for. Now, the way that you can do that is you can simply generate variations by pressing these buttons down here. The way that they are counting is one, two, three, and four. We have number three that we want to go ahead and create a variation on let's also create a variation on number four. And now if we go down here, let's also create a variation on number two over here. And this is like the second stage. Of course, we might not even be done with the first stage yet. You can also press this button to just keep generating until you find something that you like. But at least we are kind of getting closer to it. Now, while that is going, I can go ahead and add new prompt. And let's say, exterior of a Sci Fi lounge facility where they manage the lounge of rockets with a modern design, and oh, see, now we are getting actually quite close. I'm just going to go ahead and also kick this one off. So now here, you can see that we are getting more of these enclosed shapes, which is more than I wanted, as you can see over here also. However, it's not yet going completely into the height and stuff like that. So let's have a look. So we have this one over here. Okay, so I mean, we might generate some variations on number three. And let's have a look for this one. So we have this one, although I really don't like the dome and stuff like that. Like, I'm not super happy about the design, but I like that it's a bit more enclosed. Let's try variations on number one and number three. Now, over here, it still does not understand. Like, I just gives us a large building, but that's not really what we want to do. We want to build an actual environment that we can create with that. But let's try a variation on number four, just because it's literally one button press. Now what we have here. Here we are getting also a little bit closer already to what I want. So just like this, you keep refining and refining and refining it until you get the reference that you specifically want. Now, if I have this one, I want to probably go ahead and get something that's more like number two. So let's go for variations on number two. And after this, what I will do is I will probably kick in the time laps until we are done with it. But I want to show you a few more twigs before we do that just in case you don't want to wait until after the T laps. So let's see over here. So exterior plaza, it still does not understand that one. I mean, nothing that really sparks my interest. Let's have a look over here. There's still generating here. So something like this is starting to spark my interest. Something like these bits over here, like that is quite cool to have something like that. It's still a bit large, but we can maybe, like, work with something like this. Let's for now, just because I want to show you the end result of the techniques, let's see. Which one shall I grab? I will just grab I will do variations of both of them, but I will just show you one. So let's do variations of one and two. Now, let's say that you have the image that you like. Although this is not yet the one that I like, you can press YouTube in case because this one is image two. And what it will do is it will upscale the image. It will give it a higher resolution, as you can see over here. If you're happy with it, you can go ahead and click on it, press Open and Browser. And now over here, you could literally just drag it into your reference folder, and now it has become a simple image, as you can see. You can definitely also see that the details are not clear enough for us to actually use this as a full fledged concept, but it is a start. Now, the next thing that we can do is we have a few more options at this point. So let's say that we grab this one, where you can add strong variations or subtle variations, but you can also add variations in, like, a region. And next dis you can also zoom it in and out if you want. So let's say that we do, for example, a strong variation over here. You can see that it will generate more variations based upon this specific image. But the cool new feature in Mid journey is that you can also vary based upon a region. What this allows you to do is it allows you to basically paint in something that you do not like. So let's say that we grab our lesser tool and let's say that over here, I do not like this area, for example. And I can also say, let's say that I also don't like this area. Let's say that I want to just change the mountains and stuff like that. I can go ahead and press Submit, and what it will do is it will only change those areas of your image. So now let's just quickly keep looking. Nah, that's still too much like a simple building. Like, this one is actually quite interesting over here. So we might, and this one is also quite interesting. It really likes to put this in snow probably because I said that the accent colors were supposed to be white and orange, and then it just realized like, Oh, hey, snow snow is white and orange. So let's go ahead and go over here. So what do we have? We have this one, which was just a variation, also, although this is also pretty cool. And now over here, this one, here you can see that we kept the center, and it basically changed the way that those sites are. So that's really nice if you just want to get rid of some small details or you just want to kind of, like, play around with it. And pretty much like this, you can go and keep going and going until you find your final reference. So at this point, I will go ahead and I will kick in the time labs, and I will go in and find my final main reference. Once that is done, what we'll do is we will still go ahead and we need to gather a bunch more reference. So the reference gathering parts of this tutorial are quite long, but this is just because it's really tricky finding reference for Sci Fi. That's really good solid reference because everything is pretty much made up. Like we will also need to make up a lot of stuff during the blockout stages. So let's go ahead and kick in the time laps. A a Okay, so I think we have pretty much hit our limits with the variation. So what I want to do now is I want to show you another technique. So we got over here something that I quite like, especially these two. I think I like actually this one a little bit more, although we can literally later on just use elements of both of them. So what you can do is you can actually upload an image and you can then plug that into mid journey and add onto the sentence because with variations, you cannot really do that. Now what I tend to do is I tend to use Share X, which is my automatic which is my default program that I use for creating screenshots. It's really nice because you basically create a screenshot and it will automatically upload it. What I can do is I can simply upload it. You basically need to end up with a link of an image. That's the most important one over here, and it will automatically past that link here. So if I go slash Imagine and I can go Contra V, basically end up with a link of your image. Comma. Now I can go ahead and let's see if I have this, I can start generating more variations based upon this specific design. If I now go and probably grab exterior of a Sci Fi lounge facility, let's do that part over here. Then I don't need all the accent colors and stuff like that, so I can just go ahead and copy these end bits also. And let's just see if it can push it a little bit more. If it cannot push it more, then we will simply make stuff up in our blockout by combining multiple images that we have over here, just like you would normally do whenever you're making up any type of environment. Okay. I can see over here that it definitely didn't really do a good job. Maybe it went a little bit too strong. Let's try again, slash Imagine. Let's give it, sorry, let's give it you can just right click copy URL. Let's give it the URL. And let's see. So you know what? We can literally also do this if we want to, and it should still generate some type of variations. Just for fun, we can try this out. But yeah, in general, I'm not sure. I feel like we are hitting the limits. Now, what I really like about this one is I will like the legs over here and that we also have, almost like a little bit of, like, an interior and then over here just goes around it. I like that it goes a little bit more into the height. You have the same over here where it goes into the height. I quite like having a little bit of rock going against the facility almost. Yeah, this one over here, I'm not sure. It's quite difficult to make sense, so to speak. It's quite a fun entrance, sorry. But what we might want to do is we might want to go into our original ones. I definitely did not understand what I meant with this. That's just a little bit unfortunate. In that case, what we're going to do is we are going to probably use this one as our main reference. However, I do not like what we have over here where it's just like empty. So I'm going to try and get that too. And we need to have a little bit more logics when it comes to these towers, because right now it's like with this stuff, I can imagine that this is like a really large area where they basically like transport through rocket components or something like that. And this is also like the entrance to the building. Now, over here, I can imagine that this is like an outlook. It's just like a very large hallway, for example, or maybe it's like some operational stuff in there. And I can imagine that over here, these are just like garages or warehouses or something like that. However, with the towers, it's kind of like, why are they here? Like, I can see a watch tower, but I want to give it a little bit more logic. So knowing that, at this point, what we can do is we can go ahead and if we just go have a look so over here, I want to find first of all, I want to find the original, and I want to just regenerate it just as like one last twice. Let's just go ahead and regenerate over here. Now what we can do is we can go through all of our generations, and if we see elements that we quite like, we can use those elements. So I quite like over here this one and this one where it has some of these more interesting tower structures and stuff like that. So that is number two and number three. And just like that, we can keep going. Over here, we can, for example, have a look at the entrance. So let's also grab number one and upscale it for the entrance inspiration. So now we are basically looking for broad components that we want to use, like just very large structures. That are looking quite interesting. I quite like the heavy, a little bit more of like the heavy duty stuff that you can see over here. So let's also upscale number four. And yeah, just like that. So if we would have concept, of course, the concept art would be way more detailed and it would be also more logical and everything like that. But we would also have a lot less choice. It would be like one concept, and we kind of just have to make our decisions based on that. So let's have a look over here. What do we have? These are all upscale, right. So I can go ahead and grab this one and throw it in here. I can go ahead and open browser, this one, throw it in here. This one I can also go ahead and do the same. This was like the generation that we did. Did anything else interesting came out of it? Um, I can see some elements in here with the towers, which look quite interesting. So maybe crab number two and four. So let's upscale two and upscale four. And then most of the rest will basically just rely on our blockout. That's pretty much it. And then based on that, we are now also going to go ahead and find some more different reference. But that is going to be like Arnon reference. So I will do that in the next chapter. So this one I still need to do. And this one over here. Okay. Awesome. So pretty much what we have right now is we just have, most of our main reference that we can basically use to come up with a really interesting design. It's nice and large, not too large. Now, there are some really large components in here, and the thing with Sci Fi is trying to make stuff modular is a lot more difficult. So we kind of need to have a think about that. But for now, what we're going to do is we are going to use a program that many of you probably already know, and it is called PUR Rv. PureRv is completely free, so you can just go ahead and you can find it if you want by going to Google and just typing in PUR RV and in here, you can download it for free. So with this software, it's just a image preview software. You can simply grab all of your images and you can input them, and it will automatically input them, and it will keep the same resolution. So we can very easily zoom in and out. And like this, we can also organize it. For example, this is our main reference. We can make our main reference a little bit larger like this, and then we have our add on references below it. And just like that, we can add more references to this. I think that this is a pretty solid idea. So let's go ahead and start with this one. It is quite different than the idea I originally had, but I do really like the general look of it. But definitely like when you try to find any type of reference up close, we will pretty much have to make up most of it because this is just a jumbled mess, and that's the thing that we have with AI. Like, AI is nice for quick ideas and previews and everything, but not for, like, a super refined preview, for example, like that. So in our next chapter, we are just going to go ahead and start gathering our Adon reference. 3. 02 Finish Gathering Our Reference: Okay, so we got some pretty solid main reference right now. And the next thing that I want to do is I want to already start by gathering some more inspirational reference. For example, this is great for the main shape, but maybe I want to know some type of Sci Fi legs and stuff like that, and how that they often use cables in Sci Fi environments. Just like a bunch of stuff like that. We just want to go ahead and just figure out, like, for example, also the panels and everything, what everything will look like. For this kind of stuff, I don't really want to use AI. You can use AI in some places, and we might end up later on also generating again some more images. But for now, I'm just going to go ahead and have look around art station, see what other people did, and use that for my own inspiration, also. So over here, if we go to ArtStation, at this point, I don't really need it to be a to the environment. So what I can do is I can go ahead and say, let's close this. So we have Sci Fi, and then if we go into subject matter, we can go ahead and we can grab three environment and concept art like this and just make sure that your medium is set to nothing. So in here, it's just for inspiration. It's not really something that we will follow, so I'm just going to go ahead and just middle click some stuff that I think might look nice. And of course, I'm going to start basic with just the word Sci Fi. Unfortunately, we cannot really do the refinement that we do in sight of AI in stuff like this. So as you can see over here, there isn't too much stuff that really sparked my interest. Some Sci Fi panels would be nice. So let's also just get some of those in there. This one shows, like, a little bit of, like, the door opening, so that might be interesting. But yeah, here, as you can see already, most of the sci fi stuff seems to just be like exterior and almost nothing seems to be like interior, sorry, almost nothing seems to really be like exterior. So we have this. Now what we can also do is we can also go ahead and do some other things like instead of Sci fi, we can go for future, for example. Oh future. There we go. To see if there's maybe something that's, like, close to that. But it's really tricky to find exactly what you are looking for because the thing is that also most people, they don't really call it science fiction, per se, I would say. So I can go ahead, but I don't see a lot. Now, there is one. There is a subject that is literally science fiction, I believe it is called. Let's have a look. Here, science fiction. We can do is we can also go ahead and art this one and then get rid of the environment design. Now, if we then also get rid of over here, the search bar. Now we basically get everything that has to do with science fiction. However, we of course, have the problem that now we pretty much only get characters. What we can do is subject matter includes science fiction, and I then also wanted to include by going next this find environment concept design. Often, what you can sometimes do I don't know if they still do it, you can add it on top. If you press art filter here. And then probably like sub check Metter no, wait, it doesn't do that anymore. Okay, never mind. Then we need to do it in here. It just means that we will have a little bit more characters and stuff like that. So this one and I also want to go games in real time environment. Okay, so ooh, that's not really working well, is it? Now, I'm afraid that we just have to go in science fiction and just have a look over here. It just means that we might need to do like a lot more calling. Let's go in some cyberpunk stuff. Some of these ones might be interesting for, like, panels. But at this point, it's a bit difficult to really pinpoint what I want. But we'll figure it out. This is where the blockout stages come in. We will do a lot of stuff during the blockout stages. And, of course, this stuff take your own time, you don't even have to look at me or listen to me. I'm just doing this because I know that some people really like me literally showing everything. So Yeah, so what if I do science fiction and then type in environment. Hopefully I get science fiction environments. Okay. With this one, some sketches is also always nice. Some buildings, some of this. So many images to have look at. Let's do this one also, which is the unreal demo. This one shows a little bit our color palette, so let's also add that. This one and of course, all of this concept and reference all goes to the artist. Sorry about that. I knocked against my microphone, goes to the artist with a copyright. I just want to let them know I'm just using your artwork for inspiration. I'm not basing my artwork on yours because then of course, things would be very different in terms of copyright, but you're definitely allowed to just look. However, these images as for respect to the artists, I will not include these images in the file source files. But what I can do over here, we have this one, we can go ahead and we can just press the download button down here. And just add it two. What you can also always do is you can also always have a look at, for example, the guys that made the stuff, and then often you can find some more stuff. Not in this case, but it is something that happens. So over here, so that's more concrete. Not really the type of stuff I'm looking for, exactly. I do like the lighting, so I'm just going to go ahead and download this one for, like, the lighting for, like, a mood. Oh, that's really cool. But, yeah. So let's go ahead and over here. Yeah, these are like Sci Fi material packs, I guess. Not exactly. Now, I'm not going to include that one. Like, I was just hoping to find some really clear metal panels, like, stuff like this that I can kind of use as inspiration also when adding some smaller details. Maybe this one also. Yeah, this one's handy because I can download this one image. So of course, Sci fi panels is something that will come when we do our texturing and our trim sheets and everything like that. But what we're going to do is we are going to later on, have two types of Sci fi panels. We have the ones that are actual geometry, which are like the large stripes and stuff like that. And then on top of that, we will have the actual texture ones. So it's like a balance that we're going to create. And we of course, also have trim sheets and stuff like that. But yeah, so this balance that we are going to create is something that we will only know once we really do our blockout like which ones we need to wear, but there's still a useful design to Um, keep in mind. Yeah, that's nice. I'll just add this one. They look really cool. These are a little bit too over the top, so I'm not going to include that. This one is the same where concept is not really specific. Yeah, of course, cyberpunk they are really good with all the Sci fi stuff. I'm gonna art this one just because I like the inspiration from, like, the pipes and stuff like that. But of course, it's an interior. And it's highly detailed. Like making this for an actual tutorial, this detailed, it's got to be really difficult because it will just take such a massive amount of time. I'm gonna also art this one just for, like, inspiration. Even though it's an interior. Here, this is what I mean with, like, size, where almost anything is like massive sizes. That is really cool. Not exactly what I need, but it looks really cool. Also, not exactly what I need. Although this would be like a nice thing for tutorial, like, a slice. Yeah, I'm just gonna add this one just again for inspiration. Again, it's just, like, not exactly what I need. Yeah, this one also not No. It does have some cool stuff. I really like the text and everything like that, so I can use that. Yeah, let's do this one. I can use the text as like inspiration. Like we can add some texts and stuff like that to our scene, almost make it like an area. I'm also just going to go into, like, the portfolio of the guy that made this, which is Chris Doret. To see if there was maybe anything else. But now, okay, so let's just say that over here, we now have a bunch of extra reference, so we can kind of take it from there. And I think this pretty much shows like the overview. Now, I'm going to off camera just find some more reference. It's going to be just like some general reference, and maybe I'm also going to try and find some more specific reference of, like, Sci Fi entrances and doors and stuff like that, and maybe like legs and stuff. For this kind of stuff, you don't have to go with environments. Let's say that we, for example, go and type in like a Mc over here. And often here you can already see that. Okay, this one is a bit difficult. But sometimes you can already see some actual details that you can just, use that is from a robot, and you can kind of, like, translate it into this kind of stuff. Just like that, we can also do things like finding kit Bash kits and stuff like that. If this one is it, you can Fox and Bogo Git Bash, and often you do find like here, a lot of sci fi type kit Bashes which can again, give you a bit more inspiration on, like what did we want to create, as you can see over here. This one is, like, full on buildings. But it's all great inspiration. So like, for example, here, like this one, this I can definitely use an inspiration to kind of, like, have a look over here, like, Okay, what would the backside of this look like? Maybe it has, like, a structure like this inside of it and stuff like that. Of course, these are a lot of pieces. But Oleg is really good. Like he's a really amazing artist when it comes to Kibahs and probably a lot of other stuff, of course, that came out. But yeah, so there's, like, a bunch of really interesting stuff in here that we can definitely use and take as inspiration. So I'm just going to go ahead and continue on to the next chapter where we will start with our blockout and our project setup and everything. And in the meantime, I will just go ahead and I will find a bunch of different reference images just to help us with the Sci Fi environment. 4. 03 Start Creating Our Blockout: Okay, so we are now going to get started by creating our blockout. Now, we are going to use Unreal Engine 5.3. So depending when you watch this, that might be also the latest version for you. But anyway, just go ahead and create a new project games. I'm going to do third person because it will be really useful to overhear. Like, this is probably going to be an entrance for people. So we are kind of going to guess the scale based upon this. So it's good to just have a third person character and just choose your project location and your project name. Now one more thing that I do like to do is I like to turn on rate raising because we are going to go for the highest possible quality, so else we would need to turn that on later anyway. So let's just go ahead and create. So basically, for our blockout, seeing this, what I want to do is there is some reusability. However, we cannot go super moodular with something like this. Often with Sci Fi, if you've seen any of Md tutorials, I always try to go as modular as possible. And the reason for that is because then I can create much larger environments with less work. However, with Sci Fi environments, this is often quite difficult because it's really unique stuff. So of course, we can like these legs and stuff like that. Those can be modular and re used. Also, the doorway that we have over here, we can probably also place on the other side. And this tower over here, if we just create a tower module, then maybe we can do it in like two modules, like we have a front facing and a side facing which we can also use later on. We can also use that over here on the left side and maybe also create some additional stuff. And then for these pieces like sure these doorways over here can be modular and that we can also use them in the back over here. However, this piece over here, I will most likely go ahead and make these really large scale pieces. So I will have one straight piece and I will have this almost looks like a band piece. And that's pretty much going to be it. This one over here is also going to be pretty unique, and we're going to have some additional pieces like aircon units, stairways and stuff like that. However, I will employ the help of some of my artists with that, so there will be more bonus chapters to get all kind of things. Are you done yet? No, you are not, so I will pass the video until it is done loading up in real engine. Okay, that's done. Now a few things that we need to do. So we do not need this scene over here. But if you want, if this is your first time, you can press play, you can have a look around and walk around and stuff like that. But I do not really expect you to follow this course if this is your absolute first time in real since this is an intermediate course. Anyway, what we're going to do is create some folder structures. Create one that I will call Lounge facility. And in here, I always like to make pretty much like the same folders on just moving my microphone. I like the one called assets. Another one that I call scene. So the assets will have our model files, the scene will have our scenes, another one called textures. I'm guessing you know what that one is for. Same with another one called materials. And for now, let's leave it to that. Okay, cool. Now, we are going to create a brand new scene over here. However, it still be like a blockout scene, so I do want some lighting, and then we're going to start by creating our landscape. Let's go ahead and just file new level and I just want to have a basic level. I don't want to have open world because then you get a lot of features for large scale environments which we don't want to use. Here we are in a very simple basic level. Next, what I'm going to do is I'm going to go ahead and just delete my floor and I'm going to go down here down there. I go down here to the selection mode and go to landscape. Then what we can do is we can create a basic landscape. Now as you can see, our landscape doesn't need a lot. Like, we have a little bit of high difference on the foreground and background. And of course, we have a really large mountain. However, this mountain, I'm actually want to make that as a static mesh and not so much as part of the landscape because I think I can get better quality if I make it as aesthetic. So knowing that, we pretty much can just get away with, like, something quite basic like this. If you want, you can go down here and you can set the size a little bit larger. That is up to you. And over here, you can also set the double the size even more by setting these sections over here, as you can see. But honestly, we don't need to do much at all here. We just want to go ahead and want to press Create. It's fine that the location is set to 100. The reason the location set is to 100 is so that you can also push the train in and out. You can set it to zero if you are pretty sure that you only want to go upwards with your train. But since I'm not completely sure, this is fine. So I'm just going to go ahead and press Create. Okay, so sorry. When I say terrain, I mean landscape. I now can go back to my selection mode, and we are now in our landscape. Awesome. Now the next thing that we're going to do is we just want to make sure that you have your modeling tools turned on. If you don't see it over here, although it should be on by default, you can go to Edit, plug ins, and type in modeling. And then you have the modeling tools editor mode and just turn it on. With this stuff, like I said before, normally, what I would do is I would already create my blockout in modular pieces so that we can basically later on just replace those pieces. However, with Sci fi environments, it works a bit different because of the scaling and of the unique pieces. Instead, what we are going to do is we are pretty much just going to literally create like a raw blockout. This means that the blockout will literally just be of our environment, and I will make it more detailed than most blockouts that I can guess, where the pipes are going to be, and I can just make a good guess what the general design will be. So our blockout is going to be more detailed, but it will be one massive chunk of mesh almost inside of unreal. Of course, multiple meshes, but you get what I mean. And then what we'll do is later on we will go into three Max, and we will actually turn this into final models. So knowing that, let's go ahead and get started by just doing a simple scale reference. For this, I normally just import the scale reference, but I guess what you can also do is you can also go to your characters. And then if you just go ahead and trap in or sorry, third person. Oh, really? Did they remove that stuff? I guess you can also just grab your counter over here if you really want to. To get a scaling of things based upon your real life character. What I'm a little bit more interested about is there we go. If we just click on here, there we go. Because I don't want all the cameras and stuff like that. This is better. Yeah, I guess, for some reason, there's no more static mesh, interesting. If you don't have these filters over here, you can find them by simply clicking on here. If you just press reset filters, it will go away. But if you go over here, you can choose, for example, filters like static mesh, texture, material. I like to also go for material function over here. And then a nice thing with this is that you can turn it off to have everything. And then if you want to quickly navigate the stuff, you can just say, Okay, I want to find all my textures or I want to find all my materials. So it just makes things a bit easier. Awesome. Having that done, as I said before, we are going to get started with the scaling of this. I basically want to go ahead and I want to make entrances over here that are then sticking out, and then we have these large hydraulic, like, legs or whatever they are called that are kind of like holding up most of the structure. Having our character over here, the first thing that we want to do is, let's see, so this is the front view because these characters are always facing forward. We want to get started by just figuring out that entrance. Now, for most of our blockout, we are going to use the new modeling tools, and I can see that they once again change the UI because I'm coming from 5.2 to 5.3, but it looks pretty straightforward. So let's go ahead and grab a simple box. Now, our character is around 1.8 meters. So what we can do in our height over here is, let's say that this, like, a character would walk below it, and then it would still have a bit of height, but it would be cutting it quite close. Let's do 220, which is almost like a normal doorway. 220, and then it will give us some spacing for, like, Yeah, so let's do 220. That something like that is pretty good. Next one I want to do is I want to go ahead and have a look at my wit, which I want to make. I like to go for even number. So if we say, Oh, so, needs to be in the depth, I guess, for 100. I like to go for even number. So if we say 400, this mesh over here, let's press except, we can make this doorway modular, basically. So we'll basically have a flat wall that has, I don't know, we'll just make up what we will have on it. It will just have some of these structures on it, and then we will also have a doorway module. So these ones can be modular. The way that I'm going to do that is, let's see. I have this one, actually, you know what I'm going to create a new one, and it will save our settings. Let's make it like I think 30 30 centimeters in the width. Yeah, that feels quite good. Let's grab this. Now over here, we have a simple wall piece already. We don't really need to do much for this one. This one would be like the ones that go inside of other walls. Now, the way that we work is we first of all the bare shapes that are quite rough and then we start detailing them. We have, for example, this one, and now I duplicate it over here. Now, because I duplicate this, if I would edit this mesh, what would happen is that it will also edit this one. If I go ahead and go to my model here. You can see that if I change something over here and press Accept, it will still use the same measures. What we want to do instead of that is we want to go ahead and we want to give me 1 second because they move things around again. But we want to go ahead and we want to duplicate it. X form here, duplicate. And then just go ahead and press. Okay. So now this has become its own unique mesh. Also nice because we are keeping exact even width, you can see that snapping works. So for our door, I pretty much want like a smaller version of what we have over here. And what I often see when it comes to Sci Fi, if we go to mesh, sorry, model and then our poly group it is that often you have like a straight piece that goes around and then it goes kind of inwards. If we go ahead and just go up here and of course, we can later on make this a little bit more accurate. But let's say we have one mesh over here. And I'm going to just have, let's say, one here and one here. I'm just using basically my grid points to make things a bit easier. I then can go in, select these vertss and hold Shift and select these other ones also, and we can kind of scale this in. Over here. I can also see that based on this, I probably want to also this and these once again push these back. And I feel like I also want to move this down. I feel like, Well, actually, I need to check. Oh, yeah, no, I probably don't want to move it down because then it becomes too small. Let's do something like this, for example. So I always press done, but I should not do that because then it removes it. I'm then simply selecting these faces and deleting them. I then select these edges over here, and let me check if they finally already added the multi bridge edges. No, still not. That sucks. I was hoping that they would have done that because of the update. Funny enough, I did check out 5.3, but the one thing that I did not check was the modeling tools. But it's always so straightforward that you don't really have to worry about it. So over here, we are now adding these bridges, which basically creates these tretches. And then what we can do is we can go ahead and we can try to sort of get a bevel over here. However, unfortunately, it's not as flexible as in modeling software. So we would go for something like this. Then in modeling Soffash you would often be able to add some additional edges in here to kind of match things up. Unfortunately, we cannot really do that. So what we can do is we can add an insert edge loop here and here. And if you want, you can even use mirror. It's p done instead of accept design. And then what I tend to do is I tend to move this if I'm allowed to. Oh, sorry, snapping is turned on. I can kind of move this, and I need to also move these ones back because else, it's not able to properly rotate. So move something like this. And of course, it's a blockout. We don't need to go super precise. But then what you can do is you can add an additional bevel like this, just to kind of, like, indicate that we want this to be around, as you can see. So we can pretty much do the same over here. We just kind of, like, move this. Looks like it. I do need to move these back also. Yeah, okay. And let's do a where are you? Bevel, and just press Okay. There we go. So this is pretty much like a very basic entrance. It doesn't have any really interesting features or anything like that. But what we can do now is we can have a look around on our additional reference to see if there's, like, any really large scale features that we kind of want to give it. On top of the rest. So for example, like this, I quite like these type of features that we have over here, where it kind of breaks up the shape. So we are going around and then kind of breaks up the shape. And we can do something like that. So we could go in and probably create a new box over here. And I'm just going to make this 130 by 30 by 30. And let's just place that. This is going to be just like a human entrance. It's not going to have any entrance for cars or anything like that. That's what the big one is going to be for. But what I can do is I can just go in and kind of create this additional piece over here. Let's see. I think something like that should be fine. Like I said, most of our work is going to be in the blockout phase because this is where we actually are going to make up what we want to create. I'm then going to go ahead and insert and act loop probably here. Another one here. Now, before removing some stuff, I probably want to go in and select these edges over here and maybe give it some kind of just like an additional bevel. That's quite large, something like this. And then at that point, we can go to our edge loops. Sometimes I like to just turn off over here my vertices and edges. This way, it doesn't get confused and I can simply just drag and drop to have these pieces over here. Now, at this point, do I just want to remove them? Yeah, I think just removing them should be fine. You can also go up here to like a border select I think it's this one. No, this one, it's not able to select it like that. That's annoying. Normally, there's also a board of select over here, but I think because this is not the same as in modeling software where you can just press Shift double click. So I guess instead of that, what we can do is we can simply select them by hand holding shift. And then what we can do is we can just press a fill hole just to quickly fill it because I don't really want to spend time on this. You have one that you can select edge loops. It's this button over here, but it does not read holes as edge loops unfortunately. So we got something like that. That's pretty basic. Now, of course, we can go in and add some additional stuff through here. And I don't know if we should even bother with that. Now for now, let's just, first of all, just go ahead and duplicate this. And the pivot points should pretty much be in the center. Check. Yeah, Pivoints in center, which means that we can kind of just push this in here to kind of, like, indicate that there is something there. I think that is pretty good, something like this. So let's have a look. Yeah, I think for the rest, like Wi small details like we have over here with the panels and stuff like that. Yeah, we're not going to go dead overboard. So I think for now, this is fine. So, okay, let's say that we now have these pieces. We have the doors and we have the alls. The next thing that we will do is we are going to build a quick while over here, and we will just make it long enough that it kind of goes outside of the screen, and that's where we will end it. And then what we need to do is we just need to create a structure, and I think I'll make it in, like, a few different parts. So let's see if I have this one. But you can also do is you can also select these pieces and combine them if you want to. But I'm just going to for now because I might want to reuse this, do make sure to turn on snapping. For now, I'm not going to combine them. Let's say we have something like this and should I places where there is doors or where there is no door. Let's do it more like this. So we will have these structures in the places where there are no doors. So this one will pretty much be coming over here, although I might want to go ahead and just, like, add an additional wall here and just kind of push this wall inside of our tower. So we'll have a door here. Then we will have, like, a large structure like this. And then what we can do is we can have another door next to it, and maybe make that like a double door. And then we will end things off over here with one of these things. I think that should be good enough for our general purpose. So the next thing is that we are going to create pretty much like the bottom side. And what I'm going to do is I'm going to create the bottom side and I just want to end it after we created a turn. So almost like have a natural split over here. And for our bottom side, we can probably once again, just go for something that's like four by 4 meters. So if we would actually, yeah, we can probably grab this one, rotate it 90 degrees, make sure that in the X form, we duplicate it. Let's set my snapping to one so that I can do a correct snapping over here. Okay, so we got something like this. Let's go to model and our editing group. Now, is this extended out enough? I feel like it is not. I feel like maybe we should make one of these pieces to know how far to extend things out. So let's go in, create, create a box, and let's see. This piece, it's extending out quite far. You would almost think that this one is also, 400 centimeters. Yeah. And let's make the depth like 50. Ah, right, the depth is set to this one. I mean, the height to 50, maybe 45. Yeah, 45. And then for the depth, we want to probably go. Let's see. If this like a full well and we have a large piece and a small piece, this piece would probably be like 2 meters. That kind of feels like not enough. I feel like we want to go for maybe let's do 250. Okay. And then we will have another one that's 400 meters. So let's say that we have something like this, and then what we want to do is we probably want to rotate it. If we go set the rotate to five, by around Oh, sorry, set the rotate to five. Not the snapping and rotate it to, let's say, 45 degrees. Now, that's too much. 40 35, I think 35 degrees is pretty good. And now what we can do is we can kind of, like, start judging where we want this piece to be. I'm also ready going to place another two over here, just temporarily, that I can make a guess. Yeah, that's a pretty good extension. And if we will make the extension, this one is around 4 meters. I want to give it at least a little bit of space because then I also have space to run pipes and all that kind of stuff here. Let's say somewhere over here. I don't need to see how we are going to make the ends for it. But I think something like that should be pretty good. So knowing that these ones we can for now remove, we now know how far to extend this piece out because you can see that the extension is pretty far. So if we go to our model poly groups, let's turn on all of our selection modes. And most of this is just guessing work, of course. Like, I want to extend this out probably somewhere Over here. Now, what you can see is that I quite like having these additional details here at the bottom, and then that it starts going around. I almost want to just use this area over here for those additional details. So if I go ahead and just set my snapping to five, I should be able to kind of lower this a little bit more. Yeah, that's a pretty good thickness. And then what we can do is we can create that additional detail. This one will probably run around here, just over the edge. And then what we can do is we can go up here to extrude, and we can give the nice extrusion. Now, it would be nicer is if we set our snapping to ten, and then we can make the extrusions, like a little bit more accurate. So it can be like ten, 20, 30, 40, 50, 60, 70, 80, 90, 100. Yeah, I think that's a pretty nice bend. Then what we can do is we can select this one. We can bend this one out a little bit more. So remember that we are going to rotate the bottom to make it smooth. So you kind of want to bend it out more like this. And then we want to just grab this one. And here what we can do is we can simply bevel it. And this bevel will basically dictate how large it is rotated. Yeah, let's start with something like this. And then you probably guessed it. We're just going to go ahead and again, create an edge loop and done. And this edge loop, pretty much what you want to do is you pretty much want to make this back into like a corner over here. Oh, sorry, no, not a corner. One back. Um, maybe not a one back. Yeah, let's do something like this. And then what we can do is we can again bevel it. Over here. And just for good measure. Let's also grab this one and like a small bevel, kind of, like, make it a little bit more nicer around like that. Okay. Yeah, sorry if I keep pressing on except instead of done. I just keep forgetting that. I always do that. So we have this piece done now. I'm going to just go ahead and I'm going to, like, extend this out a bit more. And kind of call this piece over here done. So it's almost like a nice cut off line where we can place like a simple line, and then we can go ahead and we can start creating some more wells and stuff like that, which technically we could make the well pieces a little bit modular if we want to. So for the rest, this piece, yeah, it's quite flat. But what we now kind of need to figure out is the height. I would say that the height from this piece to this wall is probably double this, which means like around 8 meters. So first of all, we have this piece over here. I don't think we really need to do anything special. So what we can do is we can simply start duplicating it. So this will just be like one of those modules. I'm still twining to make it modular. It's just a bit tricky sometimes. So we have this one. Next, we have this piece over here. And what I want to do is I want to kind have it pretty closer door over here. Then I'm going to have another one. And with this one, what was it? We made it 2.5. Yeah, so we made it 2.5. So if I just go ahead to go to Add it, then to make it back to four, 2.5, because you cannot use it. One, two, three, four, five, that is three, one, two, three, four, five, six, seven, eight, nine, ten. There we go. Old school way of just kind of, like, measuring things out. And I guess if we just stay on the Oh, hey, we are not. I think we missed one, or not. Let's do five. There we go. Okay. I'm just basically trying to use all of my grid points and everything to my advantage. Now, I just realized that I'm editing the original one, which is kind of awkward. That means that it accidentally snapped it back to that one. And that's yeah why you need to be careful. But actually, knowing that, let's maybe give this a little bit more detail. So down here, it pretty much let's see. If we go edit. But now you know how to duplicate that later on. Down here, I feel like that we would have, sorry, two meshes in one. Let's try again. I just deleted one mesh. Here's my keyboard registration still. Let's see. We are beveling this Over here. Next, what I want to do is I kind of want to, like, Let's turn off snapping. Kind of push this one and I guess I need to push this up so that it has a little bit more support down there. Now, do I want to also add a bevel here? I don't think so. And then over here, what I'm going to do is I'm just going to go ahead and add another edge loop, probably somewhere along this line. And then I can basically grab this and just do a really cheeky extrude over here. Yeah, I think something like that works. Then I also kind of like having some kind of hydraulic systems in here. However, for that for now, what we can do is we can make that very simple. But first, let's make a duplicate and this time actually go to our X form and press duplicate. I might forget that more often, keep that in mind. But now, let's go to our model. Wow, we already working for half an hour. Getting the start is always annoying. So 2.5. Let's set to 100, 3.5 set to 54, except. There we go. Like a slightly quicker way of doing things. Yeah, placing this exactly in the center is always a bit Oops. Let's turn my snapping back to like one. Yeah, placing this exactly in the center is always a bit annoying. I guess what you can do is you can look where the lines are running and they are running here. So now it is pretty much like in the center. Okay, cool. Now, over here, I want, like I said before, some hydraulic press type things. However, that's a system that we will develop. For now, we can pretty much start with just like a simple queue. We are going to later on do another detail phase where we refine the details a bit more. But until that time, because, of course, the modeling tools are not the easiest to use inside of unreal for high detailed measures. So it's more like just for basic stuff like blockouts and stuff. But let's for now, do something like this, and maybe I will give it a little bit of like a rotation. Maybe it makes sense to have the rotation the same angle as the rest. Yeah, I think something like that will look quite interesting. And then we basically just duplicate this one and we can kind of do the same Here. And again. Here. Okay, cool. Then we have two pieces here, and then let's say that we just quickly grab this one. And just throw it somewhere over here. And then at this point, what would happen is that later on, we are going to create a piece that bends like this, and we are just making it that that piece also happens here, and by that point, it's outside of the view and not really our problem anymore. But anyway, so this is already a pretty good start, so we kind of have some pretty decent scaling going on over here. Now, you can also later on decide that you, of course, can add some interior in here. For now, what I often like to do. So with your interiors, something to keep in mind is that you want to keep the thickness of your walls to around 25 centimeters. The reason you want to do that is because else lumen might start clipping through it. So with the new lumen systems, the lighting is really nice, but the lighting it needs quite a bit of depth before it stops bleeding. And when I say bleeding, it's like when you just see light shining through, I don't know. You know, I cannot show you right now, but we might have an example for that later on. But just trust me, just try to make your walls around 25 centimeters deep if you can. And then for this kind of stuff, because it's just like it's going to be an empty interior, and we are basically relying on shadows to make it extremely dark. But what we can do for now is we can simply do this and just say that it's like a hallway, extrude it out a bit more. And this time, I'm guessing the 25 centimeters. Oh, let's know that. Before I do that, I need to go add another insert edge loop over here. And I guess, although here there will be a wall, yeah, there is going to be a wall, so we don't need to do anything. Let's grab these pieces and let's extrude those in and accept. So now here you can see that from a distance, this is what we get. It's going to be quite dark, so you will not really be able to look inside of it. But this is already a pretty good start. So let's go ahead and continue on to next chapter where we'll continue with our blockout, and that will be it for a lot of chapters. For now, we can go ahead and we can save this. And for our level, we can go to our lounge facility scenes and just call it like facility or scene or whatever you want. And now let's go ahead and continue on to the next chapter. 5. 04 Continue Creating Our Blockout Part1: Okay, so let's go ahead and continue on with our side structure. And pretty much once we have created this structure, we automatically can pretty much also use it over here. Of course, this is bend. So real, it might be a little bit more annoying, but we'll figure it out. So, okay, we got this stuff done. Now, the first thing that I wanted to do is I do want to extend this out because, of course, I want this to later on bend, so I want the structure to be a bit larger. Luckily, because these are all duplicates, we can simply go ahead and just select Oops. Select these pieces. Yeah, these three. And I'm just going to move it. Remember, we are going to probably flip it later on. So we don't want to make it too thick. But let's say something like this and accept. There we go. Now all of them will snap to here. Okay. Yeah, that looks pretty good. So let's go ahead and just create this piece over here. Now, we don't yet need to add all of the lines and stuff like that, so we can make this quite easy. The thing I'm thinking about more is about how high it is. I feel like it's twice the size of this one over here. What I can do is if we go ahead and go for probably 8 meters. Well, it's a bit snappy. Let's go ahead and shall I do this on here? I'm just thinking if I want to use this one or if I just want to create a new mesh. It might be easier if we just create a quick new mesh, and we are going to set the height, I believe it is to 800. And then I think it was the depth was 400. Yeah, depth was 400. And I guess for the rest, we can just kind of place it by hand. Et's have a look. So at this point, what might also be nice is that we kind of, like, set like a camera angle that we can use. So first of all, I'm going to save my scene, and there's two things I want to do at this point. So first of all, let's go ahead and create a very quick, just like a simple white material. We can do this by going into our materials note. And sorry, I'm just moving my microphone a bit closer. And then we can go ahead and create the material. Call it plain underscore master. And now in here, what I can do is if I just double click on this material, all I need to do is I need to add a constant three vector and just right click and convert this to a parameter so that we can edit it in our material instances. Call it color, drag it into base Color and just set it to be not completely white, but quite close to white and add an S, click scale parameter. Call it roughness, and I like to off to set this one to 0.7. If it allows me to. 0.7, there we go. And throw this into our roughness. And that's pretty much all that we need. So if we now go ahead and just save our scene or sorry, save our material, we can now right click create material incense and just call this blockout underscore white. A so okay, so now that we have our white shape over here. The next one was going to be that we need to kind of create a camera that is sort of in this position and knowing that. So this is a 16 by nine image, so we need to keep that in mind. Like when we know that, we can kind of guess a little bit better the positions and the lengths of everything. So what I'm going to do is I'm just going to go down here, go up here in the three little dots, create camera, and I want to have a cinematic camera actor. Go to perspective and just select your cinematic camera actor. Now the film back is 16 by nine, that is correct. And the lens settings, that's one we can kind of choose which lens settings you want to go. Like 50 millimeters is quite zoomed in, as you can see over here, so that might not work really well. So let's go for, say, 30 millimeters. And we just want to guess something that feels closer to this perspective over here. Now, this one, it's quite difficult to actually match it. I'm talking about our Zoom amount. I guess what we can do is we can look more over here on these pieces. Now, knowing that 30 maybe if you just boosts up, let's set this to 35 by 35. Because, of course, I want to be able to see most of the stuff. Let's say, if I do 12, what will most likely happen is that it will look way too far away. If I do 50, I will need to move really far away over here. It's quite important that we get the camera angle right. So because we are going to base everything on this, let's set it to 40 millimeters. S 40. Looks a little bit more logic. This one is tricky. It's mostly like over here getting these pieces to kind of, like, look correct. Like, we did do the dimension, but I feel like we did not leave enough space in between these. So right now I'm at 40, and this is starting to look a little bit better. So it looks like we need to go quite close up, but then we would also need to be able to see a larger part of our environment. So let's try 30 again. Yeah, I think, like 30 is probably the best one. And let's see. It's quite close to the ground somewhere over here where we can still read quite a bit of stuff. I feel like like it's not perfect, but I feel like that is pretty close to what we want to have. So yeah, let's go for something like this. A little bit out, a little bit more like this. And then I can see that I need to change the spacing a little bit. This spacing over here is fine, as you can see. It's not that big. It's just like the spacing at the end. So okay, knowing this, we can now go ahead and we can just turn this off. If you select the camera, you can see it down here. However, something that you can also do if you really want to keep track of things is you can go to Windows view pods and create an additional viewpoard. Now this viewpod over here, it will, of course, make your PC run slower because it needs to render your environment twice, essentially. But if you set this to you like your camerangle and then there's a little trick if you go down here and um set the screen percentage over here and just override it. And you can set it over here like quite low, something like 30. So what this will do is it will lower basically the resolution of this specific viewport. Now, if I just make this a bit smaller, I can then move this over to my other screen. So of course, you guys would not be able to see it, but I will just switch to it sometimes. But knowing that, based on this, we can now go ahead and we can start making some essential edits. One of them is that this is way too high. You can see over here, it is quite lower. So I have overestimated the height quite a bit. Now, we're not going to make this a fully fledged game environment. However, I do want to make it almost like a closed space. So this one over here, what I probably want to do is I probably want to bend it. So this one, I probably want to bend it behind us and then bend it again and then have those ends go up into this area. And then what we'll have here is we will have this one in the back, and we will do the same. We will bend it. And that way we can close off our environment just to make it still a little bit more logical. And then what we'll have is we will, of course, have these pieces over here. So since we are making There you are. Since we are making these pieces modular, that should work decently well, I hope. But okay, so we now have this one. So the next thing that we would need to do is probably work on the tower. Yeah, once we have the tower, we can move it over here, and then we can, like, start creating the in between. And the most work goes, of course, into the entrance, because the entrance is going to have a lot of really heavy duty sci fi type pipes and stuff like that. But for our tower, we need to have a little bit more like a closer think about it. And I'm talking mostly about the logic. First of all, the logic over here is, now, this tower, it's not extending all the way out. It looks nicer like this, but we would need to probably create a module to support this piece over here going into it. Because you would think that if there is an entrance here, there is a bay area below here, and then over here, you probably have a really large hallway that has maybe some steps going down that also go in here. And this hallway and everything can be accessed by this bottom area, which is almost like a storage area. So that's the general story I'm just giving to it on the spot. Now, having these modules over here, the tricky thing is basically to make everything work. So what would be nice to do is almost if we have one of these modules, then what we can do is we can pretty much place this module, and we can place it also on the back and we can place it on the side. And then whatever is in the center, we just need a top module, but we don't really need to make internals because we are not creating the interior. And this module, we would then also be able to maybe place this module sideways over here. So this would almost be like the side view. No wait because we have these pieces. Yeah, so we will probably need to make a few variations of this module. But we can do that to then also create this tower and later on we can also use it to create a larger tower in the background or something like that for composition. So that's a general idea. Now, in terms of the logics of this, I would assume that this is quite a large tower, but it's mostly just like lifts that's inside of it. Like these Sorry about that. So yeah, I think that's a good story telling that, you go in here, there's really large bay area lift going up, and then up here, there is like observation stations. So we will have something that's like an observation station. And basically, this one over here, it's just a cut up version of this one. So we don't really need to worry about that. Let's go for something like that. So let's try and split it up into, like, a few modules. So yeah, storytelling is quite important, especially with, like, Sci fi environments. You just want to kind of, like, give it a story, to also give it some logics. So anyway, seeing this module, I'm just having a look at my reference. Yeah, so we will pretty much make this module this tick over here, and then we will end it. So it will become its own and also on the outside, and then what we can do is we can place the door as like its own module also on top of it. So yeah, let's just go ahead and just start making a beginning and making the beginning is always tricky, but let's make it 800 by 800 for now and just place it. Now what I'm going to do is I'm going to go ahead and let's see. I'm, first of all, going to just push this in here a little bit, and I'm going to extend this out to a place that feels more logical. Maybe I can just turn on my snap. So I really like having these are like stairs. That's what I'm going to make for it. So I really like having these additional props because we can place them in, like, a bunch of areas. And what we can then also do is we can also basically place like a decal that is like a hatch, which means that we can place the stairs wherever we want, and then we just basically place a decal where we want the stair to end instead of making it uniquely on our mesh. But anyway, so we have stairs, have some additional assets. Where is my character? So for my character, I would say that of course, the stair would probably be well, probably be the width of her arms from here to here. So let's say that the stairs are quite close to the side. Then we have the width of her arm. As that. I feel like I need a little bit more. Let's set this now to 50. There we go. I think that is a pretty good position. And we're going to start making the base shape, and then what we will do is we will go in and so let's go polic. Then we will go in and we will make this a little bit more details. M. Hey. The The Okay, so we have now something like this. Now, what I would do to make it more flexible is, of course, over here, you see, like, a lot of pipes and everything like that. However, I will probably only add the pipes when this area over here is starting and basically try to make this area over here flat and later on just add some additional pipes on top. This way, we can basically move this in places in multiple locations without having anything interfere with the pipes and like. I don't like it when it's like clipping really strongly one through different measures, if that makes sense. So I hope that. But yeah, in general, I don't know if I can probably do this. I hope that the recording still works. But yeah, so basically over here, I don't like it when we have, like, a lot of pipes, and then it's just, like, clipping through from another mesh like this. So I like to have it only have the pipes motion in like these areas and just have it flat in this area. There you go. And I did all of that with my mouse, not with the drawing type of thing. But, okay, so we have this one. Now, because we are going to reuse this one over and over again, it might be nice to add a few additional details in here. However, I'm not yet sure what the details are going to be. So for now, what I will do is I will pretty much just make something like this. Let's grab a box. Let's make the box like 25 by 25 by 25. 6. 05 Continue Creating Our Blockout Part2: Okay, so let's go ahead and continue. Now, basically, because the blockout is taking a little bit longer than expected, at this point, I'm going to go ahead and I'm going to work a little bit more in the rougher shapes to get the general environment done. And then I will just time lapse getting, the more smaller details because I do like to have those details, but, like, I cannot spend too much time on it because, yeah, it doesn't really add anything to this course. So, anyway, we have this piece over here done, so that's good. Now what I want to do is let's first of all, go ahead and just create this top piece, and that one will be quite white. But it's probably going to be one of those pieces that we can just rotate 180. And then what we'll do is we will just go ahead and continue on with the sides and all that kind of stuff. So top piece. Let's go and let's go back into our modeling tools. And we know pretty much where we need to place this. So if I just go ahead and yeah, I'm just going to start with like a simple cube. So here we have a simple cube, and I'm just having a look at my scene, and I would say that probably somewhere over here is where it is starting. I'm now going to turn on my snapping model and poli group edit. And let's have a look. So I would say that there's like 1 meter here, 1 meter or 1.5 meters and then another meter here. I'm just trying to kind of like decide. Yeah, that feels like a pretty decent size. For now, I can just kind of move it here. And then the next thing that I would want to do is I want to kind of like decide on the depth. And, of course, we are going to rotate this 180. So making this depth here, it will also make this depth on the other side. But anyway, let's just get started with something like this. Next, I want to add a quick but very large bel. Over here. There we go. And then what we're going to do is also, and I'm just going to make this quite rough. I'm going to somewhere see over here. Move it down. Another one, let's say, somewhere over here. And we can change this later on. I just want to play some very quick pieces so that I can indicate, Oh, turn off snapping, so that I can indicate that there's going to be a Oh, delete this phase, a window over here. Yeah, that should work. Now, at this point, in order to basically know roughly how large this has to be. We want to duplicate this piece over here. Don't worry that there are holes or anything like that. That looks pretty decent, but let's just go in and now start duplicating this. Oh, I accidentally turned off my second view pots. I'm just turning that one back on. Okay, so definitely, when I look over here, I can already see that. Yeah, we have some problems like the thickness and everything's way off in terms of, the scaling. I have the urge to kind of make it one more bigger, but doing that, it would go out of the view quite far, so we might want to alter our design a little bit. I'm just having a look over here. Here we go. Okay, and so, so to know Willie the thickness from this point on, what we should do is we should probably just start by creating our door because we know we have like a door. And then this almost looks like it has two additional pieces sitting next to the door. And we can make some kind of like a structure sitting next to it. So for our door, this is quite a large doorway. So we don't really have any type of, like super logical scaling that we can do. But let's still try to make it somewhat sensible. So let's go for a box and try to go for some even numbers. So over here, these doors over here, they are quite thin. This one will be quite bigger. Let's say, in terms of the size, it is probably well, actually, yeah, it's not even halfway. Like, it depends how you look at it. I don't know if this is like the opening of the door or this. So that's something that's, I guess, we can decide. Let's just go, first of all, for the large opening, by the way. So let's say that over here, if I go for 500, so 5 meters. Really, 5 meters is only that high. Hm, then I might need to think about the reservoir scaling. Let's go for 4 meters for now. Because we still need, of course, place a lot of stuff also above it. Although we can, of course, make sure that it's not that much stuff, but Yeah, and let's go for a I don't know if the width. Just need to check. Okay, yeah, so the width, we don't really need to do much. So the depth. Let's say 800 to get started with. I'm looking on my other screen again. Do you double check? No, 800, we need to go 10 meters across. Yeah, you probably don't want to go more than 10 meters. For the width, we can set it back to 100. Yeah, I do want to make my height bigger, so let's say 500. Let's start with something like this. Like this feels if we have a door and it looks like our door has some really large bevels, which we can also do. So let's just grab these two and throw on a really large bevel. For now, something like this. Okay, so we have a door, then we will have the structure sitting next to the door. I have no idea yet what that will be, but let's say that it's just going to be something like that guides cables. I don't know. So let's go ahead and create another box. This time we can go back to 100 by 100 by 100 because we can just do some manual editing. Let's set by snapping to ten. Let's have a look. So our model will probably stop. Well, here there is going to be the piece that kind of, like, holds up this entire structure. So probably just before that. Yeah, this is probably a good point. Let's snap it on the grid line over here. And I assume we would push it all the way up. Let's see. Let's push it out and let's then just create something that kind of like, if we just do a what's it called? At some edges. Let's say that halfway across the door over here, we will start to push those edges out. And here we'll be like, of course, a lot of pipes and everything like that on the inside. I'm not sure. I feel like we would want to make this probably a little bit thinner. And you can also, of course, I'm looking mostly at this one right now, but we can definitely have a loop around. Here, this is more like what I was looking for. Something like this, actually. So that's good that we are looking around a bit more. Seeing that, however, we probably want to select this loop and have this loop go all the way to the top. I and grab this loop, place close to the bottom. Mm. I would want to probably create some additional structures here, because, of course, here it kind of looks like the entire building is tilted, which we do not have over here, but then it would look way too chunky, so we might want to later on add some additional stuff on top of that. It's pretty cool to, like, create an opening like this or like we can see over here. Just having a look around and coming up with some good ideas. So just bear with me. That's something that sometimes also takes a little bit of time. I think what I will do is I will move this, and I will also then move this one forward a little bit. At that point, this one, let's say that I'm going to extrude this and I will just extrude this up until this point because what we will do later on is we will simply mirror it from one side to the other side. Now at this point, let's go in. No, let's not do this one. So let's instead select these sides and let's do a bevel. I think that will look a bit nicer. So we will have a large bevel. Next, what we're going to do is we are going to grab these few pieces over here. Let's do a quick inset. To give it some additional edges inside. And now what we can do is we can do an extrude. And I want to set my extrude from a single direction to selected triangle normals so that it kind goes in the same direction as the other faces. Probably something like that should be fine. Yeah, so that actually makes also quite nice shape for our entrance. Of course, some of the shape will kind of be blocked later on. But it looks pretty good. And if we then add some additional interesting shapes, maybe in the center, we want to later on, add a little bump or something just to improve the shape a bit more. But let's say that we have something like this. 1 second. Just looking at my original reference. Yeah, it still has quite a bit of space coming down here where we will have some additional pipes and stuff like that. Yeah, I'm quite happy with that. Okay, cool. So now we have over here our door. Probably want to push that in a little bit more, and then we would have another shape sitting next to it. Let's have a look. If I make this white that we can properly read it, then definitely our camera angle is not good enough, but I also feel like our door is a little bit too short. Let's say that our camera angle would probably be a little bit more in this direction, and I quite like the thickness. I think we got the thickness down quite well. We can even make it a little bit thinner. Don't know if I can just like, I might be able to do that just by simply moving this. And then grabbing these pieces and also moving those up a bit that might just do the twig. Press accept. However, I'm not yet happy about the door. Yeah. Let's say, with the door, let's edit it. Let's select one side by snapping to, like, 1 meter increments. 2 meters probably. Yeah, we are going to go a little bit away from our original design, which is no problem. Like, we are free to, like, alter it however we want. So, okay, so we have our door over here. We have these pieces, and these pieces now block our door, but later on we will also have the leg. We are going to have something that's sitting above the door. However, for now, just to kind of, like, oops, finish this thing off. What I would want to do is I would go ahead and I would select let's say these two pieces over here and inset them. Like this. I guess for now, just because it's a simple door, we can go in and just delete a And in here, I have the idea of basically having a double entrance, but this one will be in a pill shape. So if I'm just checking, it will probably look something like this. Let's create a because a pill shape is a little bit annoying to create inside of this software. So having this one, we have our slices. So 16, that's good. You want to go for, like, an even number. And then what I'm going to do is I'm pretty much for now just going to accept this. Go to our model and edit. And now, what you can see is over here, so it is not properly allowing me to edit this. What we want to do is we want to go ahead and we want to regenerate our poly groups and give it to each individual phase. We can do that. So just press cancel on that one. We can do that by going into our attributes, generate poly groups. And now you can see that over here from normal, let's say press or press find quads, and now it will basically allow us to edit every single phase individually. Because often by default, it tends to just merge those together. So now if we select our model and add it, now you can see that we are able to kind of select all of these. And then to create the bill shape, it should be as simple as selecting half of it, pressing extrude, and let's set the extrude to a single direction. Here we go. So now we have the bill shape. Then it's just a matter of rotating it. We can already make it a white blockout. And the pill shape would not go literally like this, like it would kind of end just below. So this is just going to be the shape. We are, of course, going to then edit it. I like to also set my pivot point in the center. If I just quickly go to X form and then add a pivot and then just set it to center. I will snap and press except, I will snap the pivot back into the center. Of course, be careful with this because if you are using this on multiple objects, the objects will move. But anyway, I'm going to make this pill shape pretty close to the additional scaling. It's a little bit too close, but it's good that we found it in the center. Let's go something like this. Let's push it up a little bit more. Yeah, I think something like that should work. And let's start by pushing it back, and let's go into our 1 second? Am I happy with this? Yeah, I think that should be fine for now. Let's go in and select the back and push it back in a little bit. So, of course, this is going to be an opening. But what we often do is if we just place a quick inset around this stuff, then we can extrude the rest and then we can create the opening. Yeah, I think that gives a pretty interesting looking shape. Then, of course, up here we will have some stuff, and now what I will do next is so I'm quite happy about like this width, I think, but I can kind of check by grabbing one of these pieces for now, although I'm not sure if we will probably make, like, a new version of this. But let's for now just grab this one just so that we can see what it looks like. Mmm. Yeah, I feel like we would need to extend it a little bit further out, something like this. You select all of these bool groups except. Yeah, that feels a little bit better. Describe this one, scale it out. But for the rest, that's looking pretty good. What we can also do now is over here, we now know that this is going to be the end on this side. Let's just quickly edit this cube to let's see. We have the end here. Then we will have one of those pieces sticking out a bit more. Let's go ahead and grab this one and just push it back in. Doesn't have to be super perfect yet. But something like this. It's lined up. Now what we can do is we can grab our original. If we just go in, and we know that this is going to be the new end, but we need to push it a little bit more forward. H here we go. Now you can see that if you just met it in the middle for now, that's fine. It's fine if there's a little bit of clipping also. There we go. So now we know the general thickness of our doorway. For these pieces, what you can do is you can go in and grab a mirror and we want to mirror it in the let's see, left, right. Yeah, we want to mirror it in the right axis. Like this. Then you can see that it's just simply also alters things. If you depress apply, it will automatically also place that over here. At this point, it's very easy. We can also grab this piece. I'm going to rotate it 180, but I have a feeling that it will not be in the same location anymore. Oh no, this nice. Push this stuff back over here. And I think we should probably end the chapter here. But that's looking pretty good. So we now have the most important one. I'm not completely happy about the scaling yet. I actually think that it's a little bit too thick, so we might want to just, like, push the bottom down a bit, but that's something that we can work on a little bit later. Now, one last cool twig is that over here, we can barely see where the windows are. But if you just go to attributes, normals and set the normal to per triangle and then press accept, you can see that now it just resets the normals or the smoothening so that it's a little bit easier readable. Okay, let's go ahead and continue on to the next chapter. 7. 06 Continue Creating Our Blockout Part3: Okay, so let's go ahead and continue with our large shapes over here. So we now have something that is already getting a little bit closer to our concept over here. So what I want to do first is, let's first of all, just go ahead and polish up the pieces that we have now. And then I want to start working a little bit more like the inside and start by creating the legs over here. So seeing this, the first thing that I know is like this pillar over here, it still feels a little bit too thick. But I do also want to have something here to showcase. So here, this for me. So right now, it stops, and of course, this is not very logical. Oh, I have some weird Sorry, I had a weird pop up on my other side of the screen. So anyway, with this one, what I want to do is I want to make probably a little bit thinner, and then I'm going to just make a super basic structure that kind of goes around here that we can just, like, art on top of it. And also, we also need to later on, have something in the center. But we can see maybe we will instead of having an outlook post, we can make it like some kind of like an antenna system or something like that. I guess that makes a little bit more sense when it's a lot thinner. No For now, let's go ahead and actually start by creating that lag that we have over here. So down here, we now do have this piece, which makes it a little bit more annoying unless we kind of make the lag inside of here. But if we would make this lag inside of here, what would happen is most likely we don't have anywhere for the pipes to go. So that's actually, that is a good point that I'm making. Let's go in and just grab a cube mulling tools box. And I'm just going to try and create this piece first to kind of see what it will turn into. So if I have a distant look at things, I'm guessing it would probably be like 200 in the width, maybe 250 in the width. And then in our depth, we want to go probably for like 400. No, it needs to be way more. 600. We that much. Well, it is a long piece, so I guess we have to go. Let's for now go 1,000. I know that is a lot, but then for our height, maybe 150 centimeters. Now, that's too much, 120. Let's say a cube like this. Still feels a bit too thick. So I'm just sorry about that. I crashed. Anyway, as I was saying, I wanted to scale this down. And I think we should make this a pretty even rotation. So to keep it more logical, let's go. So this is 55 degree rotation. If I could make it fit inside of here, that would actually be probably ideal. If it's just in front of this area over here. I guess I could then just move these up a little bit and just do the same later on with the door. Let's have a look. So I'm just going to have a look also on my camerngle It feels really steep on my camerangle also it feels a little bit too long, almost, I would say. It feels more like something like this, but it would be smaller. Mm, that is tricky. Maybe I've overlooked the height a bit, but although compared to my door, the height still makes sense. But it is blocking quite a bit of stuff. Let's scale this in a little bit. Make it a bit thinner. Yeah, okay, so that already does read a little bit better when it's a little bit thinner. Duplicate this one. This one would go over here. I'm just checking if that is too disrupting. I guess I want to go one rotation back. So now we are at 50 degrees. To be honest, if I look at this, I want to probably like lower it down to something like this. But before we start making such a big decision of lowering everything down, let's first of all, just create, whatever this is going to be, like some kind of like a standard. Now, I have over here, also a bunch of references, Where are you off kid bashes. For example, I quite like having something like this type of shape for our leg, but we just need to find something that can kind of, like, be the base that everything fits in. And that's mostly what I'm having a look at right now, just to see if there are something that we can use kindness like a base. And I just look at your da. Reference. No, is there really nothing that gets even close to what I'm looking for? Come on, give me something. Because else I would need to, like, start guessing a bit much, which is fine for, like, the blockout, but then I would need to start refining it a bit more. Okay, let's just see if I can kind of, like, guess a little bit with this kind of stuff. Let's see. Let's go ahead and grab a cube. 100 by 100 by 100. So yeah, like I said, often, you do want to try and get some reference. However, if you really cannot find it, then go ahead and let your creativity loose. However, of course, always let your creativity loose. However, my creativity is not very good. I've never been super good with that kind of stuff. Like, I'm more of like just an artist that can recreate life, but I'm not one that can make up things as I go along. I think that looks good. I think what is maybe throwing things off a little bit is that we have this angular line, and then right behind it, we have another angular line that is close but not completely similar. So that's something that we might want to work a little bit. But I'm not completely sure yet what would be best. It could be as easy as maybe just grabbing this one and if we just go to our main angle, moving it back or making it really strong. But let's for now just not do that. I'm a little bit worried because I don't want to alter everything too much just based upon one single asset over here. Let's say that just to finish this chapter off, we have these pieces. In the next chapter, I want to start working more on this back side and on this side over here because they're all kind of like the same. So for now, let's just build a quick, simple room on the inside here. Let's go ahead and accept. It's going to go in and I'm going to Move this. And I don't really care too much about the lumen thickness and everything, because what we will later do is we will just create like a bunch of modular walls that we can use to build in our interior rooms, pretty much. But for now, of course, we want to keep this very simple. I'm going to move it here, and now I'm just going to close it off for now. But of course, I want to also make sure that you cannot actually see it. But later on we will, of course, place that additional piece. So et's place one extra loop here. And for now just nuke this loop from one side to the other. There we go. Save, my scene, because it's starting to lag a little bit. Here we go. So I was downloading something in the background, and I have to do that because the fight was like 200 gigabytes. Okay, so here, this is what you actually can see with the lumen bleeding. See? That's what I mean when it's not thick enough. If we would make this ticker, then this would go away. So if we would literally just grab this piece, just to show you already, a little bit concept that it is important to keep the metrics of lumen fairly acuate. But often if we would make this a little bit thicker, let's now because I know that these ones are probably also not thick enough. Make this one ticker, except. See? Now there's a lot less blending. Okay, now it does come back, but that's because these balls over here are not yet using that technique. But from a distance, there is a lot less bleeding and stuff like that. Okay, so we have now entrance over here that you cannot really see. We have over here are leg pieces. That's what I'm just going to call them. I will have this one and I will move it a little bit more in this direction over here. And this one I'm going to move. Actually, let's move it like this. If I move it like this, it does not look as bad with, like, the anglo pieces behind it. Let's also move this one back over here. In our next chapter, what we will do is we will start working on these back walls that will also end up connecting here and we are going to also just work on this additional wall piece over here that I want to make fairly generic. And once that is done, we are going to have another polish chapter where we will just polish the bigger shapes and add some additional details. And then we will go in and we will do some time lapses where I'm going to just do some very basic modeling in three Max and also adding some additional details and just breaking this up a little bit better. But that's not really something that you have to worry about too much. It's just a nice extra bonus. 8. 07 Continue Creating Our Blockout Part4: Okay, so we are getting pretty close to having the broad shapes. So what we're going to do is we are now going to continue and we are going to work on most like the back view and this view, and I want to work on the side view. Now, I took a break in between, of course, last chapter, this chapter, and I had, like, a pretty cool idea on how we can kind of, like, reuse some of these pieces. So basically, we have this piece over here. And what if we kind of just, like, place these beams behind this area over here? It does mean that everything will probably become a little bit wider, I would say. But I think it will also work quite well. L here, that's still aligned. Let's say that we have one of these pieces and then pretty much what I'm talking about is that we grab a very simple box over here, make it a bit thinner, maybe a little bit thicker. For the rest, the goal is that we want to place this box behind this point. Then behind there we will just place another ball. I think something like that should work quite well for this structure. You might think, like what we are doing right now, it might seem at first really unorganized and feels like that we are just randomly making some stuff, but this is because when we get more to the timeless chapters, that's where we will really start to make the environment shine. And we are going to also incorporate some traditional modeling tools and stuff like that. In my case, it's going to be three years Max. But yeah, basically, once that has started, things will start to look quite a bit better quite quickly, and also there will be more logic to everything. So let's say we have something like this. And then what I'm going to do is for now, I'm just going to grab one of these pieces. And place them in here. And this will be almost like a divider. So that's more how I see it. It's just going to be a simple divider, where we have one of these, and then we will divide it with another one like this. So now we have this divider piece, and then over here, we can have just like we have over here, this piece, but, of course, we will go ahead and rotate it. Now, it is also kind of dependent if we can rotate is enough so that they kind of stick into each other. But else I do have another idea. So let's say we have something like this. Going to go ahead and duplicate them and start turning on my snapping. And I'm going to go to my X form, and I'm just going to go ahead and merge all of this together so that it becomes one new big piece. Now if we go to our molling tools, and let's go ahead and add an insert edge loop, and let's make it even and just like a bunch of them. Like something like eight is fine. So eight here, eight here, eight here. And you want to basically have this even all the way around because we do have bend modifiers inside of wheel that we could use for this stuff. So basically, we have this piece over here. I'm going to go ahead and I'm going to let's see. I am going to probably for now, keep this one piece over here, unique and then select a piece that we have duplicated it, and this one, I want to just go ahead and duplicate. This is basically so that I have a backup because this piece, what we most likely need to do in order to bend it is we need to merge it. I'm not completely sure something that I need to just double check, and I'm also not sure how well the bend will work because it's a really beefy looking shape. But if we go ahead and For example, let's say that we want to make a bend like this. We can go into the form, and here you can see, so nothing of these pieces are working. So if we just go to X form and merge those together into one large piece, I then am going to ddt my pivot and I'm going to set my pivot, first of all, in the center and then set it towards the oops left right back. No front. Where is front. There is front. Center front over here, which means that when we start bending it, it will bend from this position on over here. We can go ahead and select that. Next, if we just go ahead and go to our Deform tab, we can go to warp and here you can see that it will start to bend, but we want to bend it in see. So I need to probably rotate my gizmo over here. But it's annoying because it doesn't show me if I do, like, a rotation of There we go. That's 90 degrees, right? Yeah, looks like it. Okay, cool. Bent, I was saying -90, but I mean minus 180, so that goes all way around. And then we want to set the lower bound. To zero? Yes. So the lower bound to zero. Oh, no, sorry. I do need to go -90. That's a really sharp bend it is giving me. Let's set the higher over here, the upper bound. You can increase the upper bound and as long as you don't go beyond the end of the model, it will still end up with a 90 degree bend, something like this. Now, over here, I can see that the bend actually is quite a bit larger. So what I might want to do is I might want to make this a little bit longer so that we basically have more space. No, wait, actually, yeah, now that we should we should be able to make this work. Yeah, there we go. So not a lot of rocket science or something. Let's do 1775 and just basically make a bend like this and just press accept. See? So we can very easily keep using this bend on multiple different locations. So, for example, what I can do now is I can go ahead and I can rotate it. Now, most likely, the snapping will be off but we can check. Yeah, HeRC, the snapping is pretty much off. We can twice snapping by ten because we did use even numbers, I think, but most of the time, it's just easier to place it manually by hand. R C. So that does work. So we have this piece. That's pretty good. Now what you want to do is you basically want to move it, and then we are going to grab one of these additional pieces over here from the side. Yeah, this one definitely doesn't match up, so let's turn off my snapping grid. And for now, I'm just going to, like, manually match it up. Over here. I cannot see there's a slight difference. Sometimes there's difference over here, it happens because the bend is slightly stretching our model. Now, we don't really have to worry about this too much because we are going to do our band modules, actually inside of Trees Max where we can be like super sure that the snapping works. So for now, all we need to do is we just grab this piece and we can just turn on snapping again. And most of this, it's more like I would probably need to place another point over here so that I can actually know up until which point, we need to do the snapping. So let's say that we have a snapping over here. Just go to move it manually a little bit. And then what we can do is we can pretty much for now, just copy this over until we reach this point. Perfect. Now, let's go ahead and select all of this. See, this one is luckily not that difficult, and it also kind of fits really well. And I'm going to go ahead and I'm going to probably move it up until this point, where, as you can see over here, it leaves a little bit of space, and we are going to, of course, make something to kind of fit space, but it's not going to be over the top. Now, at that point, we can grab these pieces. And for now, I'm just going to clip it in here. And once that is clipped in later on, of course, we are going to just match this up a little bit better. But that is working pretty well. The only thing is that now if we go to our camera angle, we kind of, like, that's the only bad thing about this is that we lose a little bit of our angle. Now 9. 08 Continue Creating Our Blockout Part5: Okay, so we now have, like, the large stages of our blockout done. So now what we're going to do is we are going to start a little bit more into, like, the refinement territory. Now, with the refinement territory also comes a lot of time lapses. That is because basically our goal, now that we have the general shape and scale, let me just press. Here we go. Now that we have the general shape and scale of our environment. And it is looking quite fun. Like, it's a nice little environment. Um, the thing that we are going to do now is we are basically going to create all of our final pieces that we might need. We have done like really large shapes. However, we now would need to break these large shapes up into more manageable final shapes that we will later on turn into final. This will come in a few stages. The first stage, which we will be doing in this chapter, is that I want to show you how to basically refine one of our blockoutslittle or like this leg over here or this support on how to refine the blockout. So we are not going to take it to vinyl, but we're going to refine the blockout to a point where it accurately represents the silhouette that we want. And that's quite important because we just really need to make sure when you are creating sci fi environments that you have all the pieces in place because there's a lot more guesswork when it comes to this kind of stuff. So that will be basically the second stage. The second stage will be going into time lapse territory, unfortunately. And the reason for this is like I will narrate over time lapses, but literally just creating the blockout pieces for this environment alone could take me, I don't know, 10 hours, maybe more. So because it will take me so long to create all of those smaller pieces and everything to make everything fit, that's why we will time lapse it. But it will still be very simple shapes, and then we will move on into the real them chapters again. So in this chapter, what we're going to do is we are going to first of all, focus on taking this asset from unreal to, in my case, three years Max, but I will be using universal modeling techniques, so you can use Blender or Maya or whatever you want, as long as it's a tree moding software, and we are going to create a slightly better blockout because now we have a general sense of the scale that you want. But of course, this is not a proper representation of the blockout. I just placed it here so that we can now export it. So what I'm going to do is I have these pieces. I'm going to go ahead and go to my modeling tools over here. And what I like to do is, I like to go ahead and just select these three. The reason I need to select the top one is so that I know where the ending is. I'm going to go ahead and duplicate this. And then if we go to X form, we can merge this mesh together. When you merge it together, if you then go ahead and press research button down here in the static mesh, you can see that we now can find this mesh and we can export it. As for the exports, in our source files, I have created an Export folder and a from wal folder in here. Just go ahead and copy that location. You can simply right click Asset Actions and press Export to quite easily export these type of meshes. I will call this one Support Beam underscore 01. Now, we don't need level of details or vertex scholars or collision or anything like that. So we can just go ahead and turn all of that off and then we can export it. This point, you can just delete this one so now we are back to normal. Awesome. To turn this into final, what we're going to do is let's go ahead and go into three Max and start by simply importing our mesh. Once we've done that, what we're going to do is we are going to focus a little bit more on what kind of a design do we actually want to create for this? Now, here introduce Max, these assets, they are very, very large. So what might be easier for me is if I go to customize and in my unit setup, set it from centimeters, probably to meters. That might make it a little bit easier. Also, if you want to increase your grid scale, just right click on any of these four buttons up here, and then we can go home grid and we can set the spacing to one by 1 meter. So every grid point is one meters across basically. Now just plus W, I will not go over the basics, by the way of three Max. I will mention it sometimes, but most of the basic molding, I do expect that you already know some basic molding if you dive into something this large. So over here, that's pretty much fine. That's all that we really need. So good. Going to go up here, edges and faces, and now we can get started. So the first thing that I would want to figure out is I want to figure out a little bit more reference when it comes to these type of things. Now, for this beam over here, I already know that I saw this really cool looking shape that is similar to this, and I wanted to create something that looks like similar to this shape with maybe combining some additional elements. However, the one that is little bit more tricky is over here like this sci fi, I don't know, it's just like the brackets that hold it to the floor. Now for these brackets, you can, if you want, make up some design yourself. However, what I often like to do is I like to try and find some additional reference that gives me a few more options. In here, I currently don't really have too much of that reference, but I will show you like we are just going to use some AI, and I like to combine that by just looking at multiple different reference images to get a general idea what I want this to be. Now what I can do is I can go ahead and I can take a screenshot. If I take just a screenshot of this leg, there is no way for me to, like, Wi properly explain what it is. But what I can do is I can try to take a larger screenshot like this to hopefully generate some more inspired legs and stuff like that. So at this point, we can go ahead and go to Discord. Here we go. Then just like we did before with the image, we can go in here slash Imagine and then just paste the image, a link in here, and I'm just going to go ahead and so I do have large support beams for Sci fi building. We try to already generate something, but it was not great, so I want to do two versions. First version is I'm literally just going to grab this one, the same thing that we have used before, the same prompt. And then the next thing that I'm going to do is I'm going to just recopy this, so it was okay. And now, slash Imagine again, paste the link. And then I do want to add just some additional large spot beams because the last time I took a picture of the spot beams that was a little bit closer. I just want to try out if I take some pictures a little bit further away, if I can get something that is close to what we want. Okay. Here we go. So we are generating some stuff. This is still quite too large, but I'm sure that by this point, you kind get what I mean. So what I will do is I'm going to go ahead and I'm going to kick in another Taps where I will just do some very simple reference gathering. And in the Taps, of course, I will talk about which other versions I might use. But there is already some interesting stuff in here. So let's go ahead and kick in the Taps. Okay. So I have now gathered a bunch of reference images. And the cool thing is that because these were doorways, I immediately also gathered some reference images for the doorway over here. So it's kind of like a win win. This should be enough of, like, some pillar bases and some interesting variations that we could add to kind of, like, take a general guess of what we want to create. So knowing all of that, I'm going to go ahead and move my reference up here, and let's get started by actually turning this into somewhat of a final model or sorry, final model, detailed blockout. The thing that I do want to mention that what I often like to do when I create my blockout is I like to keep my workflows quite non destructive, which means I don't completely destroy the geometry. I try to keep it quite clean so that later on, I can very easily turn the blockout into final mesh without needing to completely remake it. But in any case, we are going to get started just like this front beam over here. And for that, I want to start by just grabbing, for example, this reference over here. Now, for this one, it shouldn't be too difficult. The only thing is that, of course, we are not going to model at an actual angle. So what I'm going to do is I'm just going to go ahead and go to Mtop let's see. Let's go in here and I'm going to grab a box. I'm going to get started by just creating quite a long box and we'll take it from there. Here we go, just like we did in real. The only difference for this box is, well, first of all, we need to figure out the thickness of it. So I might just quickly rotate it just to kind of guess the thickness. Next, I'm just going to snap it nicely to the grid. So let's say that this is going to be the thickness of our beam. It's definitely going to be different than what we have over here, but it should still give us something like a quite interesting look. I'm going to go ahead and convert this to an editable poly, which is needed in three Max, and I'm going to get started by creating let's see let's create two edges using connect over here on the front, and I'm going to set that to 45. Then select the site and also just place two connect edges here roughly to the point where you want to start tilting this stuff. So let's say something like this. And then I want to have one swift loop. That basically determines the thickness. Now, knowing that, I can simply select these two edges over here. Inside the tree is MX you sometimes need to go up here next to view. And if you want to scale two edges, as if they are one, you want to select the second button. I will start saying these kind of things less and less the further we go along. But basically, I'm just going to push this back so that we get a shape that is a little bit more like this. I'm going to go ahead and maybe make this a little bit thinner over here. Yeah, something like that. Next, what I'm going to do is I'm going to just select these phases. This kind of modeling, it's so much easier to do it, of course, inside of three is Max compared to in real. I'm doing a border select, which just means selecting all of the edges around it. I'm then going to go ahead and I'm going to deselect the top bar over here, and I'm going to go ahead and press bridge, which will basically place some additional loops. At this point, you can probably get rid of these two because they are sorry, the selection is not going well. They are creating engons just control backspace to get rid of those two. And now we have something like this. Okay, so because it is quite important to see this roundness over here. I do already want to often, I'm not going to art small bevels, but I do want to art roundness to like these really large shapes over here. I'm also going to temporarily move these next to each other. That's also really nice thing about let's do this one. Uh, no, let's do this one. That's the nice thing about Puref. You can just very quickly move it all on top of each other. So this is basically what I was talking about that is so easy in Max but not in real, which is that you can create a bevel using your chav settings, and then you can simply add roundness to the bevel. So it's, of course, way faster for us to just quickly add some additional roundness in here and take it from there. Okay, so we have this one. I'm probably also going to add a little bit of roundness. Now, actually, you know what? I'm not going to do that one yet. So having this piece, I feel like I might want to make it a little bit thinner. I should be able to still do that just by grabbing this. Maybe I also want to make it a little bit thinner in this direction. Then it does break. 1 second. Let me just do that before we do the roundness. Let's do this, scale here, make it a bit thinner, and also make it a bit thinner over here. That is annoying that of course, you need to just go ahead and select the entire loop. I wasn't really thinking straight. There we go, so that we can push it all down at the same time. Now as I was saying, add some roundness. Not going to make it too bad, something like this. Then what I'm going to do is, I'm just going to add a large detail that I can see over here and it's basically detail like this. See it goes in here. Basically at the top part. It's like a face that goes inside. So just extrude this inside. Inside of Max, you can hold Shift and you can simply move it. But while it is extruded inside, it's like a panel that then merges back into the rest of the shape. And I'm doing that using just like a target weld, so I'm just welding one vertice to another. So that I just have this additional panel detail because this is how it roughly will look like. If I just go up here to my hierarchy, effect pivot only and sent my pivot. I can now rotate Oops, turn on snap rotations up here. I can now rotate this. And this is basically going to be the front shape. I'm still not done with it, of course, but it's just going to be part of it. Now the next thing that I want to do is I'm going to let's see, probably create one loop over here, and I'm just going to flatten this loop by simply using my scale tool and just scaling it flat. And use over here so that I can basically create almost like a side panel. And then I quite like just having some very simple side panels. We might refine those quite a bit more later on. But let's do like two side panels like this. And for now, I'm just going to place a simple bevel, but later on, it would become really softly beveled and stuff like that. But yeah, I think this shape is a shape that we will need to completely remake later on, but that should be fine. So we now have this version over here. Now the question is, what do I want to do on the inside? I will already have a bunch of pipes and everything running along here, so I probably don't want to place those in this version. So let's say that I just go ahead and just grab like, okay, some kind of, like, internal system. That can join this. So let's have a look. And I also need to keep in mind that I most likely will need to scale all of this stuff later on. I'm gonna go ahead. And I'm going to create so I'm just having a t here for what kind of internal system would be nice. I quite like that over here that we have a little bit of an extension going on. You cannot see that here, but I do want to probably add that. I'm going to just have a quick look around. These things also look really interesting. I might just create some of those as stand alone assets so that I can just place them randomly against walls. I feel like that would be quite cool. Yeah. So let's go in and let's say that I will probably just create another cube. For now, just create it here so that I can start measuring, convert this to an added poly, and let's start by simply moving it from one side to the other side. I want to stop it just before we start tilting it. Yeah, this is actually quite a good location. Let's see. A over here, just before we stop tilting it. L this. Let's move this one down. And I do want to make this probably hollow. I think that will be nice to make it hollow. And I also quite like that there is some spacing in here. So I might steal that idea, although Bin, I'm stealing quite a few ideas, but it's just inspiration. I shouldn't call it stealing. I'm going to go push the cube up here, or shift to extrude this out a bit more. Scale it. Now if we just select the base, we can start by just smoothing that out by adding a few ChEVAS just like we've done before. So something like this. I'm just going to extrude this out a little bit more. Okay, so we have something like this. Now if I go in and actually, I can probably just select all of them and inset them. I basically working to create a hollowed out version of this. 1 second, I need to like Oh, it looks like I need to place a brand new loop also here. So let's place a loop here. Okay. So these versions, we would basically go ahead and grab this one and this one and just delete it. So this would become hollowed out. So you can just go ahead and select all of these loops by doing a border select and bridging them. Okay, so we've done that. Now, if we go and place let's see. Let's go in here. And I don't want to really refine this too much yet because I don't want to spend a massive amount of time. But I would argue this is quite an important element of our environment. So I'm going to go ahead and I'm going to select these two loops over here. So it's sometimes a bit difficult to select them. Let's see. So I'm keeping that, although I want to probably smooth it out a little bit more later on. Yeah, you know what I'm going to do? I'm going to also place two loops over here and push those a bit further in. And I'm just having a thing. Like, I want to kind of, like, hollow it out here, but then I do I want to add some spacing in between here because else, it doesn't make any sense to hollow it out. So maybe let's select these two. Yeah, most of this is Liti. It's just making stuff up as we go along. And I decided to do this in real time, the making stuff up because I wanted to keep the cost of the tutorial down, since Else, if I would need to spend double the time just creating stuff, then yeah, unfortunately, that will come at a cost. So let's say that we have this version, and now over here, it looks like I'm missing some loops. I am missing some loops. Give me 1 second. Let's not forget that we need to scale also the inside loops because, of course, those are separate and then select both the inside and outside loops. And now let's jumper it. Okay. So we're going to go ahead and almost do like a beam shape. Yeah, I think something like that works. Now, let's go in and do a border select over here and just press bridge to bridge all of these pieces. And what I kind of had in mind is to basically just grab every single corner, although I'm not sure how well it will work on those corners. And also, you can keep this jom tree I know that I said previously, like, keep your jump tree clean so that you can turn it into finer models. But if you know that you are most likely going to recreate again, your blockout later on, then you are allowed to kind of do stuff like this, which is breaking jump tree a bit by just adding some really large round corners and everything. You can see that, of course, jump tree is not very nice, although we could probably still clean it up, but it just gives us this large shape. Only thing I'm not really happy about is this stuff over here, and I'm not sure if it's like because it is too sharp or something like that. I should probably not go into the details too much right now. I'm just going to rotate it and probably just keep it like this. We got stuff like this. Now what we need to do is we need to get, of course, something that goes inside of it. For that, let's have a look around. What can we basically throw inside of these details? We could do some pipes, I guess, have some pipes that go inside of here. Mm. Yeah, let's try that. Let's try to have some pipes that are going inside. But at this point, before I want to do that, I probably want to go in and start placing it somewhat in its final position because we also need to create a system on how it's connecting to the top. So for that, let's go in, rotate it 180. Logically speaking, I believe that in real, we would have done the rotations in steps of five, which means that I should be able like this, very easily find the correct rotation, which we were able to. That's good. Thank you, Pasemo for not messing that up. I'm going to place this over here, and at this point, you can I just like to art and at a Poly modifier. If I have multiple objects selected, depending on the software you're using, you don't have to do that, but I like to go in and actually before doing this, I like to always place a guide, which is if you go up here to create shapes and create a new line. I just place a line here and I basically just make sure that it touches the end of my model and then continue it on. This way, I know exactly like the direction of the model, which means that if I now start moving my vertices, I don't accidentally start bending stuff. I'm going to move them. I feel like moving them probably in here would be enough. You can once again just isolate it down here to double check. That is looking I think pretty decent where we have this joint. What I also like to do is I like to often just grab my blockout and when I don't need the piece anymore, just delete it. You can see that now this ready gives us a little bit more of a logical look into things. Now, another thing that we also need to do is we need to create something that holds this joint together. Unfortunately, up here, this is not really a lot of help. I do see some kind of roundness in here. What I want to try and do just to see if it works. Because we want to do some playing around. That's one of the reasons again why I would time lapse part of this because sometimes I just want to play around with stuff for a while and it might take a long time then. But I wanted to see if there was some weird bracket that I can create. Basically, we have the cylinder over here, and maybe it would be more logical if the cylinder sort off, sorry. Let's see. First of all, move it here. And it would kind of just start clipping. So it would be cut off. And then if we grab the center and just scale this in and then move this, and we can just mirror the rest. And now if we just kind of like move this in front so that it's not clipping, yeah, something like that. And then use a symmetry modifier. And by the way, if you don't have these buttons, you can go up here and press show buttons, and you can also configure them to add the modifiers that you use most if you are using Max, of course. But most pretty much every single three D moling software has like a mirror or symmetry modifier. So let's see that we have something that's cut off over here. But it's still not it would not support too much weight. I like having a bit of some roundness coming in, but I still need something that can support the weight, and I do want to make it somewhat logical and I just push in random stuff. Just having a tin. Maybe some kind of guides that are going along the bottom part. Yeah, that could work. Let's see if we can do that. Let's go and you can also use the line not just for some shape creation, but sometimes if we are already having the model tilted, lines are amazing because you can basically, even when the model is tilted, quickly add your own models to it. So what if we create a line? We add a sweep modifier, which will basically turn the line into a model and we choose it to be a I think for now, we can do a bar. But if you want, you can do a channel, which is maybe a bit more interesting. But let's go for a bar. Then I like to go up here and set my pivot point position. I like to set it to the left center one, which means that it will just not clip into our mesh. I then place it here. I'm going to make the width thinner. Yeah, I think that's actually already fine. Let's go in and push one here. Yeah, it's looking pretty interesting, add some additional shapes there. And now, basically, to kind of, like, put this into a block because it's a blockout, I'm just going to go ahead and I'm just going to make it quite simple, and it just plays like a cube. Over them. Then later on, of course, I will make it really nice and interesting how the metal goes inside of this beam and it has really large bolts or something like that to hold up the beam. But that stuff is too overkill for now. So for now, let's do this and maybe just make the corners a little bit smooth. There you go. Okay. And having all of this, now the question is, what are we going to do with our pipes? Because we are going to have the pipes running also over here. However, we will have these joints in the ticker area. What might be interesting is if we create the pipes and they just plug into the wall, and then later on we can also have them continue on over here, or at least we will make it seem like they continue on and just assume that the pipes of these ones are in front of it. Knowing something like that, let's first of all, save my scene, by the way. In 1 second. I will create for you guys a safe solder. And in here, I will save this as lockout. Assets, probably. And the reason I like to keep everything in one scene is that I can very easily copy and paste specific details from one area to another because Sci Fi environments often do reuse a lot of details. Okay, so we have something like this, and we will then create something that holds this entire shape in place so we can have it kind suspended in mid air. Let's now go and go to the site. Let's see if we can maybe create an line, but I probably want these pipes to be heavy duty, not soft, but literally if I just select a line here, here, I literally want to make it into a corner and then I will simply smooth this corner. Then at this point, I'm going to push it into the wall. I assume that we can just clip it into the wall for now and we'll figure it out later on. But having something like this, if I go in and add a sweep modifier to this, and set this to be a cylinder. You can see that we very easily can also create large cylinders. I can go ahead and set this to the center because I placed into the center. I probably only want to have two pipes per space, and I also want to probably make, here, let's change this up a little bit. So you can just click back on the line. And if you just press this little button, show end results, I will also still show your Sweep modifier. With all this stuff, I will mention it once just in case you are an artist that was really excited and you just want to follow along, even though it is already at quite a high level. Then at least you know which buttons to use and you still have a chance of practicing and all that kind of stuff. I'm going to try and make this pipe follow the same line. Next what I'm going to do is I'm going to select the top and the bottom line section. Go to fill it, and then if you just click and hold, see, you can bend your pipes. That's why lines are super powerful inside of tresMx and I would like to use them. Of course, you can just use the spine modifiers. I Maya it's also called Sweep modifier. In Blender, you can use a spline, or you can just do manual modeling. But let's say that we grab basically two of these Yeah, and they are quite strong and heavy. I think for now that is fine. I'm still not completely happy about this thing over here, because, like, yes, it is connected, but it doesn't feel like super connected. If I just hide it, it does add something, but it is something that definitely we want to later on, just kind of improve. But for now, let's go ahead and just pass the chapter here. In the next chapter, we will create the base. Then we will tow it inside of real, and then once we've gone over that workflow, then the time lapses start to happen where we basically do that for a bunch of assets. But don't worry. I will, of course, narrate over the time lapses where needed. 10. 09 Continue Creating Our Blockout Part6: Okay, so let's go ahead and continue on with our base. And for the base, what I want to do is I want to go a little bit more in this direction of the generation that we have done over here. I know that it's, of course, quite different to what we have here, but I know, I just kind of like this more minimalist look, and of course, we will, like, give it a nice end and all that kind of stuff. So knowing that, first of all, let's go ahead and go to our site view, and let's actually figure out the shape that we want. So we want, just go ahead and grab my line. So let's say that we would close it off near the end over here. That would mean that I will probably start somewhere here. Here we will close it off. Let's move a line from here. If you hold shift, you can make the line straight to around here, just passing over it. Then I want to follow the same angle. As we have done before, something like this. Now, what I'm going to do is I'm just going to temporarily select these two points over here and move them back. And I do that so that I can see as noticed that the angle is not the same. So I can just move them so that the angle is the same, and then move it back again. So my idea was to have something like this. And then, first of all, these ones over here we will need to connect, but I probably need a bit more space. And the reason I want more space is because I want to make this quite smooth. Oh, actually, know what? I noticed something. I'm going to change this a little bit. Move this back. Move these up probably around this point and then move this back again, something like this. And then what I want to do is I'm just going to go ahead and I'm going to delete, just by pressing two to go into my edge selection mode. Delete this one. And now I want to go ahead and press one, go to Insert, and then you can just go ahead and you can continue your line again. And while we are here anyway, I will also just go ahead and I will move it up until here, move this one back because, of course, we want to make sure that this is really straight and when they are close together, select them both and just press fuse. Something like that looks a little bit nicer. The reason I wanted to do that is because now I can grab my fillet note and I can select the top one. Let's make it nice and round. Select this one. Let's make it nice and round. Over here we are going to actually do some edit so this one can stay straight. Now over here, I guess, this point I just want to see because what you often also see is that sometimes this is fine, but sometimes they move it somewhere along here. And then they kind of fell at it. I cannot do that from my side, you need to do it here. Oh, wa, sorry. Make sure to press weld next to fuse and then press weld because else, it's not one point. And you can see over here that the fild is broken. This is something that sometimes happens when you make too many edits. So you need to do, like, a manual edit. I'm just having a think about what I want to do, and I probably now I think I'm going to go ahead and move it somewhere along here. So, of course, like in the beginning, getting the right style, it takes a little bit more time. So we need to think about things a little bit more. But once we kind of have the feel for the style that we want, that's when things start to become quite a bit easier. Now, knowing this, at this point, honestly, this version, I can just delete it. I don't think we need it anymore. So we have this stuff over here. Let's go ahead and let's start by just adding, in this case, I want to add an extrude modifier over here because when you have a closed up space, you can use your extrude modifier. And I'm going to first extrude this, and then I'm going to just m. Over here. Now, this edge, as you might see this edge over here, I'm not using my filled note for this. And the reason for that is because it's just a pain when your filled note is not working, as you can see over here. Oh, wait, now it is working. I guess it is working because I didn't move it back. You can normally also just use a Jamfer. If it is not working, you can just use a Jamfer. That's basically what I want to teach you, but it looks like that I don't have to. In that case, I'm going to kind of, like, try and match it somewhat with the amount of rotations we have over here. You don't all of a sudden want to have really smooth roundness, and then all of a sudden have a massive around far off. Let's say something like this and I'm just going to keep moving. I feel like this is quite logical. Yeah, I think that should work. Now, if we go to my extrude notes, I'm now at -2.2, let's try minus three and move it in center to give us a little bit more spacing, maybe -2.8. There we go. I just want to give some spacing because, of course, we are going to make it so you can put this stuff in here. Now, before we do that, however, let's go in, and I often like to keep it fairly non destructive by adding an added pool on top. And as you can see over here, I quite like having this separation going on that we have over here. Now, for this separation, it pretty much happens. And if I would go in and just place a loop, and for now, it doesn't have to be perfectly straight, but just place a loop around here, select this loop and then scale it flat and move it back into place like this. So now we have at least some guidance that we can use. So we basically want to just create like a loop where we want to create all of these indents and stuff like that. I'm going to get started by placing another loop here, double clicking, scale it flat because we want to have this straight. So this loop will pretty much go from this point on. Then it will need a little bit of space, and I'm guessing if I place a loop here, it's always a bit more annoying working with these really smooth shapes. Now, this one, I need to be a little bit more careful that I don't accidentally move my edges too much. Here we go. Okay. So let's see. I would go from here to here. And then if we select the center one and the end one, Let's see, so from here to here, and then we move it. I feel like it would be nice if the movement is similar to this angle over here. So let's say that I move this over here, that would mean that I want to probably move these points here further in until we get somewhat the same thickness and angle, like that. Okay, cool. Let's say that we have something like this to get started with. Now near the end, it should be fine to also push that in. If I just go ahead and hold contro double click to loop it around, by the way, I'm just going to get rid of my bottom because that one will just be in the way. I'm just going to extrude this in local normals. And just crave quite a deep extrusion over here. Now, just go ahead and get rid of these additional pass that often get created. So I got something like that. That's looking pretty good. I'm going to place one. Can I just do a swift loop? Now, I'm just going to place one cut. And this is just a classic knife tool in case you didn't notice. And I'm just going to go ahead and scale this flat again. And for this cut, what I want to do is I will have, let's say, one version here. Let's go in, add two more connects. Let's just say somewhere along here. I will probably clean it up later on. And then we have these two edges, and I just want to go ahead and I want to extrude those in a little bit further, delete the bottom side. And now, basically, what I want to do is I want to make this like super smooth. However, I don't think I want to make the corner smooth. Let's have a look. If I chan this stuff, Hmm. Or do I want to make the corner smooth? Yeah, okay, I guess I do want to make the corner smooth. So let's just go ahead and select all of them. And this is just for me to kind of like indicate that we are going to create some kind of an interesting system here which maybe we can use for bolts and that kind of stuff. So for now, just go ahead and kind of place it like that. But there's definitely not yet the look that we want. I quite like over here, it almost looks like a wavy look, so that's something that I kind of want to also incorporate. So we got stuff or something like this. Now the next thing is that we would also now need to smooth the edges just to indicate. But before we do that, let's start by first of all, just creating some strong loops around here and another one. Let's say around over here. Then this one we can move back. And for this kind of stuff, I'm guessing what we can do is we can kind of just, like, move it back in and then rely on the shadows to make this just fall into an area where they cannot really see it anymore. Yeah, something as simple as that. And then I also want to kind of create something like you can see over here, which is quite interesting. Just create some kind of detail. So let's go ahead and select all of these edges. Add one more connect or sorry, two edges, but as a connect. Mm, I'm just going to go probably 45 in the spacing. Of course, your spacing will always be different than mine. So but let's go in. Let's go from here to Um I probably want to loop this around, right? So let me just go ahead and press isolate because else I cannot see what I'm doing. I was going to say from here to here. So we have that loop. Let's go ahead and extrude this in. And then over there, we would just need to kind of like clean it. So let's say something like this. And then over here just to clean this kind of stuff up, you just need to kind of, like, merge them together. So I'm just going to use a target belt and merge them from one to the other. Just something like that, and then later on, maybe I will just throw in some pipes or something like that. Now, at this point, just a quick little twig. So we need to select all of these outer edges. However, because we have a lot of end guns, that is a little bit more annoying. Now, end guns, right now, I'm kind of fine with them. But if I just go ahead and select these pieces, hold Shift and click on Edge, it will automatically convert everything to my edges. Now at this point, I can go in and I can select all of the additional pieces I want to select. So those are like these really large corners that I have over here. And also, let's deselect these ones. And let's just go ahead and make this into a chef, and then probably going to go for, like, a simple jefa like this. So a single one. Yeah, probably something like that should be fine. Now, do some very quick cleanup because over here you can see that it accidentally has some overlapping vertices. There we go. Honestly, for a blockout, this is more than enough. At this point, what I'm just going to do is I have this stuff. I'm going to go in, and I'm just going to grab a line. And I'm going to move this line in here. And this will let out a sweep. This will just be like a pipe. I guess because Rs is a lot thicker than my reference, I might want to go for like two pipes. But first of all, first goal is to let's see, is to go into my line, create a fillet here. Like that? Yeah, my line is going pretty much around. Go here. Create another one. I'm just pushing this a little bit up. Selecting the ends over here. And just for now, I'm not going to make it super nice, something like this. Let's go ahead and just duplicate that. I moved a little bit more from the sides. There we go. What does something like this look in terms of the silhouette? I think in terms of the silhlouette this is looking pretty good. There's still some stuff that I probably want to end up fixing here. But I'm not sure if I should do that now. It would just be like some kind of, like, interesting movement going on down here, which could be as simple as literally moving this back. And then creating, like some, some strong bevels. Do we need that one? I guess we do. Sometimes if you have problems with. Sorry, that's a bug. There we go. Sometimes if you have problems with the bevels clipping, you might want to move them to a point where you have a little bit more space. Like over here, this is a flat face. So it's a little bit easier for us to clean that up than to clean up the bottom. But it looks like that, in this case, there isn't much that we can do. We just need to kind of clean up the core. So we have these. Let's let's see. Can we just collapse all of them together? For now, that's fine. I'm just going to go ahead and collapse them. There we go. So just to indicate that we are going to create some type of detail there, for now, I think this is more than enough for our blockout. Okay, cool. So we now pretty much have a base blockout. If you're not happy with your smoothing, you can always go ahead and add a smooth modifier and just turn on maybe like outer smooth. I also see, by the way, over here that this stuff is also broken. What I'm going to do is I'm just going to go ahead and remove all of the edges except for one because they are all connected. So just select them raschontr backspace. And I'm using tx, by the way, to go into X ray mode in case I did not tell you yet, but you can also see it down here in our keyboard registration. There we go. So, something like that is fine. Cool. So we got that one. I'm still not convinced about this piece over here, but let's actually see what this looks like inside of in real, and then we can judge based on that. So now with this match done, you can go ahead and just select everything. You can go ahead and do a very simple export Export Selection. Now I will create a folder that's called to unreal inside of our Expos folder. So we're from unreal to unreal. And I'm just going to now go for at least a little bit better naming because I want to later on turn this blockout automatically into the final mesh. So this is already going to be the final FBX. So let's go ahead and call this entrance Entrance pillar tilted. Yeah, yeah, pillar should be fine. Entrance pillar tilted, and I always do 01. And the reason I do that is in case I'm going to have more variations of this. So let's go ahead and just save that. And safe. And now we can go in and reel. And as you know, we have over here our Assets folder, and we can simply drag our mesh into the Assets folder. A few important things. Just go ahead and already build Nanite because we are going to use nanite for this mesh or for this environment. You should always have Nanite on, even if you're creating a low polar environment when you are using Unreal Engine five because Unreal Engine five actually uses Nante also for the lighting. So it's just important for automization to have it on and make sure to turn on the combined meshes in the advanced settings. If you do not do this, all those separate meshes that we created will all import as one single mesh. For the rest, the input scale should be exactly the same because we did not change anything, so we can go ahead and press Import, and now it should be fine. Now one thing to always also keep in mind in case you didn't know is that unreal engine, it will always read the PIV point from 000. This means that our PIVOPoint will be placed here at the bottom. So always make sure that your models are located at 000 on the position where you want your PIVPoint. At this point, you can open up your mesh, add our classic blockout white. There we go. For some reason, took a second to load. And now we can go in and we can import this. Oh, looks like I did mess up the scaling a little bit. Do I still have the old one? I don't think so. I think I removed that. If you accidentally mess up the scaling like I do, which is a little bit awkward, then all we need to do is, I think we probably need to, let's see if I scale. An, yeah, looks like I definitely messed up the scaling. I think it's supposed to be 2.5. I do apologize for that. That is my fault. Now, basically, I can still salvage scaling. That's not really a problem. Although I can see over here that also we have overestimated how low these areas over here are. Basically, the way that I tend to fix this in just a quick fix, is I go in here and I have a look how large my scale is. So my scale is going to be 2.53 blah, blah, blah, blah. And then I could go in here, or I can do this in real. But let's say that I go in here. Then what I tend to do is I tend to go ahead and I need to kind of group all of these meshes together, and I need to set my scale point at the center. Often, I just tend to go up here to my Create tap, create a very quick dummy, and dummy is just like an empty object. I right click on my arrow buttons here to snap it all to zero. And now what I can do is I can go ahead and select everything except for my dummy go up here to the select and ink and simply link this to my dummy. This way, I can go into my dummy, I can go to scale. And if I can remember, so 2.356. Now, what we have is we have in hundred, so that would be 253.6. We can do 253.6. Copy that. And just paste it. Now you can see that everything has scaled quite a bit larger, at this point, we should be able to select everything, press the unlink button, and then we can delete this again. Let's have a look. I now go ahead and export this again, so I do like often keep in if I make a mistake or if it's just small mistakes like this. Now we can go ahead and we can set this one back to one. So it's small, and then if we right click and reimport, it shoot snap. There you go. Back to the correct scaling. Awesome. So we got this stuff over here done. I'm going to, first of all, move it roughly into position, and I'm just going to already delete my blocko because here we go. We need to now hoy that makes sense. Yeah, yeah. I was a little bit worried about that stuff. But that looks more logical. Now, what I also notice over here is that we would need to change the spacing a little bit. I feel like, I'm going to get rid of that round thing. Go ahead and get rid of that. I end up not really liking it. It just feels out of place compared to the rest. For now, I'm not 100% sure what exactly I will include in its place. But let's go ahead and just do that in, like, a polishing phase. Let's go ahead and export this one. And most likely, we need to push some stuff back. So let's re import. Okay, so now I can see. So I definitely need this piece to touch over here. However, I think in this case, what I can do is I can more or less because we are already really pushing the door. Actually, we are even pushing it too far. We would want to go probably around this point. Now, we are able to of course move all of this stuff later on. We don't have to worry about that. We are going to plant that. But for now, let's say that we push this one up until this point, and then we have this cube over here. I know that is it's one cube, that is good. I can just go ahead and do an edit. And I can just move this over here. Then these pieces over here, we are going to later on improve this top piece anyway. But we will do that in the time laps. Let's say that for now, we have something like this. And I guess Yeah. I guess for now, what I could do. So if I just go to the top. Oh, wait, that's actually really annoying to turn this top into, like, a flat piece because of everything that is located. So you cannot just do a very simple rotation on this. I don't know. What shall we do? Would that be too simple? It would be very simple, yes, but maybe for now, just to have a better support. Well, yeah, that definitely doesn't look good. But we need to do, like, some quite large changes in order to fix that. So for now, let's just go ahead and do something like this. Oh, wait, before I start exporting it again. Yes, I'm happy with the pipes. I'm happy with like this. Look over here, this is, of course, like, quite a large pillar. Just checking. If I go in and don't worry. I'm also going to solve this thing where we need to, like, hide this later on. But for now, h. Yeah, you know what? I can live with that size. That should be fine. Okay, cool. So I would say that for now. Right click. Oh, wait, we still need to export it, I believe. File Export Selection ugly as you can see, this kind of stuff, making up the blockout and everything, it is really time consuming, which is why we are after this chapter, going to do a bit more time lapses. For now, let's just go ahead and delete this one, and we can then also start placing this into the different locations. So we have these. And let's say for now, although we probably will change them later on also. Let's go 180. Let's move it so that it flips around. And I'm just going to move this here, and we can see that over here. We need to go in and again, like, edit our cube. But this is something that we're going to refine later on. Okay, cool. So as you can see, yes, it was more time consuming, but we do now also have something that is a little bit more refined in our blockout that we roughly know what it will look like. And that's basically what we're going to do the next few chapters. Now, we are going to deal with these chapters in two parts. The first part is that I will have a few time laps chapters in which I will be creating the pieces that we have already created, and I will be creating some really simple pieces like, for example, an dt over here, like I don't know what is sealing. Window or whatever like that. Then we are going to have the second part in which I will not time lapse everything. And that part will basically handle some additional pieces that are like modular, which means that we can just repeat them over and over again. For example, for sealing details and for, like, these pipe details and stuff like that. So and then of course, there will also be like some quick time lapses of some air con units that I will just very quickly, like, create so that I can place them over here. So that's the general idea. Now, once that is done, we already have a really good feeling for our environment. And then what we can do is we can start by turning everything into final and also discussing how we are going to handle the materials. So let's go ahead and continue with this in our next chapter. 11. 10 Continue Creating Our Blockout Part7 Timelapse: H Mm. I like that Mm. I I I 12. 11 Continue Creating Our Blockout Part8 Timelapse: No. A and DT. Don't The Mm. I like that. Oh. Uh 13. 12 Creating Small Asset Blockouts Timelapse: [No Speech] 14. 13 Creating Our Metal Material Part1: Okay, so we now have a base blockout done. It was quite tricky for me to, like, decide between how high quality do I want to be the blockout and how long I want to keep you guys in the time laps before we continue on. And I kind of decided on this. Like, at first, I was planning to go much more detailed, but I feel like I just don't want this to be like a time laps with oil. But unfortunately, that's just how it is with Sci Fi. A lot of stuff is just really time consuming. However, I think we now have a pretty solid idea. We can, of course, later on when we start creating our final models, refine it, art more details, all that kind of stuff. But let's first of all, actually go over the general techniques. The biggest change was definitely that I changed this tower over here, which you will have here in the narration of my time laps. But yeah, for the rest, I think it is pretty straightforward. We got something pretty nice looking. So what we're going to do now is, yes, we want to take our models to final, but before we do that, we kind of need to first create some textures. This is because yes, we do have nanite in Unreal Agent five, which means that we can be a little bit more flexible with our polygon count. If we actually add a lot of these details like we have these panels and these lines and everything, if we actually add these into a texture and then add them as decals, pretty much on top of a mesh, it will be so much faster to create this content instead of literally needing to model all of the geometry combined. So we are going to do two things. One, we are going to get started by creating a simple tilable metal material. And two, we are going to get started by creating our first trim sheet. So tilable metal. That one is quite straightforward. It's basically a metal texture that can be repeating. We basically want that because as you can see over here, this entire environment can almost be like one single metal texture. Because what do we have? We have white, we have orange, we have darkish black or let's say gray, and we have pretty much black in terms of if we talk about metal. Now, all of these, if we simply make a white metal material, we can actually later on inside of unreal change the colors of that. Now, of course, we have other stuff like we have additional dirt added on and all that kind of stuff. However, these things we can do using decals. So we can be quite flexible and actually keep the texturing stages quite low. However, the second thing is that we are going to also create a trim sheet. Now, a trim sheet is going to take way more time. So basically what the trim sheet is is it is one square texture in which we will basically place a bunch of details which we can use in our environment. For this, you can think of, like, we will have some lines. The lines themselves, so let's say that we have a straight line, we can make it tilable also so that it will repeat. I will go over that later. We can add some panels to this. We can add here. If I just go, let's have a look over here. We can add some structures. Let's say that we want to add, I don't know. Let's say we want to add some of these smaller details, like we have some hinges, brackets we have over here, like these framings and all that kind of stuff like there's just a bunch of details that we basically later on, want to kind of stick on our environment. So you can imagine it being like that these details float just in front of our actual model. And that's basically what the decal is. So that is the second trim sheet that we will create. We are basically just going to create, like, a bunch of details that we can use. And then, of course, later on, we are also going to create a trim sheet for, for example, branding, like we can see over here, like a logo, some branding, all that kind of stuff. And of course, we will need to refine to add a few more additional materials like, for example, like a material for the rubber or the pipes and all that kind of stuff. But that will come a little bit later because yeah, also we are now using kind of like this concept. You can see that this one. I really liked it because it had so much more refinement in terms like everything that we can see. We might also make a trim sheet that, for example, has almost like an electronic look. I'm not sure. I have anywhere where I can see this. But yeah, this trim sheet can include all of these line or the smaller line details and everything like that. And the bigger line details and these large details, like you can see over here, of course, we would use geometry for that. So it's like a balance, and you can kind of choose the balance that you want to get from this. So we are going to go a little bit high poly, thanks to Nanite, but we are still going to use traditional trim sheet techniques. Okay. So having all of that set, over here, you can see, some really interesting details. Having all of that set, the first thing that we're going to do is we are going to get started with our tailable material, and we will do this inside of substance designer. Now, for this, if you want to find reference, I will also add the reference just in here, and I already got some reference. I have it placed in the reference folder. But basically, I just went ahead and just looked up, well, I didn't look up some reference of painted metal. So a few ways, the way that I did it is this is just my own reference. You guys can have it. I literally just went outside and I took pictures of painted metal. That's pretty much it. Now, next to this, of course, if you don't want to go outside and you just want to quickly find some reference, there's a few places where you can find it. One of them is going to texts.com, which is a classic. If you go to their library over here, you can go down and you can find metal. And then you can, for example, look up here, painted metal. Then if you would log in and you can download it for free, or if you want to download larger versions of this, for example, here, you want to download a six K version. When you have a premium account. Here we go. Quickly loged in like I have. So when you have a premium account, you are able to download much higher versions. But if you just want a free account, you can get lower resolution versions. Over here, you can simply download it. And you can add it. So let's for now, just for fun, add this one in here, and you can see that we have really nice high resolution. Although, for this one, it doesn't show a lot, but that's just because painted metal, there isn't too much to show. Especially the metal for, like, outdoor sci fi, like we can see over here, it's often like really clean and refined metal. Of course, you can see, a lot of dirt and everything, but that dirt, it's more something that we add on top, and we will be using decals to add that kind of stuff on top. And we are going to probably also use a mask structure, which I will show you a little bit later. It's just a very simple mask we can generate inside of subsisPainter, to just add some additional dirt and leaks and that kind of stuff on our models. But it's all quite straightforward stuff. Like, most of the stuff with Sci fi is very similar to other environments, with the only difference being that you use a lot more trim sheets and everything and like, coming up with the ideas and stuff like that. Unfortunately, I'm not super creative, so the idea part is actually the most difficult one for me. So we got a bunch of reference over here. I'm going to make it probably similar to this, not too over the top with, like, the damage and everything or like you can see over here, like the spots on the paint, more like something like this. Like here and there, there's, like, a little bit of, like, a spot, and then we have some scratches going on and that kind of stuff. Now we will go over the trim sheet a little bit later. If you don't want to use text.com. One last thing is that you can go ahead and you can, of course, go to Google. And you can go to tools, and in the size, there are a lot of plugins for Google Chrome that allow you to basically refine the texture site. You can literally just type in Google Google Chrome like image resolution plug in, for example. So I'm not really going to go over that because it's just like a super quick look. But over here, you can say, like, Okay, I want only large images. And then as you can see here, you get only two K images, you get really large reference images because often you want to be able to zoom in whenever you are previewing your reference images. Don't know if this one is working? No. So I just wanted to tell you that, yes, you can use Google. Here, this one is like a great reference. It's nice three K resolution. And if you just view the image, here, see. So that kind of stuff is really good. I'm actually going to add this one. So I'm going to go ahead and I'm going to close this I'm going to go in and I'm going to add my last one, and we are going to simply now dive into substance designer. Okay, here we are in substance designer. Now, honestly, you probably don't even need experience for substance signer for this part because metal is one of the more basic materials to create. However, I do expect that you have a basic understanding of substance signer. It's a tool that allows us to create procedural materials, which basically means materials with a high flexibility where we have full control over everything. We create these materials literally from nothing, and then we turn to the metal. Now, we are going to go for PBR metallic roughness over here, which is the one that unrealgine uses. I'm just going to call this one painted metal. And I'm just going to leave it at four K. Since the metal is going to be so important for this environment and we literally only pretty much use one painted metal texture, we are just going to go nice four K. If you want, you can even go eight K with only one texture for the entire environment, but that would be overkill. So it's still a game environment. Okay, cool. Now, as you can see over here, you can use Middle Mouse button, and I will just have my keyboard registration up here. And this is basically what we load up with. Your UI might look a little bit different, but it's just because I drag some stuff around. So you can drag it around the way that you want. I never use my TD view because I use Mamoset for the previewing. Anyway, metal. So for our metal, first of all, we have our default outputs. We can just delete all of these, and we can get rid of a height map. We can get rid of an ambient occlusion map in this case, and we can, that's actually it. The reason I do that is because this is going to be flat metal. We don't need a height map for flat metal. And because it is flat, we also don't need an occlusion. The way that I always work is I start with my norm map. I then use my norm map to basically the height elements of my norm map I use to generate my base color map, and then from there I generate my roughness. And metallic depends. Painted metal is not metallic, but if the paint layer is damaged, the metal below it, which is often raw metal is metallic. That's the way that you should see it. Like metallic literally means raw metal. If something is painted, it's no longer metallic. That's a really good rule to keep in mind. So let's get started. Here we have our reference. First of all, we need to define the elements that we want to capture in terms of the small details. I quite like this reference over here although it's a little bit too strong. So let's say that what do we have here? We have some small specs, maybe some general noise on here, although we will make that, fine. We can have some additional very soft scratches and bumps in here. Can see some small scratches. Let's have a look around. Although most of these scratches are more in, like, the color. And if you want, you can also have a tiny bit of streaks from the painting. So let's start with that. Let's go. Yeah, let's go like a really will easy one. So let's go over here. And now, basically, if you just go to your noises, your noises are your friends because we can use these to generate whatever details we want. So we are going to get started with like a super fine bass noise, just to give it like something. And for that, let's go ahead and let's try probably like a fractual sum over here. The fractual sum note is quite nice because it allows you to basically control the roughness, which is the strength over here. And it also just controls the levels. How refined do you want this noise to be? I quite like it because the way that this works is we are converting height maps to norm maps. This means that in our height map, everything that is white will stick upwards, everything that is black will stick downwards, and default is basically mid gray. Over here, you can see that there's some white parts, some dark parts, so it just gives a bit more variation. To convert this to a norm map, we simply press space while we have the nodes selected, and we type in normal over here. Once again, just like with everything, I will just explain to you the basics in the beginning, and then I will start explaining it less and less for the people that are already experienced in designer that might be a bit annoying, but I just want to include everyone. I always like to work on OpenGL because it's easier to read our norm map from that. Only difference between the two is that the green channel is flipped. So I'm going to go ahead and I'm going to set this intensity will, will low. And let's go for 0.02, for example. And you can already see that. That already gives a little bit of this metal feel. So this is like super fine. Now let's go for the second one, which is going to be just some random specs. I want to have not this many, but at least I want to have more than you have here. So the way that we can do that, quite simple, is I often like to use my dirt too if I don't want a lot of specs. If you don't like the configuration, you can always use a random seat to slightly change it. Let's say tree, for example. Now, next thing that we need to do is we need to refine our scale. So we want to have these specs like quite small. So let's set the scaling to two. And then the next thing what I'm going to do is, yes, I'm going to zoom in. I like to often add something called a histogram scan. With a histogram scan, I basically have this top note over here and I can control the position, which basically allows me to remove a lot of specs. You can see that the more I add, the more specs I get. I have no idea what that pop up just was, but okay. Now that I have less specs, I might want to just play around my random seat a bit more, maybe something like this. We got these small specs. At this point, we can already add a normal note over here. That's open GL and low down the intensity just to see what it looks like. Oh, God. Sorry, that's automatic program updates. It's always annoying. But they always happen when we're recording. So anyway, we have these Bi small specs. I'm not sure yet if it's too much or too little, but for now, we are working on the basis, just like we do with environments. We start with creating the blockouts and then we start refining everything. And this is the same, although these are a little bit more advanced than blockouts. Okay, next thing is maybe some really fine scratches or something like that. I feel like that would work quite well. So for us scratches, there are two things that we can do. Yes, there is a scratch generator over here, but there's also some grunges. So it's like a bit of a difference. We have these grunges over here, which do give us a few more scratches or we have the I think it's in patterns. Where are you? Let's type in. Scratch, here, scratches generator. There we go. So there is a difference. These ones, I feel like are always a little bit too artificial, but you do have more control. These ones, like it adds some dirt, but we should be able to balance it out. I often prefer these. What I'm going to do is I'm going to go down. I'm just lowering my dust intensity. I do not need dust for this. I then go ahead and set my scratch tiling quite small, like this. And then I set my scratch quantity. Over here. Now you can see that it's really repetitive. So we just want to go ahead and see if we can maybe play around with this. If you cannot get your preferred method. What I like to do then is, I like to set my scratch tiling actually lower. So let's say two. And now I'm still playing around with, like, let's see, the width. Let's make it like quite small. Scratch dirtiness will basically break up your scratches, which I quite like. So let's say something like this, for example, however, this is way too large. What I like to do is I like to use a node, and it is called if you press space. Make it tile patch gray scale over here. Good thing about this note is you can use the octave to set how often you wanted to tile, for example, two. And then in here, you can set your rotation random. You can add size variations and you can add disorders. So instantly, you can see that now these scratches are much more just like all over the place. Now I can still see that over here, like I have a bit too many scratches. I could go in here and set the quantity, but then I have way less variation. So instead, what probably would be better is that we use a grunge map to remove some of the scratches. Now, we can just do this quite basic. We press space and we add a blend node and then we can blend some notes together. Let's blend our scratches along with just something like grunge map 001, for example. I like to always change my random seat, and here you can control your balance, which basically means white means where we will remove the scratches or black, we can choose. And you can use your contrast to basically decide if you want to have the scratch like Wy faded or if you want them to abruptly cut off. I often like a little bit of fading. So I'm going to set my contrast not too high, throw it into your blend and set the blend mode, for example, to subtract. And now it will subtract the white areas. At this point, you can use your balance to, for example, increase or decrease the scratches, and you can use your seed to basically play around with where you want the scratches to happen. Like this. So now we have some really small scratches. I can just copy the normal note by pressing Controz and then Controv and let's double click and have a look. Okay. The last thing that we need to do is I probably want to have the scratches indented. Like, sometimes you also have something like this that it is laying on top, almost like you can see a little bit like over here. However, that's often happening when the surface you're painting is not clean. For example, imagine that there is a hair on it and they paint over the hair. Then you get them sticking outwards. But most of the time it's like damage. So it's something that sticks a little bit more in. Also quite like these little nicks over here, but I think I'm not going to do that. I think we have enough small bits here and there. But in order to invert this, don't be tempted to press direct X to invert it. Do it the right way. Select the line in between your blend and normal. Press space and type in invert. Press Enter, then it will automatically place this node in between there. You can press D to dock it, which means that basically it becomes a small node. An input node is something you rarely need to touch after you placed it. So often you can just dock it and be done with it. Awesome. We now have these pieces together. Let's end this chapter off by combining them, and then we have a really solid base for normal. Like I said, super easy material often. To combine them, we simply add a normal combined node, and you can see that we need to combine three of them and we only have two inputs. So just set the technique to high quality Contra Contrave. We plug in two normals to combine them. Now you can see that we have our specs, along with our very fine. And then we can go ahead and we can combine them once again. By pressing the normal combine into our next normal, and now we have everything kind of combined. I'm going to make my specs a little bit softer. Let's do 0.2. And we have our scratches, which is looking pretty good. Maybe 0.3. Sorry, 0.03. Now you can see that when you zoom out, there isn't a lot going on, but that's what we want. Just like over here, when we zoom out, there is a lot going on, but as soon as you really start to zoom in, that's when all the details happen. So we are kind of like mimicking that same stuff. Awesome. Okay. At this point, I'm going to right click and save. And I'm going to let's go over here, make a folder called textures. And in here, I will make a folder called painted metal. And in the next chapter, we will just go ahead and finish this. So painted metal. Let's just go ahead and save it. And yeah, let's go to the next chapter where we will finish this material. 15. 14 Creating Our Metal Material Part2: Okay, so we now have our non map, and now what we're going to do is we are going to get started with our base color. So for our base color, basically, the things that I want to kind and capture is it's got to be pretty plain looking, I would say, because most of the dirt we will add on top later on. However, I do want to have a little bit of dirt and just a little bit of color variation. If I can see over here, for example, what you can see is that there's some light areas and some dark areas, but it's all within the same color range, in this case, blue. So it is darker blue to lighter blue. I want to also try and get that a little bit. Same over here, you can see this one is a little bit more like gray greenish type of colors. I just want to capture that very soft color variation. And on top of that, we can also add some grinches on here, just like add a little bit of extra dirt. I will show you cool trick on how we can actually use substance painter, the grinches from substance painter on here. But let's first of all, go ahead and get start with this. Now, this comes in two stages. First of all, let's generate our overall base. And the way that we are going to do that is quite a classic method. Let's go ahead and add a gradient map over here. In a map, you are basically able to map specific colors based on gradient. Now, we cannot really use these gray scale maps over here because they don't really have a lot of detail. Instead, we are just going to use a simple grunge. One of the grunges that is often quite nice is like, Oh, grunge map, zero, 01 is often quite nice. Grunge map 013 also, but it's a little bit softer than one. I'm just basically having to think about which grunge map do I want to use? For this kind of stuff. Let's just try both. Let's go ahead and just grab both of them over here. Now, as I said, with these gradient maps, they look at the full gradient. So you don't really want to have massive spots of pure white. So let's set our contrast all the way down and just play around with our random sat until we get something that is quite like tilable. Also, a cool trick to make sure that it is fairly tilableh can press space, and then you can zoom out. Of course, like here, we can see the black areas, but keep in mind that we are going to make this really subtle. We drag this into our grading map. Then in your gradient editor, if you just click on it and oh, I don't know why my keyboard registration is here. I'm so used to seeing it that sometimes I just don't notice it anymore. But click on Gradient Editor, and now we can grab a gradient. We can actually grab a gradient from an image. Now, let's see if I can I'm afraid that I cannot really do that at the same time. But basically, what you want to do is you want to press Big gradient and just click and drag over here. I'll show you as an example, you pick gradient and then you can click and drag like that, and then it will grab the gradients that were on the image. In this case, it's literally just gray. Funny enough, I sometimes do this technique when I want something like rubber. I just really quickly just drag somewhere on my interface. But let's pick gradients, and I'm now just going to go to the image on top. I basically just paint. Now you can see that now we get something like this. Now you can see that most of the gradings are located here. With metal, I often want to get quite a few spots because I want it to be a little bit sharp and grainy. So often what I do is I literally just let go like zigzag like a lot in here. What it means, literally just do this. When you do something like this, you gather so many points that often it will just become noise, but that's what I want. So let me just go ahead and do that. Just give me 1 second. Here, see, now we have quite a few extra points. Now you can see that, yes, it's a little bit over the top, but we got quite a few color variation. The only one that I don't like is I don't like the brown colors. Now, you can see over here, you can see better if you make this bigger that over here, there are some brown colors. I probably just went over some brown pixels. If you click, you can actually delete by just clicking and pressing delete, you can delete some of these places over here. You can also go in and you can also just click on it, and then you can change the actual color. I wanted to do that because it actually made quite a big impact. Just like this, you can drag in, for example, your Grinch map 013 and you can see that that one gives us a different variation. So you can play around with your contrast also to get more or less variation. Let's have a look. Yeah, I think probably Grinch map 001 is the best one for now. So we have this one, but these details that we have over here, they are way too strong. Like this is something that we want, as a subtle ardon. So what we're going to do is we are going to blend this one using a core color. For core color, if you just press space, you can go ahead and you can add a solid or soil. I'm thinking of unreal engine, uniform color. For some reason I was thinking of a constant three vector, which is the unreal engine color. But a uniform color is just a plain color. And once again, you can grab the picker button over here and you can just pick a plain color from your image, for example. Just give me 1 second, so pick This one looks fairly. See? That looks like a fairly whitish color. Maybe make it a little bit brighter just because I know that we are going to later on turn it into different colors. So keep that in mind that later on, in unreal, we are going to overlay colors to turn it from white to orange to black to gray to let, whatever color we want, basically. Something to keep in mind. We plug this into the top and now you can simply use your opase slider over here to very softly, bring out that color below it. Like I said, it's going to be very subtle. If you press space, you can only just see some noise, but the noise does have various different colors. Let's say that we have something like this. Now basically what we want to do is we are going to just add on a few tiny bits of colors. We have over here these specs, and for the specs, what I sometimes like to do is I like to use a blend, and then I like to use a uniform color that is completely black. Then with things like specs, I like to add a shadow. If you just type in shadow and grab the shadows note, you can drag this in here, and now you can see that basically creates these why Well, now they're will long, but it creates these willy small shadows. It's kind of funny because we can set the shadow distance low and I often just point it downwards. Give a tiny bit of like a shadow. You can also increase the samples if you want. And now, if you just go ahead and invert this by adding an invert grayscale, you can see that now we have just like the tiniest bit of dirt, which once we plug it in here and set paste down, it just adds some darkening, which will kind of like enhance those willy small details. So that's like a simple one just to add a little bit of stuff around the specs. And next we have our scratches, yes. So our scratches, I probably also want to go ahead and do the same. I'm just going to get a blend. And honestly, I can probably just grab also the black color because nice thing of the black collar is that we can often just here we go, drag it all the way in here. We can just change the opacity to kind of, like, minimize the look and just have very subtle scratches going on over here. Now the last thing I want is maybe I want some kind of a dirt dm. I can go ahead and I can add a blend. I can just press Contra C and Contra V to duplicate my uniform color and make it if you click on the colors over here, like some a brownish type color like this. Now, for my grunge map, what I want to do is you can actually use the grunge maps from SubssPainter. So we will be using Substance Painter also in this project, although not that much. But if you just go ahead and open up Substance Painter and you can go down to textis over here, you have a lot more really cool looking grunge maps, as you can see over here. A lot of them are actually made by me. You guys will also have them. It's just that I worked with Adobe on them. But there's also some really cool leaks and that kind of stuff. So what I often like to do is I like to go in and just have a look around. This one is made by me, for example, and just have a look around and see if there's anything that we want to add for our dirt. Okay, let's see. What do we have? So we have some wood. I want something that's really soft. So often over here, you have these very soft. But also, you want to make sure that the details of the grinch they are still fairly uniform. You don't want to have them like super obvious. So I'm just having some scratches. But we already have some scratches, so just give me a moment. Like maybe something over here, these I know they are fingerprints, but just like something that's really soft. How about this one, grunge d tin. Let's say that we want to tie this one out, although there was another one that doesn't here scratch okay, so we right click Basic on it, and then simply show in and just show it to your explorer. And now it will be here and it will also be selected. These are dot Sp SAR files, and these files you can simply import just like that and use them exactly the same way as in painter inside of designer. So I can go in. I can plug this in here. Now you can see that we have some really nice looking dirt over here. This is a really nice texture. I honestly, I wish I made it like it's such a good texture. But of course, you can see that it is very tilable we want to lower it down until it's not super noticeable anymore. Later on what we can also do is we can also blend between the various metal textures to break up the tiling. But that's something I will show you a bit later. Let's have a look I I have this. I'm just having it ty. If I push this up and then invert it, yeah, that doesn't look very good. I'm just having a look like C and playing out my balance and everything until I get something that is noticeable enough but not super table. Let's for now, stick with something like this, and we'll just see how it goes. If you want to live organize your materials, you are always able to just right click and add a frame, and it will add a frame around whatever you have selected. So we will call this one, normal map. Right click art frame. This one. Base. Color. And now, what we're going to do is we are going to generate our roughness. Now, normally, I actually have a note that I created myself, which is just like a simple roughness generator. But since we are only doing one material, I will just, like, do some manual generations. First of all, you can already drag your normal into normal, your base color into base color. This metal is painted, so for our metallic, we can just add a uniform color. It to grayscale and add that to your metallic and just press D to docket. We probably won't even use our metallic, but just in case we want to make some changes later on, I will still keep it here. And now for our roughness, especially with metal, your roughness is super important. However, for something as simple as this, it's not that difficult to generate. I often start with a grayscale conversion. And what I do is I convert basically my base color. So I go over here and I have this color over here and I convert it to grayscale. I then add a histogram range and with my his come range, sorry, I need to set the range all the way up. With my position, I can make it darker or brighter. Dark means shiny, bright means looking dull, basically. So I'm often because this is metal, I do want to make it a bit more shiny like this. And then it's just a matter of, like, adding some stuff on top. So we have some scratches. We have some dirt on top of that, and let's start with that for now. So for our scratches, very simple because we only need gray scales, we can actually just drag in right away our scratches into the top and set these to let's say subtract. Let's make them like a little bit more shiny. And then you can play around with your opacity to make them more or less strong. And let's grab our dirt that we have over here. Let's set this one to art because DRT, I want to have it looking a little bit more dull because it's like sandy and stuff like that. I can just add that like this. For now, let's just go ahead and drag this into our roughness and actually see what this will look like. Now, to see what this will look like, we will first of all, export our textures. Let's go into our textis folder, painted metal. And I like to often make a folder called final. And if I just copy this file location, I can go over here to my explorer and in the painted metal, right click EpotOput as Bitmap, and just paste your final folder. Are going to export. I like to always export as TGA, except if there is a really strong height map, then I like to export the height specifically to PNG. It's just like a preference, but you can use PNG. You can use TGA, don't use JPEG because those will have compression artifacts. I like to turn on automatic export when outputs change. This means that whenever we make a change in our graph, it will automatically export so that we can preview it in Mom set Tolbag without needing to go into this window. Now, I will quickly grab a preview scene from Mom Set Tolbag that I will give you guys so here's a preview of the Randall scene because our focus is not about creating materials. I've had many tutorials and also on my YouTube fast track tutorials, you can find out how to make this scene. But it's super basic. It's in Mom's head. It's just like a sphere that I have just inputed. And we have a few lights. We have a main light that comes sorry, let me just do it like this. 1 second. Here we go. I hope you guys can see it. So we have a main light that comes from this direction, which will give most of the lighting, and then we have three rim lights which will just give us some nice reflections around the corner. With metal, it works a little bit less good, as with, for example, stone, like you can see here, which is why I use this. You basically plug in your materials here and you are able to change your sky along with all of your lights here at the side. Frees there's nothing that you need to do. Yeah, you guys like my arrow tool, so I don't often use it. But basically, what I'm going to do, of course, is I'm just going to delete this one. I know it's a really nice looking brick. It's photogram try from our photogram try course. But let's go in and let's first of all, save this seam, and I will put it in your sae fold. I just call it material. Ender. There we go. And now let's create a new material. Painted. Metal. And with this material, what we can do is we can go in and text painted metal final. Just start dragging your base color into the albedo map. Well, your metallic doesn't metal, so you don't technically have to drag it in your normal and your roughness. Mom Satube reads as OpenGL. So this is correct. If you are X using the norm maps as direct X, you need to flip the Y. We drag this on here. And then in our texture, we can go in here and set the texture tiling, for example, to two. And there we go. Now, it might look a little bit noisy. This is just because we are rendering it at 256b by 14 40 P, yes. And it messes around with the noise a little bit, so the sharpness doesn't look as sharp. The way that we fix this is by rendering out an image. But first of all, like I said, it's a plain metal, so we often need to go in and just lower down our light intensity of our rim lights, which are the last three ones over here. And for the rest, we just want to go ahead and have a look. So this is our metal. Now what I like to do is I like to often just already generate a quick image. It's going to make a folder called images for you guys. Just copy again this folder. And now, if you go to your endo settings, you can go down here and in the output, you can simply set your image. And let's just call this one, um painted metal. I'm going to just render out a JPEG image and I'm going to render it out at four K resolution so that we can nicely zoom in and have a look around. Now what we can do is we can simply press render Image and it will quickly render out an image for us. Let me just pass the video until that is done. Okay. It is done, let's open it up and have a look. Now you can see that we can zoom in and we'll have a good look at the little specs and everything like that. It is looking pretty good. I would say the things that I want to change is I want to make it a little bit more or a little bit less rough, so more shiny. And I want to also sharpen the dirt a little bit. But I like the micro sketches that you can see over here and the little specs, which from a distance are not too overpowering. So for the rest, it's looking pretty damn good. So let's go in, um, as Mom said, I designer. And we are going to get started by just grabbing our grunch over here and adding a cheeky little sharpen note. This often does wonders, just adding a bit of sharpen. See, honestly, an intensity of one is probably fine. And I was going to go in my histrum range and set the position a little bit down. Then also, you need to kind of, like, play around with the dirt that you have ed on top of it. Over here. Okay. So we got that stuff all done. Was there anything else that we might need to do? Now we got our micro no map details are also on here, so that's also fine. It is not too tolable. So yeah, let's try something like this. Just go to save my scene. It will have automatically exported. So when we go now in here. And by the way, I'm just going to close painter quickly. Let's have a look. So now it has out exported, and I often just like to wait until this bar at the bottom is down, and then I can have a bit of, like, a better look. I'm going to make it a tiny bit more shiny still. Let's do something like this. Yeah, I think now we're getting in, like, the right son. Now, the dirt is starting to come out a little bit too strong. This is because in my roughness over here, when you add a really dull detail to something that's shiny, it comes out much stronger. So I'm just playing around with just like trying to find a balance, basically, to not have too much overpowering dirt. And let's just go ahead and probably render out one more image. It's going to save my scene, and I'm going to render and I will pass the video until that is done. And let's have another look. So this one we can close and we just need to reopen it. So here we have old, new, ld, new. Here you see, you can see that we definitely increase the shin. And we also have increased the dirt sharpen. I'm going to probably sharpen it like a tiny bit more, but for the rest, I'm pretty happy with this. And I'm going to make the dirt a tiny bit less strong. So let's go in here in our base color, set the dirt a little bit less strong. That set sharpened to 1.5 or something, and that's probably it. Now, although showing it inside of Momset is not perfect, but just to show you the general concept in marmoset, what later on will happen is inside of unreal engine, we simply using a shader can do this stuff where we can just instantly change the color to whatever color we want, and that is basically how we can get away with only creating one metal material for almost everything. Sure, there will be some more additional materials also like actual just plain old real metal, like bare metal. But all of those are again, quite simple to create and follow the same workflow. And with those metals, it's more like that we first need to start doing the modeling before we really know which type we need, basically. Now, having that done, I'm going to go ahead and end the chapter here in our next chapter. What we will do is we will start by planning our trim sheet. We are going to create already our first trim sheet, which will just incorporate a lot of additional details. And then what I want to do is I want to start with like a small asset and just model a small asset to get a feel for the final modeling and how we are going to organize things. Then once we've done that, we are going to go over on how to model a medium scale asset completely in real time like this leg over here. And finally, we're going to go over on how to model a large scale asset like we have over here. Once we've done those three things, what we'll do is we are going to then kick in a few more time lapse chapters where we are basically just going to go in and we are just going to do the bulk of the work, which is like all of the additional modeling, which just takes a lot of time. But it's literally the same workflow over and over and over again. So let's go ahead and continue with this in our next chapter. 16. 15 Creating Our First Trimsheet Part1: Okay, so what we're going to do now is we are going to start working on our trim sheet texture. So our trim sheet texture is by far the most important texture that we will be creating. This is because it will contain most of the more high quality details that do not actually need real geometry. Those are things like these why thin lines like, yes, you can make those thin lines as geometry, but it's way easier to just use map and just stick it on top of there so that you have the flexibility. So the way that I like to do this, is I, of course, grab my main reference, and the first thing I need to do is I need to actually, figure out what I want to create in my trim sheet. We are most likely going to create multiple trim sheets. This one is just going to be for the construction of objects. So construction lines and additional details, fence, all that stuff. I tend to go in and just input in Photoshop, my texture or whatever I want to create. And I just basically use the Crop tool to make it much larger. Normally I would have one main reference, and I would basically only use this main reference to showcase which items I want in my trimsitecture. However, I cannot do that with AI because the reference is not good enough to do that kind of stuff. However, we can just go in and we can basically import multiple images. And I basically just want to look at the elements that we can find in all of these images that we might want to use. So I basically just look around and look for the elements that we want. Now, of course, the lines, we are not going to do that. So over here, I don't see too much stuff that really adds on top of it because most of these are lines and stuff like that. I guess maybe like some of these things, but I like to use the trim sheets for that kind of stuff. I like to often also just have a look over here and just see if there's any interesting elements that we can use for this kind of stuff. This element over here, for example, looks quite cool, just like this part. So when I identify an element, I go in and I'm basically importing that image in which we have the element, it doesn't need to be super high quality. But do try to place it a bit nicely because we are going to have more of them. Then we can basically just pick the elements we want from that. We can slightly alter them if we want. However, normally, of course, I spend more time making up the elements myself. But for tutorial, it's often easier if we just already use the inspiration from other people just because else it will take way longer to really come up with all of that stuff. So like over here, I also quite like this one, but it's included in here. Let's have another look. So basically what I'm looking for is stuff that I can use to enhance most of these details. They are going to be construction lines. They are going to be vents. They are going to be like small details that you can just randomly stick on stuff. Basically, that kind of stuff. So that's more what I'm looking for. And the rest we will just make as in actual jom try, basically. Now we later on also want to probably create a ceiling, but those we will also do partly in like actual geometry. So for now, just move this along. These kind of vents over here are also pretty good. And we are going to create a few more additional vents that look a little bit different just because they're a really easy detail to quickly add. But for now, let's just add this one. And now we go over here. Most all of this over here, by the way, is just geometry. They have not really used textures. But we can still have a look and see if there's anything that might interest us. Most of this we can honestly do as geometry. So I'm not sure if there's anything in here. These things are, of course, really, really cool. And the thing with these ones is like it shows some really good, like, hinges and that kind of stuff. So that's also quite nice. So let's go at this one. But also something that I want to do is just like to have some ardons, we are going to also go and use some stuff from a good friend of mine, JO Tools or Janas Rengard and basically, he has a lot of Alpha packs like this, and we are technically going to do the exact same stuff as what you can see here. Like, that's pretty much what we are also going to create. And so we are just going to use this just to, like, enhance some of our details a little bit extra. And that's just because, like, for us to create this many variances in Alphas, it would not be logical inside of a tutorial. So I just wanted to show you that. Here we go. Oh, God, where is it? There we go. We might also just go in here and see if we can find anything that looks interesting that we could use on top of our additional details. But of course, I will teach you exactly how to create these type of details in this dream sheet basically. So anyway, I was saying that I wanted to grab so I'm just having a look. Going to grab probably both of should I grab both of these Should I just use this one? Oh, this one is too low resolution. So it might be better if I just grab both of these over here. And over here. So this is all still just simple planning. We are just planning what kind of stuff that we want to, like, add to our details. But I think for the rest, like, we pretty much have it down quite well, the type of details that we want to create. Like, there's, like, some small stuff like brackets and hinges, which would be quite nice. So I do want to art that, but I will need to have better reference for it because it's quite small over here, as you can see. I'll just add that one, and I think that is about it. Yeah, that should be good enough for just showcasing you how to do a nice little trim sheet. We will also add some additional details on here. Let's say that now we have everything that we want. Now we basically are going to decide, okay, what is going to be in our trim sheet? What I tend to do for that is, well, first of all, let's clean up our cropping a little bit. There we go. I tend to just go in down here and add a solid color, and I just make it red. I then click on the mask and press Contra I to invert the mask. And now I can simply use a paintbrush, and I'm going to set this to like a hard round brush over here, and I can start indicating what kind of stuff that I want to have in my trim sheet. I can, for example, go in here and I can select that. I can go in here. Of course, this is not perfect, but it's just to indicate that I want to have a corner piece and a straight piece that we can basically use create a bunch of stuff. I also want to have a more round corner piece, like we can see over here. And let's see. What else do we have on this specific item that I want to create? Like you can see, there isn't really much that I can select here. However, at this point, we can just go on to the next one, and we can just have, like, a look and see. And I quite like this type of detail where it's like, some kind of the shape. Of course, you can make this way nicer, but we're just doing this for planning. I quite like these type of details. Let's make this a bit smaller. Over here, let's do something like that. I quite like having some kind of, like, quite a strong panel detail. So I will edit it, of course, a little bit, but something like this could work. Let's see what else? Maybe some additional line that looks a little bit more interesting. We can definitely do that. Maybe also like some kind of like a panel. Over here, we can definitely do that. I quite like these little holes and stuff like that for ventilation. Definitely just like a normal ventilation is also totally fine to have yeah, we can also do some specs and small details that we can later on just like scatter around. Maybe another ventilation type. I feel like with all the metal, there would be a lot of ventilation in this type of environment. And what we can do is we can move down over here, once again, like another type of ventilation. And so we are later on now going to model all of these details, and then we are going to bake them down into a texture. To show you the general concept of Let's do this one. The general concept of trim sheets, basically. But you can go super advanced with this if you really want to. It is up to you. Is going to indicate this one just in case. Let's see. This stuff looks quite cool, but I feel like at that point, we will probably do it as actual geometry for, like, the ring and everything like that. So I'm not sure if I would want that. I will indicate this one, although I can't remember that already did that, but maybe not. And maybe also like some kind of like a small panel, like we can see over here. I really like this effect. I think what I want to do is I want to get this type of stuff in our ceiling over here. I quite like that. And then, of course, we also have some floor paneling, but the floor paneling is probably going to be quite simple. It's going to be metal paneling and we will just add like stripes and everything. And I will just say, something like this. So basically, I just make these marks in order to remember which ones I want to create. For something like this, I tend to then create a quick solid color blow here and set it to black and just change the opacity so that the marks stand out more. And also for your marks, don't set the opacity to 100%. Just kind of set it to 50, and it's just to kind of know which details we want to create. At this point, we can just do a very quick saves and I can just go in and jab Trim sheet planning. Save it in here. Here we go. And then we can just go in here and let's see trim sheet planning, throw it in here. There we go. So we can just basically keep going here, look for detail, go to the original reference and find detail and then create it. So that was basically it for the planning. Now, our trimset I'm going to use Trees Max once again, universal modeling techniques. You can use whatever you want. And for the trim sheet, we are going to basically place everything into a square format. I'm going to start with something simple, and then we can just continue from there. I might be a little bit slow with the ding. It's because I'm using a special mouse that does not have the clicking. So if I click, see, you can barely hear it compared to my original mouse. And I'm just saying that basically to justify that sometimes I move a bit slow because it's not the best mouse for modeling, just so that you guys know that I'm not that ****** of an artist that I cannot even move around in three. Anyway, so new scene in three s, Max. We're going to create a plane over here and just make the plane, let's say, two by 2 meters, for example. Just make sure it's perfectly square. We can get rid of the length and the width segments over here. And we can have this into the center. The reason we can get rid of that is because we are not actually going to detail these details into this plane. But instead, what we're going to do is we are going to model them on top of the plane and then bake it all down. So it's almost like using a decal on top of a decal. I like to just move this down a little bit, and let's say that we get started with the most basic one, which is going to be some lines that we have over here. Now I can still remember, so we have one line, then we were going to have another more special line. Now what we're going to do is we are going to create some corner pieces and then what we'll also do is also do some of these, which are a little bit more straight. For our normal lines, we want to actually repeat this. We want to basically touch both of these edges over here. By the way, this point, you get right click and you can press free selection to freeze your plane. Basically what we want to do is if you have this square over here, default shading, Let's go ahead and do this. Now, basically for these lines, we are simply going to repeat them from one side to the other side. This way we can simply just repeat them over and over again in our UVs. We are basically just going to create a bunch. We have a line here, then we would have, for example, a large detail below it and then another detail next to it. We try to keep everything horizontal. And maybe have another line, although we will have different, then we will have maybe a panel and then we'll have some scattering of some small assets, and we basically just keep going with this until we have created everything that we want to create or we have filled our trim sheet. So for our line, quite simple, I'm going to go ahead and just create a plane, and I basically just want to make the plane just beyond the borders of our original plane. I'm going to go into my iframe of right. So this is totally fine what we have here. And we are just going to leave this in the top. I'm going to go ahead and convert this soon added ply. Now what I want to do is let's first of all, decide on the thickness of the line. Going to make it a little bit bigger like this. And the reason I want to do that is because I want to select my edge and faces on. I'm going to select my font and my back edge, and I'm going to place a double connect. Because we want to have this floating, we need to end up with a completely flat plane and only then we want to start our details. This is like a buffer to make sure that we don't actually see any wrong details. I can then go ahead and again select these lines. This time, I can go ahead and move this in and then I can simply move this down. If you want you can have a quick look at the site. Now the reason why we move it down like this is because when we are baking this down to a norm map, we will have all of our rays, very quickly because we need to do this very often. I'm sure many of you already know this because it's like a classic non map baking one on one. But if we have this, basically, what will happen is over here, all of our no maps, the rays that will basically bake our nomap they will come from the top down to the bottom. You can see that when we have a bevel, they can actually see the depth of this bevel, so it will bake really nicely. But over here, what will happen is it will hit a ray here and then all of a sudden, it will hit another array here, which means that it cannot actually read this edge, and it will basically show as if there is no depth at all in our norm map. That's basically the reason why we always want to bevel everything pretty much. Now at this point, like I said before, we want to pretty much bevel everything. What we're going to do now is we are going to turn it into a hi poly. If we turn it into a hipoly now by adding a turbo smooth, you can see that it just becomes like a wy soft edge, which I do not want. So instead, I'm going to go into my editable poly, go to my Swift loop, and I want to add a swift loop here. Basically on every corner. What this will do is it will stop the smoothing, which means that it will retain the shape a little bit better. So this is just classic to loplmding. If you don't know what height to poly modeling is, I highly recommend that you watch it on that before you actually watch this. But now if we turn on Theba smooth and just turn on isolate display, and, for example, turn off my etche and faces. You can see that now it's like a really nice, high quality edge. When we go to our top view, for example, see, I can probably do that over here. You can see that the edge kind of looks like it's going into the plane, like it's part of the plane. And that's the whole goal of this. So we have this edge over here. I'm fine with the thickness, so that's looking pretty good. Now what we're going to do is we were going to go in and create one additional edge that looked a little bit longer. So that one was like something over here, and I'm just going to create some kind of interesting detail. Now, mine is probably going to be quite simple, so I just want to go in and duplicate this line and just give it a little bit of space between the lines. I'm then going to go ahead and turn off my turbosmoot. Let's go back to etching and phases. And I'm just temporarily going to get rid of all of these super loops because they do make it more annoying to here we go to model. Now, as you can see over here, what I quite like is that basically the edge goes into these little gaps. Of course, this is not exactly what is happening here, but that is what I want to happen. So what I'm going to do is I'm just going to go in and probably select these edges, yes, it's really annoying to model on such a long thin shape. Place double connects. I'm just going to set it to around like, quite close to the end, but not all the way to the end. And then I'm going to champ for these connects by setting it to zero, which basically will just duplicate it, something like this. Now at this point, what I want to do is I probably just want to extrude this into our face. I'm going to place a swift loop probably over here loops in the center like this. And then what I'm going to do is I'm going to delete this phase and this phase. Then simply select these two, hold shift. And just move these to the center. I'm going to also go in and I'm probably going to scale them flat like this and move them to the center again. Now we just need to merge some stuff together. I'm going to start by down here, deleting the pace that always gets created whenever you extrude something. It's really annoying to model with something like this. You might also want at this point to maybe switch your units to centimeters because we are working with such small assets now, it's no longer logical to work in meters. Anyway, I'm just going to pass contra A and then go over here to weld and my weld settings. I'm just going to weld this until the close welds are merged. You can see here before and after. And at this point, what I want to do is, yeah, we can probably make this smooth. Now, you can see that this is a sharp edge, but when we smooth it, it should show up, fine. So if we place a super loop over here, and I place it a little bit further away from the edge, and I'm doing that on purpose to basically make it a little bit smoother because the further it goes away from an edge, the smoother it becomes. I can then go in here. Here, see, I place these quite far away and place my super loops. And that should give us, just like an extra edge that is a little bit more interesting that we can just, like, put in there also. If we turn on our tb smooth now, I can see that over here, I forgot an edge, which makes sense. I forgot this one. So it was, like, smoothing way too strongly. Oh, it looks like I forgot it only on two sides on three sides. Here we go. Now if for example, turn off edge and faces, we can have a look. Yeah. If I turn off my eyes slate, that does add a little extra. Yeah, you can go up here, default settings. Here you see? And then what you can also do is you can also have a look so it feels like over here, it's losing quite a bit of these edges. You can always go in and add a few extra loops in here just to limit the smoothening even more. Because now this edge cannot smooth beyond this point, which means that over here, it becomes a little bit of like a stronger smoothing. And I can do the same over here. This just happens because this is a really long shape and really long shapes always have a bit of trouble, especially when they're also thin with smoothing. So I just add, like, a bunch of edges, and now the smoothing just gets divided a little bit better. Awesome. At this point, I'm going to go ahead and I'm going to save my scene. And then in our next chapter, we will just go ahead and continue creating our trim sheets. So saves Trim sheet underscore 01. Doing this a lot now and spending a lot of time on modeling will also save us a lot of time in modeling our larger shapes later on. So let's go ahead and continue on to our next chapter. 17. 16 Creating Our First Trimsheet Part2: Okay, so now let's go ahead and continue with some more longer shapes for a trim sheet. So the next one that we were going to do is where was it? So we did this one. There was another one. It's Oh, yeah, these things over here. So I want to do these ones, and then is there something I can place next to that? I guess that what we're going to do is we are going to start by creating some of these grids like we have here and here. This one, I can also place this one next to it. Let's keep that in mind. Let's go to the original one, which is here. There we go. Okay, cool. So let's have a look for this one. Now, this one should be quite simple. So it looks like all we need is just a simple cylinder. And you scale it to the size that you want. I feel like something that is a good size. Next, I'm just going to turn on my edge your faces. And in my settings, I want to go ahead and set the height segments to one. And I do want to make the cylinder an even amount. So right now it's at 18, but I do want to add like a little bit more geometry. So let's go ahead and let's go for I don't know, 32. And just make sure that you have a line exactly in the center on both sides. I think 32 is pretty much fine. So what I'm going to do next is I'm going to go ahead, right click, convert the Able. I would then go to my face mode and I'm basically just going to select half of it and press delete, so that all that we have left is just this half piece over here. At this point, I can also go ahead and make this a little bit smaller. Let's have a look. We pretty much only need to create one of them, and then we can create all of them. So that is quite simple. Actually, what I was saying is that this one is pretty much the same as what I wanted to create over here. Well, actually, there is a little piece. I might just change it a little bit, but we can just reuse that stuff. Just to save a little bit of time. Anyway, we have these two edges over here selected. We can just hold shift to extrude those out. At this point, I'm just going to go ahead and have a look in my top view to make sure that I don't make it too short. I want this one to be quite well, not super long, but something like this. Then nice thing is that we can just go in and we can do a symmetry modifier on the X axis, and then we need to press flip to flip it around. And now you can see C. Now we can pretty much just decide ourselves. How long do we want this to be? I'm pretty much happy with something like this. Like this is looking fine. Cool. So let's convert this to an added pony. I like to get rid of those cantlines over here. And now what we want to do is we want to go ahead and we want to make this like an actual inserted bevel. Over here, you can see that it kind of goes inside of it. However, this is something that does not translate to D. So we cannot really do that kind of stuff. We can try to do it just to get a little bit of AO, and yeah I can show you that. But for the rest, don't expect to get exactly the same look. The first thing I like to do is, I like to just go ahead and go to face mode and press A to select all of my face and I like to go and press flip over here and add the polygons. I'm basically flipping around polygons so that they are on the inside. Next, we select this top piece over here and we can go to extrude, extrude settings and just revert those back to zero and then use your extrude settings over here, see to give it an extrude. Like I said before, just like we did with these planes, we need to have a flat area. At that point, we can select this area and we can give it a nice little bevel or Java like that. And now we can select the top of the bottom area. And this is basically what I was talking about. So let's say we make it around this teep If you just go ahead and hold Shift to extrude, and then what you can do is you can go in here and you can pretty much let's just bridge it. I'm just thinking of which way I want to bridge it. I guess if I deselect these pieces and bridge. You know what? Let's just do a Cali. Are you there? No. Okay, for some reason that isn't working. Basically, what the Caple does, I think I need to do it this way, is it will just create more of like a clean face. First of all, then before we do the Caple is just go ahead and do an extrude settings along these lines, set them to local normal and then reset and make it go inwards over here, see? And then we can kind of like fake as if that it's going inside. And hopefully our abut occlusion kind of does something. Now, at this point, you have this one, and now you can do Capli as you can see. And I want to select this edge over here and just in case, I want to again, give it a nice little bevel. So here from the top, as you can see, you will not really note it, but hopefully we will have later on that we bake some embotclusion, and the embclusion just like over here, is just able to, like, show some of those details going inside of it. But honestly, I don't hold my breath for it, if that makes sense. Anyway, I'm going to turn this into a hypol and then we can just, like, copy this over. Actually, before I do that because I want to make an alteration to one of them, I'm going to duplicate one. And now turn this one into like a hypol. So just add your spot loops. I guess here in the Bevel section, I want to just add one single loop in center. Now over here, this is quite interesting. So over here, you can see that we have a bit of trouble selecting the loops. What I tend to do then is I select one edge and press ring to select all the edges, and then I just add a single connect. Same over here. Ring. And for this one, if you want, you can even do a double connect because it's a bigger edge, and you can use these modes over here to change the distance of your connect. Just to show you a little bit more clear what happens as you press a ring, and you basically do like a double connect and then over here you can push them out, as you can see. And then I just place one loop here, and I don't really care for this flat area because it should not really affect it. One thing I do care for is make sure that you also place a loop. First of all, on the centers here and then place another two or three in the center here because else the shape kind becomes too long. Arturbsmoot, isolate. And now you can see that over here, it does create a few problems with this flat face if you want. Although I don't like you probably won't notice it too much, but you can use your cut tool to just place a singular line here and here. I guess we need to then also do it here because we made that connection, and that will just catch those stray polon and now it's a little bit cleaner. Now from the top view, just go over here, see, it just looks like a simple additional shape. Okay, cool. Now at this point, we're going to make oops, a long one, and then a short one again. And we can just go ahead and do that. So first of all, let's go in here. Duplicate, give it some space. I'm going to go to my top view. And now just in my Adipoli I just want to select half of it and I'm just pushing it out. And I'm just going to go by feeling pretty much, something like that. Then I do want to keep the same spacing between here and the other side. What I like to do is I like to quickly create a line that goes from here to here, we've done the line, I believe before. I've done the line before for measuring. I just place it on this side so that I know that when I push it back, it just needs to be the distance of the line. Now this is the perfect additional distance. That one is now done. Now the next one that I was going to do is I was going to go in and create this type of stuff. I quite like where it has this little lip around it. And over here, it also has some interesting details. So I was going to try and just make something like that, just for fun. Now, at this point, this one we can kind of just place a bit further away. I'm going to make this one a little bit longer. Probably like this. And then what I'm going to do is I'm going to get started by let's see. So there is a little detail there. It always looks like the details kind of doing this and then creating a bevel. I'm going to select these edges and place a single connect, and for now, I'm just going to delete half of it so that I only have to do the details on. So let's say that I move this in here, turn on my edge faces like this. And then I'm going to give it a little chem fo axion all these sites over here. It's a bit sensitive. I think that's already enough. Just to give it a little extra and then this one, I will go in and I will just make it flat. It doesn't have to be perfectly round, of course, because this is just like a detail that will go away. But let's say something like this. Next what I'm going to do is I'm going to select these edges because I want to create this detail over here. I'm going to go and place a connect honestly, yeah, that's a pretty good place for connect. Place to connect. Now what I want to do is I just want to go in and I'm going to let's see, I'm going to probably just extrude this one out a bit and I want to kind create my detail in here. Going to make this a little bit bigger. So to make this detail here, it's just like a little trim that goes around it. All we really have to do is just place like a loop here and then another loop where you kind want the detail to stop something over here. For this loop and this loop, I'm going to now add a chamfer. Oh, God. It's really sensitive for some reason. Something like this. It's like a really thin edge. Oh, yeah, that connection. Before we add the chamfer, let's select this vertex and then add another chamfer. Hopefully, here, see, it should give us a little bit of a rotation. It's often really messy, but it is also quite quick. So let's say something like this. And now in here to clean this kind of stuff up because we only really need the outside. Let's just go in and for now, kind of just like merge some of these together, and then later we will just do an outer merge for the rest. But I need to move these edges closer away from the outside. So it might look messy, but now at this point, pretty much what we can do is we can select Oops, all of this stuff. Over here and just pla, like a collapse. And then maybe just merge it to the side. Oh, this one is also double vertices, so let's collapse the two. And then use the target well to kind of merge this to the side over here. So over here, actually, just to avoid any confusion, push this to that side. Okay, cool. Now, we got to go ahead and the chef honestly, I only need the chef up until this point, probably. Let's do something like that. Next, just go quickly to our top view and just move this one in so that it's, of course, a little bit more nicer around over here. Now, it should be as simple as just grabbing these faces. I just want to stop the faces in the bottom, so let's just do this. Grabbing them. In this case, I like to use a bevel because with the bevel I can already give it well, a bevel. Over here, I can do this, and then I can move this one to give it a little bit of a slope, as you can see. And let's make it not too deep, something like this should be fine. Now, at this point, we can add a simple loop over here, another loop in the center over here. These loops over here, they break, but that's expected. And these loops over here also break. So what I tend to do is I tend to just place the loops as far as I can. Then over here, in this case, I need to place some additional connections. Over here. Okay. And then when I place those connections, I'm able to just use my cut tool to manually place the rest of the loop, and I kind of just log on to end the loop here, and then this connection over here will kind of take over. Over here, this one is a bit easier, so you just want to place this loop along your shape like that, that should take care of most stuff. I'm just going to go ahead and select these back faces or at Javi and push those in. For the rest, I'm going to go ahead and place a swift loop over here and over here. We are now already going to turn it into hypol and then we will just simply do asymmetry to cover everything else. Over here, we want to have a loop on the insides and outsides and all that stuff. Yeah, the loops like they don't have to be absolutely perfectly placed, of course. Just make sure that you make it fairly consistent. It's going to ring, and I'm going to place a double connect over here on the inside, and we had to place another loop over here and maybe also place a loop here because we now made this shape and I don't want the shape to get destroyed. I also probably need to place a loop here. But this loop I can just finish over here. And then I also need to probably go in here. No, I was saying go in here and just kind of like finish this loop like that. Same as that we do over here, I just kind of like covers the corners. And in these areas, we can kind of just leave that open because I hope that if we do Turbosmooth C that it just looks fine. Turn on isolate display and set our iterations to two to give it a bit more geometry and turn off edge and faces and just have a quick look. I think that's looking pretty good. Now over here, it gets a little bit destroyed, but don't worry because we can go in add a ply and we can add simply a symmetry modifier on the x axis with the flip turned on. And here, if you want, you can even make another detail like this. You know what? That is actually pretty fun. Let's do that. Let's add this one, duplicate it. See, sometimes you just find these random details that could work and then add this one over here. So this one tiny detail, but it will just work. Nice. And this one. I'm sure that I can find, like spots to, like, place these. We need to add these random details later on anyway. So if it literally takes almost no extra work, then that is pretty good. So that's looking pretty good. If we just go and have a double check from our top view. Yeah. Like, I'm totally happy with that. Awesome. Okay, is there any last detail that we can probably art on the sites, or are we just going to go to our frames? Like, these are all like a little bit too big, and else I would just leave the site open. I don't know what some of those pieces over here, we could use those reuse them. So I'm just keeping in mind where it is. Yeah, so let's just do a simple grid like this to kind of, like, end this part over here. Now, doing a simple grid like that, we can probably just once again, reuse one of these shapes. But in this case, I probably want to simplify the shape a little bit because this is not I don't want it like going inside and all that kind of stuff. So for now, let's just delete our Adipol and we pretty much just want to get rid first of all, of our but supporting loops, which is a bit difficult to select. There we go. And also this one, we can keep these supporting loops. But what I'm going to do is I'm basically going to finish the edge already over here. Let's just double click and select this entire loop and just press delete, and then we can double click and just delete the entire bottom. Finally, double click this one and also delete that. Now if we just select this loop over here, we can go in. We can push it in. And then the first thing I'm going to do is I'm just going to do a very simple extrude and extrude this in like here. And I'm going to select this edge over here, and I'm just going to add the chamfer. But this time, I'm going to give it like a few loops to make it more like a softer chamfer, like this. And then this one, once again, you can just do like a simple Caple. No, it looks like it doesn't want to do the Capli. In that case, just like these two edges. These like these two edges and just press bridge. And then select the ends and I use three to go my border select. And I just do like a simple Caple on both sides to kind of fill that in. And at this point, if I just do a turbo smooth, I say display, iterations, there we go. See? So we now got this simple shape. At this point, we can go in and we can center our object. I only now realize that I was using the wong mouse. So I really apologize if you hear it like clicking. I have switched over now to my other mouse, which is like a silent mouse. So I'm really sorry. Like, you get so used to using the same mouse that you just kind of forget. Anyway, what I'm going to do is I have these pieces over here, and I'm going to have two versions. I'm going to have a normal version and a zigzag version. So first of all, scale it down. Let's go to my added poly. Oh, God, I'm a lot slower with this mouse. So yeah, I'm really sorry about that. And I'm going to kind of, like, just push these pieces in. Still try to keep it a bit even until it becomes like a small piece, which looks like it does. And then what I'm going to do because of course, later on when we start texturing this or when we start placing this, we can scale it up and down. So let's grab this piece, and this one is quite easy. We are just going to go one, give some spacing, and then set the number of copies to two. So this one is just like two or sorry, three together. And then I'll set down like that. So that's just like extradita. And then the next one is going to be here, let's just select these three. And we just need to kind of keep in mind that this is like a separate one. And we basically do this. We place this one halfway, and you know that it's halfway by just looking at your pivot point and kind of aligns with the other ones. And then for these ones, what we can do is we can simply place it like this. Here we go to zigzag. And then what you can do is you can end things if you want. But often that doesn't transition as well if I end this. I can end this here. S. And then I would continue it here. So 1 second. It would I'm just worried. Basically, what I'm worried about is if I end this connect, so I can show you, of course. But if I end this connection here and then move it along over here, we might get situations where we don't have a proper end over here. So normally what you could do is, let's say that we have this piece, and I could literally place a slice along here on the x axis and just place this slice basically on the end over here. And then you would go move this object here. Although, I guess, in this case, we need to that's interesting. So our spacing is not very good. I guess I still made a mistake with the spacing, and the mistake I made was that this one is not supposed to be on the end over here, it's supposed to be on the center. So it's supposed to be more like like this. Yes, that looks a little bit more correct. And then, like I said, you could add a slice over here. And this is like if you want to make it repeating, and then you basically go in here. And then in here, you want to go ahead and place a slice back. But once again, this has to be in the center, which means that this slice would not work. But basically, you would place it around here. 1 second. It's because I'm trying to show you this quickly, but I should take my time. At that point, if you would convert it to add a ply, you could, of course, delete one side here, go over here. I guess this one needs to also then be near the end. And then for this one, you would delete one side here. And then it will basically just like repeats. So yes, that's one way of doing things, but I have a feeling that this will not look very good. So you can definitely repeat it like this. Of course, do it a little bit cleaner than I am doing. But what I'm going to do is I'm going to, I think, just leave these out. I'm going to make it like this. And then when we want to end things, I can always just go in and I can just add like an additional one. So I can basically cut out one of these shapes, and I can simply place those over here to repeat things or to end things. I hope that makes sense. So that was not the best explanation. I don't know why I had so much trouble explaining that. But anyway, for now, we have now these additional shapes over here left. So what we'll be doing in next chapter is we will start working a little bit more on our grids, which are going to include these grids over here. The ones over here. And once that is done, we will probably go ahead and continue onto the more bigger ones, which are the ones over here and over here. And after that, we'll just add some additional details. We most likely have quite a bit of space left on this trim sheet for details, but that's totally fine. We can always add more details if you want later on. Or what we can do is we can fill in the rest of the trim sheet with already existing details using, for example, the Alphas from JROTols. But that's something we will, first of all, just go ahead and see how far that we get with this trim sheet. So let's go ahead and continue on to the next chapter. 18. 17 Creating Our First Trimsheet Part3 Timelapse: [No Speech] 19. 18 Creating Our First Trimsheet Part4 Timelapse: Uh a I. D. D. D. D. D the h. Mm. I I So 20. 19 Texturing Our First Trimsheet Part1: Okay, so I have now created what I consider like most of the essential details that we had to create ourselves. As you can see, we still have a lot of space left. However, I did this on purpose for a few reasons. One, I did not want this entire tutorial to be creating a trim sheet. That's quite a simple reason. And two, is that we are going to go ahead and use a lot of pre made Alphas on the empty area over here, which I will show you where to get them and everything. And good friend of mine, creates a really amazing alphas. Basically, we got over here our construction lines. Those are by far the most important one and some of these extra circular details, as you can see over here, we got some events, I guess I would call them. We got an extra large detail that we can maybe use somewhere. Although this one was just to show you that you can also create depth and stuff like that. I'm not yet sure where I'm actually going to use this. We got a few more smaller details and handles and stuff like that. That's looking pretty good. Awesome. Now what we're going to do is we are going to go ahead and export all of this, and we are going to bake it down. Now for that, what I'm going to do is I will be using substance painter this time for baking it down. Let's first of all, go in here. Whoa, that's really big. Give me a second. We'll do pots and just go ahead and create a voltical trimset. This is where we can place it. Now for the plane, that's very easy. We have over here our plane, which hello, can I select you or Oh, sorry, right click on freeze to select a plane. It's because when you freeze it, normally the color changes, but on a plane, it does not. Anyway, so we have a plane selected. It will already have a perfect UV because it's a plane. It will have an automatic UV. So let's go at an export selection, and we're just going to go ahead and call this LP in our exports trim Set folder. Nice and easy. Now, with our hypol if I just go ahead and hide select, our hypol what we did is that we went in and in our turbo smooth, we turned on isolate display. Now, doing this, what will happen is that if you export with isolate display on, your geometry will break. So you want to turn this off. Now, of course, we have quite a few pieces. So what I like to do is I like to use something called Zorb modifiers, which will automatically allow us to turn all of them off at the same time because selecting them does not allow us to turn them off. So yes, you can go one by one, if you want, or you can use the script that I will give you. And I have placed it for you into a scripts folder into the source files over here. And all you really have to do is just drag it in here. And what this script allows us to do is it allows us to multi edit with multiple selected models. So we can literally select everything. Then in order to update it, you just need to go ahead and click on Selected, or you can just switch between the two, and then it will update. You can see over here that we have 69 Turbo modifiers. That would have meant that we had to manually by hand 69 times turn off Turbo smoot, which I don't want. I can click on it, get modifier properties, and then I'm just going to go ahead and in the isolate display, I'm going to turn it on. And turn it off again. This way, I am sure that everywhere it is turned off, and then what we can do is we can close this and double check. So you can see here, isolate display is now everywhere turned off. And you can also go to your edge and faces, and you can see that now the jom try amount is way, way high. Perfect. So we got that stuff done. We can now go ahead and select everything, file export, export selection, and call this HB. And go ahead and just export it. Now, this one will take a little bit longer, but there we go. Okay, cool. So we got that stuff done. Now at this point, you can go in and if you want, you can just save your scene. I will save it for you guys so that you can easily export it. And now we're going to go ahead and open up substance painter. Okay, here we are in substance painter. Now, again, I do expect that you know the basics of substance painter, so we will not go over the UI and all that kind of stuff. But you should be able to follow along because we don't have to do that much stuff inside of painter. We're going to go to file and create a new scene. PBR metallic roughness is totally fine. Then in the file, you want to go ahead and select your low ply. Let's navigate and select our low ply that we just exported. I'm going to go nice four k resolution, and I personally like to always work in open GL with my norm map because it makes it a little bit easier for me to read the norm map. Now once it's done, we can press okay. And the first thing that we, of course, need to do is we need to get started with the baking. So we have over here a few windows. If you don't have these windows, you can find them down here in views and here you can find all of your windows. What I'd like to do is, first of all, in our texture set list, I like to call this Trim sheet on score 01, for example. This is basically the name that your file will have when you export it. Next, we're going to go to our texture set settings, and we want to press bake mesh maps over here or you can press a little bred icon up there. Now we're going to go ahead and set the output size to four K. Then what we want to do is we want to go ahead and go in our high definition measures. And import our hi poly. Now, give the second to load in, and now we should be able to start setting our cage. So if we go ahead and go into our cage, do make sure that you are using the latest versions of substance painter, because in all the versions, you don't have all these tools because these are quite new at the time of recording this. But what we can do over here is so we can see our cage and we can go to our Max frontal distance and push this up. Your goal is to push it up until you see no more red. Do, of course, ignore this because it's just sticking out. Now what will happen is that our bags will basically start where the plane is, it will start above all of aditas and it will just push all of the rays down and the rays are just like a bunch of invisible lines to calculate where all the models are and what they look like. So, but yeah, I'm not going to go over what baking is exactly. But basically, it allows us to have all these details onto a two D plane while still having a fairly realistic look into it. So we got all of that stuff done. Now, yes, we want to have a norm map. World space normal is fine. Let's turn off the ID map because we don't need it. And let's turn off. Well, we can have the position map, but let's turn off the thickness map. So these maps we mostly use, like the one that we are most interested in is the norm map and the ambulate clusion map. And for the rest of the other maps, they are mostly used for, like, generators. To, for example, generate scratches or dirt or dust or anything like that. So at this point, you can go ahead and you can just press baked textures, and it will start baking all of these textures. Now, the one that I'm most worried about is the ambient occlusion, because often what happens when you bake trim sheets, is that the ambient occlusion it, oh, wait. I forgot to do one more thing that I will show you in a bit. What I was saying is that the ambient occlusion, sometimes also like arts occlusion outside of our meshes, which we don't always want. So one thing that I forgot to do with this is the opacity over here. We definitely need an opacity map and the reason we need that is because we want to cut out all of these shapes. Grab your opacity and it should still also bake your opacity. See? There we go. That should all be fine. Now what we can do is we can go ahead and we can go back into over here, for example, our painting mode, and now here you can see our details. Now, with our past map, one thing that we do need to keep in mind is that we are going to add additional details in here later on. For now, if you want to be able to see the Opacity map, although I don't want to, right now, just to show you, you can go and make sure that your paste is plugged in. And then if you go up here to your shader settings, you can go up here to your shaders and you can grab the cutout shader, PBR metallic graph with Alpha test. And when you do that, I expected it to have our opacity. Let's double check that we do X. You can also go in here and in our channels, set the opacity channel. And then let's go to our layers and just do a fill layer, and let's tie it this way. So fill layer opacity and then select the opacity, which is it called? I just need to fight my bake maps. I kind of expected it to work when it is in bakes, but for some reason, it is not maybe because the opacity is technically transparency. So technically, I guess if we would go over here to transparency, no, weird. I don't know exactly why that's happening, but like I said, there's another way that I can easily do this. I just need to type in opacity and drag this into my opacity over here. And now you can see that it is reading all of that. You can now also see the power of normps. If we hold Shift and rotate, you can see that now it really nicely rotates around over here. So that's all looking really good. So I quite like that. We have all of these additional details over here. And yeah, I'm just basically now also having a look at my opacity map. Over here, this one it's really extreme details, so that one is not the best, but from a distance, it is still totally fine. We could have maybe given it a little bit more like a bevel. But in general, this looking pretty good and also the ambient occlusion map has generated pretty good. Like there's no weird artifacts or something, but it might just be because we are using our opacity. So let's go in here. And first of all, let's get rid of the opacity in our opacity map. And now, weirdly enough, it is generating the plane again. It's behaving a little bit strange, to be honest. For some reason, it requires it on both sides. So weird. Um, now it's working again. Okay, weird. Anyway. So this is all working. Now, for my opacity map for now, I'm just going to go ahead and I'm going to get rid of it, and I'm going to make my opacity full because we want to first of all, start adding a bunch of additional details to this. The only thing that I'm not really happy about is that right now it is adding a lot of padding to our mesh, which makes it really difficult to see what everything looks like. The padding is normally used to avoid seeing seams. I'm just going to go to my baked mesh maps, and I'm just going to go in here and I just want to um where are you? I'm super blind. Uh oh. Of course, it's not called padding in painter. It's called dilation width. So just set that to zero and then just press rebake. Inside of Mom's set, it is called padding, and pretty much in any other program, it's called padding. But anyway, let's go back to painter mode. Now you can see that now it's kind of like just stopped our textures where the end of our model is, which is what I wanted. So this is now done. Now what we're going to do is we are going to prepare a bunch of additional details. Now, for this, what we're going to do is we are going to use an Alphabec that is made by JROTools. Here we go. So JO Tools, also known as Jonas Ronegard. He makes some really amazing products. I'm sure you guys have seen it because he's been around for a long time, and he has some really nice stuff. If you want to go to Gumroad, you can go to environment design.gumrod.com, and then you can find his store, or you can go in Station and you can just type in Jonas or Jonas Ronegard or JROTools whatever. Now, anyway, you can see over here that he has a bunch of really cool alphas. I'm specifically talking about these and only for $6. And what we're going to do is, as you can see, there are so many Alphas for us to actually create all of that stuff to fill our trim sheet into a tutorial, that would be a tutorial on its own because it just takes so long. However, over here, you can, for just $6, find a bunch of stuff. So we are going to use probably this one, these subs pain, 325 hard surface and height alphas. However, always just have a look because he does have a bunch of other stuff. Also some stickers, the hard surface collection over here, which includes pretty much everything, like all types of surfaces and everything. So I am allowed to use these in the tutorial. So the ones that we will end up using, I will add on here, and I will not remove them, even though normally they would be like copyright. However, I'm not allowed to actually include this product into the util, which I assume makes sense to you guys, because, of course, I don't own the product. But yeah, so a bunch of cool stuff here. So let's go ahead and use this. And for now, I will just actually I got this one, the hard surface collection. So I'm just going to go ahead and collect a bunch of Alphas together, and I will temporarily place them in our source file so that we can use them in painter, and I will show you how to use them in painter. Okay. So here we go. Now, I got all three volumes, which you can find them on there. The only thing is that there are a lot of images in here. I'm talking about Honda. So I don't just want to import literally everything inside of subsptm because then it just becomes a little bit too overwhelming. Instead, what I want to do is I just want to go through and basically just pick whatever I think I would want to use and then import those. Go start with volume one, and I just tend to do this. First of all, I find out which file format it is dot TIF then I just press TIV in my search over here. And then I set a view to extra large icons. And next this, normally, I do this on two screens, but I just go to file and Import resources, and I then basically just start dragging stuff in that I think I might want to use. So let's say that like here, I have some vents, some cables, and I can just go and start scrolling down, and just anything that I think might look interesting, most of them are just like random holes and random shapes and stuff like that, like you can see over here, but they could be interesting. I can just go in and just hold Control and just select all of them. You know, maybe like some of those and those. And just basically, find the stuff that you like. I guess for this, yes, you will need some experience in just reading height maps, just knowing what a height map will look like. But of course, in your case, you can literally just import everything yourself if you want and just use whatever you like. So for me, I'm just doing it to keep everything a bit more organized. But most of these are pretty simple stuff. And it's just like small details, just some handles here and there and some other random details. And it's just nice to have these extra details here. I'm not even sure if I'm going to use all of them. That's totally fine. It's just that I need to make sure that we do have enough options. See. I don't need any of these type of bolts. Maybe some frame. Yeah, let's just try, like, some framing. Why not? Maybe like these little details. All good with me. And these are more likely. Okay, cool. So this is Volume one. I now find one that I have selected and just click and drag. And for all of these, just press contre A to select all of them. And we are going to go ahead and you choose you can choose Alphas. I like to use them as texture because a texture can be used as an Alpha anyway. So I'm just going to go ahead and import them. Now I'm going to go ahead and just keep doing that and I will go over here. And yes, of course, try to find something that's not super similar to what we already have. So we can go Volume two, Da TIF, set our view to extra large. And then we're going to have another look. Oh, that looks quite cool. That one looks cool. That's one. Yeah. So there are some frames in here, but they don't look like the frames that we have. And I quite like that. Yeah, I do try to go for fairly flat details because often since we are baking it down onto plain and everything, like only Wi flat details will look nice. If the details have a lot of height in them, you would kind of want to have some actual displacement. This one, this one, these are not really details that I care for. No, these are UY details. I don't need that kind of stuff. And maybe some of that framing, I'll try this one, maybe some of this. And remember with height maps, when something is white, it will stick out. When something is black, it will go inside. Although, in this case, because black is the base color, it is basically only that it will stick out if it's black and then gray will basically mean that it goes inside. It just depends on how you level things. Anyway, we're almost done here. I don't see too much additional stuff that I'm like, Oh, I really want to use that or anything like that. Yeah, let's do this. And I need to quickly go file. Well, actually, you can just drag it in here. You don't actually need to open it up. That's a force of habit from old school days. So once again, texture. We can add those. And then finally, we have the last one, but the last one is not as big as you can see over here. So you can just kind of choose if you want anything from here. So maybe like this or most of these are a little bit more clean and minimalist. Yeah, so that's fine. Just go ahead and write those also in. Awesome. Okay, that's already it. So we can set all of these to texture. Now, to place these things is going to be quite easy. So we have over here already that we create the fill layer for our opacity. I'm just going to go ahead and I'm going to call this base over here. Now having that one done, the next thing that we want to do is let's just go ahead and first of all, start by adding some of these non map details. I'm going to go in my libraries and close it. At this point, what I also want to do is I'm going to 1 second, make a folder that I will call Trim Sheet 01 and then file save as going to save my scene. Trim Sheet 01. There we go. That's number one. Now, next thing I want to do is I'm going to go ahead and create a new you know, let's start with a new fill layer and also a new folder. I'm going to call this folder. Trim sheet don. And in here, I'm going to make one fill layer that I will call up. And I just want to go in and just turn everything except for the height. And I'm going to set my height over here just like upwards, which basically means that everything I paint in here will be sticking out. And then another one that I will call down and this time, I just stick the height down. Now, doing it this way, I'm able to basically edits, my height, even after placing stuff. So I think what I want to do is I'm probably going to go ahead and go in my Tuview because it's a bit easier. And I want to start by adding a black mask to both the up and down layers. Next, I can go in here and I can basically just navigate to the area where we have all of our Alphas, as you can see here. And there's various ways that we can do this. Now, the way that I tend to like is that I tend to like using a projection because it just gives me full control over everything. You just go up here to the left and go to projection, and then you want to place this into your gray scale. So I can go in here and I can say, Oh, I guess that they are a little bit split up. What I, I guess they were not as many as I thought. But let's say that I have, for example, this one. I can now hold S, and when you hold S, let me just move this. When you hold S, what you can see you can see over here your instructions. So S Miller Mouse button is moving around and S Lev Mouse button is scaling it. Now I can basically just set it wherever I want, and then I can go in and I can start painting this. Now, as you can see when painting this, we can choose between going inside. Let me just quickly switch to my three view. Go out of projection. We can basically choose by going outside, you can see over here. It's a bit difficult to see. Or if we paint it into down, it will go inside. Now, in this case, it is actually really difficult to see what is happening. But once we start adding more textures, this will become a little bit more clear. For now, this one over here is totally fine. Now, unfortunately, we later on also need to create a mask because you are not able to basically paint the mask at the same time as your height. I'm going to show you some tricks on that we can how to generate the mask. But of course, we want to create a mask so that we can easily select stuff, just like we had the mask over here. One of the more bigger problems that we have right now is also our ambient seclusion. So our ambient clusion right now, it's kind of like just overpowering all of the shapes because if we just go ahead and go to our base, we want to edit our embit seclusion because our base is fine. Like here, we can just make it white. If we go to your texture set settings, and in our channels, we can go to art and ambient occlusion channel. And next above our base because we don't want to overwrite everything, we can duplicate this and call this AO underscore over white. Turn off everything except for our ambit seclusion and set our embitoclusion to white. Go down here to ambit seclusion and set this one to normal over here. And then if we go to our what was it texture set settings in the ambit seclusion mixing, set it to replace. But now add a black mask. Now the old ambit seclusion will be back. I do see over here, see? This is where we have some problems with the ambit seclusion that I was talking about, where we might need to paint some out. So that's something that we'll go over in a bit. What I was saying is, yes, we have our ambit seclusion overweight. If we just go ahead and we have a brush already selected, set the hardness of the brush to one. I'm just going to Okay. That's weird. Let's go ahead and just double click that feels a little buggy. Let's go into our brushes and just double click on Basic Hart. Uh, interesting. That seems like a bug. Basically, the way that it would normally work is we would basically just, like, paint in the area that we want to have this, see, you can see that I can just paint into the area. But for some reason, there is, like, a small problem with it, which I've never seen before, but that's how it always works. Whenever you're recording, that's when this kind of stuff happens. So instead, what I'm going to do is I'm going to pass the video and figure this out. And like I said, I figured it out. I forgot that in the base because we add the AO later, we need to just click on AO and just select the AO. There we go. So anyway, this is now pretty much done, and this basically just means that we have no embitclusion in this area. We can later on generate embitclusion if you want, but it's often not really needed because embitclusion is not that important. So anyway, we have our base, our AO override, and now we can get started by just really painting in all of the details that we want. So I'm going to go in here. And just like a lot of these details, even if I'm not sure if I want to use them, just add them if you have the space. So we just drag this into our gray scale, and then we go over here, and we can, for example, here we go, paint another one of those details. And just like that. And often what you can also what you also want to do is you want to have a look. And if you feel like that it is not in the right direction. You can go up here and you can press TD and TD view. Now, I'm trying to avoid it because as you can see, it's a bit tricky to show in the tutorial. But we can always go in and just hold shift and rotate the lighting around. And you can also play around over here, and you can see, like, Okay, do I want this pushing in or out? So that's up to you. So right now, this one is pushing out. So maybe I want to have it pushing in, so I can then go ahead and pass Undo. I can go back into my projection, and still over here, I can just paint the projection in here. Oh, now I do it again and just go to down. And here see. Now it's going downwards. And that one feels a little bit better to me. So knowing that, let's go ahead and at this point, just kick in the time laps where I will just basically be painting in all of these various details that we have just downloaded. Y. Do Don't do. 21. 20 Texturing Our First Trimsheet Part2: Okay, so we have now placed our details. Now the next thing that we're going to do is a little bit of cleanup, and we're going to generate an ambient occlusion for all of this. So basically, for the cleanup, the first thing is that we have this quite strong difference between the AO. Now we can actually fix this quite easily. So we have over here AO overt, and we can just include our mask to also have the AO like outside these areas. So that's super easy. Just go down here, add the fill, go to a grayscale and just type in. Oh, I already did it. So just type in OPA to go to opacity and then select your opacity mask that you have over here. And I always forget which one it is, so I'm just going to use my scroll wheel. We want to go to Divide. With Divide, you can see that we still keep our ambit occlusion, but at least we now have a more clean AO. The next thing that I'm going to do is I'm going to go ahead and I'm going to press C and then I'm going to keep pressing C until you switch to your ambit oclusion. As you can see right now, we don't have any embitclusion on details that we added. However, this is actually not too difficult to do. What you want to do is because we basically generated height maps here, alt click on my mask, see, these are pretty much a height maps. We can go in and we can add an anchor point to each height map for up and for down over here, then we can go ahead and we can add a quick fill layer to the top. Called AO don and I'm going to only turn on the embitoclusion for this. Then what we can do is we can go ahead and go to our masks, r black mask. In here we are two field layers. Number one, you can go to your grayscale anchor points and grab, for example, up and number two, grayscale anchor points and grab down. Now, with the down version, what we need to do is if you just d click on the mask, we need to set this to our linear Dutch art to basically add these additional details. Now, once that is done, all that we have to do is we can go back to our main fill layer. We can go down here, add a generator, and you want to go ahead and want to select the ambient occlusion generator. Now, you just want to go ahead and turn it off for everything else but our AO. And now what it will do is it will basically grab all of the details that we have in our mask and simply add this as an ambient occlusion. You can see that it is quite strong. With this method, you are not really able to use any of these sliders, unfortunately, also not over here. So what you can do is you can go ahead and set the ambient occlusion for multiplied to normal and then just change over here the opacite. And now if we just press M to go back to our material, you can see that now here S I can just quickly add a little bit of AO which will just give us a little bit more depth. There we go. That's looking quite nice. Okay. Awesome. So we got that done. Now that we have our details, the next thing that we need to do is we need to generate our texture. Now, for something like this, that is not going to be too difficult because we don't have a super detailed in depth texture or anything like this, since most of our materials will actually happen inside of unreal engine. Now, what I mean with this is that some of these details, like for example, over here, the lines and these details, we only really are going to use the normal map inside of Unreal engine. We are able to create a shader that it will only show in the norm map, and it will just use the base texture of whatever is behind it, in this case, our tiable metal. Of course, for some of these frames like we have over here, it would make sense to go a little bit more in the direction of something metallic. Also, by the way, I almost forgot that I needed to fix this one over here. We can go to the AO overt, and it's probably easier if you just go ahead and art a quick paint. Set the hardness of your Alpha a bit lower, and then just go ahead and click here, hold Shift. And click here. And then, as you can see, just need to be a bit careful around the edges over here. So that's what I've been doing first. If you hold shift, we can go ahead and art these edges. And now we can just go ahead and let's just get rid of this ambit clusion in this area, because it's not really worth it, and it's like, there is a way, of course, to make it all work, but it's such over the top difficult that just doing this is just way easier. Okay, cool. So for our textures, we now have a trim sheet ard on, and we have over here our AO and our base. Now, what I'm going to do is I'm going to go ahead and I'm going to actually import my paint. So Import resources. You can, if you want, with your painted metal, export a dot SpCR file. I'm not going to go over that because we really only need the paint for, like, something super simple. Actually, we don't even need metallic. We just need our base color, normal roughness, dit as like a texture, and just input it into this project. Next, add a simple fill layer. And I want the artist's fill layer, think below our trim sheet ardons because these are just normal maps. Go ahead and call this base metal. In here, we can turn off the height. We can turn off the metallic and the opacity and the emit seclusion, and then just drag in your base color. No map. Roughness map, and maybe in your tiling set tiling to like two or three. That's a bit much let's do two. Now as you can see over here, we now have our base metal already applied to this. I just like to have this base in case I forget anything. Now at this point, what we want to do is we want to basically decide on a few different metals. If we just go up here, we have a lot of smart materials. The first one that we're going to make is, for example, going to be an actual raw shiny metal. I think something like that will work quite well. If we go down, and I need to make sure that I'm using metals that you guys also have because a lot of these are actually custom made, which means that they are quite a bit nicer. But again, just making an entire new material for something this small, it's not really logical. I feel like it's twice silver armor and just have it above our base metal and then give the second to load in and then we'll see which areas of this we want to use. Silver armor is not really the best one. Let's delete it. Let's go for maybe just a simple steel. I do like the steel, however, there are still Oh, wait. It's because I'm not in the right viewport. Treat view. There we go. Now we can see a little bit of reflections. That's more what I was hoping for. What I'm going to do is in my steel, I'm going to go ahead and I want to get rid of these damages over here. I can go probably my surface details. There we go and turn that off. Now, next is that I have my roughness details over here, which are okay ish. I'm going to go ahead and go in the mask editor and's play around a little bit more like my textures. Mmm. I think I'm going to add my own roughness detail. So just go ahead and remove the mask, add a fill layer, and I'm just going to add a simple grunge. So just add something that's like really soft, like the grunge dirt tin, for example, and set the tiling maybe to like three or something. And now you can go in here and you can go ahead and play around with your roughness, here, see? That looks a little bit more interesting. Just having a little bit of that dirt, move your roughness around. Next, we have over here a brushed base. I think what I want to do is instead of brushed, I want to go ahead and I want to select something like rough. Here, you can see that this one, it just adds a little bit more that roughness and then if we just set the brushing intensity down a little bit, there we go. That creates quite an interesting detail. Let's go back to my base, maybe my roughness a little bit shinier and my base color a little bit whiter so that it stands out a bit more like that, you can just play around with things. We also have over here some edges, as you can see, and it adds a little bit of edge damage, but I'm not sure I want that. For now, let's just turn it off and we will just like art our own details a little bit later. These details will not work anyway because we do not have them set up in this area. Now, once you are ready and you know that you have your steel, you can go ahead and art a black mask. And then if we just go back to our to the Oni view, pretty much with the black mask, all you have to do is go to your brush, your basic h brush and eight just off the manually, do something like this where basically where I want to ended, I click and I click again. Okay, in this case, I need to go quite far in terms of length. Don't forget it. We actually do have a mask. Yeah, we have a mask, so you can pretty much just go out of it. That's no problem. I like to still stay a little bit close to the shape just because it looks a little bit cleaner. But I do like to often just, like, go past it a little bit. And I can see that over here, I kind of missed the mark, so sorry about that. Try it again. There we go. And then once that is done, you can just click hold Shift, and you can just in a zigzag motion, fill this all in, and this will just become metallic, like that. And we can pretty much do that with everything that we see. Now, for example, over here, we have a square one. These ones over here, I probably don't need to add anything. These ones. Now, I'm also not going to add anything. So pretty much only this one. Now, if it's square, if you want, you can go down. And in your Alpha, just press the X to get rid of it. And now you can see that it has become a square button. But that should still work where as you can see, we can just go around like a square, nicely go around it. And if you want, you can also set your brush size at this point, a bit bigger. So just do one big click and there we go. Okay, cool. And then later on that ambient occlusion will also give us a little bit of darkening, but we might want to add some darkening ourselves just in case. So we got those pieces done. Now let's go ahead and also have a quick look over here to get some inspiration on the materials, I quite like this one in terms of, like, oh, sorry. Where are you? Here you are. I quite like this type of stuff, just for inspiration. So knowing that, we can go in and double click on my brush to reset it. Oh, es makes it like a bit bigger. Also, something that we need to do is we do need to generate an Alpha mask also for all of these pieces to make sure that they all properly work. But that's something that we can use some tricks to hopefully generate that mask mostly automatic, and then any additional details we will do by hand. Okay, so I got this one. What I want to do with this one is I'm going to make this frame over here a different color and this over here, a different color. And think for the rest, it should be fine. So let's go in, in this case, it's just easier for me to just go outside of the corners and rely on my mask. Like I said, I want to do it clean, but I'm not going to go that over the top, at least not for tutorial. If I would do this for production, of course, you want to just make sure that everything looks really nice and clean so that it does not create any misunderstandings when other artists are using your work, for example. But if it's just for a quick personal project or something like that, we can be a little bit sloppy. So I'm going to do this. Going to press X, and I want to go in, and I like to already remove it. The reason I like to remove it and not just overlay another material is because sometimes the roughness or metallic details will shine through this. Actually, you know what? I'm not gonna do that. I'm gonna use the inside over here. So this one, you want to do really acrid Like this. There we go. And this one, we want to do even more acrid so I'm gonna make my brush really small. And I'm got to bake it's a bit bigger. And now we can just fill this in. Okay. So let's say that we would be doing that with all of the other pieces. Now, because it would take a while, what I will first do is I'm just going to do a few more materials and then we'll take it from there. Now the next one is that I just want a darkening material, bit like you can see over here. We have a gray and we like a black material. For those, we can pretty much use our base colors. Just duplicate your base metal. Let's move it above steel. Let's go ahead and call this one, um gray metal. Now, next, what we can do is we can go up here and add a levels to this. And if you set your levels to base color and then set the mode from color to luminance, you can now go in and you can basically, change your colors amount. Here. You can play around with your darkening. I'm going to go ahead and I want to set like quite dark. And I should really look only over here. Till I still see a little bit of detail, but something like that. Next, you can, of course, go in and ask, for example, a black mask like this so that we can see, let's go in and let's paint, for example, over here. Yeah, that should be good enough. Then while painting it in here, we can then go in and do some more balancing. We got something like this. I feel like that's a little bit like this would almost be like black metal. And actually okay, making this black. Let's call this black metal. Let's go in and duplicate it, and let's make this 1 gray metal. Then in our base color, you just want to go in and make it a little bit less strong and of course, reset your black mask and let's say that we add the gray metal over here. Yeah, that should do the trick. Let's go in and make a brush bit bigger and some extra details. There we go. So now, we have gray metal, black metal. And the last thing I would say that I want to do is I'm just going to add a fill layer. And I will call this darkening. In this one, I'm just going to only have my color, set it completely to black. But then what you want to do is you just want to go in and if we switch to base color, set the opacity over here a bit down to, for example, 40%. Once again, add a black mask, and this one is great for if we want to add some additional darkening into some areas like over here, just in case we need it. You see, just adding that extra bit of darkening makes everything stand out a bit better. And we can definitely add this one. Just in case I feel like we would need to indicate that, yes, this is actually going pretty deep down. For this one for now, I'm just going to place it because these are all the right format. I'm going to first of all, like, place all of these. And then you can always go in with your size, set it lower, and just get rid of, like, darkening on these little points over here. I'm pretty sure that you get the general idea. So that's basically it for most of our materials. What I'm going to do now is I'm just going to go in and kick in another time laps where I will apply the materials to all of these meshes. Once that is done, we will go ahead and do a dirt and damage pass, and after that is done, we will go in and we will generate our final masks and just complete this material so that we can actually start using it. And then the exciting part starts where we will create our final meshes, and I will showcase to you how we actually use these strimsets in a really efficient manner. So let's go ahead and continue with this in our next chapter. 22. 21 Texturing Our First Trimsheet Part3 Timelapse: M. I 23. 22 Texturing Our First Trimsheet Part4: Okay, so we have now finished painting in our materials. Of course, later on, we can just change the colors and stuff like that. The general goal for that chapter was simply to generate our actual masks that we will be using. So having that done, now what we're going to do is we are just going to quickly generate some, like, dirt and some edge damage on our shapes. And once that is done, we are going to generate our final mask, and then we can already start using the trim sheet. Of course, we still need to balance things in our trim sheet, but we will do that when we are having a preview inside we engine so that we can properly balance it. Now, unfortunately, because we have a lot of manually painted details. There's a lot of techniques which you would traditionally use when texturing objects that we cannot use. These are things like, for example, using anchor points to reference them inside of your mask generators to generate additional, like, dirt on your shapes and everything like that. All these techniques don't really work because of the way that we have baked our maps because we only baked part of our maps along with the fact with how we place our shapes. I've done a lot of testing and everything like that on trying to get it to work only a subs painter. But honestly, at this point, the easiest thing is for you to just first of all, make sure that you have everything that you want on your trim sheet, so all of the shapes that you want on your trim sheets. And then what we're going to do is we are simply going to export these shapes, and we are going to quickly throw them inside of substance Ziner and generate a new curvature and ambient occlusion. We can then quickly import those and use those for all of our generations. That's often just like the easiest way because as I said before, traditional anchor points are not working in here. So what I'm going to do is I have this. I want to quickly go ahead and turn off my materials because the materials will add very small nor map information, which I don't want. I want to have only the raw shapes, and then I'm going to go to exportexturs. I created already a Bags folder for you guys in textis trim Sheet 01 and Bags, and I'm just going to export it as a PBometallic graph. Now, one thing that you guys will not have, so I will just redo it is in your PBOmetaic graphness, I always added an extra AO Map export. Just to show you, you can simply go in here, add a gray channel over here. Just quickly copy this name and paste it in here and change the word emissive to AO. And at this point, just drag in your Embase occlusion. I always do this because I sometimes want to use the AO separately. Now, once that is done, we are going to go ahead and we are going to export this as PNG on 16 bits. And this is because the no map is really important for generating our curvature map. So we need 16 bits to get the full range. Now, if we just quickly go in designer, you want to go ahead and just create a new substance graph, um I'm just going to call it Gen. I'm not even going to save this graph, to be honest, because it's really fast. And you simply want to go in and just link in your norm map node over here. You can see. I also want to go ahead and I want to just double check if my AO map has exported. Yes, it did. And now with this, I'm going to go in and I'm going to add a curvature generation. Sometimes curvature smooth is also nice, but not always. So let's just check. Curvature is smooth over here. The reason it's nice is for some softer details. But I think in this case, we probably want to go for this one. Now, this map over here is currently set to direct X. I don't really like that, so I'm going to add a norm map invert to switch it to OpenGL. And then over here because I like to work in OpenGL, and when we import our curvature, it also needs to be OpenGL. So now we have this. Unfortunately, these kind of details, even with 16 bits, because of the height maps that we have imported, it's really difficult to kind of get rid of them. The thing that you could try to do is add a very soft blur high quality over here to kind of, like, minimize those details, but that's pretty much it. For the rest, it's not that big of a deal. Like you won't really notice it. But here we go. Now we have, like, a really quick and dirty, not that dirty, curvature. But we did not generate it, like the absolute best way, but that's not really needed right now. I then just quickly go into an output. Call it like curvature. And then all you have to do is I'm just going to go ahead and export this, and I'm going to export this into the same Bakes folder, and it will just be called curvature. There we go. So really quick. Now what we can do is we can go back in here. We can turn on our materials again. And now if we just go file and import, I'm just going to select my curvature and AO. Of course, you can also just drag it in. This is just a force fabit and just import it as a texture. Okay, cool. So having that done, now if we just go ahead and create a folder, it's going to call it dirt and just to show you the concept. So let's say that we have a fill layer. We only really need a color, roughness and metal for this fill layer. For a color, let's make it a little bit of a slightly darker brownish color. Don't know why it's so slow in selecting. And then for roughness, we want to set our roughness really low because dust or dirt is often quite dull. And make sure that your metallic is set to zero because dirt again, is not metallic. G to probably make it a little bit more brighter. Let's do something like this. Just going to call this one Ao Dart. I then go ahead and add a black mask to this. And once that is done, if you go into your mask generators, you can just drag on your dust occlusion mask. Now here you can see what is happening. So these ones, because it automatically uses our baked maps, you can see that these are working totally fine. We can play around a little bit more with the dirt and the contrast to get whatever we want. But unfortunately, over here, it's not able to generate here. Normally, you would be able to use microdtails, but in this case, that will not work because it is a flat plane. And even though we have our height maps over here, even if we would use our height, it just wouldn't work. So instead, what we're going to do is we are going to navigate to our textures. Which I'm trying to find. They're often near the bottom. And here we go. I'm just going to use this one. This is our loplyi into sorry, our loply. It is our abit occlusion. And then we also should have a curvature map that's just got curvature, so it's near the sea, so it should be up here, here. So no, that's not the one. Those are the old ones. Let's just type in curvature. There we go. And grab this one. So having that done, now you can see that now we are able to also generate these details on here, just like normal. So that's for that one. Now, let's say that we also want, for example, some edge damage. Now we can do that quite easy. So let's go ahead and just probably duplicate this one. It's called edge damage. And in here, I'm going to set my do I need these No, I don't need a base color, and I'm going to go ahead and I'm going to turn off metallic, which means that we'll just use whatever metallic we used. I'm going to set my roughness. Yeah, I'm going to set my roughness a little bit dull, and I'm going to set my height and turn it on. Now in my height, I'm just going to give it the tiniest bit of height in the minus. You can see that it adds high to the dust, but that's just for an example. And now if we go in here, I'm going to remove my dirt, and I can just go in and I can use, for example, a nice edges, like a damaged edges, maybe something like For some reason, it's really slow with loading. I'm going to restart MPC after this. Let's try, for example, like gun edges. Here we go. So gun edges, it's a little bit intense. But what we can do is we can go in here and we can play around. So first of all, let's play around with our global bands. I like to go ahead and add a tiny bit of, like, dirt to this. Dirt blur to this, maybe 0.04, bit more. 0.06. And you can also play rounds with your textures over here to, like, add more or less damage. See? But in general, like, I'm gonna only I just want this to be like really small bits of damage, like you can see over here, like, let's say something like this, then going to go in and I'm going to set my height quite a bit lower, 0.01, no 0.005. There we go. So it's just like some really small damage, and we can play around with this later on. Next, the final thing that you want to do is just go all the way down. And in here, we can go ahead and just import our curvature and we to glusion again. Just go to type in curvature. There we go. That's the most important one. And then we also have Ambit glusion. There we go. So now we should also have these damages on here. Let's just check. Yeah, see? Yeah. So now we also have some subtle damages on these areas over here. So for now, let's leave it like that. Like, we are going to play around to this a little bit later, but let's first of all, continue on and show you the concept of how to use these trim sheets on our actual models. And later on, we are going to have a polishing phase where everything will come together. So that's often how I work where I don't try to make one element already perfect because often, later on, we will just have to change that element again since things might have changed. Lighting might have changed the way that the models look might have changed, colors might have changed. So anyway, for our mask. That's the next one that we are going to generate. Going to go ahead and create a folder that I will call mask. In here, we're going to go ahead and yeah, we have an opacite slot. Yes, Obaste. First of all, let's start with just grabbing the mask that we already have right now if I have a look. My base has the ambidclusion. I have not used my mask yet, so I just need a quick refresher. If I go ahead and just in my opacity, Navigate and find my opacity mask over here. Okay. So we got that one. Now what we need to do is we need to start generating on additional masks to this. Actually, sorry about that. We need to add this into a black mask. So black mask and then fill, and in here you want to select it. There we go. So now you can see that now we are generating this mask. Now the next thing that we need is we just need to figure out, like, okay, what do we want to go in and mask? Yeah. So as you can see over here, we already have a bunch of masks that we used for our details. And you can see also some steel, although steel is not really needed. I think that it's probably best to use those like you can in your trims details, you can try to generate masks from your over here from your height maps, but it will not work perfect, but we can try both of them. Let's say that we have over here our AO ardon. Let's go ahead and art and anchor points. Call it height combo, for example. Then what we can do if we just alt click, we can go in here and add a fill layer. And for this fill layer, we can go into our anchor points and use the height combo. And just set this Oh, we need to set this one to a paste. Set this fill layer to just linear Dutch art. Now we can play around with our levels on our fill layers to already generate some base masks. It might not be perfect, but it should work. What you can also do is in your material, set the color to something really strong like red, like this. And then you can use that to basically review a little bit. Like the shapes that we want to get. I'm going to try and get width a little bit more like these gradients over here. So I'm trying to find a clamp or clamping value where these gradients here, something like that looks pretty good. So we got something like this, and now what we can do is we could go in and then over here we have our gray metal and our darkening and everything. Let's say that in our gray metal, we can go ahead and add another anchor point, our black metal, anchor point, and our steel anchor point. Then if you just go, Oh, X, now we don't need to do it for our dark. Maybe. Let's just also do it for our darkening. Next, I often like to go in and I like to add a layer and just call this layer combo. And in here, I'm going to add a black mask, and then I'm just going to add a few fill layers, which will basically combine all of those anchor points. That way, we can use this one fill layer later on also in here and in anything we want. So we can go anchor point, black mask, anchor point darkening mask and just set this to art Anchor point gray mask. Once again set this to art, and anchor point steel mask. And once again set this to art. That if you Alt click, as you can see over here, it has added all of these additional masks. This way, we can now add one last anchor point. I know there's a lot of anchor points. And call this material mask combo, just to keep it descriptive. And then in our mask, we can once again add a fill layer. And this time, we can grab material mask combo and once again set this to art. So now you can see that now quite a bit of stuff has been filled in. Now it's not absolutely perfect. I'm still missing some stuff. And actually, the one that I'm missing is quite surprising. We not have black metal. Oh, wait, because we did not use it. Yeah, so the one that we are missing over here, what you can pretty much do at this point is just add a simple paint. And then if you just go in and grab like a Why are my brushes so messed up? Um, that's weird. I cannot find my default brush. Oh, wait, because A O we do it on. There we go. So we can grab our basic hard brush. And you can basically just go in and just like you did with the colos. But, of course, this time it will go a lot faster. Old shift. And simply select these additional masks. Like over here. Most of these are already fine. Here we have a few more. I just want to make this a little bit smaller. Basically, this is going to be your final Obacte mask which we are going to use later on. These things are really easy. You can even do it by hand. You don't have to hold shift. And, this one, I do want to probably go in and this. Don't worry. I won't try not to take too long for this because this is not really teaching you anything after you've probably already done this for like an hour or something. When you were selecting a mask. We got these ones over here and yes, you can go in, clean things up a little bit if needed. Most of this stuff all looks totally fine to me. I think that's about it. Cool. As you now Alt click, you can see that now we have finally generated our mask, which means that at this point, we can turn off the color, and we now have a base color. We have all of our additional maps, and we have our mask. Let's go in and export it and then we can start by actually using the stream sheet. Let's create a folder that we call final. And in this folder, if we just go to file and let's save our scene first, and let's go to Export textures. Next, select your final folder. And now for our output template, because I also want to art an opacity map, I just need to check. So base color roughness metallic, normal height, emissive NAO, I'm going to go in and I'm going to add an additional opacity map for this. Although, wait, sorry, the opacity map is actually in the opacity or sorry in the Alpha channel of your base color. That's what I was looking for. We can probably just use PBometallic roughness. You can also use channel merging, which I will explain a little bit later inside of heel. But for now, let's do PBmetaic roughness. I like to always export as target files, and we can just set them to four K. Let's go at export, and that is now all done. In the next chapter, what we are going to do is we are going to start creating our very first model and we will completely take this model to final, like creating the model, adding our trim sheets, getting it into un reel, creating our shaders and setting it all up just so that you can see the entire process. Then I will show you a few more examples of, like, different scalings of models. And once that is done, we will kick in the Tinaps and we will just go ahead and complete all of the other final models. 24. 23 Creating Our First Final Asset Part1: Okay, so we are now finally going to get started by creating one of our final models, and I decided to just create this one because it's not too difficult, so it's like a good introduction. Once we've done this, we will go over on how to create something a bit more complicated, like we can see over here with this pillar and after that, I will also show you how to create a really large piece, and then we can go ahead and continue on with our time lapses. So for this one, what I have is I have my trim sheet open over here inside the Photoshop just so that I can have an actual look at it and I can remember all the shapes. So I will do is I will go ahead and move that one over to my other screen. And I, of course, have TS Max open over here. Now, what we're going to do is we are basically going to work from large details to small details. Now, this shape is not too difficult. Most of it is really just like metal panels. On the bottom side, I do want to create some kind of, like, a cool framework. And I also want to create some hydraulics that you can see over here that are kind of like connected to the floor and stuff like that. Connected to the floor is a little bit tricky because we, of course, are sinking into the floor a little bit, as you can see over here. So we would need to kind of play around with where the connections are going to be. But that's totally fine. Having that done, what I'm going to do is I'm going to go ahead and probably recreate the shape. Let's go ahead and go to our side view. Let's go to our line and we are going to just use lines for this. I go to start here. A board. Make sure that you select over here this button. Also what I will do is normally I just over wide it, but I will do a saves of my maxine and call it final assets and safe. There we go. It's actually pretty important that I remember that. So I can go over here, hold shift, and you can see that it's not like a perfect flat area, so I'm going to go ahead and also make my models a little bit cleaner. So you can see that here, I'm fine with the angle because I was happy with the angle. I can then go in here. But what I'm going to do here is I'm going to go ahead and make this a little bit more logical. So here, let's fit this up until this point. Go here. Oh, 1 second. Go here and close. And then for this one, I was going to go in and I was going to make this or push this a little bit out. And push this in. So this one is just like Wi stuck inside of the ground. Now, what do I want to do with this? Let's have a look because the shape still feels a little bit off. The reason why it feels a little bit off is because over here, as you can see, we go from tin to ticker, so I might actually want to push this back a little bit now to make it here to make it a little bit more even. Something like this is looking pretty good. Okay, cool. So we have something like this right now. I could also just to make it maybe a little bit more interesting, although you probably won't be able to notice it, go to insert in my line. Select a single line and just click it in position. That way I can move this one and I can make this one straight over here just to make it feel a little bit more like an interesting shape. Okay, so we have this shape, and then of course, we would have our hydraulics with it. I'm going to go ahead and I'm going to already just delete. Oh, wait, sorry, I cannot delete that because I first need to make sure that the shape is the correct scaling. Let's grab our line and add a extru modifier. I assume it was 4 meters right. Let's move the line here. Yeah, 4 meters. Okay, cool. And now we can delete the old one, and we now have this shape over here. So what we're going to do is we are, first of all, going to define the large shapes in this, and we're also going to use something called weighted normals, which I believe I've spoke to about before, and it's basically a technique to make your smoothening of your mesh look like it's hypoly with minimal amounts of extra geometry. Of course, we are using nanite but I still want to be a little bit more careful with my geometry. I'm going to go ahead and I'm going to at this point, probably just convert this soon at a ply and start with these center details if you look at your reference. So let's start with just two. Actually that's already fine. Two lines over here, and I'd like to move them a little bit this direction. I think it's quite nice when it's not off center. Sorry. I'm going to quickly just place a line here and here, just to keep things a little bit clean, and also probably a line here and here. But later on we are also going to add some details in here. But anyway, we now have this one, and as you can see, I kind of want to, like, make this one dent in more and this one less. So I'm going to go in and probably around this area. Yeah, let's do it around this area and then another swift loop. Probably around here, and then another one that Bill be sticking out here. There we go. And I had the idea of basically grabbing, well, first of all, let's grab these pieces that go all the way down. Although over here, I will need to kind of like 1 second, let's check. It would be nice to create some type of trim detail around here. You can kind of also see it in here. Maybe we can just simply push it in. I think that might be an easy way. Let's say that we place edge here and one just below it. I guy like pushes in and it's go to our side view, and I'm going to just already, just make this straight, actually. I first of all thought like I was going to do a bevel, but like I said, I'm mostly making this up as I go along because we simply don't have good enough reference to really, like, refine this perfectly. So, something like that should work, yes. And then at that point, I can go in here and I can let's see. Let's end it here so we can delete these phases. Deleting those just makes extruding a bit easier. We have these phases, and then over here, I'm going to probably ended up until this point over here. Because I assume that you can, he or see. I will just kind of go into nothing. A little bit? Or do I want to do this? Now, I'm going to do this. Actually, I might even do, I'm going to do this. Sorry. So okay, we have this. I'm going to go ahead and I'm going to do my first extrude on the local normal. And this extrude is basically to define this area over here. So what we want to do is we want to kind of like the extrude this. A little bit in like this. Then I'm going to deselect this area. Then for this area, I'm going to go in and I'm going to extrude this a lot more. I had another idea. What I want to do is I want to extrude this until it has quite thin area. Then I want to press the plus, extrude this in quite a bit more like you can see over here. It might be a little bit too much. Something like something like this. Then if we just grab these edges and hold Control double click to loop them around, I was thinking of also extruding this back. Just having these floating panels often feels quite Sci FIE, if that makes sense. Now over here, I'm checking because I do get a bit of clipping since this area over here was too thin. Let's go in and actually just delete this. I don't really think I need it for now. I, of course, do need to clean it up. But let's say that for now, I'm just going to go ahead and delete these faces over here and go into my site view. Well, let's first of all, move this back like this. And then you can just go ahead and you can scale everything flat just to make sure that my site view is just completely flat like this. Okay, so that already creates some large details on the front. Like I said, like most of this stuff, we want to rely a lot on our trim sheet. Like all of the construction lines and everything like that and all of the vents and all that kind of stuff, we can just go ahead and place those here. So already keep in mind roughly where you want to place, what, basically. So I have this stuff. Now what I wanted to do is I wanted to also create like a little trim around here. And if I just have a look around this. So for this trim, I guess it would be easiest if we just And it somewhere here or do you want to end it a little bit? So I'm just thinking if I want to end it in front over here, I'm just doing, almost like a quick sketch. Yeah, that makes more sense if we end it in front. So what you can see over here is that I really place this line. We do not have the line over here, but don't worry. We can later on just flip it around. So for now, let's go in and we are in my left view. I'm just going to go to my sorry, right view that we got that I can read, it's a bit better. We, of course, do kind of keep this at the same size. What I tend to do is quite easy. I tend to just place a quick line here. Then I place that line closely near the same junction. I do actually need to check before I do this if I am at the right bologon. See, I'm not at the right polygon. I need to be at that one over here. What you can do is you can place this line in front as a measurement, and then you can decide how thick you want this to be. I want this to be around this tick. Then if you just place this line, and move it over here to some of these areas where we are getting close to changing. Okay. Then this area over here, I want to also have the same thickness, like this. That's just a quick way to do some three dimensional measuring. If you are using a program that's not as good with splints, then what you can do is you can also use, for example, just simple cubes for this stuff. But anyway, I'm just going to go ahead and move this in And there we go. So that should now pretty much be fine. I can then go in and I can select all of these small lines and just lead them. Now, what I'm going to do is I'm going to grab this piece. I feel like I kind of want to move this one. No, I don't want to move it down. It should be fine. So I want to grab this piece over here and I'm going to go ahead and I'm just give it a little extrude. And then later we will add some additional bevels to this. So we have this extrude. Now over here, what I can do is I can add some trims degals. I'm going to probably select this side, and 1 second. I just need to check where about Okay, so about here, it will go inside of the ground. So it might be nice to just do it along the entire side where I would just do a simple inset somewhere along here. And I just push this in also, like you can see over here. Okay, cool. So we have this piece done. Now, of course, the other side, we would also need to do this. However, we can just delete the other side for now. And then what we can do is we can go in and basically go to the top select this entire site over here, making sure everything is selected. I'm going to detach it for now. And then I'm just going to go ahead and I'm going to do a simple symmetry modifier. Oh, and press flip. And we want to place this as close as possible. That's not very close. Like this, we can then convert to at the poly and once again, just press attach, and we can just combine them all together. And now I tend to just go and press contra A to select all of my vertices, go to weld and then in my weld settings, and you can see if we weld it on a very low level. Zero point. Okay, that's actually really sensitive. 05. Just make sure that you do not weld anything that you don't want to weld and just press ok now it has become one object again. So let's say that we have this. Now the last thing that I wanted to do is I do want to create some kind of a very simple framework on the inside. Now, I don't really need to do that on this side. Like here, we can just have some vents or something. So what I will do is because it's going to mostly be from different objects, I'm going to insert this. And I actually want to make the insert not to tick because I want to have some kind of like a hydraulic system sitting just behind it. So let's do this. And let's go ahead and just extrude this in. Somewhere along here. And then I will apply other models later on. So having this point, now we are pretty much ready to just start adding our weighted normals for this. So for our weighted normals, there's a few things that we can do. You could actually go in and use a HAMFO modifier, which will, if you set these segments to zero and lower down in density, it will instantly add HEMFOS everywhere. So that's definitely easy for these measures to just very quickly add a bunch of Jen fos, and often it works totally fine. There's still some areas where it doesn't work perfect, for example, if we don't have vases or something like that. Another thing is that if we want to do any type of larger chen fos, in some areas, we would not be able to do that. Knowing that, like you have just seen, I often just like to quickly add a chef modifier and it looks like that I just need to go in here and finish things off. So we just need to well, actually, this edge over here can go away. And then what we're going to do is we are going to fill in these phases. Just give me 1 second. This edge goes, oh, yeah, it goes up until that point. Let's just leave the edge for now. If you want, you can go in and merge it later on. The reason I don't like to do a lot of merging like this right now is because it can mess up our bevels or afls or whatever you want to call it. Instead, let's just create the entire shape, and I'm just going to do a cap poli and this way just becomes one large mesh, and now I can go in and I can just decide Here we go. Here, like I said, I'm being pretty careful about it, especially with these ones, how I place my edges. So this and connect this. But yeah, you do want to definitely connect all of your vertices. Over here, I don't choose to go for this one because it is a we short part. I go for the further one to avoid any errors with my edges. Now, for this stuff over here, I'm going to see and hopefully we can get away with just doing like a Jenvae because I don't want to have a floating vertice like that as it could create more bugs. So let's just try something like this, or you can try to merge it down, also, you can try to simply merge these types of things like this. It's kind of up to you. Over here, it's not as hand. Well x I can try it. Might textual be better, but both of the techniques will probably work. So we are going to art our Jefa, set the segments to zero, and I'm going to set the amount quite a bit less. So this is mostly just here to, like, make the shading look really nice, and you will see it in just a bit, double checking that all of my edges are correct, especially here. Here you can see that we have a few small problems, and I don't know if those problems are. Let's press Centre. I think those problems are just like some unwelded vert ss. Try again. Yeah. They were just some unwelded sis. That's all looking pretty good. At this point to really make this model shine, you would then add a weighted normals modifier. Inside of Maya, if you are using Maya, you would need to download a weighted normal script, and Blender also has the modifier, just keep that in mind. We go in here. I'm going to turn on snap the largest face. You want to do this when you have really large flat faces on your model. And now if I turn off weight to my sorry, edges and faces, you can see that now. See? It looks really nice and hi poly. So what we can do then is we can, of course, go in and add some trim sheets on top. For now, however, let's go ahead and save this. And let's just go in and create like some kind of a framework. And for that, I'm just going to see if there are some inspiration I can find because, of course, I can make a really basic framework, but sometimes it's just nice to have a think about what kind of framework would be the most interesting? I guess something like this would be pretty well, yes, it would be pretty default, but it would also just work quite well. And maybe we can, like, make it a little bit more interesting in terms of the frames. Yeah. Definitely like with Sci Fi, you can go way more crazy than I'm going and like a ton of detail everywhere, but, of course, expect to spend a huge amount of time on it. But yeah, okay. Let's just go let's keep this one on, and let's go for something like this. So what I'm going to do is I basically want to let's say that I do two frames on the side, and then I do like some angled frames. So if I just go ahead and create one of them, I can go in and I probably just want to do a simple box for this. And just start dragging in a box. It's going to go to my side view. I'm going to go ahead and already place this and I need to place it over here. Convert to aipoli move one here and one here. Okay. And then this one we can kind of push back. I want to push it further back than this edge to give it a little bit more of a depth feel to it. So we got this one. Now, let's probably go ahead and make it a little bit more classic. Let's go in, select ring to a double connect like this. And then I'm just going to go and do a simple extrude and make sure that your extrude is on the local normal and just extrude this out. So it is going to be a fairly classic frame. I'm going to also select this and I'm going to pass control I and delete everything else. The only thing that I want to do with this frame is just to also make it a little bit more interesting. I'm going to place another connect and this time, I'm going to place it quite close, as you can see over here. And what I'm going to do is I'm going to go in and let's see, I don't need these. Actually, you know what? I don't need, I don't need any of them. It's actually easier if we just remove it because then we can just bridge it instead of extrude. So let's go ahead and remove these. Then just go in and bridge and we only need to, of course, create one of these frames, and then we can reuse them. Bridge. But I do try to keep this type of sci fi environment a little bit more simple, not only so that most people can follow along, but also just in general, not to, like, spend a massive amount of time on everything. I'm going to I forgot to select the corners. I'm going to select the corners, and then I'm going to just extrude this out. And then what I can also do is later on I can just add some bolts here using my trim sheet if I want, or I can do them as actual jom tree. Might be nicer to have them as actual jom tree in this case. But for now, yeah, let's do something like that. Just select the entire bottom side. And rotate it a little bit better. There we go. Same over here. I do want to make sure that it's rotated in a more logical way. Something like this. Okay. Cool. So we now have a basic frame. Of course, we do need to create also an angled frame. But let's say that we have this one and I'm going to make it a little bit thinner over here. And then what I want to do is, let's go ahead and add a simple HAMF note again. Now, at these points, you can decide yourself if you want to optimize Jem tremor. For example, for these kind of optimizations, you are able to, for example, target weltem to the site. However, because we are using Nanite and for me to save a bit of time, I'm honestly not too worried about those type of optimizations. The only thing I do want to make sure is that it doesn't have these backfaces because the JAM gets confused. So let's delete it here. And and also here. There we go. So we now have this one mesh. Let's move it out a little bit, and all we need to do is just create a simple bolt. And for that, as I said before, you can use your trim sheet. However, what I want to do is I'm just going to go in, I'm going to create a sphere, and I like to turn an outer grid, which means that I can paint the sphere directly onto my model, which is handy when it's an angle model. I'm going to make it only 16 segments probably, and then just click and drag over here. There we go. Yeah, that should already do the trick. Now what I'm going to do is I'm going to go to my side view, probably. Convert this. Just delete half of it like this. I'm going to go to my scale and I'm going to set my view pot from view to local. And local means that basically it will align our Pivot points based upon the direction of our model. Doesn't always work, but most of the time it does work. So we got something like this. Now, over here, what I think I'm going to do is I'm just going to go ahead and I'm going to extrude this in. Yeah, let's do Extrude on the local normal. Actually, no, I probably don't want to do locoormal and probably want to do it group. It's a bit stuck. Let's maybe do bad. I guess it's stuck because we are working on meters. But I should really be in centimeters at this point. So zero or five. Let's for now, quickly do it this way. Here we go. So I think at this point, I could go to customize unit setup and send it to centimeters to give it a bit of an easier time when working on really small assets like this. Now we have something like this. I'm going to go ahead and just give one quick cha for here. And honestly, that's all I really need. Like, it just has to be something simple. You can add some weighted normals to this if you want. Then on the inside, you do need to go in and you can choose two things. Or you can add a bevel on the inside. But just to show you, if you go ahead and select your entire model and set your own custom smoothing groups, which in this case, you can do over here by going to polygons and setting the smoothing to one. Then I'm going to go to select by angle, and I select basically set this to five. Sorry. Why? I'm going to basically select this inside, and I turn off the one. This means that there are two different smoothing groups, and now inside of weight normals, you can go ahead and you can turn on us smoothing groups, and you can see that now, it basically splits those two meshes apart. At this point, you also probably want to actually select this inside, and you want to go ahead and set this to outer smooth. Right now it's not perfectly flat. That's why we had some problems with the smoothing. But when we sell it to outer smooth, you can see over here that that does give a nice separation, which for a We small model can save you a little bit of pool con count. The smoothing groups are a little bit more specific to threes max. So do keep that in mind. That in Mayo blender, it might not be as easy. I think in blender, it is actually, but yeah, just in general, keep that in mind. I'm going to go ahead and I'm going to move these over here. And next, what I'm going to do is M gonna. Go down here. Place one here, and at this point, I'm going to go ahead and set this back to local so that I can simply hold shift and move this up. Of course, I'm not sure how perfect our angle is, so I do want to always double check to make sure it's correct. And that nothing is floating or anything like that. But that's looking pretty good. Let's select our pillar and add a weighted normals along with Snap ilgFace to that one, too. And now we got that piece also done. At this point, we can go in and select these. If you want, you can also, of course, merge these bolts together. I might want to do that later on. So let's temporarily, for example, deselect the pillar. I'm just going to go in here and I'm just going to isolate these pieces, select one of them.'s converts at a pony, and then I'm just going to directly attach all of them. There we go. I can later on just unmerge it, but just for now, it's just easier. What am I going to do? I'm going to definitely not work on local because else we cannot move it around. We have one probably in the center. What I kind of want to decide, so I mostly look at the bottom is one in the center. And then I want to have one in the center of that on both sides. Over here. Now I'm going to basically delete the one in center. If your models look black, it's because you merge them together after you did the weighted normals. So you just want to go in and again do a weighted normals and that will instantly fix it and make sure to press smoothing groups. So now I have this one. I'm going to use this one again over here. And again, roughly over here, something like that. And now in here, what we can do is we can also work on a more angled piece. Now you can see over here that this is quite interesting for the angle pieces. But in our case, this is something that you most likely will not even see most of the time. So we probably don't have to go that crazy. What I'm going to do is I'm going to just select this model, get rid of my weight normals and my chEMFS which is really nice in three Max that I'm able to basically just remove that. I'm going to only keep the center, schtoi and delete everything else. And now for this piece, what I'm going to do is I'm going to angle it. So first of all, let's go and center up pivot so that we can do a proper angle. And then we can go in here, and I tend to mostly just, like, look at it from the side. That's probably easier. Turn on angle snap and start with, like, snapping the angle. Sorry, I'm just trying to switch to local to make it a bit easier. And let's see. So yeah, I probably want to go ahead and just make the angle go all the way from this side to that sit over there. Now, I was just going to basically create the base of the angle. Once we've done that, we can go in. Oh, and we need to move this down. And we are just going to basically push it all the way through. It's a really annoying angle to actually work from. So let me just go ahead and just carefully try to do this. It will make sense in a bit. Don't worry. I basically want to go ahead and I want to try and push this through to almost like the other side, because then what we're going to do is we are literally just going to cut it. So just make sure that it's clipping on both sides. But also make sure that it's sort of like already in the right position over here. And then over here, what I'm going to do is I'm just going to it's really annoying. Move it like this. Definitely one of the more awkward angles. Of course, what you could do is you could make everything on a straight area and then just push it in here. But it's morning and I wasn't really thinking of doing it like that. So what I'm going to do is I'm going to go ahead and just push this in. We might also, as you can see, need to do a little bit of balancing because it's not perfectly straight. You can at this point, for example, turn off your snap rotate and just rotate it a bit so that it's aligned a little bit straight. Okay. And now, what I want to do is I'm just going to use some slices that we've used before on the Well, it doesn't really matter on the Y axis, for example. And what you can do is you can simply rotate this slice. Over here. Cool trick. So right now the slice has a really annoying position because of how we moved this model. What you can do is you can quickly reset the X forms, and this will basically reset all of the positions. This means that now if you convert this to an added poly and then add a new slice, now the slice is really just based upon worldspace dimensions, which means that it makes it easier for us to now move it and have a look and place the edge just in front over here. Copy the slice and paste it again, and now just end up with also an edge on the other side. Over here, once again, convert the ipoli, select the center, contra I, and just delete all of that extra junk that we do not need. Now, at this point, we have over here, the center, which I'm just carefully moving down over here we have the top, which I'm also carefully moving down. I think something like that already goes a pretty decent way. Carefully moving piece. If you want, you can also once again go in here. Let's say that well, yeah, basically folks place a loop here and then we can add some additional bolts over here and probably also do the same over here. But before we do that, I just want to make sure that this is correct. I feel like it did not something is a bit wrong 1 second. It did not remove the faces that I wanted to remove contra A, the select, delete. Okay, that's better. Yeah. So again, we can choose if we want to do like a cross or if we just want to do like an angled version. I think I'm going to do an angled version just because we have very little space to do across because if we need to do a cross, we want to also create like a plate in the center to kind of combine everything and it's just a little bit overkill. So what I would do at this point is I'm just going to go in and I'm going to place a few more additional slices just in front of it. So one of them is going to be like here. Copy and paste. And the second one is going to be at the top, over here. Convert apol. And now I just tend to delete this one. Actually, I can probably do this easier if we go to isolate. Select these two pass and just simply bridge them. Over here. I think I will need to do some movement because it's not really perfect. Let's also just delete those unneeded faces. Yeah, here, see. So 1 second. Let me just do this one manually just because it's getting a little bit too confused. So we have this piece and this piece, and I just want to bridge. There we go. That is looking a bit better. Same over here. Let's just do it manually because I don't really trust it at these angles to work out. Interesting. It's getting really confused. Let's go in and I'm just going to do a quick outer weld, make sure that I do not have any weird vertices. And if you still have problems, what you can do is you can just do all of these phases one by one. So now you can see that over here, I go one by one to make sure that they're still working. But definitely this is not really an angle I like to work on. I'm going to go in and and move this a little bit closer. I can do that like that. It's going to weld this area. Over here, we definitely do have the problem where we cannot just a simple bridge. We can do it over here. That's fine. But on the other side, we will need to do some manual moving. So please bear with me. Then that's we're going to do is we are going to bevel it, add some bolts there, and then the main shapes for this one is already done. Over here, Okay We want to start connecting that. Just have a quick look. You can see that over here, we definitely something went wrong on this side. It looks like that we want to do a really awkward movement. A little bit like this. Let's quickly go into isolate mode again. And let's press control backspace to remove those. Give me 1 second. I'm just trying to line things up. It's been a long time since I've worked in this annoying angles. Make sure to not accidentally select the backside also. Okay. Yeah. Like, you can try to move it based on the local version over here. And sometimes that works, but it's not really perfect when it comes to Vertis because as you can see over here, fertss just kind of like have their own local position based upon their own self. So what I'm going to do is I'm going to move it up until here. I'm going to place a simple cut, and I'm just going to move this together. I think that should be fine. If we just do that, it should be enough. So let's go in and I'm just going to go to my isolate view, bridge these together, and bridge these together. And I'm not too worried with it clipping in, of course. You won't really be able to see it. The goal is that when we look at it over here, that at least it looks like a little bit nice. So something like that. Just go to switch back from local to view and try to see if I can somehow manipulate this. There's another one that's screen, which basically allows you to move it based upon the screen. Or what you can do is you can do, was it local aligned. But honestly, I don't think anything over here is working. So I think it will just be like an awkward movement all around. We just kind of need to move in and then keep moving it back and forth until we get roughly to the position that we want. I wish I had a better solution for you, but I don't. Let's see. Is that enough? I feel like, yes. For something that we can barely see, it should be enough. Also, over here, I do need to once again move it. I'm not able to move it over here, and the reason for that is because, of course, the pillar below it. So what I'm going to do is I'm just going to leave that one. I'm going to quickly duplicate these bolts, convert to Adipol, select one of them, and press control I and just delete everything else. And now let's just finish this off. So we got this one over here. And I will just probably pass the video at this point because this is just really, really boring stuff where I basically just going to go in and I just need to awkwardly and manually place all of these bolts. So let me just pass the video and I will get back to you when this is done. Okay, so I finished placing the bolts, and now the last thing I'm going to do is I'm just going to go ahead and copy my chen fa and weighted normals from one of my pillows and just place them over here or beams or whatever you want to call. And double check. But that's looking pretty good. So I would say that for now, that is more than enough, like a bottom side type of um support. I might want to change it a little bit more later on. Like, I don't know if I maybe want to go in and place some supports like this instead of just straight, but that's something that we will see when we are inside of wheel or when we do our final check of our model. The first thing I want to focus on now is I want to start focusing on the hydraulics. So let's go ahead and continue with that in the next chapter. Then do a little bit of pilish. And after that belt we can do is we can get started by actually using our trim sheets to add a lot more life to this type of model. So let's go ahead and continue with this in our next chapter. 25. 24 Creating Our First Final Asset Part2: Okay, so there's just a few more things that we need to do, and that is that we need to go ahead and create just like some simple hydraulic system. Yeah, for the hydraulic system, I want to go and I do want to also have it set on the train over here. Now, I can guess with that by looking over here. But actually, these pieces, it doesn't make sense for it to be floating. So logically speaking, I would want to make it like this. I might need to actually do a tiny bit of movement here and there. If I see, for example, this, what I could do, and it's a quick and nasty way of doing things, it's just basically autocrat placing a plane, placing the plane roughly where the floor is right now. Although I completely forgot that, of course, we changed our design. So right now it actually doesn't matter anymore, this part. So yeah. Now now that I mentioned it, it does not matter anymore. But let's guess that around here was roughly the place where the floor is going to be. So let's just use that as a balance. Now, hydraulic systems. So I don't need something special. I'm just going to go to Google, and I just type in hydraulics. Let's just go to tools and let you set this to, I don't know, larger than four. Okay, maybe that's a bit too much. Let's do larger than two mega pixels. This plug in over here. Once again, it's something that you will learn in the reference chapters, and it's just a very easy plug in to control which scaling you want the images to look like. So knowing that, I just need to check. So what would I do? Stuff like this we can definitely use to place on the side, and then it would push into some kind of hydraulic. What I will do is I will just save it for you guys. I'm just going to save a few images. Let's go ahead and do a quick bit of research. Press a visit image here. I'm also going to go ahead and just do any size in this case, because there isn't that much reference for this. I'm just going to go ahead and I'm just opening up a few Images. Let's do hydraulic system. Wow, that's really little image information or am I just calling it one? That might just be it. Beam. No piston. Hydraulic piston does give us a little bit of, like, something. And else we can just make it up a little bit. There is no pump. This one, let's this one over here. Not a huge amount of detailed reference. This stuff is quite handy to see these things. What I will do is I will grab these ones and throw them into our Pure Rv documents. Then the other stuff, I will just keep a Google Tap open on my other screen. Bear with me for 1 second, one, two, three, four, going to throw that in here. There we go. Hydraulic system. We are basically just going to make this. The only thing that I want to all I need to think about is how I'm going to basically attach this to the ground itself. But this stuff over here, that one looks fairly simple. I guess that we can make something like that here, which is a beam or something. So let's go in and let's get started by creating a simple cylinder. I go to turn on my edge faces. So segments, let's go 32 segments. Just make it nice and around. I'm going to go ahead and turn on snap rotation for now, I will just basically make this straight, we're not going to angle it yet, not like we did last time. Now we're just going to make this nice straight. What do I want? I want to make this probably a little bit smaller. I want to also go in and make this a little bit thinner, something like this. Then what I want to do is I want to hold shift while scaling to duplicate this mesh. I'm going to basically use this later on as a boolean. So for first do this, now let's grab the original one, convert the Adi poli and lets you select the half of the faces over here. It's delete that. Let's delete the front and the back. Ben what we can do is we can simply grab this. Let's say that we make this, like, a little bit more extended out and then bridge this. Yeah, that feels like a correct scaling. Now let's go in, and I'm just going to make this one a bit smaller. So that it all fits. I do have the urge you to do this, but I don't think that will work or really look good. So let's see. Let's go in and I'm going to cap both of these holes. I specifically cap them because when we do a boleon, which means cutting out one shape from another shape, it's best if you don't have a lot of geometry on those shapes. But right now, I'm just not sure if I really like the look of this. Maybe if I make it like a bit larger. But I do also feel the urge to maybe, scale this in and let's then go ahead and use our vertex points over here to then balance this out a little bit. Yeah, something like that looks a little bit more better. Now, to create a boolean, just go up here and you can use a Boolean function in every tree molling software. We just go to compound objects. Pro Boolean. Then first of all, before you do anything, go into advanced options and turn on remove only invisible because else it will mess with your geometry. Start picking and just pick your mesh, and there we go. Nice and simple. We got this one over here. Now we can already go in and just add a quick chamfer to this mesh. I rather add the chamfer before I start connecting anything just because it will look a bit better. After doing that, I can see that I do want to probably push this one down a little bit more there we go. So that creates a pretty nice chant for note. Now the next thing is that we would need to attach the piston to this, which kind of looks like what you can see over here. Then that piston goes in here and we could probably do a system like that. Do I have some better reference? I do not. I'm just looking on my other screen. Here I do have some more reference where we can basically, I can think of something. I should be able to do that. Let's go to our top view. Let's go ahead and start with the piston. Standard primitives, cylinder. We are going to go from 32 a little bit lower, just to make it more manageable. Let's say 26. And then just going the center and just create a piston. Then my idea is that I'm going to actually attach this and then I'm going to just like a Willy soft bullion. However, I could also choose to attach it like this. But I feel like that people would find this, even though it is in real life, look more like a bug compared to if we just attach it in here. Let's just do here. It's going to go in and we are going to do some movement later on, but I just want to make sure that it is somewhat a correct scaling, and then we can convert this soon at the ply, basically extend this out to the point where we want. Then next, what we're going to do is we need to create this shape over here. Now, for this shape, it might be easier to simply duplicate this mesh. Contrave and copy it, paste it somewhere here. Oops Sorry about that and push this out. For I'm going to just make this quite small. And let's go ahead and just start. First of all, let's hold shift and extrude this in and do something like this so that it goes inwards, maybe scale this flat a little bit. Then let's have a look. What does it do? It goes roughly to this height, and it is a little bit thicker. Once it has done that, we can hold shift and just the X and the Y, we can go ahead and extrude this out because you can also just extrude like that, as you can see. I can see over here that doing that, it's a little bit too white weight white. So I'm going to maybe push that back in a bit. Now, I am going to add a segment roughly in between here later on. But for now, let's just go ahead and push this back in and extend this out. Now in here, select an edge, ring, connect and just place a single connect, and then just chem for it. And I'm just going to go ahead and yeah, just one chamfer is fine. Because what we can do is we can basically just select this, scale it in, and add another small chamfer. Bevel. There we go. So that we'll take care of that. And of course, we are going to bevel all of these things later on. Now, next is that I'm not super comfortable with deciding what that end looks like. But looking at it, it looks like this. It looks like an end like this, and then what we can do is we can create a system on top of this. So yeah, that should be fine. I'm just going to What happened? Oh, yeah, I got the image. So what I'm going to do is I'm just going to go ahead and I'm create a system like that. Now, first of all, seeing this probably want to, like, push this a little bit more in. And I will later on also connect this, of course, so don't worry about that. Let's push this down. Let's go ahead and add an additional small extrusion. And what I'm going to do is I'm just going to go ahead and hold shift and extrude this out to turn it into, like, a little lid. I can also add a quick segment here. And although this will be bit annoying with bevels, I can just push this in just to really make it like a lid and just give it a little bit extra detail. Then next, what we're going to do is we are basically going to scale this in and then it looks like you want to push this in over here. And that's sort of where you want to stop. We might need to play around to the scaling a little bit more. Well, we definitely need to play around to the scaling a little bit more. But let's say something like this. And although maybe make it a little bit longer, now we are going to go ahead and I will just 1 second. This image for some reason, I cannot save the image. It also looks really low resolution. But what we're going to do now is we are just going to create this little module over here and then we'll take it from there. That module, let's go in and it looks like it's pretty much like a semi cylinder, the cylinder is about as white as the rest. Let's say we have the cylinder over here. What I'm going to do is I'm going to scale this down actually a little bit. Okay. And then pretty much what it looks like is that you select half ID. So let's go to our side view. Right click, convert to add a Poli. So it looks like we select half ID and we scale this flat. So it's kind of just sticking out. Next, we can select these sides, called shift. What I'm going to do is I'm going to go ahead and I'm going to actually, you know what? Here, let's make it a little bit more interesting pattern. Just going to go up here and just set it at my pivot point is exactly in the center, and then I scale. This one is more specific to three years Max, but basically just end up with this scaling out. Once that is done, we can go in and we can so just making sure I'm on the right scaling. We can extrude this in scale a little bit more. Then what we can do is we can go ahead and extrude this in again. Push this out. In again, and then we can just go ahead and we can delete this. Now at this point, if you just do a border select, we should be able to simply bridge this and there we go. Maybe make it a little bit thicker. But the general idea is that we have this and we are going to rotate it 180. And I need to scale this more flat. Just select these faces over here. And what I'm going to do here is I'm going to probably like quite a simple, extrude. Select the sides. Extrude again. And of course, we're going to mirror this later. But for now, let's select this side over here. Let's just do JEFR and make it quite round. What you can see over here is that it's not like a perfect 90 degree angle. Whenever you have this, all you want to do is you just want to quickly reset your transforms or in Maya, freeze transforms or in blender, apply all transforms. And then what we can do is we can go in and now you can see that here it's now a better bend. So okay, we got something like that. I feel like it would actually also make sense to probably have a bend over here and maybe not push this out too far. Yeah, let's say something like this should be fine. Um, I'm guessing at this point I already want to go ahead and just add some weighted normals. These weighted normals are a little bit more specific. So the ones over here are quite traditional. So you can just make this like very small. But these ones, we basically do want to add weightnomals here because else it cannot really read from it. However, these weighted normals are going to be quite a bit smaller. Now, well, I'm also going to Oh, I should have done that earlier. For now, just do it by hand. Normally, what you can do is you can just select the pass and then convert your faces to polygons. But because we already have a lot of polygons selected, we would have to redo that entire selection. So at that point, it's just faster for me to just by hand selected. Okay. Yeah, that should work. And let's just give it a quick chamfer over here. I'm not sure if I want to make this chamfer quite a bit bigger, to be honest. Yeah. Sorry, guys, I'm going to make that a little bit bigger. So let's select these. Also on the other side. Except for the outer ring. These ones can just be quite a small jamer then over here and now we can just go ahead and we can just double click and you can select by angle and just basically end up with selecting these things. This point, I am going to say a little bit less the things like every single function I'm doing. So most of the time it's just like more about getting to the goal that I'm trying to show you. In this case, the goal is to just make a selection, I should not need to explain it every single time, I feel like. At this point, you can see that yes, there is now a little bit of merging going on, but we can now just go to our vertex mode, select all of our vertices and just weld is at a very low level. 0.05, for example, over here. Just checking if it's, that's now one bit. We now have those pieces done, and then all that we need to do is over here, do one last quite small EF. Okay. And what I'm going to do is I'm just going to go ahead and ld X to go into X ray mode, and I'm just collapsing those ends together. Collapse and collapse. Now at this point, I will go and just already add the weighted normals and then turn off my edge and pass just to make sure that everything is actually working. Yeah, that's working pretty well. Okay, so we got that one done. And next, we are going to temporarily remove the weighted normals and we are going to add a symmetry modifier on the Y axis. And just nice place it into the center. Okay. Yeah, the chute work. So next, what we will do is we will basically just create a system fairly similar to this, but honestly, it's pretty much is going to be this one in a way, but then it's going to be just like filled in. So yeah, I can probably just select this one. That's probably better. Remove the chenva and just remove that center hole. Wait, we can just select the side faces and remove those and then double click to remove the center hole. Again, Capli and this time, I'm just going to send my pivot quickly so that I can easily remove it. So, often, of course, right now in a tutorial, doing all the type of modeling and everything, it's quite slow. When you are more experienced in modeling, things will go way faster, especially if you have the hardware. That can really handle with these things. What I mean with this, for example, I'm now using a specific mouse that I don't really like, which actually slows me down. So don't be too worried if at first, it goes slow. Sorry if the tutorial goes a bit slow, but it's just really difficult to go faster with this kind of stuff. Now what I'm going to try and do is I going to create this one. And then my idea was to basically create a connect and literally do almost the same thing but reverse. So we basically go in here. But this time it's going to be like flat. We are going to select the corners. And give those quite a nice, large rounding. I can see over here that I need to reset my select it again. Try again. One, two, three, four. Yeah, there we go. Okay. Then later on, we can, of course, push this to a level that is more correct. Now, of course, we are also going to work on an angle, so that's something that we do need to keep in mind. But for now, if I just push this out, add asymmetry again on the Y axis, and for now just move it in here and then add and add a poly behind it so that I can push this a bit further back. I think that something like that should pretty much work. Yeah, I have another idea for something that we can make a bit more interesting. But let's first of all, place a cylinder in between here. Basically, what I had in mind, if we just place a cylinder here is that I wanted to make a hole on this side, and we can do that by just holding shift and scaling this cylinder up and then isolating it. I wanted to also go in and I wanted to kind of make a hole over here, but then make this hole like a little bit larger, something like this and this. And then the bevels will kind of take care of the rest. So let's go ahead and just grab this piece, convert to adiple. It's going to get rid of the centline and I can just go in and do pro Boolean. Of course, I could have done this before we did the symmetry, but I only now thought of doing it. So there we go. These ones, I want to select or push the mild further in. And then I wanted to just go in and I wanted to, like, scale them in a little bit. And for these ones, I kind of want to just go in like this, and then the bevels will kind of take care of the rest. So let's go ahead and just add a quick chamfer, modifier to this, and give it quite large chamfers, you can see here. And then if we just add the weighted normals, now, if we look at it from distance, I would say that the center one, I actually want to make it closer to this piece. So I'm just going to go ahead. And a cool trick that you can do is, if you just go ahead and turn off the Java, we can just select these center lines over here and just press grow selection to grow it once. And now if we go outside of Isolate view, we can now, it's a bit tricky to see. But we can now, scale this over here, add another chamfer. There we go. That looks a bit better. Okay, cool. So we basically have quite a simple hydraulic system. We still, of course, also on the top end, need to create a similar type of system where it will just kind of go sticking in. For that, what we can do is we can pretty much just, like, duplicate this probably. But these ones would become quite a bit, thicker. So what almost would be handier is 1 second, if we isolate this, go to our side view, and then just scale up the entire thing until it kind of fits in that hole. Something like this. And then just grab this piece and start by scaling everything back down. So I'm just going to go in and push this one in, push this one in. Select the center and push this one down as far as we can, something like that, and then grab the cylinder and again, push that one in. There we go. Easy, does it? So we have these things that actually looks a little bit too big now that I look at it. So I might want to, if I just scale it down, that feels more like a logical size, what we have over here. So that is no problem. You can just quickly grab this centerpiece over here and again, just do some scaling. Sometimes you just figure out that the scaling is not exactly the way that you wanted it to. Can happen. Unfortunately, we have a broken loop. The reason that we have a broken loop is because when you do a Boolean, sometimes your vertices get a bit confused and you get these floating vertices. Now you can remove them by hand by pressing Controlbgspace, or a really cool tricky side of three is Max, is that you can go to selection, set the edges to two, and press Select, then it will select all of the vertices that only are connected by two edges because normally vertices are connected by three or more. Then you can just press Control Backspace, now you will see that if I double click, it magically goes all the way around. And then I can just go in. And push this in, turn on Chevro again, add some weighted normals, and there we go. Now we still also need to connect this to this part over here. I'm just having a think about my hydraulics. I need to have a system where I can pretty much rotate it and that system would be this one. I can rotate everything from this piece to make it angled. But then over here, I would need to slightly change the base myself. Knowing that I should be able to already start connecting this. I need to connect this, and that's the last thing, I think, and add some weight normals to those. So to connect this, there's multiple ways that you can do it. I'm just going to quickly get rid of my chamfer because it's cleaner. And what you can try is actually to also use the Boolean, if you go pro boolean, but set this to be union and once again, remove only visible. If you then start picking and you select this, it will become one model and it should most of the time, not always, but most of the time, if you just look inside of the faces, here, it basically creates like a hole. Now, at that point, you can go ahead and you can start by doing a little bit of cleanup, which would consist in this case, for example, nicely connecting these edges here because I do want to export these with connected edges. Now, when it comes to creating models that will mostly just have tilable materials like these models, there is a little bit more flexibility where you don't technically have to connect all of these ford sees together. The reason why you often do want to do it is because when you create unique assets, and you start baking those ss down from high ply to low poly like we've done with the trim sheet, what will happen is if you don't connect them together, you might get baking errors. Now, these pieces will technically automatically be connected anyway when we export this to Unreal because unreal automatically connects floating vertices, but you just have so little control that I personally like to have just control over my jumtry, especially when I boolean because here you can already see some errors and those arrows come from our boolean specifically. V AFD, for example, now, you cannot press control backspace because then you lose your edge. You just want to do target weld and you want to weld them often down. If you weld them up. Sometimes when you weld them up, you will lose her see. Actually, I did it one. You can see over here that we lose our vertices, but we can just do a simple connect again, to connect it together. This is now one solid chunk. Now, at this point, as I said before, I also want to go in and I want to oops, connect. All of these pieces together over here. Now, what I will do is I will just very quickly pass the video and do this because this is not exactly teaching you anything new. Let me just pass the video and connect all of these pieces together. Okay. Here we go. We can now go ahead and add a EMF to this. Also, technically, those vertices over here in the center we don't need. I know that we are using nanite but just for the sake of cleanliness, I'm just going to remove it. Here we go. And I'll say this one. The reason I have a center line is because I just mirrored it to save time. So let's go ahead and chamfer. One segment, push it down. I can see over here that I have some loose vertices. Let's go back into our added ply, select all of our vertices, and just do an outer weld on a very low level. And now you can see that that has fixed those things. And over here, you can see that over here, it also gets pretty much fixed. Yeah, I'm fine with also having a bevel down there. I'm just going to press Addipl and I want to just go in here and just collapse these two together because they are so close together, we can just as well connect them and wait normals. Awesome. That is done. This one has weight normals. That one is done this thing. Let's go in and just remove the side faces so that we only have left what we see. And now we have this one. I'm pretty much fine actually with the dimensions. Yeah, that looks fine. What I'm going to do is this side you will never see. However, this time, I want to manually add my weight to normals, just because I know that over here, there is some messiness where it's so small that I just don't want to break things. I'm just going to go in here. Start by adding some chamfs Yeah, let's do 0.2 over here. No, you know what? I feel like this is all like Wi smooth metal, so I'm just going to make it a little bit more. 0.3. Then we have the Wi small versions. Oh, let's remove that line. One, two, three, three, select this, four, five, six, and seven. So small chen fas. And then this one over here, can you see it? Yes, you can see it. So in that case, it's just better if I also add a simple champ over here. 0.2 or something like that. Wait the normals, and that seems to be working just fine. Okay, cool. So we got those ones done, and yes, it kind of merged in here. If you want, you can go in and, like, completely combine this together like we've done before, or if you are like me and you're a little bit in a rush and you don't really want to do that kind of stuff or maybe leave it to a polishing phase for now, just go in here, and I basically do something like this where I push it up a bit. Move this one up again. Select the bottom line and just scale it out so that it creates like a bevel, and then just push, Oh, God, make sure to then select your edges and just push this down over here. There we go. See? That just makes it feel a little bit more grounded without actually needing to do a massive amount of work. And don't forget to add weighted normals to this piece over here. And to this one, select the sides, contro I and just delete everything else. Okay, awesome. So now what we can do is we can start actually setting this on a nice angle. Now, with that stuff, I can pretty much just delete these. Let's go in and let's go to my side view so that I can select everything in one go. Here we go. Okay. Now, let's go to the site, and I'm just going to go ahead and I'm going to carefully rotate this sideways, and then I'm going to just turn off snapping and I need to rotate this manually a little bit more. The goal is that this one is going to basically oh, wow, that's way off. It's going to be sticking somewhere in here. Here we can see that we are already hitting the ground, but there's no problem because in this case, we can be quite basic and just push it in. Then what we're going to do here is we are basically just going to alter this frame to make it work. Let's say something like this and let's make the hydraulics. Let's make it a little bit like in the center, something like that. Now for this one, the only thing that's a little bit annoying is that I added these round pieces here. But let's just turn off my weight norms and chevas. Honestly, for something like this, I think we can literally just get away with just doing a nice push over here. And same over here. Since I do not yet know where exactly the ground is going to end up, what I'm going to do is for now, that was a mistake for me to add this round piece already. So just press controlbgspace. And I'm just going to go, let's do controbgspace on this one. I'm just going to go ahead and make this angle for now. Same over here. Let's see. Can I just do this? There we go. I can see over here that we have a little bit of, like, a weird connection. Oh, it's because we did not connect those pieces together yet. Yeah, that's fine. I first of all, want to actually see inside of unreal what it looks like, but I feel like something like this could work. I think that will look still fairly logical. Let me say it like that. Just go to go ahead and press Control Backspace over here. Mm. Contrabgspay? Yeah, okay, so right now the jump tree is a little bit too broken for us to actually do this kind of stuff. So let's for now just like, do a target weld down because I, of course, want to make this like, absolutely straight. Let's also do target weld here. That's for now just throw on a quick way to normals here. So see? I feel like that actually looks quite cool. So we now have a hydraulic system like this before we actually go in and duplicate this because we also want to do some cleanup, the first thing that we're going to do now is we are just going to export this. At this point, I'm just going to go ahead and hide my plane. And I can just pretty much select this entire piece, file export, export selection. And we are going to overwt this with our original. So our original, just as a refresher is called support plate long. We can go in here and just simply add Support plate long. Yes, I want to override it. And now it's always nice to just see it pop from our blockout, right click reimport. Reset the AVX. There we go to our final scaling, as you can see. Also double click on it. And yeah, just make sure that Nanits turned on. Okay, so you can see now that we have a weighted normal, so that's all looking pretty cool. However, I was quite far off with my ground. My ground was actually here. Ah, that is tricky. What do I want to do with this? I'm tempted to just scale it. I feel like, Okay, if I do this, it looks nice here. Yeah, or I can just push this entire piston down a little bit. But it was kind of nice to just have this little piece down here that's kind of bumped in. I I don't know. Shall I just change the piston? I feel basically what I'm thinking about is that if I push the piston in, oh, I cannot see it on my camerangle. If I push this piston in, what will most likely happen is that it just looks really small and really short. I can also go in and actually do something like this where I have this and I just move the entire piston up a little bit. That might be a better solution. It does mean that we do not have this little lip over here, but yeah, I can live with that. Let's just deselect everything except for the piston. Okay, so it needs to be in there. Let's just try moving it here. Do a quick export. Just to see. And yes, I am just using guessing. I can, of course, show you how to, like, do it completely accurate and everything. But often just guessing it a little bit is no problem. Like little tis takes a couple of minutes. So here I can just do this and be like, Okay, so that didn't work, so let's move it down a little bit. And once again, let's just export that. In many tutorials, you will see people calculating the exact distance and everything like that. But often when you are working in production, you don't do that kind of stuff. You just do this, see? And then you're like, Okay, good enough. It's also sinking in, so I don't really need to, like, art any type of bevels or bending or anything like that. And also from the side, the only thing that I don't really like is that I think I want to rotate these beams over here because it just feels a little bit too boring right now. Even though you probably will never ever see it, I will know it. So first of all, let me just go ahead and clean up this shape. So what I will be doing is I will just do the same stuff that we've done before, turn off the chefs for now and just once again, do all of the connecting like you've seen here. So let me just go ahead and pass the video until that is done. Okay, so I cleaned up my Jon tree a bit and just connected everything. So now at this point, what we can do is we can basically just select our piston and simply move it over here. Of course, later on when we are going to do our UVN wrapping, we probably will move it again. But right now I'm more focused on just making sure that the shape looks correct. Now, this one. What I'm going to do is, I'm just going to turn off my weight alms and Java. See how easy it is to just have the Java as an arnon that you can turn off. But what I want to do is let's start by just setting this to local and I'm going to then snap rotate and I'm just going to rotate it exactly 90 degrees over here. Once that's done, I'm just going to edit my added ply and hopefully we don't have to do any type of really weird editing. I can see over here that the movement is a little bit awkward. But let's just push this back in. And then this one, we want to just push it back there. Just give me 1 second. Going to push this back in here. And then this entire thing needs to be pushed up. It looks. I just want to try and make this somewhat straight. And it's totally nuts wight. I hate these angles. R is something I should have planned out better. So I do apologize for that. I hope you guys were smarter and just did it first straight and then just simply rotated everything. That would have definitely been the better way. Okay, anyway, so I now have this one. Let's just turn on my chamfer and wait enormous again. It's looking good. Can I by any chance go for local? Yeah, it looks like local versions are working. And what I was thinking is, first of all, let's say that these bolts I'm going to get rid of the weighted normals. I'm just going to go ahead and select one of them, contra I and just delete the rest. And then, of course, you center your pivot, so we can basically place these over here. I don't care that they are black right now. This is something that I will fix in a bit. First of all, I just want to very quickly, place them here. Move them. Next, what we are going to do is let's just go in and already attach them. I can see over here that I also need to change the rotation of my mesh. Let me just have a look. Here, see it's slightly angled. I want to probably go in and fix that by just moving it a little bit more. I also need to go in and I'm just going to do that on my side view, move it down so that it fits better. Now we can just quickly alter our bolts also a little bit based on that. You can just go back into face mode or element mode and then move them if you accidentally messed up the shape. There we go. You can just quickly add a weighted normals. We got that one. This one over here, that's interesting that it gives me a little bit of a smoothening issue. What I'm going to do, I'm just going to do Adipoli Sorry, I'm going to art Adipol after my chef, select all of the ertzes and just do like a really quick weld. Just make sure that that is all working correct. Yeah, seems to be working fine. Interesting. That is something that I will fix in just a bit. Let's first of all, just go in and do a very quick symmetry modifier. Flip the symmetry. Where are you? Sorry. There you are. Push this somewhat over here. I can see that unfortunately the symmetry modifier isn't working perfect, let's go ahead and do an added pool and just move all of this a little bit down into position. I was going to go ahead and have a look at this smoothing over here. Sometimes just simply wiggling around an edge like that can actually already fix it. So sometimes there's a little bit of a weird error during the smoothening. And you just need to give it a little bit of wiggle and then it works better. I will do that. Then I will place this and I only have to place this once, and then I can just move it over to the other side. There we go. Okay, cool. We got these pieces over here ready to go. Going to select both of them. And at this point, I want to also select this side beam over here, and I want to go in and I want to select this piece and just isolate it. By isolating it, I can way easier or way more easily go in here. Make sure to set the movement to view and I can just go in and in this case, I will do a little bit more guesswork. I'm just guessing it to be correct or not. Here we go. Then let's say that I will also place another one just here. And I will place another one roughly around here. Okay, so that should pretty much do the trick. Now let's go in and we can just temporarily, 26. 25 Creating Our First Final Asset Part3: Okay, so our model is now pretty much done. Now what we're going to do is we are going to go ahead and start with the UVN mapping. Doing the UVN wrapping for these type of assets is actually really easy because we will be using tib materials and the assets are quite blocky, so we are just going to do automatic UVN maps. We can only not do UVN maps that are automatic on some shapes that have round elements, which happens to be all of these shapes over here. So for those, we will do a little bit more manual UVN wrapping. So now, for this, I am going to use a tool and it is called text tools. So text tools you can get in both Tri IMAX and blender. Just give me a second. Here we go. As you can see, if you just go to renderjs.net slash Tex tools, then you will already be able to find it. It's just an improvement upon the original UV unwrapping tools. Of course, you can use whatever you're comfortable with. I often also tend to use RSM UV. However, whenever I create objects that are mostly out generated UVs, I don't really need Rhythm UV per se because Rhym is more for really complicated and detailed UVs. So what are we going to do? First of all, we need to kind of like the fine of our materials. I, of course, have my reference, and I pretty much wanted to go ahead and go for one, and then we have two materials, and then we will also have, on the bottom side and on the hydraulics. So we can definitely just go ahead and create a few materials. And we can easily do this by going up here. If you happen to have this one, just click and hold, and I like to often use my 1 second is load. Here we go. I like to often use the simple material editor just because all of our materials are quite simple. Now, once we've done that, we can go in and we can already navigate to our painted metal, and that's basically the base material that we will be using. Even though inside of unreal engine, we will switch the material around. We will just use this specific material just for showcasing. So we have the first one. Let's go ahead and for the first one, let's just call it. White metal. Then the second one is going to be gray metal, third one, black metal, fourth one, raw metal, fifth one. Orange metal, we pretty much only have metals in this case, but this already gives us a pretty decent overview. Now, I'm just going to go ahead and select the first one and just over here next to our color, just click on it, and then scroll down and grab a bitmap and just press Okay. Now you can simply navigate to your site. What you do want to do is turn on override because else it twice change the brightness or gamma of your texture and it will look a little bit too dark. We got this one. We can go ahead and we can also convert this over and it should keep the naming over here. So I think it looks like it did accidentally also replace the name. Sorry about that. Gray metal, really quickly change that again. I forgot that it also replaces the name raw metal and orange. We've done that. White metal we can stay. Then we have gray metal. Then what I want to do is I do want to go in and just give it a little bit of an overlay and we should be able to just do this, sorry, go in here. Uh, not that one. This one over here. So this is just like a quick way. I often don't even change the colors, but it's just for you guys to kind of, like, see. So here we have the clear coat and what I tend to do. If you just want to go for darkness, you can actually just change this value to like 0.5, for example. This one I want to set to white. And now you can see that it has changed darkness and then this one can be, for example, 0.8. But if you want to change the actual color, I tend to just quickly throw on a coating and set this to one and then quickly make it like an orange color. But yeah, the overlaying doesn't work the same in Max as it does real, but honestly, we don't need it to be. So this one over here, I can go ahead and well, actually, there's not much I can do. It's just raw metal. So for now, I will just leave it like this. This one? Oh. 0.2, I mean, not 0.8. Here we go. So it's just a very quick overview. That's all you will need. You just need to make sure that you can see that there's, like, no stretching going on. So, for example, now I apply my material, and I'm actually going to move this over to my other screen to keep it open. I'm going to apply my material, and as you can see nothing is really happening because we don't have any UVs. But this is where basically the magic comes in. So what we can do is we can simply add something that is called a UVW map, which is only two Tris Max. You guys, you will have to probably do manual UVs or you will have to do the automatic UVR mapping tools if you are using anything else but Tres Max. But for us, it's really easy.This UVW map box. And then I like to set always the box like exact value. So like say, 200 by 200 by 200. When it is exactly square, it will tile better. And now you can see that instantly we have our UVs. At this point, we can click once on our modifier to scale it up and down. So we can choose the scaling of our metal and we can also do some rotating just to make the metal somewhat follow this direction, but this metal doesn't really have a direction. Now you can see that that is really easy to just very quickly apply these type of things. Now on top of that, what we can do is we can add a quick added pol and then we can, for example, go into Face select and we can decide which material we want to give to which area. Now, this one most of the time it doesn't always work on Adipol. So let's just check. Sometimes you need to collapse it. So if I go gray metal, here you'll see, that's what I mean. Sometimes it doesn't really when I go down here to gray metal and press the assign to selection, it doesn't actually read the selection very well. In those cases, what I tend to do is I tend to just go ahead and collapse this. Now, at this point, because we are going to do collapsing of our HEVAS I would like to save a copy and just call it final assets score backup 01, for example, just to get a quick backup in case we need to mess something up. Now at this point, I can get rid of this at a pool because I didn't use it and I can convert this all to Adi pool because now, if you will see, let's see, we need to go Actually, this stuff over here, I'm going to remove it because it looks a bit ugly and it's not really needed. So basically, let's go in and let's have look. So this one we want to probably lead up until this point over here. So what I can do is I can just quickly select this one, Control click this one. And now at this point, we also want to go ahead and we want to probably grow our selection a bit. It's a bit tricky because we don't want to grow it everywhere. Like, we want to make this area gray. Let's see. Probably up until this point. Like, we just want these to be almost like gray panels that have been put in here also. And I'm fine with just keeping these sental over here white because this will just have a bunch of occlusion, so you will not really notice it. So I'm just checking bit awkward angles to check, but I'm sure we'll figure it out. Yeah, I can live with that. Not this one, though, that will look very nice. So let's actually de select these. And these ones. Okay. So when you're pretty much happy with your selection, this looking good, we can then go in here. And now, if you would press this button, you can see that now it does work. So that's just a little tree smec thing that in the apol it doesn't really work always. Now we have those done. I'm going to go ahead and to me, this feels also like a perfect place to have a different material because it's like, embedded inside of it. So let's also make this 1 gray over here. So we have gray gray gray. Then we have just a bunch of white sitting in there. Now over here in the center, I'm going to go ahead and make this one also gray. Over here, I feel like that also makes sense. And now what we can do is this one is actually pretty much fine. So right click and just height selection for now. We have these pieces which we can choose if we want to make them raw metal if they have been placed after the painting or if they have been placed and they are also already painted the same color. I guess just to give it a bit of color variation, we want to probably go for some raw metal. What I'm going to do first, however, I select all of these. And yes, we can literally just do like a UVW map. Oh, let's apply. Let's do gray metal for this one, UVW map. Let's make it again 200 by 200 by 200. Try to keep everything fairly even, so I'm going to scale it up also a little bit. And just for the sake of just in case, I'm going to give it the same angle. Just in case I later on want to change the material, at least then the angles are pretty much similar. Now, you can see over here that actually, I want to probably scale this down because the metal is really large in this one. So I'm going to scale this down a bit, and then we can just go ahead to convert this to another pole. Now, at this point, I don't really have to do anything, so just height selection. We have these pieces. Now, what might happen and I will show you is, let's say that we have these ones. If I try to now convert an ti polly and do a UVW map. This is basically what will happen most time. I don't know if it'll happen this time, but it might add unwanted seams. So if I now, for example, use my text tools and press added UV and have look here, see, this is what I mean. It's just not able to kind of properly add these seams, as you can see over here. So for these ones, it's actually really easy because there's no back. It would be as simple as just selecting everything and pressing iron, which will apply a new UV, then you would, for example, go in here and just very quickly pack them all together. Now, if you see this that it is a bit broken, I like to use the quick peel to very quickly fix it. So you can see like this, we can instantly just, like, make them work. And then later on we can also scale them all down. So what I will do for now is I'm going to select all of them and just do it all at the same time. So let's go in here. I think that's all? Yes. So now we can go ahead and just add an edit UV, select everything. Iron. Now that will take a while because the more objects you are ironing at the same time, the longer it will take. So let's give that a moment. And I'll probably pass the video because it's taking a bit longer than expected. Here we go. And now let's go in and just do a quick peel. And honestly, that's already in the correct position. So I'm already fine with that. Now what we can do is we can just go in and of course, let's add our raw metal to this one. And just check. Yeah, that's already, like, a pretty decent. If you, of course, want to make your texture feel bigger, just select everything. Go up here to 34 mode and just hold Cotrol and just scale this up. And then what you can see, oh, sorry, scale this up. Yeah, yeah, scale it up. Sorry about that. And then what you can see is that the textual tile more. So we got those ones done, right click, height selection. Now we are getting to the ones that are a little bit more annoying just because of their shape. So most of the time I just tend to do manual UVs for this. So, for example, we have these ones. I can actually just select everything, and I can already convert it to an added ply. Now, the nice thing is that you can actually copy UVs from one to the other if the model is exactly the same. This one is actually quite easy if I really look at it. Um, so I'm checking that the bevel was not broken. What I can do with this is I can just go ahead and it UV, pretty much for this side, first of all, I select everything and I press iron. This will just make it all one solid chunk of UV. I can then go in here and what I want to do is I just want to double click and I'm going to play some seams. So I'm going to go in here and I feel like placing a seam here. What it will do is it will then unfold this entire center over here. So I'm going to go ahead and place a seam here. Now, I'm a bit worried that over here, it will not be able to unfold enough, so I'm just going to place one seam here and I can do that by going up here to break, and that will place a seam. So here we can also break. And now we have the back side. We can do another break. And this side, which I do need to do a bit more manual selecting and do another break. Okay, cool. Now that that is done, or what we have to do is we can just go ahead and do a quick peel. Now you can see that everything is quite in a messy position. But what I will do is I will just quickly do the UVs for all of them, and then I will fix all the positions and place everything together. For now, this is fine. I'm just going to go ahead and continue on to the next one, which is this one. I isolate it. This one is very easy. All that we have to do is just iron, then select an edge that is the least visible, for example, one at the bottom, and then break quick peel and I do like to sometimes also do a relax over here to make sure that it is properly UVnwpped. And also, what you can do is you can actually use your checker box over here to double check that everything is looking correct. Now, that's pretty much it. We can now go ahead and go in here. Again, select everything iron. Then we want to decide which place that you want to place this. Over here, and we can go ahead and let's do a break here so that we'll just unwrap all the way around. Then it will also unwrap if I place a break here, let's also place one on the inside and another one here, another one here. So we'll have one that goes all the way around here, all the way around here. Then lastly, we can go ahead and we can select an edge here just to break this cylinder. And that hopefully already does the trick. We'll see. So this, select everything. Do a quick peel and let you double check by going up close. And you just want to kind make sure that you don't have any overlapping edges or anything like that, which sometimes happens if you are not able to if it's not able to unfold enough. But this all looking like fine. So I'm totally happy with this. I can now just go ahead and go on to the next one, which is this large chunky piece. Just go ahead and add it, select everything, iron now, over here because this is a calm we can pretty much just completely unwrap it except for this area over here. Just going to go ahead and do a break here. And then I just basically want to place like a singular UV seam, let's say that, like that. And now, if I go ahead and again, unfold, you can see that over here now it has just become one entire piece, which makes it quite handy to UV unwrap something like this. Same with this one. Oh, no, wait, sorry, this one is not the same because we have merged it together. I'm going to get rid of. Yeah, let's actually get rid of this entire bottom side because you will never see it. So let's go ahead and select this. Iron. Let's go in here. And I'm just going to go in and I'm going to first of all, get rid of this cylinder. Then I probably want to go in, and I probably want to let's see, I'm going to cut it up over here. And I'm also going to cut it up along this side. Yeah, I think that's fine. So let's go ahead and break that. And then finally, we also want to go in here and just place, like, a single cut all the way along here. I think that's about it. So now let's go ahead and select everything. Let's go ahead and do a quick peel. Yeah, that is looking fine. Okay, so we got that one done. Then the last ones, we have a cylinder, which is not very difficult. Just select it. Iron, place, break, peel, collapse, which you can see it goes really quickly when you get used it. And next we have this one. So this one is is it exactly the same as this one? If it is, what we can do is we can just right click and press copy on the bottom one, go to the top one, right, click, and press paste, and it looks like that. No, it's broken. So we have changed too much on it probably because we removed the center line, unfortunately. That means that we have to do a unique unwrap for this one also, although it's not that big of a deal. So let's just go ahead and iron it. So this one we were going to go ahead and we were just going to loop it around here. It's iron, iron. Let's break. Sorry. I was going to A up around here because I was worried that it might stretch too much. Break. And then this one, honestly, this one is fine, just because it's so how you say it. It's such a thin bevel, I should say. So what I will do is I will actually, oh, God, the loops are not working really well in this case. I'm just going to go ahead and I'm going to do some manual looping or some manual selecting, I should say. You can probably keep this attached to the larger part, but I like to just split it up just in case to avoid any messiness. Oh, hey, look at that. That's not correct. I will now place a loop, but I need to keep in mind too, so that's probably causing problems. I'm just going to convert it to Adiply do a target belt and I need to target belt this together. I just need to check. I think that was the only error. Let's just in case, select all of our vertices and just do weld on a very low level, just to make sure that we have everything connected. And now what we can do is we can once again select this. So you can see that the loop is still here. Also, if you want, you can actually do this trick where you can actually go in and do a phase select that might be faster in this case. I don't often use this technique anymore, but you can do a phase select. And then what you can do is if you break, it will only break the ends of the phase. So you can see that that kind of creates an instant unwrap also. Select everything, peel. That's looking good. So yeah, and now what we're going to do is we are going to just combine all of this stuff together. So let's just go ahead and select all of them and do one more at GV. Next, what we're going to do is we're going to start with a simple pack. Just go down here, turn on rescale, rotate and set the padding to 0.001, and just press this sorry, first press this button over here to rescale. What it will do is it will scale our elements based upon real world scale, and then we can do pack normalized. So, okay, we now have a pack and you can see that it's already rotated some stuff, but not everything. So we just want to kind of go in here and select the pieces that are not rotated correctly. Tres Mx is pretty bad with the system. RsmUV is absolutely amazing when it comes to properly rotating your UV shells. But as soon as there are cylinders in here, Treismx is just getting confused. And if you have cylinders along with these squares, it just gets more confused and it will even miss rotate the squares. We now have this stuff, and now if we do, go ahead and do another packing, you can see that now it does a better job. So at this point, what we're going to do is convert Adipol. We are going to get started by applying a material. Let's start with our let's start with the gray material. Then double check to make sure that our UVs are correct. They are not. I want to select everything and want to hold control, I want to scale up a little bit. Yeah, that looks fine. Now what we're going to do is we are going to go ahead and let's say that we have this one. I wanted to go in and I wanted to select this. Yeah, we can probably leave it up until this point. I feel like this might not look as good. So what I want to do is I want to raise a very quick swift loop here. Select this edge, and I'm just going to extrude this inside a little bit like this. And next, of course, don't forget that we do need to add some bevels again. So let's do this. Chafer and just give it like a super small chamfer. And just throw on the weight normals again. Now, of course, once we've done that, we need to go into UVs. But often all we have to do is we just have to relax UVs. So we can select contra and just press relax. And that should add that additional piece in here without any problems. So now that we've done that, now what I can do is I can go in, select this, grow it a few times. Like this and set this to be raw metal over here. Raw metal goes into gray metal. I don't think I want to make this gray. So what I will do is I will press contra I to invert my selection, and I'm going to make this one orange. I'm going to make this piston orange, and I'm going to make this orange. I'm going to make this one over here, raw metal. This one can stay gray, and I want to make the inside also raw metal just to give it a bit of color variation and this one can stay gray. I think that's looking pretty good. At this point, because we also did material selections, we're not just going to copy it over. We are literally just going to copy the entire model, placed into position, right click and press Hight selection. So just hide your model and delete the old one, and then we can right click and we can unhide everything. And there we go. AUVs are now completed along with our materials. So at this point, we are pretty much ready to just go in and start exporting this. Checking if I did not forget anything. We could have placed maybe some bolts here, but I think for now, this is fine. I can maybe do that in polishing phase. So support plate long, we can export it. And then if you would go into Unreal, right click and reimport, it will ask you because you have new materials and just press reset to FBX. And now it has imported it with the materials. Awesome. So what we're going to do in the next chapter is we are going to go ahead and start importing our textures. We are going to get started with the base of our shader, and we are already going to then apply these materials. Once that is done, we will continue on with the trim sheets. So let's go ahead and continue with this in our next chapter. 27. 26 Creating The Base Of Our Master Material: Okay, so let's get started by setting up our materials. So first of all, we need to, of course, input our materials. Let's go to textures. Right click New folder. I will call this one painted metal. And then you just want to go in and you want to select your painted metal over here, textures and just import them. Now, a few things that I want to say. One, we have created these textures inside of substance Zener, which means that the nomp is OpenGL. So we just have to go ahead and go inside of the no map, and we want to go to Advanced and turn on the flip green channel. This way, it will convert it to direct X, which is what Unreal Engine uses. That's literally the only difference between opium GL and direct X, the flipped green channel. Now, next to this, I would also say, of course, you can combine maps if you want, for example, the roughness and metallic. The roughness only uses the red channel, pretty much. So what you could do is in your green channel, you could place metallic. This is something that we might change later on, but for now, let's start with just like a basic setup to give you the general concept of creating a material. I know that we also have raw metal, but same with that one, we can go in and we can actually use our painted metal to kind of convert that All inside of one single material. Let's go to our materials. Right click New material. And call this Tile I would call it like tile master, or shall I do main? Yeah, we'll call it main just to make it a bit easier for you guys. Main underscore master. And then let's go ahead and open it up. Don't know why it's a bit slow, but here we go. Okay. Now that we've done that, we can go into our painted metal and just select all of these maps and just drag them in here. So there's a few things that we want to create with this. Some of the obvious ones, if I just load this over here is, first of all, we have over here a metallic map. Although we do not need it, as you can see, I still input it. Now, the first thing that we want to do is we want to have the options to swap out our textures without needing to actually create a new material. We can do that by right clicking on our textures and converting them to a parameter. Parameters basically allow us to edit this material using an instance, which I will show you in a bit. So I create parameter and I give it a name like base color. And I want to do that basically with all of them. So this one is metallic. Normal roughness. Okay, now let's go by each map one by one. We have our base color over here. Now, what's the most important thing that we need is we need to be able to control the color. We can add a constant three vector and once again, right click, convert to parameter and call this color. Overlay. We are going to go in the default value and set this to white. And next, we want to just add a multiply. So what we're doing is we are multiplying our base color with the color overlay, which inside of unreal will mean that it will basically well overlay this specific color so we can make it orange, black, whatever we want. We can go ahead and just add this to our base color. Next, we have a metallic. What I want to do is I want to be able to switch between a metallic map or just setting something to metallic yes or no. We can do that using a static Bo parameter over here. If you just type in static B, you can find it. Static B Static switch. Sorry, I was thinking of programming. In programming language is often a Boolean. Static switch parameter, we are going to go ahead and call this one has metallic map, for example. Now quite easy if it is true, we enter the metallic. If it is false, we do S click to create a scalar parameter and call this metallic. By default, I'm just going to set it to zero, and basically what it will do is, if it is true, it will use a metallic map. If it is false, it will use this value. One means that something is metallic. Zero means that something is not metallic. So this one will just make everything metallic and just drag this into the metallic slot. This is really useful for when we want to turn our mesh into a metallic mesh. I can also go in here, and I can also do the same over here actually, because we probably want to do that, where we duplicate our color overlay and just call this color. Now what we can do is we can do a static switch parameter and call this has Bay scholar map. If true, and if false, we can do this. Over here. If it is true, it will go in our multiply. And if it is false, we just need to keep in mind that we don't want to use the color overlay. Although I guess we could just here if we just switch it around. Let's just do this. There we go. That's probably easier for you guys to read. So if it is true, it will do the base color with the color overlay, and if it is false, it will only use the color because we assume that we don't need a color overlay if we have just a simple plain color. So that is now done. The default value, I want to set the true over here and also over here by selecting this box. Actually, in metallic, I'm going to set this to fills. Next, we are going to have our our norapF now, we don't need to do anything. So we just apply our nor map and our roughness map. For our roughness map, we want to go ahead and we want to again, do a static switch parameter has roughness map. So we pretty much can turn it into a plane material if we want to. And what we also need to do is we need to do a multiply, and then we have our roughness into the multiply, and we add a a click and just call this roughness amount. And now that I think about it, let's set the roughness amount to one, probably best not to do a multiply. Let's do a Power node. A Power node, you can do a multiply, but the power node gives you a little bit more flexibility. So plug in the base your roughness texture, and then in the exponent, you want to go ahead and plug in your roughness amount. Has roughness map? Is he got to true? And then just a click and just call it normal roughness and maybe set this to like 0.2 as a default. And if it is false, it will use a plain roughness and set the default value to true. We throw this into our roughness, and there we go. Now we already have a little bit of control. Now, quite an important control is that we want to also control the tiling. For that, this we add a texture coordinate node over here. And the way that we can control the tiling, so you can see over here that we have the U and the V tiling is by simply multiplying it using a scalar parameter. So multiply our taxi coordinate using an S click and just call this tiling and let's set the default to one, meaning that no tiling has changed. In order to apply the tiling to our textures, we just want to drag this into our UV slot on our textures. There we go. Super basic material to get started with. Let's just save it. And now we can go in our materials. And let's say we have a main master, right click, create material instances and just call this white underscore metal. Now, having that done, let's open it up. And the first thing I want to do is I just want to check everything on over here. Like this. I'm just going to save it. Then what I want to do is first of all, I want to apply this and just make sure that it is working or looking the way I want it to look. Of course, take it with a grain of salt because we still do not have any proper lighting, so we might want to balance this out a little bit more later on. For now, let's apply our white material. Moving this over to the screen. There we go. Here we have our white material. As you can see with the lighting, it's not super special, but over here, you can definitely see the white material. That's actually looking pretty good. I also like that it has some roughness glare. Maybe I want to go in. Um, my keyboard shot cuts in the way. White metal, let's open it up. Just gonna go ahead and throw this into my other view. Here we go. And next what I'm going to do is let's set my roughness mount maybe to, like, you can see, like if I do zero at five, it becomes duller. Okay, it might be a bit hard to see. But if I said it's two for example two, sorry, two, it becomes a bit more shiny. So like this, we can kind of control. So let's say I want to set this see this default. Let's do 1.5, just to give it a little bit more shine in there, and I'm quite happy with that. Now, you might also get a little bit confused about the metallic and the roughness over here because it is along with my roughness amount. But we can just go and maybe redefine the names a little bit. Although I'm surprised because normally the roughness should not show up when this is set to falls. So that is quite interesting. But what I can do is I can simply just go in here and I can, in rough value. Let's do something like that. Plain rough value and this one I'm going to call plain metal value. There we go. Just to make it a little bit more clearer. We now have that one done and now we can just right click and duplicate two instances and call this 1 gray metal. Right click duplicate. Black metal. Right click duplicate, orange metal and right click duplicate raw metal. See, we can really push this one texture far. I'm just going to open it up. So we have raw metal. Just give me a second. I'm just moving it over to my screens. We have orange metal. We have gray metal. And we have black metal. Okay. So I moved all those over here. There seems to be a buck where it does not show. That's a bit weird. Anyway, so we now have this. Unfortunately, we cannot really do the isolate well. Oh, wait, here we can do it. So yes, we can use the isolate. Normally in the older versions with Nanite you cannot do isolate. But what I want to do is I just want to apply my meshes. So this one is going to be gray metal, yes. Isolate this one. This one is going to be raw metal, and that means that the other one is going to be orange metal. At this point, I can have the white metal. Let's go to raw metal. For our raw metal, which we will be using here, what we can do is we can say, I don't want to have a base color map, and I probably do want to have a roughness map, but I guess it will add that little bit extra to it. I'm going to go ahead and set my plain metal value to one to make it completely metallic. Now the cool thing is that our nor map will still be applied here. We can go ahead and control our color to maybe make it like a little bit of, like, a dark metal. But you can see that now we still have this plain metal which works quite well and maybe set the roughness value to like two. See? So we instantly just deform this into a simple plain metal. Now, our gray metal is not going to be super special because we just go into our color overlay. And we just set this to, like, a more grayish color. Let's start with something like this. Now, what I also want to do is probably want to push the roughness back to one to make it a little bit duller and maybe then also push the darkness a little bit over here. Now, the gray one really depends on our how would you say it? It really depends on our lighting. So it's something that we just need to keep in mind. Yeah, that's all looking a lot more defined. That's nice. And orange metal. So with our orange metal, I could go into my color overlay and grab the color picker, and then I can pick like an orange color for my reference if I want to just to get started with something like this. And I just picked it over here. And then what I'm going to do is I'm going to make it a little bit more stronger over here. Let's see. I'm going to make it a little bit more yellowish, something like this, for example. So just play around with it, grab whatever you want. But that's working quite well. Okay. Awesome. We now have all of our base materials defined. As you can see, that already starts to look a little bit more interesting. Definitely, it feels weird without anything else around it that has textures. But what we're going to do now is in the next chapter, we will start by applying our trim sheets, and then we'll also create a trim sheet material, and we'll take it from there. Let's save your scene and let's continue on to the next chapter. 28. 27 Preparing Our Trim Sheets For Use: Okay, so there are two more stages left to finishing this model that we have over here. And the first one is going to be adding our trim sheets. And the second one we are not going to do yet, which is going to be adding some additional decals on top like leaking and dirt and everything to refine it down. But those things we will do later when we actually start going into DGA chapters, but that's way later once we have already finished all of our assets. So let's go ahead and start by adding our trim sheets. Now, this is not too difficult. The first thing that we need to do is we do need to start defining our trim sheets. For this, in my trees Maxine, I like to create a new folder. And I will call this trim sheet just to keep things organized because I'm already going to prepare everything like all of the models, basically. I'm going to get started by just creating a plane, and you can just kind of create it off the side here. And all you really want to do is remove any segments and set the length and width exactly square. So let's say 500 by 500 like this. Next, we are going to go in and we are going to just grab a new material. Call it trim sheet. Go in here and let's create a bit map. Press okay. And let's have a look. So we have our trim sheet, final base color and just turn off the overwrite. Although, actually, know what? I might want to choose the norm map because the base color, since it's PBI, you cannot really see what is happening. But in the norm map, you can actually see it a lot better. So over here, we have a norm map. Now let's go ahead and go back in here and just apply this. So here we can see that we pretty much have the details that we need. Now, next to this, the next thing that we would want to do is we would want to go in and we would want to start adding some segments. So let's go ahead and convert this to an added pool. Now I can also see that my norm map right now it is in DirectX format. I'm going to be very honest. I don't like that. And the reason why I don't like it is because it's difficult for me to read the shapes. So I'm just going to go inside of Photoshop and just invert it. And there we go. Now it's automatically updated. See now at least I can more easily see where the shapes stop. Some of these are quite easy. We basically want to place a line and we want to place it just beyond the point where our shape stops. This will give us a little bit more room for when we do our Alpha masking inside of Unhel engine. I'm basically going to go ahead and just do this for most shapes that we have. And once that's done, it will be more about just cutting things out. So let's say that we have this one. Basically, when you are happy with it, like you have this line, you can simply go ahead and press Detach once you selected it, and then it will become its own model. Now, for these ones over here, we might want to go in and just do, like, a simple cut. Here. Here. And you basically just split up your model like this and you basically want to do that for everything. Now, this is going to be a little bit time consuming to do. So I will just finish this row, and then what I will do is I will kick in a very simple time lapse. So you basically want to end up with individual planes, which we can then place on top of our meshes. It's not too difficult. Over here, you also sometimes have this problem. Now, you can use your cut tool to kind of place cuts in mid air. This is one of the very few times where that is allowed. However, be a little bit careful about it. Now, over here, what I can also do, just another trick is I can place a cut and let's say that I want to move these two vertices down without changing my UVs, I can turn on preserve UVs over here in my edit settings. Every single Tremeing software has some type of preserve UVs. You need to be a bit careful. As you can see, there were already, a little bit more glitches, which sometimes happens when you do this. So be careful, but as you can see now, you are able to just place all of this. Don't worry if you don't make your cuts exactly straight because like I said before, all of this stuff, it will be masked. All of those uneven edges, you will not really see them because we will just perfectly mask everything thanks to that mask we created in painter. I can now just go in and I can start by detaching all of these. Okay, let's go ahead and just kick in the T labs and I will do that for all of these shapes over here. But we only have to do this once, so it's not too bad. O. I 29. 28 Creating Our Trim Sheet Materials: Okay, so our trim sheets are now done or at least the organization of it. So now we have all of these models. Now, the first thing I'm going to do is just want to select all of them. Go over here, affect pivot only and just center the pivot. This will just make your life a whole lot easier so that you don't have any weird pivots. Now, what we're going to do is we are going to apply these trim sheets to our model, not all of them, two of them as an example. And then what we're going to do is we are going to set up our systems in unreel to make sure that everything is working. Now, why do we do two? This is for a simple reason that one of them is going to be a norm map only type decal, like these lines over here. And what that means is that it will only show a norm map, and it will just show the materials that's blow it. And the second one is going to be like a fill on material. Let's start with our line over here. Always make sure to do a copy of your line and don't use the original because else you will lose it. That's what we're going to do is I'm just going to turn on snap rotation, and let's say that I place this 19 degrees somewhere along here. It's probably easier if we go to our side view because I can remember that we did not do perfect degrees with this, see, here. So we cannot use snapping. You want to basically place this just on the line, and that's just so that we can kind of make sure that it is in the same angle. And once that's done, you want to hover this decal just above the line because that's the whole logics of decals, that you hover it just above the line, and that way, it will almost look like it is part of your model but in reality, it is not even attached. I'm going to scale this line down to a point that I like, and I'm probably also going to scale it a little bit thinner like this. Now, what we can do just to refine things is we can go ahead and edit the vertices. You can turn on preserve UVs, and because this is a straight line, as long as you keep going straight, it will really nicely just continue on the lines that we don't have any stretching. I'm going to place this on both sides over here. Until it is hovering just above. And the way that I check is simply by seeing if there's any clipping or any flickering or anything like that. Now what I want to do is I want to go ahead and continue this, and if you have preserved UVs on, and if you're lucky, you can just go ahead and hold Shift and extrude this along. If you are not lucky, so here you can see that I'm not very lucky because I can see that there is stretching going on. Then what you can do is you can later on just go into your UVs and you can clean things up, and that's what I will do. So give me just a second. But it kind depends on the model if you are able to use preserve UVs or not. I basically just going to move this here, and I just want to end this one down at the bottom. That's totally fine. Now, over here, I want to do the same where I just continue this. There we go. Okay. And I probably just want to end it. Like just behind heel or something like that, that should be fine. Maybe I will give it this last bevel. There we go. Okay. Awesome. So we have this one done. Now, just to clean things up a little bit, I'm just going to go to my text tools. I'm going to quickly open it up. So we have this one as you can see, it's not continuing. You can try to just do a relax. Oh, make sure everything is selected. A relax. And that often already does the trick. Now I'm going to relax and then I'm going to also go over here, and in my checker, I'm going to switch this to my trim sheet view because what I noticed is that the scaling went a little bit off. You can also press this button over here to see the tiling. But what I'm going to do is I'm going to give it a little bit more space along the edges. And that should do the trick. Awesome. Okay, Covert is to air the ply, and that is number one. Now for number two, let's go ahead and just pick something else. And let's say we pick, for example, just this vent over here. Let's go ahead and move it over here. Then what I want to do is, first of all, let's go ahead and go to our side view and kind of position it correctly so that it's hovering just above. Wow, I was really close with my rotation without trying something like that. Next, what we want to do is we want to go in here and maybe scale it up a little bit. As you can see, I have already set to local, so that allows me to basically do pretty accurate movements, even on an angle. Yeah, that's floating above it quite nicely. Awesome. What we can do now is we can go file export export selection and just export this model like we've done before. I save a scene. Let's go in Unreal. For some reason, I don't have the correct scene opened. Oh, yeah, because I restarted Unreal last time. Here we go. We can select our model, right click and press Rinpot. This time, what I want to do is I want to press Done. The reason I want to do that is because I don't want to overwrite my existing materials that I just placed. Now you can see that over here we have our decals placed on it. Next, what we're going to do is so we are going to create two different materials. One will be very simple, and it will be a nor map only decal, and the second one will just be a simple cutout material. So for the first one, let's go in and create a new material. Oops, normal, only master. I think that should be a pretty decent name over here. Now what we want to do is we want to go in and actually import our trim sheet. So trim sheet on the Scroz here one. Now, there's one thing that I forgot to do, and I did it off camera because I forgot. And that is that what you want to do is you want to quickly go into painter, go down into your base and set your opacity down. Because if you don't do that, what will happen is that everything will just be white. Now the next thing that I'm going to do is I'm just going to go ahead and I'm going to quickly export this, and I want to go ahead and press export so that we are exporting a correct Alpha. Next, go inside of unreal engine, and all you really need is you need the base color, AO metallic, normal, and roughness. And I will later on also show you optimization techniques on how to optimize this. Let's just double click and just make sure that our norm map is correct. Because I re export it, it is back in direct X, which means that we do not have to go into Advance and we do not have to press the flip green channel because it's the same format that we need. Now, I will only need to import my base cooler normal in here. And really, the only reason that I need a base color is because the mask is in alpha. Now, super easy. We want to go to our material. We want to go and set this from surface to deferred decal and the blending motor translucent. So the reason we need a decal is because yes, decals are more expensive than a simple cutout shader, but only with a decal are we able to actually have normal maps only. Normal cutout shaders do require still like a base color. I'm going to go ahead and well, just in case that's converts to peremeter normal and this one also. Convert to pemeter base color, and then I will do bracket A bracket, just to indicate that the Alpha is in the mask. Our base color can be in the opacity and our norm map can be in the normal. We don't need any type of tiling on this stuff because we are going to create pretty much unique textures. Let's go ahead and save this up, and that should already do the trick. I can go in here, right click, create material Instance. Trim normal only 01, something like that. And now let's go ahead and just test it out. Now, one thing I realized is because I am going to create two materials, I actually need to select a different material for the events. So here we can already apply this just to show you and press Save. And there we go. Now we can see that now we have this decal. Which is working quite well. I can see over here that there are some clipping that I need to fix. But the general idea is now, see you have this decal, and it just feels like it is part of your model. Now, imagine that over on top of this, we are going to add some more like decals for dirt and rust and stuff like that. Probably not rust, but just dirt. So the only thing that we need to do now is just quickly go into Trees Max. I want to go in here, and I'm actually quite surprised that this one is giving me problems. So I'm just going to go in and I'm going to just push this out a bit more. And I also saw that over here, it was giving me some problems, so push this out also a bit more. Next, what I want to do is I also want to go ahead and just select everything and set the smoothening completely to one to give it like completely smooth edges. I can go in and I can just copy our trim sheet. Trim Sheet underscore V two. And then select this vent and just go ahead and add this second material because that one we want to have as a different material. I think that's about it. Let's just quickly check. Yeah, that should pretty much cover everything. So let's go in. Once again, select all of this. File export, export selection, support plate two, long, and re import and just press done. Oh, that's really interesting. Just trying to check why it is doing that, but I am not sure that looks a little bit like a bug because it's not supposed to actually do that. Move this over here so that I can have a better look at things. Yeah, that is actually something I've never ever seen, to be very honest, because it should be fine. Now, what you can try to do, maybe there's some kind of weird flipping so we can right click object properties and turn on B fiscal. This way, we can see if there's any flip faces. But it seems to be looking fine. Mm, strange. Let's cycle back to that because that is not actually the focus of this. This is just like some small bug fixing. What we want to do is we also want to focus on this backside. If we just go into our materials, right click material. Trim sheet. Master. We can now go ahead and open up this specific material. So this one is a lot easier to create. All that we need is we just need, well, all of the maps. And what I'm just thinking about is that we could probably save some time. Let's save some time. Let's actually delete this material. Trimset master, where are you? Let's delete it, and let's grab our main master and duplicate it. Color trim sheet master because we cannot use our main master since we need to change the core of our material. But what we can do is we can grab this one. I'm going to just go in and make this like a second window. Let's select our base color. You just basically want to go in down here and just press a little arrow which your base color selected, and then it will replace it. So this way, we can very easily roughness, and I guess we do need to add a ambit occlusion. We can just reuse all of that stuff that we have already created. Now, at this point, I'm a bit worried because my PC is slower than it should be, so I'll probably double check that later on. Let's convert Superemre and call this AO. Let's also just art a tiling just in case we need it. I'm going to go ahead and I'm going to alter if you want, you can alter multiply. And multiply your AO with AO strength. Which will basically give us the option to reduce it. So I'm just checking. So one believe we just need to keep it at one. You can we click and you can press start previewing note over here, let's just check. So one, zero, one, two, three, five. Okay, so yeah, we can just boost it up like that to basically control it. Okay, cool. Then the next thing that we need to do is we need to go into our trim sheet master and simply set it from opaque to mask and then grab your Alpha for your base color and throw it into the Opacte mask. And just write, click and press Stop previewing. There we go. So now we have our normal details on here also. Let's go ahead and save. At this point, I'm actually going to set the default values on for my metallic. Save again. And then we can go into our materials. And let's see. So we have our trim sheet master, create material instance. Rim Sheet underscore 01. I think that's probably fine to just call it like that. Open up our model. Go back to our material and select Trim Sheet 01, and then you can go into your model and you can press the little arrow button and save. At this point, we also want to turn on preserve area in our Nant. The reason we want to do that is because we are using ELS plus By. It is because we are using cutout Alphas and Nante really hates cutout Alphas if we do not turn it on. I was kind of hoping that that would also fix this problem. This one is actually new. I have no idea what it does. Supposed to Bly. Nah, I didn't fix it. But, okay, I'm not going to turn it on because I have not looked into it yet. But anyway, as you can see, we now over here have our whatever it is called Vent. We have a vent. That's the name of it. Now, what you can see over here is that we also have a few issues, and let's have a look. These issues are just because our images are not in the correct rendering mode. Now, what we can do is we can just alter our images. So I'm just going to go ahead and have a look at the first. Sample texture as grayscale, SRGB should be disabled. That means that we want to go into our embitoclusion, open it up and we want to disable the SRGB. And then it should say should be linear gray scale. Let's just save that. Let's go back into our trim sheet master. And just set this to be linear gray scale. And that should fix that problem, I hope. That's safe. Give the second. Oh, it still shows the sometimes you just need to reapply it. Okay, in that case, what I'm going to do? So we have this one. I need to set, it is set to greyscal. I'm just going to set it to default. Default is sometimes a little bit less buggy. So we have our AO selected so for switching so fast between windows. Apply it. And let's just set this to be linear color. And let's hope that fixes things a bit. It's still giving me the arrow, which is a bit strange because I did fix that. So I'll cycle back to that one. Metallic sample texture as grayscale, SRGB should be disabled. Let's just check that one. So if we go into our trim sheet master, metallic is set to grayscale. I'm going to just go ahead and set that one also to not color, linear color. And then if we just quickly go into metallic texture, we can go in here and just set this to default. I don't know I keep switching. And I believe we I don't know if we need to set the SRGB off. I believe so. I always forget this kind of stuff. So there we go. That fixes that one, save my scene. Roughness texture should be gray scale, that one is just again, here, we can go for linear color, go in here, Roughness, default. And we can turn off ARGB. Just to quickly get rid of those arrows. Of course, you can go for gray scale, but I often find that the gray scale just is giving me a lot of issues like you can see over here. It's got to drag in my metallic and my roughness. Still giving me these arrows, which is really strange because it should not do that. So give me just 1 second and let's have a look. So this is linear color. Yeah, you are you are fine. Like linear color. I set my roughness to linear color. And if this doesn't work, I will just pass the video and I will have a quick look because that should work. I see over here, it has changed now. So I think it is working, but for some reason, it is still showing me those arrows. So I'm not sure. I will have a look off camera. Oh, see? It's just a buck inside of nul gen five. As soon as we reopen the material, everything was working fine. So yeah, I was already thinking everything is totally fine on paper. But now you can see that also it reads the metallic and everything correctly, so you don't have those weird issues. Now, of course, we do need to definitely balance our textures and materials and everything later on. But for now, this is looking pretty decent. Now, this issue that we have over here, it logically should not exist. So I don't know if it is lighting or anything like that. I don't think so because if I would rotate it like this, you'll see it's gone. What I'm going to do is off camera, I will have to have a look at it because here you can see over here. So probably there's probably something going on with the decor rendering. So please bear with me. I will have look and we will just continue on the next chapter where I will hopefully have a fix for that. And then what we can do is we can start by placing all of our trim sheet details on this final mesh to complete it even further. 30. 29 Adding Trim Sheet Details To Our First Final Asset: Okay, so in our last chapter, I went over that we had some problems over here where the mesh just wasn't working really well. I was missing, there were things cutting out, and I fixed the problem. Basically, it was the Nanite. Lanite was being a little bit annoying. So what was happening is if I just go ahead and said this to Auto, you can see that over here. For some reason on this specific mesh, the Nanite even up close was optimizing the mesh a bit more. Now the way that you normally fix that is that you can set your fallback target to triangles or arrows. And the lower you go, the less arrows you have on your mesh. However, the less optimized your nanite also is. Now, unfortunately, for this specific mesh, we had to go really low to like 0.01, sorry, 0.005. Because if you would do 0.1, you can see that over here, it might look fine. But then when we go back here, you can see that, for example, on our bolds, they are completely gone. So we had to go for 0.05 in order to still have a decent amount of polygons on our bolts and everywhere else. Although, honestly, I'm still really not happy. Oh, wait for this. 0.005. That's why I was not happy. There we go. So keep that in mind, it will be less optimized, but to be honest, this mesh is already, not that hypol so we don't need to worry about it too much. But anyway, that will have fixed the problem. So knowing that, what we're going to do now is we are just going to go in and add all of our trim sheets to this model. Now, this will be quite easy, but also a little bit time consuming. We are just going to go ahead and add a bunch of lines, and I will just see if there's any interesting shapes that I can add on top of this. As I said, I already showed you how to add the trim sheets because this is quite time consuming. What I'm going to do is I'm going to kick in the time labs, and we will start by adding these trim sheets and then we can export them to unreal. Okay, so I added a few trim sheets. I end up adding less than I would have tart. I would add. But for now, this is totally fine. Like this one doesn't require that much detail simply. It just doesn't need it. There's no, doors or handles or vents needed for something like this. Now, one thing I do want to do is I want to have control over the strength of my norm map. So for that, I just want to go in my norm map master or normal only master. And I want to add a node that's called a flatten normal node over here. Now, what you can do with this is you can plug in your norm map. Then in the flattenss you can add a scale parameter. Call it normal strength, for example, and just plug this in here. And zero should be the default to just already show your default norm map. Checking here. So one. Yeah, definitely, zero. Okay, cool. So once that's done, we can save this. And now we can go in our trim normal only zero, one, for example. Let's make it a bit smaller. Go in here, no map strength. And now we can set this, for example, sorry, we set this in the minus. So minus one to make it twice as strong, which just makes it a little bit easier to read. You can also go minus two, for example, just like that. So that just makes it easier to read because it's such a much stronger detail. Of course, remember that that will also make these lines stronger. But I think in general, it does look quite good if we can read those shapes a little bit better from distance, especially when we do our lighting, then everything will become a lot better. Now, just to finish this thing off, I will not go over it too in depth, but we can do some very simple additional settings. So we have our nanite over here turned on. Now, next thing that I want to do is I want to go ahead and I want to go in here. Let me just duplicate this. And I want to make sure that my mesh distant fields are correctly generated. This is needed in order for Lumen to properly bounce the light of your assets. So if we go to our and let's see where are you? I normally have a shortcut, so that's why I'm a little bit, it's a little bit difficult to find it. So here we go, visualize mesh distance fields. I recommend you setting it to a shortcut. And basically, what you want to do is you want to make sure that your mesh that the shape looks fairly similar to your mesh, which over here, it totally does. That's totally fine. If you do not have this, if you have any type of weird holes or anything like that, what you want to do is you then want to go down to your bult settings over here in your LOD zero, and you just want to increase this value. Now you can not always get it absolutely perfect. Increasing the value does make your mesh more expensive to render, try to find a nice balance between that and I will check if we happen to come across that problem. However, the system is getting better and better at recognizing the shapes. The last thing is that if we go to our show, and turn on a simple collision, you can see that we don't really have a really nice collision over here because it is outogenerated. So what I like to do is, I like to just go to collision and remove it. And for simple shapes like this, I like to go to the auto convex collision and then press apply, and then it will automatically generate a collision that is often pretty accurate, as you can see over here, and it will just give us a slightly nicer collision in case we want to walk around it and walk against it and all that kind of stuff. Just going to go ahead and go out of the view mode, and there we go. Okay, our first model is about 80 to 90% done. All we need to do later on is we need to add some details, but that will come quite a bit later. So that's already looking pretty good. We got a nice sense of the colors and the style. And now that we've done that, we can go to a slightly more complicated model, which is going to be, for example, over here, these pillars. So we'll do that one. Also in real time. Then we will do this one in real time, and then really large time laps will be kicked in where we will complete all of our additional assets. But of course, you can also follow along with those assets in our untime lapsed videos. So let's go ahead and continue with this one. 31. 30 Creating Our Angled Pillar Part1: Okay, so we now have our first model done. So what we're going to do now is we are going to go ahead and take this one to final over here. So basically, we already got a decent design, but as you can see, it's missing a lot of elements and a bunch of stuff I probably want to alter or remake a little bit just to improve the general design a little bit more. So let's go ahead and just continue with that one. And we will do this in semi real time. Like there will, of course, be some time lapses, just like we've done with this one, but it should be pretty good. So let's go ahead and first of all, turn off your trim sheets. As you can see, I dragged in all of my trim sheets that I placed on here into our folder. And sorry, turn off your trim sheet. Turn off your model. And the trim sheets we can just kind of leave on for now. Now we need the entrance pillar tilted. Yes, this one. Okay, so let's have a look at this one. As you can see, I really like this design. Of course, these lines and everything are going to be details, but I quite like just like the general look of this. It's also this bottom layer. I have some cool ideas for that. But for that, what I'm going to do. In my case is, I am going to remake the base. I want to get started here. Let's just go ahead and isolate this. I wanted to get started. Let's go to our top view. And I'm going to pretty much separate the base from the rest. That's just a little bit easier. First of all, I can see over here, a board. Let's make sure that you turn on this layer. Let's create a line and I'm going to get started by just placing my line over here. Next, I'm going to go around the corner and for now, I will make it corners, but this is because we are going to later on add a fillet to make everything like we nice and smooth. Let's say that I go around here, then here, and then I push it out again. My idea is that if we just quickly go in here and same over here, I want to just push it out like this. And then what I was hoping is that I can basically go in and I can do, some small and some strong fillets. So if you just go ahead and do a fillet here, this one is going to be a simple one, like a small one. This one is going to be quite a bit bigger. And then these ones, I wanted to make to the max. I wanted to make it probably even stronger than this. So what I can do is I can probably push this out a bit more. And let's say that these ones, I'm going to then make like quite strong, like, something like that. But then these ones, I wanted to really push it in. Yeah, I think something like that should work. Now you can see that over here, we have two vertices on top of each other. You can press fuse to kind of like merge them all together. So let's see. We have that one. Now we have this one. I should have probably done it at the same time as this. But what you can do is you can quickly drag, and then if you just drag your mouse onto the other point, it will kind of just match up. And over here, I want to once again, push it really to limit. So this is basically what it looks like. Of course, this is just a part of it. I'm going to go ahead and quickly add one more insult here. And let's just in case also fill this just in case we can see it. And then over here, I'm just going to do another fuse. Okay. Awesome. So we got that piece done. I'm going to go ahead and I'm going to connect these two pieces just by connect. And the reason I do that is because I simply want to extrude this out. And it's easier to extrude this out when it's just like a solid shape and then mirror it. So we have now this shape. Let's go in and add extrude modifier. And let's not make it that high. So somewhere along this line, we can just follow the same stuff. Um, yeah, that should be fine. It is sticking out a little bit too much. What I might want to do is I might want to just push it back in a little bit. Then what we can do is we can add a symmetry modifier over here. Flip it around. Click on it so that you can edit it and just push it back. There we go. That's our base. Now what we're going to do is now we're going to go ahead and basically add this entire chunk on top of it, and then I will do some extruding inside of it also. Let's go in. Let's see. This chunk is pretty much going to be I'm just going to isolate this. Oh, 1 second. Before I do that, I probably want to just go into my lines and just grab all of these lines and then turn on this little button to show the end result and show everything. And I'm going to push this back because I feel if I don't do that, it will not look as nice. But that should still keep everything on the ends correct. Yes. So, okay, I'm going to go ahead and now create a shape on top of this, basically. Which we will be using, I will be using, I think I can just use a simple box. I think that's probably easiest. Let's create a box and let's already just go out of isolation mode and just kind of place this somewhat into position because, of course, we are not creating exactly the same thing since we have this pillar. I do want to actually before I do this, I want to check the pillar if I'm happy with the pillow width or if I wanted to make it. Now, I feel like if I make it thinner, it kind of takes away from the heavy duty shape. Okay, so I'm happy with the pilar width, which means that I can go in here, and I can start by just capturing this general shape, so we can just capture this one. Let's make this go up. And this one goes out here, but I actually want to have this one sticking out a little bit. Okay. So we got that shape. Now what I'm going to do is I'm going to let's see. I think I want to actually place a edge here, so I'm going to alter the shape a little bit more. I do need to not push it out too much, but of course we have pushed it out a little bit more over here. I think what I want to do is I want to probably push this in a bit more. But then over here, I'm also going to grab our original and for now just do an Adipol and I'm just going to move this in along with it. There we go. Now, at this point, I just want to go in and just move this over to the side so that I can kind of see what I'm twying to do. Okay, so we have this shape that goes around there and around there, I'm happy with that. Yeah, I'm quite happy with that. So I will go ahead and also alter that. Let's go in, and probably easiest will be to just select these faces and start by doing a simple inset and say, let's make it quite low. And then, of course, over here, we need to extrude this down, but for now, I just got to push this in. And after pushing it in, I do need to clean this up, so I'm going to merge these pieces down. Okay, so we got that one done. And then I wanted to go in and I wanted to just make a really straight line. Of course, I can probably not make it straight by hand at the first time, but I can select this line now and just flatten it straight over here. Yeah, that looks pretty clean. So we got that one done, which means that this will be the part that will stay extruded. I can then go in here and then this part, probably just like, select the entire chunk of it. I can go in and I can extrude this in on the local normal. Make sure to do that because we go around the corner. And I'm just trying to have a look on, for example, like my top view to make sure that I don't extrude this in too much, something like this. And then at the bottom, we were going to go in and delete this phase, move this down so that it becomes one piece again. And then again over here, I just need to go in and I want to quickly push our original shape back in a bit so that we do have a little bit of space. I probably want to do that also on all the other sides. But so here here. And for this one, yeah, let's push back in. Okay, so that shape looks pretty decent to get started with. Just double checking. Of course, we are going to, like, make the corners round and all that kind of stuff. But you always want to go ahead and start with like a simple shape to kind of define all of the broad positions, and then you want to kind of continue on with the smaller details. For example, over here, I now have a detail where I need to place a line here. That might not be as handy. Let's just do a connect here and a connect here to basically merge those loose vertices together. So you can now go in and just select these vertices, collapse. So these collapse. And at this point, I can just as well probably continue on this edge because I need it up here. So just to keep things clean, I'm going to do a loop and the loop is going to be, actually, you know what? I will make it a double loop. Let's go ahead and just select all of these edges and just use a connect with two lines. There we go just to make it a little bit more even over here. So we got this loop, and now what we can do is we can just go ahead and connect. And honestly, you can just do this. Just connect these over here just to keep it clean for when we start beveling things. So we got that one done. Now time for the more broad shapes. So first of all, we want to place a loop over here. Because we want to create a similar cut out. You might want to go in and just scale these edges flat so that they are exactly straight. Then we will do a similar cutout and the cutout will go from over here, it will go all the way around and then over here, it will go inside of it, which means that I need to place a cut out somewhere here and another one somewhere here. Let's see. If we just go ahead and grab all of these faces We can go in and we can do, like, a quick extrude. And I probably, like, I need to check. So first of all, go local normal. But of course, these extrudes, we want to make them quite extreme to push it all in. I'm gonna probably place it up until this point, that should be fine. And then, yeah, I have an idea for this because, of course, you can see the difference between this and this phase is a little bit different, but I have a good idea for that. So we have this one. Now, this loop over here, I was not really expecting it to go down far enough. So what we can do with this is we can go in and extrude this more. Now, most likely we will need to go and make it also a little bit more angled. So if we just go to our side view, we need to grab which angle? Check, do I need to grab this one? It's a bit difficult to see. Yeah. Okay, so I need to grab this one. And then I also need to grab this one. Okay. So let's go ahead and place this one at an angle. Deselect the top one, and place the second one also at an angle. And it also needed so that we are not accidentally clipping through this space over here. I'm going to move this back a little bit so that it's not clipping. And at this point, my idea was to basically just grab both these edges. Let's go to isolate display. And these edges will go up until that point, I probably want to just have them, kind of space out like this. And then I wanted to do a chenFA but make it like a smooth Java like this. Maybe set the mode to, let's see, triangles uniform. Mm It's a bit lower. Let's see. So this is like the ideal amount I wanted here, but then over here, it does break a bit. But I cannot already add my edges. So sorry, I'm just trying to make this work. Let's, let's do something like that. That's probably better. And then what we're going to do is we are now going to start with all the beveling. So yeah, I think this is looking quite nice for, like, a start. Of course, everything is super sharp right now. So let's get started with the next thing, which is going to be our beveling in here. So let's select. I'm going to select the outer side, which is going to have quite a strong bevel. I am not I'm a bit worried that if I do it on the inside also, that the inside will be a little bit too thin, but we can check. So let's do Jefa. Do I want round? No, I think it feels nicer to go for, like, something a bit like this. Yeah, actually, you know what? I'm fine with the inside. We definitely need to make the even more inside version a lot less strong. So over here, we have these versions. Now, I do want to keep the corners the same, so I can kind of, like, check and see, like, Okay, I want to probably make these corners all a little bit more round, except for maybe this one because that's like the bottom one. So let's go at tacheva. But this time, give it a few more segments. I always just quickly check going from uniform to dress or renting, if that looks correct, but looks like uniform is the best one. So yeah, we are making this quite nice and round. That's fine. And now I just want to go in and make 1 second. Let's go into isolate display. Over here, make these smaller edges and give those also a bevel. And over here, I feel like I should just continue the bevel. But here we will probably get some arrows because jom tree is not clean, but I don't want to lose my entire selection just to clean up the jom tree. So let's see, we have that one goes all the way around. I'm guessing that over here, it would make sense if we also continue it on here. D select those pieces, we don't need those. And yeah, we'll clean up the jump tree in a bit. Let's see. We go all the way around here. You, we need to just do some manual selections. Okay, so go around there. All those corners. I guess I will just also just in case art the bevel here. And now I just want to make sure that they don't accidentally have selected any unwanted etches now that you'd look good. So let's go at an art Java. And this one is going to be a norm one again, but we're not going to make it as strong. Oh, see? That's when you can sometimes see if you accidentally forgot one. Also, I probably want to go in here. I probably want to also bevel those. So you can just add to your selection even after you already have the modifier turned on. That's also really nice to have this live feedback. I think that will work. That's okay. Then, of course, here on the inside, we also still have these etches. Which we need to move over here. I guess this one, definitely need to clean up that Yom tree. But this one we also should place a bevel here because else we lose too much detail when we start adding our weighted normals. So let's go ahead and again here, not make it too storm. Here we go. Now, of course, later on, we are going to check because over here with these bevels, what will most likely happen is that when we to weight in normals, they will look wwe smooth. As you can see over here, they don't really feel like a original bevel. Now, there are multiple ways that we can fix that. One of the easiest ones is to simply add a loop on both sides. And then you can see that over here. I kind of like covers the weight normals a little bit better. Or what you can do is you can simply bevel these edges. For now, however, let's go ahead and get rid of that loop. Let's first of all, clean up our geometry. Because that's always good to keep in mind. I'm going to go ahead and just do a bunch of, like, you can see over here, just kind of like merging our loose vertices together and stuff like that. Alright, that one Wi doesn't want to merge. Sometimes it will just not allow you to and then you can just select the edge and just press control backspace to kind of get rid of it. So yeah, there are still some stuff where technically, you don't really have to remove it, but if you want, you can just go in and you can merge these edges together and then just double click these and get rid of them. I definitely do want to add something here. I know that in our old version, I added like an actual detail here where it goes inside. I still have that detail. I don't want to add it on top. So instead, what I will do is I will add some trim sheets on here to make it still look a little bit more interesting. But for now, that should be fine. Let's also just go in here. Here we go. We got all of that stuff. And for these kind of things, I tend to just merge them down. And yes, of course, we also need to connect a bunch of Vertzs. However, that kind of stuff, because it's really really basic, it's literally just me doing this. I will go ahead and do that one off camera just because it will be way too boring for you guys to just watch me do this. So just connect your Vertzs like you do normally. And also, one thing that I forgot is in here. I want to slack my face, hold shift, and go to my edges to convert it to edges I want to give it a tiny bevel just to make sure that the weighted normals are working correctly also in that area. So having that done before I clean up the rest of my jump tray, I just want to check if there's any type of, of course, this center, this will be a separate objects. So I'm just checking if there's any type of additional shape that I want art that I might have missed or if we are gonna just continue with something like this. Mm. There is an idea I have, but I don't know yet if it will look good. My idea was something like this. Let's just go to tofu and let's just select these edges over here because I need to have basically a double connect like something probably quite white, something like this. Then my idea was to place a loop, let's say, around here and around here. Extrude this thing out a tiny bit. So let's say this local normal, and let's just move it up, something like this. And then I wanted to just merge these pieces down over here, almost to give it just this extra detail that is kind of sticking out. And now we can kind of decide ourselves like how far let's go to side view. How far do we want to have this sticking out? And then my idea was to simply bevel it. So I then go in. So let you see what that looks like. After I bevel it because the bevels do make enough of a difference that I want to just make sure that I have those already on. Here we go. HNFR. Yeah, if we combine this with some weighted normals later on, I feel like that something like that might look quite interesting. Definitely to fix my weighted normals because something is Oh, wet it's not correct because I managed to forget art. Oh, no, wait. I added my bevel here, but the reason because of over here, it messed up a little bit. So what I'm going to do is I'm just going to undo this. So this area over here is kind of like breaking everything. You can try to just filter it out by adding a slightly larger area, as you can see over here, and it does sometimes work. Also, what I want to do just in case I want to go in and I want to reset my X forms. And then try again, just make sure that there's not any type of weird beveling going on. Okay, so that does look a little bit better when we do it that way. So let's do that. And over here, I'm just going to merge these together. And for now, I'm just going to leave it like that. Just quickly up weighted nomals here. You can see that now the weighted normals definitely work quite a bit better. So, okay, we've done that. I would say that at this point, the last thing I'm going to just quickly do for this is I'm going to art. I decided to just add some bevels only on, like, the really large areas. And it's going to be like ahi tin bevel. And then the goal is that this bevel is just here basically to cover the weight normals, because there isn't really a difference in bool count compared to adding just like a simple loop or a bevel. It takes just a bit longer to add the bevel, but that's about it. So I can go in here. Loop this all the way around. Okay. I think that's the only large bevel that I want to add something. Let's add the Jefa, and just make it while tin so that it becomes a sharp bevel like this. I would say at this point, we pretty much got it, I think. If we now would the weight to normals and turn on snap to the largest phase, turn off our edges. Yeah. Of course, snap to largest phase. It doesn't really like doing that in a round area, so that's a bit of a tricky place, but that's something we can fix manually if needed. For now, I think this is working totally fine, as you can see, here, so we got this shape. And this one, we don't really need to do much. We can go ahead and we can remove the bottom. And I guess we can also remove the top. And for the rest like a quick weight normals. Actually, you know what? No, I'm not even going to do that because we just don't need weight normals for this. So that's the top and the bottom over there. Yeah, I think that's an improvement compared to our blockout. It's looking a little bit more even, a little bit nicer. So now let's go ahead and start with the cables in our next chapter, and of course, then we'll continue on to the actual arm. Yeah, so let's go ahead and continue. 32. 31 Creating Our Angled Pillar Part2: Okay, so this is now done. Now the next thing that we're going to do is we were just going to go ahead and create some cables over here that will probably just move along down here. So for that, actually, this one we can at this point remove. Let's go ahead and slack both of these and isolate them. I probably want to have the cables going like a little loop. So if we go here, I was thinking of making them pretty static. So they're not going to be like really soft cables. They're going to be more like pipes. Let's say we go, for example, it's a bit difficult to see. I think down here, then here, then we go up here, and at this point, I want to probably start click and rotate to bend there. Ma sure that you have to drag type to Basier and then go down here and yeah, down here at and rotate again. Nah, that's not looking the way that I wanted to. Let's just backspace. I'm going to instead just move it down here and I will just move it later on. Go here and then hold Shift. And yeah, I think we can already go at an angle. Okay, I need to quickly have a check because it's really difficult when you have so many segments to even see what you're doing. So at this point, I'm going to go ahead and probably already add a quick sweep tool just so that we can see or we can figure out the thickness and everything. Add the sweep tool and just set our radius a little bit bigger, something like this. Okay. And now that I've done that, I can go into my line. I can grab these lines over here and push them out a little bit more. This one will not fuse, fill it. I'll become nice round like this. This one over here. We also want to make pretty round. Same with this one. So this one and where are you? Come on. There you are. And this one? Okay. Yeah, that taxi was really close to what I was looking for. Awesome. Nice. So we got this version. Of course, we need to check how we are going to clip it in here because we do have, of course, a little bit more space than we had in our blockout. But I do like that we have a little bit more of a high difference between the pipe and the rest. So at this point, you would basically have this one, let's say that it would just duplicate it over here. And that might already be good enough. See? Yeah, I think that will already be good enough. I think now at this point, the base is pretty much on. We are going to just go in and in here, we will add some trim sheets to improve things. We are going to start working on this piece over here, and definitely up here, we also need to have a think about things. Let's see. I'm just moving this so that I can see. I use these lines over here. I'm just checking how we did our blockout I think our blockout is pretty close. So we might be able to actually just use our blockout and improve upon that. But just look at it from a distance. It's the silvert the way I wanted to. Yeah, we can, of course, add a little bit more details, but I think it is pretty decent. Over here, I wanted to make these areas over here quite a bit more round, and over here, I need to have a think about it. So this one is a little bit tricky where we need to find a way to basically connect this properly and not just have it clipping into the top however, that's easier said than done. What we could do is we could make it go around and then go inside around this point. I think that's probably the best technique. So we have this on an angle. Let's go ahead and turn on our edge and faces. The geometry is not the cleanest. Let me just first of all, isolate this one. Like going down here, it's fine. I'm not really worried about that. But in general, the geometry is not super clean, so we will need to clean up, but I think we can use the blockout. So the first thing that I want to work on is that I probably want to go ahead and just make this at a different angle. And probably the easiest way to make this straight is to do an actual slice over here. So let's do a slice. And we want to have the slice on the I can see over here that I do need to rotate this. I do not want to lose my rotation, so I'm just going to rotate a slice, and it looks like it we use snap rotation, which is really good. Literally move it up here and just use this as a cut. G move it quite close the center, something like this. Then at this point, yeah, we can just go ahead and convert this to add a ply, go to our side view. And just select all of these vases and just cut them. So that's step number one. So yes, we also need to add bevos to this. I'm just checking because it is quite messy jom tree. I guess I figured that I was going to remake this. I also want to mention that this is pretty good for a symmetry model. So I'm going to place a single cut in the center. And for now, I'm just literally going to delete half of it. Now I can go in and I can start working a little bit more on my positioning and stuff like that. I'm going to probably place a cut. I just continues on here just to keep my jom tree clean. Actually, before I do that, I want to grab this one and I want to move it a bit further down like this. Okay. And now I can place the cut. Over here, I was going to rotate or sorry, rotate, make these areas around. Oh, I can see that I ended it literally on the edge. Why would I have done that? Probably because I cannot see it? Yeah, that's why. Because I can't see it. Okay, fair enough. But that's the problem. Like, we can just go ahead and actually, we can probably leave those, but we do need them for weight normals. So what I will do is these ones I will leave because I believe that yeah, here, we cannot see any of it. So those ones I will leave, but these ones we can definitely see. So I want to give them a nice round, Jenfer. You can see over here, something like that is already good enough. We definitely need to do some cleanup, but let's focus on that a little bit later. Let's see. We have a mesh going down here and for rest honestly, this is quite fine. I'm not really worried about L, I'm going to delete this side and most of this you cannot even see. I'm going to just check how far down it even is. Here it is quite here. It's literally down there. Let's make our lives easier by literally placing a slice and just removing part of it. So I'm going to add a slice. I'm going to rotate it until it's flat and move it just below here. This is not flat. Now, this. No way, that's also not it. Ah, interesting. For some reason, this slice does not work correctly, so let me just there we go. Now it's flat. Okay, so just move this probably around here, converts to Addipol and to make our lives easier, just nuke out all of these shapes because we simply don't need it. Like, you will not be able to see any of it anyway. So we got that one done. Now all that we need to do is we just need to make this jump tree a little bit cleaner. I'm going to get started like I have over here this edge, which for some reason, I cannot even loop around. Oh, okay, so the edge is here because of this loop here. But for the rest, the edge is not really doing anything. So what I want to do is we have over here these two loops. It might be better if I just simply do a target belt like this and get rid of the entire other edge over here. Next, we have some messiness going on over here. I'm going to first of all press contre A, and I'm going to do a welt on a very low level, make sure that anything that's that is overlapping is merged together. And for now, I'm just going to do simple welds like this. Over here, this one is a little bit more tricky because as you can see, it kind of breaks our edge a little bit. So we might want to move this back. Maybe target, well, this edge over here and this edge over here PractroZO sorry, press C to Zubin. And I'm going to for now, I probably want to go ahead and just cut some of these edges. So these ones are easier. I can just do this. But then here, I will need to place a cut here and here. I am worried that it will mess up our bevels a little bit, but it's more like something that we can just check when we get to that point. And over here, I guess I can also. Well, actually, for now, let's leave those because I want to start adding some bevels. So yeah, jom tree is not super clean, but this is good enough. Like we will do some more cleaning after we place some bevels. We have a bevel here, here, and then I also need to add it on this side. Over here at the top, this side will just be pushed into other jom trees, so we again don't have to do anything. And then over here, this is where the bevel becomes quite tricky because as you can see, it will probably not work, so let's just check. Let's add the chamfer Uh, yeah, it works pretty decently, actually. So we'll just make this, like, a quite small bevel, probably. Yeah. Something like that should be fine. Let's go back to isolate mode. It's going here. And now, first of all, press contre A and again, do a weld or like a low level. And then you can see that some of these edges over here will be welded together, and I can just push them a bit further out. I can see that over here, I probably need to select these two and just press collapse. There we go to merge those two together. And over here, let's press Alt x. Collapse this one and probably also collapse this one. I can see that I have some kind of double face. So let me just zoom in into the mesh so that you can actually select it. I'm just going to delete most of it, and now I'm going to collapse this and this, which allows me to just do a border select around this empty face and just do a cap poly. And now that that is done, we still need to add the bevel around here, but for now, let's also double click this one, and maybe I want to move this xi plus control backspace, maybe. Do we want to make this I'm just checking what I want to do or maybe I want to add a few HEVAs to make it round. No, let's not do that. That's a tricky one. I'm just thinking of, like, what kind of shape I want. I think having a pretty strong bevel, going from round to something that's, like, more sharper might be nice. So we can just press Control backspace and remove it for now. And then we want to place a bevel around this area. For that, we can just select this face, hold shift, and select our edge. And I probably want to make these bevels quite small, so I'm just going to select all of them already. Yes, over here, I want to continue on the bevel, because if I don't continue it on, it will look very messy. Don't forget to double click and select the rest over here. Sorry for the wild movements. That's just me quickly checking stuff. And now let's go in and just give it like a really small bevel. I think something like that, but what I probably want to do is do I want to like mergese together? I might want to literally just get rid of one of these etches and that might already be enough for our weighted normals in those areas. And we have that one here. So let's try. Adding weighted normals, snap the largest phase. Yes, so that is working. Okay. Now we just want to go in and want to add a few more pavls, so we need to add one here. We don't need to add anything on top because there are no faces, but we do want to go in and art. So here. And then over here, we probably again have that small problem where the bevels kind of come together, but we will see. Oh. See, first of all, Chafer. Um, check my weight to normals. Are you surviving that? Yeah, you are surviving that. Okay, so that should work pretty decent. Let's scroll down and have a look. Yeah, I think that's pretty much fine. And at this point, if you want, you can, of course, go in and you can start by just merging these vertices over here together to make your jom tree a little bit cleaner. That's all up to you. Of course, because we are using Nant, I'm not really too worried about highly optimizing my jomtre, but I never know what you guys are using this for or like what you intended. So I always just want to mention it. So that's like the outside. We have the outside, and this is basically where we are going to end up pushing things in just in case I can select let's go to my site view. Just in case I can select these edges over here, just the top. And I can give it here, let's give it an extra loop just for my weight normals. There we go. I can give it just like an extension going upwards, just to make sure that it is pushing inside of our mesh over here. Now, at that point, of course, the last thing that you want to do is you want to go in and just quickly just go to quick place and connect here. Just cut these just to keep them clean. Here we go. And now temporarily remove your weighted normals and add instead a symmetry modifier on the Y axis. I think we need to push it a little bit further back. Yeah, there we go. That seems to work, and then weighted normals again with snaplgis phase. So that does that. And then, of course, we are going to once again add a bunch of trim sheet details on here. Now we had the bottom part. So definitely these areas over here, I'm not happy. Like this is something that I want to definitely fix. I also want to add some kind of brackets that are holding our actual pipes in here also, because, yes, these go just around the corner. So definitely something I need to fix. But this one over here, let's have a look. Like the inspiration I end up using was this kind of stuff. So it might be nice to just work on it a little bit more. So for now, what I'm going to do is if I can, I'm going to center my pivot and I can rotate it back. Yes, there we go, like this. And now I can isolate it. Okay, so what do we have here? So we basically have a piece that is sticking in here and going towards the end. Now, technically, we do not really need an ending for that. So that's the first thing that we can do. We can get rid of the ending. So let's go over here. And I want everything to kind of, like, look a lot more smoother. So that's also something that I kind of want to try out. I think what I did over here is I just tried to give it like a random shape. So yeah, I think I do actually want to change the shape. Okay, so the rough idea, I have a mind I cannot really show you because there isn't really exact reference for it. But it was something like this. Let's first of all, just place this kind in the center so that I can easily draw my lines. And I had the idea of basically placing a line. First of all, just like a very simple line like this. But we're going to make the ends willy round. So we do something like this. And we go in and we make the ends will round. Like that. And then the idea was basically that when we have this, we can, let's see. I'm Wi just making this up as I go along. So please do bear with me because I'm a realistic artist. I don't often have to actually make stuff up. I normally just look at the picture and I create it, and that is a real luxury in my case. But we'll figure it out. So let's just choose a thickness, maybe like 12. And then what I wanted to do is I wanted to go in As an dipole. I'm just going to scale the other end or move the other end over here to get started with. Let's go ahead and isolate this one. Then I wanted to go in and I wanted to place on the bottom, I wanted to place a double connect. Let's say somewhere here, and then this one will curve in quite drastically. Maybe give it a little bit more. Let's do 60. What I can do is I can place a swift loop probably around here. My idea was that basically this one we can cut away. We bridge it, and then we add some really strong barrels. And then on the top, we want to do almost like a double connect. Though just bear with me here. So that's like these corners, and hopefully the chamber is round enough that I can just kind of work with it. Yeah, yeah, that's fine. Maybe I'll give one less segment. Actually, no, this is like William Large model, so let's give a few more extra segments. So that's the bottom. And then what I wanted to do in the top is I wanted to place mostly just to connect on the center over here, but then remove most of the other ends. So let's see. Look this. And if we go to our top view, let's go in our swift loop and place another loop roughly here. And just bear with me. I'm just checking to see if it doesn't look like W strange or anything like that. Then the idea was to basically just grab these sites and these sites and remove them and do a bridge here and the bridge here. Then once again, we grab these ends. And we add large emfls to them. Something like that. That was kind of like my dear. And then, of course, when we do a symmetry on this, hopefully it will look interesting. So let's see. So we have this. Oh, yeah, doing a symmetry on here that would make these shapes a little bit strange, to be honest. Let's just try. And else you might want to do some small editing. It doesn't show me where the symmetry is. Let me just once again isolated. So symmetry y X xs. There we go. Oh, that looks really boring. As soon as we go for, like, something like that. Oh, that's tricky. Like the idea was right, but I would say, probably, yes, I want to do it then asymmetry. But what I want to do, first of all, let's go into a symmetry and just make sure that it's the right width. It is not. Let's do something like this. So I'm going to do a symmetry probably somewhere along this point and then go in and art at poly and let's now go and just make some additional changes. I'm going to start by just selecting these edges and these ones. Let's do a double connect. Let's go in and by the way, next to scaling, you can also go in here and just in this case, the X axis, you can align it, which means that the connections become really straight. Now, let's see if we remove this. And we just want to select this stuff and scale it flat. Do the same on the other side like this stuff. Scale it flat. Okay. I'm just going to go in and select these pieces, then I want to deselect. So I just did the border select. But basically, it's quite easy. End up with selecting again, these pieces that you can bridge them. Bridge. Okay? I guess that's not working. Maybe if we do it one by one, there we go. Now it is working. That's unfortunate. I guess it sometimes happens. Sometimes it thinks like it doesn't always know which direction the bridge needs to go on. So okay, so we have something like this. Now it's a bit annoying to work on the insights. Now let's go in and just select all of these sites over here and then around them again. Here we go. Just make sure that I don't have anything weird selected. And CHEMFA There we go. So we make those quite round. And now what I want to do is I want to go in, and I feel that I do want to make the bottom side larger than the top side because else just doesn't feel right. So I'm just going to go ahead and grab these areas over here, that should be enough. No, here, see it breaks a little bit. In that case, what I will do is I will merge this weld and this weld together this virtue, this virtue together for now on both sides. That way I can move it a little bit better. Of course, cleanup will come later. Don't worry about it. It's just an awkward shape because we need to work on the inside of things. Okay. Let's try again. Let's select this side and move it out. And I will move probably like the center of this hole. Next select this side. Move it in the center of this. There we go. One is a little bit bigger, one is a little bit smaller. And what I also want to do is I also want to grab these corners over here because if everything is smooth, it would make sense to just make everything smooth. And make this quite large, also. There we go. I think something like that. Yeah, that can work if we do something like this. So we got this one now. The next thing that we would want to do is, I'm just going to add a simple chamfer because it just makes it so much easier for me to add all the bevels than selecting stuff. And then, of course, we will also do some cleanup, but before we do, we want to make sure. So yeah, you can see like it's a little bit smaller, but let's just go ahead and work with it. So let's delete this one already. Let's go in and just do like a center pivot. And next thing I want to do is I kind of want to fig out, like it's got to be on 50, but which direction do I want? Because you can see that over here. Both of them work. I guess this one because it shows most of the stuff. So now I can go in and let me just move this over here. Yeah, so we would need to stretch this out a tiny bit on the center because I think just scaling it is probably not going to because when you scale it, of course, your edges are getting pushed out. So let me just do that. First of all, I'm going to move it to the side over here. Got to make sure that it is at a nice angle, which it is. I'm going to remove these, and I'm also going to quickly check it in real if they are even really needed or if they feel a bit over the top. I think that they are not even needed because what we can argue is that we have really large bolts on the inside over here, which are kind of like holding this mesh up. Now I'm going to go in and before we do our cheva quickly, select half of it exactly. So just give me a second. There we go. Hopefully it will look fine when I push this out. Over here, Add chenvR again, add some weighted normals. Snap Actually I probably don't want to snap the large space for this one because we have so many round faces. Yeah, that can work. I think that will work. Cool. We got this one. I can go in and maybe move it up a little bit over here because you cannot see the inside anyway. And I think that that will work nice. So having that one done, of course, we do need to do quite a bit of mash cleanup with all of these connected pass. Now, because they are so much this time, what I tend to do is here, if I just after my chever, I can go in and alter the poly and because we know that this will only be table textures. That's the only reason I'm doing this. If I bake my low poly, I don't. But you can do a trick where you basically place one edge like this and leave the arrest open. Then what will happen is when we export this to reel, it will connect all of those loose vertices together. But basically, what I want to avoid is to have the connections go from here all the way to some really dramatic area. So now those connections will just stay within this area. And you can kind of do that same over here, you can kind of leave those. But I would say that over here, I don't like these floating rtses, so I do like to merge these together. And I can do the same over here to collapse and then target belt. And at this point, if you want, you can just do like a loop here and a loop here. And just because to keep your geometry clean, we can just place a cut along like this. So again, these ones are fine. They will just start connecting. This kind of stuff is not fine, as you can see over here. So you can just alt X to go into X ray mode and basically just focus on merging all of these together. And speaking of merging, you can also do a contra A and just do a weld on quite a low level just to make sure here, see that we remove some edges. I want to go in here and over here, I can see that I have the same problem. I'm going to go ahead and connect those. I doubt many people are still watching at this point because it's just going to be this kind of stuff. But yeah, place it connects like that. It is allowed. Of course, if you have problems, then you will just need to fix them. But if you want to save time, you can definitely do this. So what I will do is I will just quickly go ahead and pass the video, and I'm going to clean up my mesh exactly like this so that it is usable for us. And once that is done, what we'll do is we will just go ahead and continue, probably starting with the pipes and also starting with whatever we are going to create down at the bottom here. But we're getting pretty close to, like, having a pretty decent model already. So let's go ahead and continue with it or continue with this after I cleaned up my mesh. 33. 32 Creating Our Angled Pillar Part3: Okay, so I end up cleaning my mesh, and I also went ahead and I just expoiled it to unreel just so that I can have a look like the silhouette, and it is looking pretty good. Yeah, I'm happy with this. So of course, I do need a bunch of trim sheets, but for the rest, I'm happy. Now what we're going to do is we are going to work on this area over here, and then all that is left is doing the pipes and also creating maybe some connection points for the pipes and stuff like that. But that stuff should not be too difficult. So let's go in here. Now, we have this shape over here, and although it does work pretty decent, it feels a little bit more disconnected. So what I was hoping to do is to kind of try and see if we can somehow make this more connected to this shape over here. But we can probably do that simply by just as an example, making it go inside of here and then, cutting things up. So let's first of all, place a single connect. Going to place it somewhere over here. And then I'm just going to go ahead and select this side and press Contra I because that's easier than selecting the short side. Place a double connect. Over here. And next what we can do is we can push this in here. There we go. And that should already do the trick. So now, of course, we are going to make this a little bit more smooth, but that's just a really simple way to very quickly give this a little bit more information. But it's going to be a really small detail. That's all the way in the top, and by the time that we're done with everything, you will barely even notice it. So I'm just going to make this nice and simple. So, I got this one. I wanted to go in and here, here, here and here, make it a bit more round. Something like that. We also need to on the side, make some bevels. But before we do that, I just want to select this corner over here. And Oh, no, wait, actually, I can just remove this now that I look at it. Yeah. This one, I don't think, I don't need any faces in the top. So that means that I can just do a select by angle, the angle to five, select the top, and just delete the top. And now let's go in and isolate this. I guess what we can do is we can again select by angle, select this entire angle, hold Shift. There we go. And then deselect this top selection. But we can just give this also a simple bevel. Just go to make it a really simple bevel, something like this. And once again, same optimization technique you can use, play a cut over here and over here. Here and over here to just very quickly optimize this kind of stuff or still keep it clean, wait the normals, maybe snap to large face. No, that's not needed for this one. There we go. Something that goes inside of it that will hopefully feel more connected. We, of course, need to check for it, but for the rest, it should be fine. Now we have these pipes over here, and these pipes are actually already in a really good location. I'm actually already quite happy with that. If I just have a look, also from a distance, I just want to check if they are maybe too thin. Maybe they're a tiny bit too thin. However, our sweep is still working. So let's set that to 25. Maybe 27. Yeah, let's try 27. And I want to go ahead and export this before I finalize it because I'm going to get rid of my sweep, just want to make sure over here, right click reimport that from a distance, it doesn't look like two over the top. No, that's working quite well. Now what I'm going to do is I'm just going to go ahead and add a very simple loop around this pipe which we can use to our final detail. Now, for that, what I will do is I will probably just duplicate this, convert it to addi poly, select the center, pros conta I and select everything else. Now we have just this if we center the pivot, this simple cylinder over here. We need to go in and just do a quick align to make it straight. And now we can go in and we can scale it to the point where we want, for example, something like this and make it a little bit more thicker. Hold shift and the ser, and extrude this in over here. Select this. Let's do a ring. Let's do a double click and just place a simple ring here. Then another ring. Again, connected over here, maybe a little bit in for this one, just scale it down to give it a bit of a bevel. I'm going to probably go in here and actually also plays a loop here and here. Select these pieces scale them out to give them again a little bit of a bevel look like this. Now I will probably just for the weighted normals need to add a quick chamfer over here in this area. But for the rest, let's just double check the weighted normals. I also want to probably add the weighted normals on this one. It's like a we thin one, something like this. And now for the top, what we want to do is we just want to go in and create like a connection, we can just go to the top view, create a simple cylinder. So we're just creating a simple bracket. I don't really have reference for this. I know that I always say do it with reference, but in this case, I'm just doing it a bit more out of my head just because I've made these type of brackets before, so I'm not too worried about it. Let's go ahead and just push this one in here. And let's see. That's a little bit too thick, so I'm just going to scale this a bit thinner. Move this one just below here. First of all, just select this, press onto I and lead any pass that it has selected. Next, what we're going to do is we are going to place probably two loops here. Scale this in Let's see for this one, we're going to go ahead and again, we are going to place probably for this one, what I actually will do is I will go ahead and I will extrude this out on the local normal and then place two large barrels. And then probably two really small bevels just to cover the weight normals like that. And just add some very basic weight normals to this. Let's just check from a distance. Yeah, that feels totally logical to me. This one over here, however, oh, wait, I still need to outweight the normals. That's why I looked a bit off. So let's say that we now just have this really simple trim around, which I can then also go in and just place on this side over here. Oh, that's unfortunate. I deselect it for some reason, the top. Let's try again. Oh, wait, the reason I deselect it is because I set my moving to local, and I need to set the view because I cannot do, an even movement on multiple objects at the same time. So we got something like that, and honestly, that is probably already enough. Like, these ones are going to the top. Now, in terms of the pipes, you can add connection points and everything to the pipes, but I personally think that won't really be needed. The only thing that I want to do is I want to give the pipes over here a special texture, and for that texture, we need to go into designer to do to create a texture, basically. And it's going to be really easy. It's just going to be a metallic vent texture. I will go over that a little bit later. However, at this point, let's first of all check if our main shapes are to our likings. Pot, entrance pillar tilted. And once we know that, we can add our trim sheet details. And then we can, of course, do another check. And, of course, we also need to do the texturing, but let's first of all, just add our trim sheets and then we'll work on dress. Yeah, I think that works. If we do this along with, of course, casing some interesting details here in the ceiling and everything like that. I think that should work quite well. Yeah, it doesn't feel out of place, like it feels like it belongs to this environment specifically. So that's looking good. Okay, awesome. So let's go ahead and save seen. And now what I will do is I will go ahead and kick in the time labs where I will start by placing all of these trim sheet details that we have over here just on our model just because it's the same thing over and over again. So let's go ahead and kick in the time labs. 34. 33 Creating Our Angled Pillar Part4: Okay, so all of our trim sheets have been placed. I already imported them into unreal just to have a look. I'm a little bit worried about this one over here. Like, it does look cool, but I just need to check if it will look like, logical and stuff like that. And I also feel like with this one, you probably want to end up, like, making the mask a little bit closer to this edge. But that's like little bits of polish. We can always do it later. Oh, in this one, I want to move a little bit to the side. That's pretty much the last thing over here, so just grab this one, do this. Okay. Now what we're going to do is we are going to get started with our UVs. For our colors, I want to go a little bit more in this direction that you can see over here. So what I do need to do is I need to figure out how I want to color this specific pillar. What I had in mind is just make it orange, but make these pieces that are sticking out white, for example. So knowing that, let's go ahead and just open up our material editor. And we are just going to go ahead and get started with the first one. So first of all, we have let's just make this gray metal over here. Or shall I do black? I do want to like a bit of color between these two. Let's make this one black. Let's go in here, and I want to go ahead and convert to a apol and just isolate this one. So for this one, first of all, on the inside, I want to make it black, just to kind of, like, really indicate that you cannot really look through here. So it will almost be like a fake shadow, pretty much. Oh, it looks like I accidentally selected this loop around, which I don't want because it's too visible. Yeah, something like that. Let's make this black. Now, I can see over here that it's turning the entire thing into like a different color. Let's press Contra I. So this one, I'm going to by default, make everything white. I am fine with this being white, all I want to do is I just want to select this area around here. And I will just in case I also select the bottom side, and I can see that over here, we need to fix something. So let's go ahead and make this 1 gray over here. I need to go ahead and fix this area. Let's see. I think it's like these two edges over here. So if I just push those out, I can see over here that I actually need to go in. On the way, this is a pace. Yeah, yeah, this is a phase. So all I need to do is just use my cut quickly place two cuts to clean it up. And of course, we are still needing to do the UVN mapping, but that's no problem. So we can keep that white, and I don't know. I had the idea of maybe making this stuff over here orange, but I don't know if the blending will look very good. And we would also need to clean that stuff up. So I'm not sure. It does look interesting. Like over here, you can also see spots of orange. So maybe we just want to select all of these bits, go to our side view, and carefully move them until they are straight. And then make these areas orange. It doesn't want me to make them orange. Probably. Actually, that's w weird Why don't you want to become orange? My color is fine, my coating is fine, so that is very strange. Let me just also select this one and then have another check. Like, I don't want to detach these models. That's basically the problem. So I'm just wondering why any other color, but orange, it can handle. Now, I'm not completely sure. It's also a bit hard to check which color it is. What you can try to do select here, pick the color picker and then click on here, and then you can see what it will have attached. And it does show as orange metal. So let's just have a look and see if it's just like a visual bug or something like that before we jump into conclusions and try to fix all of this. Now my weight normals are still correct. Yes, they are. So we would need to later on add some UVs, but for now, t's just hight selection. Yeah, here definitely there's a bug. See? I'm not able to. Oh, wait. There we go. I will sell his leximon. Wow, that's a newbie mistake. Really sorry about that, guys. These ones over here, I'm going to make them also orange. Yeah, S here, it's probably just like a visual bug, because, as you can see over here, I made them orange, and they also don't turn orange, even when it's the entire model. But I'm not too worried about that. I'm gonna go ahead and just make this entire piece orange. And then if I just go ahead and convert this to add pol I want to do a select by angle. Select this side, and make sure that you don't accidentally select more. Grow, grow, grow. Let's do one more grow. Double check? Yeah, it looks fine and just make this one white. We have white and orange for this entire pillar hight selection. This one, we can just make plain white that should be fine. Yeah, I don't think there's really any where I want to change the color. This one, because it goes into orange, I want to also make this area orange. Now we have these ones over here, which are going to become raw metal. Hight selection. What I like to do with these is I like to make the center raw metal. Let's just go ahead and convert them to add poly. First of all, make it orange and then simply grab the center, maybe grow it once and make this one raw metal, hight selection, center, grow raw metal, height selection. A that is left is going to be over here are pipes. What we're going to do for that one is I'm going to go in and I'm going to, Ridges. Let's just make a material called ridges and apply that one. And for that one, what we want to do is we want to go into designer and start making a unique material for this. However, I'm not going to do that yet. I first of all I want to just do my unwrapping because I don't like to inside of a tutorial jump back and forth too much. So first of all, let's go ahead and let's start with grabbing these two pieces, UVW map, box, and let's start with 200 by 200 by 200. I can see that 200 200 by 200 is a little bit too small, so let's scale this up a little bit. Well, actually, let's do it even 400 by 400 by 400. Yeah, so 400, that is looking good. My PC made a noise. Not sure what that was about. Now we are going to have this one, this one, and this one. We can just all three of them, go in and again, UVW map, 400 by 400 by 400. And the only thing I want to do with this is I just want to go ahead and already rotate it at an angle just in case I ever want to change the material. Convert at a pol, right click, height selection. And now all that we have left is we have these pipes over here. Oh, and those pieces. But these are all round in round detail, so I can just isolate them. And first of all, for these ones, I'm just going to add a poly and get rid of the site. Oh, and I also realize that I might have made a mistake. And the mistake I've made is that my pipes are probably clipping. Let's first of all, Uvunwp them, and then we'll figure that one out. So let's just use the text tools like we've done before. Contra A, iron double click, break, and then we can just do a simple relax over here. Now that should already be enough. And then what I like to do with pipes is also, I like to often just press the relax button. Looks like in this case, it didn't work, but sometimes that does relax things a bit better. For example, what you can see over here is that it's a little bit of, like, a strange relax. I don't really trust it. I can try to turn on my checker, but then I lose my material, which I actually already lost by now. Another thing that I like to do is, I like to often Oh, 1 second. I'm messing things up. Break. Quick peel. One thing that I often like to do is I like to go up here and I just like to straighten my selection and then try to do a relax. Wow, this one really does work. Sometimes just doing a simple apply transforms will work. So if we just go ahead and convert this to an dipole, give me 1 second. I'm messing things up here. Go in here, reset X form. That's what I meant to say. I'm not really good in this tutorial for some reason with mentioning the tool names. But now if I go ahead and try and iron it again, Double click. Break, quick peel. Now, there's something in here that the peeling just really, really hates. Yeah, I'm afraid I cannot do much with this. In that case, then it should be fine if we just do a simple quick peel it should not do any stretching. Normally, quick peels don't do any stretching. Anyway, at this point, for this one, I also need to reset my X form because else, the copying will not work. And then right click copy, go near, right click paste. And I just like to open it up just to double check. Yeah, that's still the same shape. So UV mapping these is really easy. Now, for these ones, again, I can just go in and art a quick at a ply, delete this and this side. Go on here, delete this and this one, selected. And now we are going to make a material, and I already know that the material will just have simple ridges. So for the UVnwapping, I could just iron it in a place where you cannot really see stuff, press a break. Quick peel, and you just want to go ahead and make it straight. That's all you need to focus on for now. Just make it straight. Copy your UVW onwap and paste it over onto the other side. Right click Right selection. Now we have this one. So this one should be quite easy. We can just go ahead and iron it, and then on one area, double click and press break and do, again, a quick peel and you can see that that has done a pretty decent job. I'm just going to relax it. And in this case, finally, the relax is working the way I wanted to where it straightens things out. Copy, paste, height selection, and again, for this one, let's just for now delete the weight in normals because we need to go in here. And a cool thing that you can do, by the way, is if you add an added pool and then start deleting stuff, this added pool will also work if I copy it and paste it over here. You can see that here. It adds the same changes. So it just saves us again a little bit of time. Now, I'm just going to iron this, place one loop, peel and there we go, copy it, select here, paste. See? That's what I call quick. So we have that stuff done. Right click on Hill No, we don't need to do anything. So that is all looking fine for now. I want to save my scene. And at this point, I'm forgetting something, but I forgot. Sorry, I will probably see it if there is a problem. What I'm going to do now is I'm going to first of all, export this, and then what we can do is we can create our texture. So this one is going to be entrance pillar tilted. We can go in here, right click reimport. In this case, I'm going to do a reset to FBX. One of the few times that I do that because we have just made so many changes that we just need to do this. Now, this one looks like it's supposed to be the orange material. Yes. This one, which is now trim sheet normal is supposed to be I believe it's like the white metal. Yes. So that's the white metal. Then we have this one, which is going to stay the same for now because it's the bibes. This one is going to be gray metal. No, that's not This one's supposed to be black metal. Sorry. Black metal, which I still need to make black. Willie. I didn't make that black. Gray metal. This one's raw metal. This one is trim sheet one, which is already correct and trim sheet normal. Okay, so we got that stuff done. Now, another thing is that once again, for some reason, Nanite is messing with our areas. I actually have never had this, so I have a feeling that maybe ever since I updated that something is different since I updated unreal. But in any case, what we can do is just relative error, and I'm going to just said this. To the same value as I did before? Yes, it's less optimized, but our mesh is pretty optimized anyway. And probably what I want to do with these bolts is I want to make them the stru gin, so I'm just going to very quickly. Although it can also make them raw metal. Would make more sense to make them raw metal later on also in the trim sheet. But for now, we can just make this the first trim sheet like that. Okay. So that is done. Anything else that I might have missed. Let's have a look around. Yeah, so here you can see, like the orange metal, which is, yeah, it's looking okay. Oh, yeah, I was going to make the black metal black, which I thought I did, but I guess not. Just make it like Wi close black. You never want to go fill black because almost well, actually, nothing in real life is fill black. The closest you can get is charcoal and charcoal is still only 80% black. Let's see. So definitely like the trim sheet. Like, it looks interesting. I just have to have a look when we have our actual lighting, and then we are going to also, of course, polish all of our materials to see if I want to change some stuff around. So that is no problem. Now, let's go ahead and finish things off by opening substance designer, and we're going to create a super easy material just for our pipe over here. The cool thing is that we only really need to create a no map because once again, we can just reuse our metal for this. I can go in, create a new substance graph, just make it empty. Um, Pipe ridges, for example, and just press. Now I will quickly get some reference, just bear with me. Here we go. This is what I basically had in mind, these type of ridges, like you can see over here. Let's just go ahead and try to find a larger picture for this. Yeah, so that's basically what I had in mind. Maybe we are going to make it a little not as flat. I wanted to give it a little bit of, like, a punch, so to say, so to speak, so more something in this direction over here. And yeah, I think that something like that just looks quite fun. So for that, it's going to be very simple because all we really need to do is just create some shapes and have a little bit of, like, clot type warping. So first of all, let's go to our patrons, and 1 second, I'm just checking yes, so it looks like that we want to probably go for a simple gradient, linear tree and set the rotation to 90 degrees and just boost up the tiling, way more like 32 to get started with. Oh, sorry. I need to keep it at zero because I remember our UVs. So something like this. Now, next what we want to do is we want to give it a little bit of deformation, and we can do this by adding a multidirectional warp gray scale over here. And then you can plug in. So we probably want to do two variations. So let's do another multidirectional grayscale. One of them is got to be really large variations. If you go to your noises, you can go and add a simple purlin noise and set the scale quite low. This is just like a really common noise that just gives you really soft variations. And as you can see over here, I can actually, I want to keep this at average. I can go in here and I can add some very small quite large warping. And based upon my pearling noise, the warping can become more or less. The second one is more smaller variations for which I want to use like a clouds too. And I like to set the mode, in this case, to minimum to cut into the shape. I just want to give it a little bit of soft shape. Now, at this point, I like to add my normal map modifier to convert this into a norm map. Sets to open GL. And then the next thing that I want to do is I want to start focusing a little bit more on getting a clot type feeling to it. Now for that, I can go in and I have over here a crystal to noise. But if I set the scale really low, you can see that it just adds these clot type things. Now for this one, the only unfortunate thing is that it will be a bit tricky to render exactly like a a mask which allows us to shuffle around this mask because what will happen now is if I have this one, and I don't know if we want to add this to our height or a norm map. We need to check. But if I blend this with my normal, for example, and set the mode to, let's say, multiply or something like that, you can see that this does not feel very realistic. We want to kind of shuffle things around a little bit, and for that, we need to generate some type of mask. Now, the first thing I can do is I can try to use a histogram scan and use it over here. And our mask would basically become if we set our contras up. Oh, actually, pretty close. You would want to make your mask simply individual shapes that are not touching each other. Yes, that's how I should say it. Now, the reason for that is because what we can do with this is we can add a flood feel, and a flood feel is able to detect all of those separate shapes. Once you've done your flood fill, you can start manipulating it. Your flood fill note has a bunch of notes like you can turn the shapes into random gradients. You can turn them into position maps, a bunch of stuff. But what we want to do is we want to add a random gray scale. Looks like here, let's go from complex to simple and small. I think what is happening is probably because it is tilable that it is not working as well. That is a little bit tricky. What we can try to do is we can try to add a blend. If you just grab a simple shape and you set the scaling a tiny bit down, I don't know if this will work, we'll have to see. We can then set the blend mode to multiply and it will basically like a black border. Now Yeah, see? So that was the problem. Flood fills really don't like it when something is long and dlable. So doing it this way if we just make our shape as small as possible. So 0.00 0.999 Does that still work? Yeah, that still works. I think that should be probably enough. Now, the cool thing with this, what we can do is we can grab our crystals over here. Now, we want to make some small changes, like we want to add a quick blur, high quality gray scale, just to blur it to make it more like soft flows. And then we want to add something that's called a directional warp, very similar to the multi direction warp, which is an older node. And if you plug in your gradients, it will warp based upon the gradients. So if we set our warp mode at a random angle and set the intensity extremely high to 500, you can see that now it will have warped in various different angles. It does depend on the flow. So here you can probably see it a lot better, where the warping is quite different. Now my hope for that is that if I go in here that I get all of these different flows. What I also want to do is because we now have this really sharp edge over here is that we probably want to artist blur after we've done our directional warp over here. See? And then we can also use our blur to basically control how much we want this. And that's just for some very quick shapes a bit like you can see over here. See? So it's not perfect, but it's just a quick material that we want to create and you can spend a lot more time on this to really define it. Another way that you can do this is you can convert this to a norm map and convert the shapes individually, also to a norm map like this. That's to open GL. And then you can add a normal combined note. They both have their ups and downs. It's just that you need to kind of like, have a look around and see what happens or what looks good. I'm actually going to go ahead and go for the height, and that's because I want to show you guys something cool. So what we can do, can we do that? Like, we can add thanks to Nante. We can technically add displacement to this mesh based upon our shape. But now that I think of it, doing that, we cannot do it while it is attached to the rest of our shape. That might be something that I will cover in a polishing chapter just because it is a chapter on its own on how to separate it and we will go over that a little bit later. So please bear with me. But if you want to already have a look at it, you can very easily look online and simply look for nanite ometry displacement, and then you can find it. Anyway, I have this part over here. The only thing I would say, what I might want to art on top of it a little bit is if we add a normal combine and set the technique to high quality, we can go in and invert gray scale are blend over here so that we have these lines. And I'm not sure. Oh, way, these lines are not the tips. No, these lines are the bottoms. Well, I can already start doing it. So art a quick blur. And then the idea was that if I add a normal, but we need to turn this into a curvature. If I add then the normal, we can add that on top. But as you can see, it's in between the lines, and that's, of course, not what I want. Instead, what I can do is I can add or an edge detect note or a curvature note. Let's start with dgetect. Throw in over here our Etche detect and let's set the edge roundness a bit down. Looks like edge detect is not working this time. In that case, what I will do is I will add a curvature note. And the curvature requires a non map. So what you want to do is you want to just copy this norm map over here and plug it in here. Now when you plug this into your curvature, you can see that this will generate a fairly I was hoping to say fairly decent curvature. Unfortunately, in this case, yes, it has those things, but not the way I want to. That's why curvature smooth. Mmm. Okay, let's just try this curvature. All the hcrum scan to see if we can slightly manipulate it. Okay, yeah, so we can kind of manipulate it. Good enough. Let's throw this into our blur high quality gray scale. Get a bit thinner because it's just like a very soft non. You just want to go ahead and set this normal super soft over here, just to kind of push out some of those shapes a bit more, as you can see. See? It's just very subtle. That's why I'm not too worried about these being slightly double lines and stuff like that. Anyway, we now have this done. So pretty much for now, we only need no map. Later on, we might need a height. Go ahead and add a output node, set the identifier to normal Copy that also into the label, and then up here in my components, I just want to go ahead and press C plus and also set this to normal. I can now go in here, text, Scarlet pipe for now. Save that location. And first of all, let's go ahead and save our scene. Pipe bridges, save right click and Export. Once again grab a pipe, export outputs so automatic export, let's turn it on. And let's go ahead and export this. Save machine. And now if we go ahead and go into reel, we can go to textis Make a fooler called pipe ridges, and I can go ahead and import this. And this is open GL, so we just need to go in and just flip the green channel around. Okay, cool. So pretty much this one. It's pretty much a raw metal. So let's duplicate this. But then this raw metal will have just some balancing. So the first balancing is going to be that it will have a no map in here. And also the roughness amount is going to probably be like 1.5 to make it a little bit less. Save it and open up our model. And just apply this material. So I'm just going to do it the easy way by selecting our pipe bridges, going back into our model and grabbing our blockout white and applying that. There we go. Okay, cool. So we now have this. This, of course, doesn't look very good, but we can go in here and set the tiling to something like five or you can change, of course, your actual UVs, if you want to. But actually, yeah, I might need to change my UVs because this is looking a little bit wonky. Hmm. Not what I expected. Let's have a look. So roughness map that's fine, tiling is fine. Yeah, we definitely also want to go ahead and, like, add some displacement on here. For now, however, let's just go ahead and go in three years Max and see if we can fix the wonky UV is a bit better. Let's open up our UVW map. Let me guess it's around here. Okay, so that area. That's a little bit tricky. A few things that we can do. We can try to Never mind. I was hoping that we could relax it. What we can try to do is we can try to straighten the selection. Now, straightening the selection will often create some warping and stuff like that. So most of the time, if we do something like that, we would have to go into our material and we would have to preview our material. So let's just grab the ridges, select a base color. But of course, I'm going to select the norm map as the base color. And turn on overweight so that we don't have the same stuff. So now, at least, if I go ahead and turn off my edges and faces, you see, that's what I meant with the stretching. It also means that I'm just going to scale this up to, like, a scale that I already prefer. But yeah, as you can see, like if we do a quick peel, at least, then it is a bit more soft, but it is definitely not giving me a favorable position. And it is honestly quite difficult for me to just casually scale this because here, I can try to scale it. But often it will just not work. It will just create too many stretches. The only thing that we could do is to, like, double click and on every single line, go in and straighten it out. However, this is not really the best way of fixing it. But it could work. And the reason why is that by the time that we get to the end, it should be fairly straight. Just give me 1 second. You see? So now it is starting to straighten down. It's just like a really time consuming way of doing it. And of course, yeah, you have more areas where you can have arrows and stuff like that or stretching. So be quite careful when you use this. Another technique would be to use sum V. Resume V doesn't have this problem, but I don't want to start introducing smuV only to fix one single problem in an entire soil. So it's easier for me to just do it this way. Now, I can see over here that definitely, this one is fine, but Yeah, here, some of these are not looking too fancy. You can move them around a bit, see if you can balance things. I think we are getting a little bit closer to balancing things out. Yeah. Like a little bit of stretching, that's actually preferable because that looks a bit more realistic. Stretch this out flat also. Yeah, I think something like that is probably the best that we're going to get for now, at least for a simple tutorial. Definitely, if you are doing this for production, spend a little bit more time on it. Like, I'm literally doing this in just a minute while recording. So it's not really fair comparison. Let's go ahead and export. And let's go in here and right click and reimport. Oh, and we need to now go back into our material. And just change the tiling amount, for example, one, or maybe two. I think one because from a distance, it will else quite difficult to see anything. Oh, there we go. Okay, so we got that done. We got all of our trim sheets done. Of course, we don't have the decals done yet. But I think in general, that is a pretty solid start, and all it needs is just a little bit of polishing and adding our decals. Definitely, we need to polish our trim sheets. But for now, that's a pretty solid base to get started with. So having that done, and I know, don't worry. Like, the thing with our viomin art most of the time is that it will look pretty **** for the first 90%, and then in the last 10%, everything will all of a sudden come together. So having that set, now that we have this piece done and we have this piece done, what we will do in the next chapter is I will go over the techniques on how to texture, really large pieces, which is actually way easier than creating these two pieces and applying our trim sheets to this and just taking it to final. And once that's done, we're going to get started with the big stretch, which is going to be a massive time laps to just finalize using the same techniques, all of our models over here. So let's go ahead and continue on to the next chapter. 35. 34 Creating Our Large Hallway Module: Okay. So now that we have our pillow done, what we're going to do is we are going to go over on how to finalize a much larger asset like this one, which is actually going to be super easy. Like, it's almost but it's way easier than creating the pillars and stuff like that. I just want to have a look, sook, so this one piece. And we already have most of the piece is already ready to go. So let's go ahead and go into three Max. Turn off our pillar tilted and most this is just going to be trim sheet work. We need our wall, no. Hallway module. That's the one that we need. Let's start with a long hallway module just because it's a little bit easier to show you stuff. So as you can see, we already refined everything quite a bit. We even got our bevels and everything already set up, so that's all looking pretty good. Now, what I want to do is let's have a look. So on top, yeah, I'm fine with that geometry. I'm honestly already fine with what we got here. The only thing that we need to do is we need to add a few more bevels. And also see that over here, this one, it's a little bit messy. So let's just go at the plus control back space for now. So we need the bevel here. We do not want to have bevels on the sides. The reason we don't want that is because we need to make this modular. So what I'm going to do is I can go I will probably mirror it on a weight that cannot mirror it because then we will lose our shape and I'm a bit worried about that. In that case, what I will do is I will place a bevel here. And then on this side, I'm just going to go ahead and place two really small bevels just to basically cope with the weighted normals like we normally do. Don't worry about the black faces and all that kind of stuff. That's something that we will clean up a little bit later. Now, next is that we already have over here these lines. And I'm totally fine with keeping these as geometry lines. I think that will look a little bit nicer. The only thing that I, of course, need to do is I need to go in, and first of all, let's check the thickness. Yeah, I'm fine with the thickness. So then we can go in and add again, an additional bevel. But keep it quite small. So that it does show up still as a sharp face. Now, pretty much for that, that's literally it. Of course, we will need to go ahead and create some materials. But what you can do is we are going to add some smoothing groups. First of all, let's just go ahead and select everything and press clear smoothing groups. Then select only the center over here and just press one. So now we have a smoothing of one, which means that if we add our weighted normals and turn on our used smoothing groups, you can see that now we have a sharp phase on the side, and that will simply continue on to be nice weight normals, as you can see over here on the center. And you can try snap the largest face if you want to. But over here, I can see that that actually is not looking as good, so I'm just going to leave it. So like I said, most of this work is going to become doing trim sheets. Now, trim sheets do need to stay basically modular. So if we have it on one side, we probably want to go ahead and continue it on the other side. Later on, what we can also do is if we have any type of special details, we can basically construct trim sheet models. So basically models that I just like a collection of trim sheets that you can almost use as a large decal. However, for now, let's go ahead and say that we just want to grab I quite like this one. So what I'm going to do is I'm going to grab this one and this one, and I want to use let's go for this. Now let's do this one over here. Here we go. I can go ahead and just duplicate these, rotate them 90 degrees. And as always, just move them nice and close over here. Okay, awesome. So what I wanted to do is I wanted to basically go and start with a simple line like we have over here, just above it. Then what I wanted to do is I wanted to use this line to basically create like a change in position. I think what I want to do is, first of all, get rid of that messy edge, but I'm just going to go ahead and I'm going to push this further in because we want to have this line, of course, connecting along with the rest. Like over here. Don't worry about the no map position that should fix itself inside of unreal. So what I'm going to do is I'm just going to go ahead and I'm going to push this one in also. So we have this line. Now what we can do is we can decide, like, do we want to add an extra piece, but I don't want to? I'm just going to go ahead and simply rotate this. I just place this line onto the same position. It might look a little bit messy in here, but it should look correct when we actually add our normal to this. Now I have this one. I'm going to go in and I'm going to just rotate this. And it looks like that we are a little bit off in this line. But let's just go ahead and check that out inside of the engine. So let's say that we have something like this, and now I can simply go in. Oh, make sure to set the mode to view. I can go ahead and duplicate this. And in this case, I'm just going to temporarily combine these so that I can basically go in and I can do this very simple rotation over here. And then don't make sure to just add a normal modifier or flip your faces because else your faces are in the wong position. But it should still be on one line. Yes, it is. So over here, I'm just going to end this nicely in here, and then we can go ahead and we can continue this. So with this one, let's go ahead and select the end. And I'm okay with a little bit of stretching. That's often totally fine. So let's go ahead and start with something like this. I want to go in, and I just want to quickly check how my UVs are holding up. So actually, I can just go and select all of this. What I also want to do is our mount is going to change actually the materials already. So in here, let's go ahead and start by converting this to added pool. I want to have a white material for the majority. And then what I wanted to have is I wanted to have the site over here, and I will probably end it before we start creating the trim. So give me 1 second. I'm just selecting everything. There we go. Double check your work. Yeah, and let's go ahead and make this one orange over here. And the top I was, I think we will probably keep the top white like we have over here. But what we might do is you might want to add some details. One very simple detail that we can do is we can select, for example, the center. Maybe select also these pieces over here. And with this one, I can also make this line orange. And later on, we can also just add some additional details that are also orange. But for now, let's go ahead and first of all, export selection, hallway module long. Oh, it would be nice if you actually quickly select your model, UVW Unwrap box. 400 by 400 by 400, I believe was the scale and now export it. Sorry about that. But see how quick it was to UVUnwp stuff like this. That's why we love Tres Max. Now we can go ahead and we can go inside in wheel, way module long, let's re import that. Yeah, we can just reset the FBX. Let's open it up. How is my nanite holding up? Make sure that preserve area is also turned on. Yeah, I think that's holding up pretty well. So we have a let's see. Blockout is going to be white material. This one is going to be orange material. Then we have our no map only trim. Okay, let's see. Over here like that, that's totally fine. You can see that it nicely repeats. Over here, I can see that we do have an error, which comes from Ananit. I'm guessing for this one, I'm just going to once again relative error. 005. I really don't like doing it, but there isn't currently another solution, unfortunately. But now it transitions perfectly. Over here, you can see that here it transitions nicely, see? I can see that I like a tiny mistake. But for the rest and over here, I probably want to push it a little bit more just by changing the polygons. But you can see over here there is already almost no difference. So let's go ahead and just fix these tiny mistakes, and then we can go ahead and continue. So for this one, I was just going to push it a little bit longer. The same over here, convert the pool, push it to be a little bit longer. And then over here, you can kind of choose. So often what I tend to do is just add a simple edge here, which then allows me to kind of, like, just move things a tiny bit, but often you will never will be able to see it from such a large distance. So let's say we have something like that. That's looking already pretty good. I'm going to go ahead. I'm going to place another additional line probably somewhere here. And this one, I'm just going to simply continue. It is okay with these type of decals to overlap them a little bit. Don't go crazy, but you will often not see overlapping because they are non map only decals. I'm just going to go ahead and set the two. And then over here, when I want to cut it off, I can simply place swift loop and just literally delete the rest of the model like that. So that's like some really simple stuff. I can see over here like there's like a bunch of just different interesting looking pieces. So let's say that I want to, let's see. Let's go in. Let's grab another one that's going to go up here. I want to go ahead and want to continue this one a little bit longer. Let's say that I want to continue it up until this point over here. However, we do need to, of course, make these lines come down again, or we need to merge them in together. If we don't do that, then it will no longer be modular. So you have to be a little bit creative with it. But what I can do now is so I need one that actually goes like this. Oh, I did not create that. I can manipulate it. That's no problem. Just curious that I did not create it. Okay, so we can definitely manipulate that. Let's just go ahead and grab this line. And let's just start by just moving it here. Then what we can do. There's multiple ways. One of them is that you can simply add a symmetry modifier. Now, the worry for this kind of stuff is that your normal maps might alter a little bit. So we need to check. But let's say that here. We do like a simple line like this. Then if we just go at a copy and paste our symmetry again, this time we can just go ahead and we can tu it on like this, and then we can just go ahead and convert this to an added poly, delete this side, and just scale this flat. See? Really easy and quick way over here, I'm going to also go in and I can place another line here, scale this one flat and just there we go, delete and also somewhere over here, I will probably also delete it. Place an edge, delete, sent to object, and push it back in. There we go. Now at this point, yes, we can continue this line. However, we would want to go in and later on start by even if you move your pivot like this and then move in, it will keep the axis reminded. So you can then go in and then you can do a close up and move again. Basically, what I'm saying is that over here near the end, we will have to once again go down to continue this line. Now, what I have in mind is that I will actually move this quite a bit further away. Let's say, all the way over let's go to Adipol all the way over, let's say here. And then just delete it. And at this point, you can grab this piece. You can go in up here into your mirror tools and simply mirror it and then push it in. Now, sometimes that will flip your normals, do keep that in mind that if it looks incorrect or if it looks flipped inside of unreal, you want to just go ahead and flip it back, which is just like using a no modifier or just flipping your faces. So let's say that we just have a random line like this that also looks pretty interesting. I'm just going to check if there's any specific details that I might want like this one, looks quite cool. Yeah, I don't think I want to do any vents on here, although maybe in the bottom, but I'm not completely sure about that. Let's say that we grab this one. Move it up here. Here we go. Rotate. I'm not completely sure yet what they will look like, but I know I have a good feeling about that. Let's go in. Okay, I'm going to make it a little bit smaller over here. And then what we can do is we can go in and we can go to tools, array plus preview, and now you are able to basically evenly distribute these. I don't need ten. I need five maybe or four. And also, what I want to do is because this is modular, when I start here, I want to make sure that I don't actually also end here. Now, I'm doing this mostly just guessing by eye and then of course, when we repeat this, this one will start over on this side again. So just like that, we can keep adding more and more details. And later on we are also going to add some specific trim sheet details on some of these areas. Now, I can see over on the top that it also has just some interesting, I would say those are vents on the top. Now, let's see what could we use? Definitely, also, I like this one. This one I would like to use this one, and I like to use it as just like some subtle details. Let's say, for example, over here, you will probably not see it, but it will just add that little bit extra in case people see it, that they can appreciate the small details just hovering around here. So I'm just going to go ahead and I'm going to move this, and I'm going to actually just do a very simple copy and copy it a few more times. Oh. Once more. Now, we now have this problem that over here. Like to logically copy this, we want to end this over here, but you can see that we cannot just scale it. Instead, what I like to do is I like to use an FFD modifier. Your FFD modifier, if you go over here and press FFD two by two by two, in Maya, it's called lettuce, and I think late no lettuce, I don't know. It's called something I cannot pronounce. I know that lettuce is the food. And the same blender. But what it allows you to do is scale all of the models as if it is basically one model. So you can see over here that they were able to basically scale them all along the antena ini. And because they all stretch a tiny bit, you end up not noticing the stretching. So we got this stuff over here done. I also need to keep in mind that if we are mirroring, we probably also want to have it on that side, but I need to check when we actually start doing that. Now, here on the top, it's up to you if you really want to add something. I'm not sure. I feel like adding a vent across it will just look a little bit too over the top. I'm not going to go for super smart details. I guess just adding a vent just over here on the top, in the event that you can see something would be totally fine. So here we place like here. You will probably never notice it until you're actually looking down or something, but just in case, and I'm going to once again just go here, add a number of copies, delete the ones that I don't need, and once again, we can just select all of this. We can go and add an FFD two by two by two. And we can nicely push this back. There we go. So just like that, we can keep adding a few more details. What I will do is I will probably go in and just select this entire thing over here because I'm quite lazy, duplicate it. And in this case, I'm just going to isolate it, go to attach and just attach all of these models until they become one singular model and then just center your pivot. And I'm just going to have a look. So let's say that we go to mirror, X mirror, Y. I quite like doing it on the Z mirror. So let's move it on the Z mirror. Move it somewhere over here and maybe just to give a bit of unevenness, I'm just going to move it like this. Doing small movements like this, yes, it does stretch out our line, but our line often you cannot really notice that type of stretching. So we have, like, a bunch of stuff like this. I don't know if there's anything else that we might want to art or any type of, like, specific detail, maybe, like, something like this, throw it in. I don't know where to throw it in. Throw it in here. 90. Nicely move this over here. This is once again just like a detail that's only in the norm map. We just have one here, maybe make it a little bit smaller. Maybe I will also just randomly place it here. No real reason for it, just think it will look cool. Let's go ahead and just have a look. File Export Export selection, hallway module long. Of course, creating the small sorry, short modules, English. You see is now pretty much fixed. The short modules, we can, of course, go in and um make them based on these ones. I can also see over here that we do need to fix some of these bits. I quite like this, although I might want to actually end up giving it a little bit of texture. I also quite like having the orange bits. Now, you can see over here that where I mirrored things, they are missing, and that's what I meant with the flip normals. So we need to go in here, flip these normals, flip these normals. Anything else that's missing? No, I think that's about it. Okay, so we got those pieces. These ones on the top, I want to give them a different material. You can become trim sheet number two. We have something like that. The general goal is that if we look at it from a distance here, see? Now we have three of them, that it still looks pretty decent and then when we would add details and everything, of course, everything will just fit a little bit better. Let's see. Um, I think the rest is I'm going to also make heavy use of, like, color decals, which are just going to be shapes that have color to them that we can art on top, just like improve the general look of things a lot more. I think the only thing I really might want to do here is I might want to see, do I have anything for this? I know that a bunch of decals we are not really using, but I might find a use for them. I did not intend to maybe use all of them. Ah, I don't find anything, so let's just make one. Let's grab one of these lines. And I was thinking of just making a simple box that's like a thinner line. So here we make the line a bit thinner. We place it somewhat here, then go to symmetry modifier on the x axis, rotate it exactly 90 degrees. Let's push this out. Then copy, paste the symmetry modifier. Oh, no, sorry, let's make a new one on the x axis and press flip. So now we have something like that. And then another symmetry modifier this time on the Y axis and again, flip to create something like this. I do notice there is a slight difference in the thickness, so I'm just going to select these and just push them back in to compensate. Here we go. And maybe also center your pivot. Super simple, let's say that we add one here and just keep adding one in every single area. Oops. Now, of course, with these ones, what you want to do is want like push this one down there. Yeah, see, that should do the trick. So I'm going to go ahead and I'm going to export this once more. Hay module long. Go in here, re import. Just press Done in this case, and then we can go in. That's so annoying when it opens up in the big window. Last, if it happens a few times, it's not annoying, but I need to open these windows every single day for hundreds of times and then it becomes annoying fast that it doesn't remember that I just want it small. But anyway, we do now have a few issues, as you can see over here, and these issues happen when the norm maps itself are flipped, which is a little bit awkward. It's basically actually norm maps flipped in those events, what we want to do is, although logically speaking, how did I mirror this white? So for these kind of pieces, logically speaking, if you just rotate them. Yeah, let's say that we remove this one. Do that. And then art the map, it should not flip. So I might just have made a mistake in that that I was thinking of the wrong thing. So let me just quickly check. And else when I make a mistake, if I can fix it fast, and you guys just learn from it, that you don't make it yourself. Rimport? Yeah, see here. So that actually just makes it normal again. So that was my fault. Now, up here, that one is a little bit more annoying. What we would need to do is we would need to select all of this. Again, duplicate it. Sorry about this, guys. Select it, attach. There we go. Click Center, move the object, and then we literally just do this. 180, add a nor MP modifier, convert back to Adipli, move it in the location where we want it to be, and then once again, just move this along a bit like this. Okay. So hopefully the last export. Then what we need to do is we just need to check if we did any type of mirroring, which means that we also need to create the backside. Of course, you can just create the backside. Yeah, I'm fine with that. I will say that on here, they are actually a little bit too strong the norm maps, so I would want to probably duplicate this one. 01 on the score weak. For example, if I just throw this in here temporarily and just edit it sent this to zero. Even zeros. No, wait, here, zero is actually a lot less strong, it's mostly also just the shadows. Maybe -0.5. Let's do something like that. Of course, you need to go ahead and open up your model and actually see what I mean, how annoying it is. We need to select this and apply it in ASOR model. Cool. Basically, the way that I can check is I can simply check for these details to make sure that they are all on this side, and then I know that I did not accidentally mirrod anything in some way that breaks things, but that is looking good. And we got some nice orange already starting to get in here. Definitely, we need to use more details than I would have expected, but that's going to come later. So that's already pretty good. We're very slowly starting to get some colors in these pieces. That's honestly it for now. Most of the other details are going to be added later on. So what we're going to do is it is time for the big one. This is going to be the biggest time laps in, like, the entire tutorial. And basically, in this time laps, I will simply complete all of the models. Using exactly the same techniques that I've showed you. Like, I will make sure not to use any brand new techniques or anything like that. Now, next de, I will not be narrating over this. However, I will include the untied laps versions, and frees I will just throw on some relaxing ofi music so that you can follow along with the stuff that I'm doing. But yeah, basically going to go ahead and just apply these techniques to all of our models. And then also because it's a time naps, I get a little bit more time to think and a little bit more time to polish things around. So I might still move some things around here and there. But in general, the shapes will stay fairly much the same as what we have right now. After the time laps is done, we are going to publish another deca pass and yeah, just like some improvement passes, and after that, we will probably start with our lighting already. So let's go ahead and start with the large time lapse phases. 36. 35 Creating Our Remaining Final Assets Part1 Timelapse: H No. 37. 36 Creating Our Remaining Final Assets Part2 Timelapse: [No Speech] 38. 37 Creating Our Remaining Final Assets Part3 Timelapse: [No Speech] 39. 38 Creating Our Remaining Final Assets Part4 Timelapse: M. No. H that B B Do. 40. 39 Creating Our Remaining Final Assets Part5 Timelapse: I my I D So A 41. 40 Creating Our Remaining Final Assets Part6 Timelapse: [No Speech] 42. 41 Placing Our Vista Mountains And Foreground Assets: Okay, so we are getting closer to finishing our models. Now, one thing that you should keep in mind is that when you are creating a large environment like this, you might be looking in this and thinking like, Wow, I've spent so much time on this, and it still looks ****, because, like, right now, it doesn't look the greatest. Like, we got the elements there, but there's still a bunch of stuff that we need to do. Now, one thing that you want to keep in mind is that when we start doing our lighting, a lot will change. Like the lighting is just such a massive part of our environment, and we are going to do the lighting pretty quickly. The lighting will also bring in a lot more contrast, and then we can do is we can balance our materials. And also one thing or pretty much two things that will bring a lot more detail to our scene is going to be our degals that we have over here and of course, our foreground and background elements. So, knowing that, what we're going to do first is we are going to focus a little bit more on this mountain that we have in the background over here, and maybe we can also like place a few foreground elements over here. Initially, what I had in mind was, you know what? Let's go ahead and create this mountain completely from scratch. I would have been using World Creator or World Machine for that. However, since last time that I use those programs, it seems that both of them have decided to no longer supply monthly licenses. This means that if you would want to create one single mount in using those softwares, then you would instantly need to pay $150. And for just a Vista mountain, I don't want to do that to you guys. Like, that would be really ****** making you pay for such a expensive program. You can try to use the Unreal engine landscaping tools, but those tools just simply are not really up to the quality standard that I want. So what I'm going to do instead is I'm going to use a classic, which is also a little bit of a lazy method, and we are going to use some free content from the Unreal marketplace. So if we go over here to the unreal marketplace, this content has been around for a really long time. So you can go to free permanently free. Let me just move this up. And then here you get a bunch of free content that is just free forever. That's why I'm confident in using this. Now, if we go, I believe it was here, page five, we have landscape backgrounds, and these are basically like stand alone measures, which is exactly what we would have been creating on how to create these landscape backgrounds. Now, just so you know, just give me 1 second. If you still want to learn how to create landscape, excuse me, background mountains, buildings, all that kind of stuff, have a look at our creating mid to Vista assets for games over here. In here, we will cover exactly how to create you can see background mountains, how to create these buildings and all that kind of stuff. So that will definitely give you the skills needed if you want to have something like that. However, in our case, we're going to use this one. Now, another tricky thing is that this one only works in unreal engine up until like 5.0, like the Alpha engine. So what I tend to do is I tend to just add the project and just add it to a project that is an unreal engine for, and then just simply open up this project. I always have this standard project, which I call Where are you? Where are you? I call like migrate scene, but I'm just really blind, I guess. Material migratee no Now, come on. This is really strange that I'm so blind that I cannot find it. Just give me 1 second. It was literally right next to material migrade. Okay, so, I have this migrate UnrelgentFour project, and whenever I want to get something from UnrelgentFour to Unreulgent five, I basically throw it in this project, and then I migrate it. Please note that transferring something 4-5 might sometimes cause problems that it is not able to transfer. That's one of the reasons why some publishers just don't bother updating their content for Unrule Agent five. However, I just happen to know that this one will work fine. So over here we have our photo real backgrounds, which is the one. Unfortunately, this Oh no wait, I can include this mountain because it's completely for free. So I will include this mountain in this project, but you just want to right click and then press migrate. Press Okay, and just go ahead and migrate it to our project. So you want to go to your project folder. En real, lounge facility, and just content. This is where you need to place it. You cannot go in any other folder than the content folder. And when you press Select, it will simply copy over the files. Here we go, and then we can already close this project down. So now you can instantly see that over here, the folder has showed up, and in order to load things and know what we want to actually use, we can go to Maps, overview map, and just double click it. Of course, when you are creating mountain yourself, 1 second. Let me just set my microphone a bit lower. There we go. So when you create a mountain yourself, you, of course, do have a lot more flexibility to get exactly the composition that you want. But as you can see, we just want to go for, like, some kind of like a snowy mountain. I quite like this type of mountain over here. So I'm not really too worried about it, but just going to have a look around and see what kind of cool stuff that we can create. Now, as you can see, we also create already like a basic floor. However, we do need to improve this floor later on, but we can already, start by just working on maybe adding some snow and stuff like that on the floor and also some rocks. For that, we will be using mega scans, because normally, I cannot even sculpt rocks. Like, I normally also use photogrammetry. Whenever I need to create rocks myself, however, I live in the Netherlands, and right now it's boat, not snowing, and there are no rocks here because our entire country is flat. So we're just going to go ahead and use some mega scans. Now, for now, I will just go ahead and pause the video until this is done loading. Here we go. So as you can see, there is a bunch of stuff. You have entire just like vista mountains that you can use all the way around, which we will probably be using, but we will also be using one, which you can find over here, which is like stand alone mountains. And these are the mountains that we just want to kind of see if we can have one that is, like, really close up here. So knowing that, what I'm going to do, first of all, we need, just like some general Vista mountains. Because, of course, in case we have multiple camera angles, it would be nice to just see it everywhere. I want to have mountains that are quite high. Unfortunately, over here, not many of them are super high, but it just depends on our scaling, of course. Let's see. So I just want to check between this one. Nah. I like something like a little bit more rock. Yeah, so probably like this one would be the best one. Like this one. Yeah, this one kind of fits. So what I can do super simple is I can just go ahead and grab these pieces over here. And you can see that they are simple models. That's why this is so easy. Contras. I'll just go ahead and go back into your lounge facility. I don't need to save this. And in here, I can just press Control V. Now I need to figure out where they are located. So let's go ahead and press F. Okay? They're on the map. That's why I couldn't find them. And now what we need to do is we just need to make them really, really large. And it's up to you, of course, to decide how large you want this to be. I'm going to go ahead and I might already be able to use these mountains. Let's go into our camerngle you can literally see nothing. Et's go ahead and do this. Let's go and create another view port over here and do the whole thing where we set a camera angle here. Then I'm just going to see if I can already use these mountains or if I need to add an additional mountain to this. Let's go ahead and just rotate this. Okay, so I can kind of get some mountains here, but it doesn't look very good, not the way that I would want it to look. So what I'm going to do is I'm just going to go ahead and I'm going to probably scale this up. Oops, scale this up a bunch more so that they become larger, but also further in the distance. Then I'm just going to rotate it to a point that I like. Just give me a second. I'm looking on my other screen. Okay, so there wasn't too much, but of course, it's also dependent on other camerngles. If I have different camerangles oops, over here, as you can see, at least I have, some of the mountains still in the background. So that's really nice. And what I'm going to do is I'm just going to go ahead and see if I can get an additional mountain. Now, I also wanted to just check because sometimes what they do is they optimize the actual textures, which means that everything just looks a little bit more lower resolution. So I just wanted to double check. This is just a slab map. And you can go in here in compression and you can check the maximum resolution size. That seems fine. Let me just check because let's open up my material and let's see. It's weird that they didn't use instances, but okay. So here we have a mountain norm map. I was more hoping to find like a snow type map. But if the mountain norm map is also not compressed, I have a feeling that nothing will be. Yeah, let's just go ahead and open up snow. Yeah, here, see, everything is just not compressed. They just use quite a low resolution at two K probably because they intended to be like really far distance mountains. So what we were doing here basically in order to compensate is that we are going to use D field. So that's like a little bit of, like, a way that we can still have those mountains up close without making them look really messy and blurry and something like that. Going to go back into the overview map. Oops, I'm going to go in and I'm going to find a tall mountain or at least a mountain that I can make tall. That we can also use this one. Yeah, this one seems like the most logical one. That we can just also use in the background. Yeah, this one has, like, too much mountains around it, so this is definitely probably the best one. So let's pass Cross. Let's go back into our lounge facility. And let's do contra V. Need to find it. There it is. Okay, so here we have a mountain. Now, what I can also do is I can also, of course, scale this out a little bit. And what I'm going to do is I'm just going to go ahead and on my second view pot, I'm going to have a look. We, of course, want to make sure that we do not have this. Clipping or anything like that? Oh, that looks really. You guys can see it, but I'm just checking, and it does look quite low resolution. Let's see if I can maybe set it further back and higher. Yeah, that already starts to work a little bit better when I said just like higher and further back to basically avoid that low resolution. So let's just see what we can do with this. And this why it's really handy to have multiple screens. Now, I also want to, of course, be careful that I'm not just floating this stuff in here. Yeah, I definitely need to use Dapt fields for this. It's not ideal. If we would have had our own custom mountain, then of course, what you can do is you can push the texts a lot more. What we can try to do is we can try to replace the actual snow textures in this. So let's say that we have something like this over here. Yeah, I feel like that's probably the best place. And I don't know if I also want to maybe add an additional one that's a little bit more in this direction so that we can see also something from the side. Just give me a second. I will show you in a bit what I'm working on. Oh, that's actually quite nice. So now we have something like this where at least also have them a little bit towards the side over here. So, let's try something like this. Now what I was thinking is that, of course, up close, it's really low resolution in terms of the snow. What if we go in and we actually replace the snow with some mega scan snow. Like, mega scans is always eight k. So we can, like, really push it, although we don't need eight K. The only thing that I need to do is I need to actually see how they divert the snow. Okay, so they just add the snow here and then the rock here. Okay, so different snow and rock. So if I import one snow texture and one rock texture, that should pretty much do the trick. Now, one thing that you do need to keep in mind is that I'm not allowed to give you mega scan assets. So all of the mega scan assets that I use, I will revert them back when I give you the source files because mega scans has really strict copyright when it comes to that kind of stuff. So what we can do in nlog five is we can go up here to Quixobridge, and let's wide away also download some foreground elements while we're doing this anyway. Just type in snow. And let's go and have a look. So we have a bunch of stuff here. Now, as you might remember, you can see over here that we have some foreground elements which are just like some small rocks and just like snow piled up. That will actually add quite a lot to our scene. So it will be really nice if we just add like some here, let's oh, I need to sign in. Here we go. So once you sign in to your nu engine account, well, I like to do is I just like to go in and shall I use nanite? Yeah, I can use Nanite for these. It does make your project size really large. And also, what it tends to do is that when you say nanite it also tends to import the texts at eight K resolution, which is way too high, kind of. But we can go ahead and just use Nanite and then lower down the texture resolutions. So you just basically want to go ahead and select it and press Download. I can go in here and I can do this with like a few more. So download this one. I want some rocks. That one is probably standing out a little bit too much. Download some of these like snow clumps that we might be able to use. And now we have also here, we have a bunch of different snow. So we have, like, fresh snow, trampled snow, um I don't know if I want trampled snow, so I need to check if there's anything else here. Also, you have tire snow cliffs and stuff like that, but we don't really need that. This one, let's also add that. Well, let's also do this one over here. But as I said, the snow is not really what I'm working for. Fresh windswept snow. That's the one that I kind of want. So for this one, we can go ahead and download it. So that will basically take care for the mountain off the mountain, sorry. Snow embarkment Well, let's try this one over here. We can maybe use this one in front of our camera, and for the rest, it's just like some snow materials. Now, when you downloaded it, don't forget that you still also need to input it. So what I will do, and sometimes you just kind of need to remember which ones you've had. But you can see over here that when it says the plus, then you have at least download it. So I can just add this one. I can add this one. Snow rocky pile that one? This one. Yes, this does definitely increase how expensive your seniors and also just in general, the size of your project. So what I will show you after is how to quickly just tone down texture a little bit more if you want. So now everything has pretty much been added. So Go ahead and go in here. Oh, God. That's a really fast camera. Let's go in and say, Okay, later on, what we want to do is we want to go in and we want to add a rock spile opening it up so that the thumbnails load, and that the shade is load. You just need to open it up for the first time. Come on. And what we can also do, we can also use some snow decals later to kind of blend everything out and go over into our normal flooring and stuff like that. So okay, we have over here our asset, which is looking pretty cool. Now, this asset, Ma bet if I go in here that it's eight K resolution here. See, you can see that the display is eight K resolution for this. Maybe if it's like the one that is white up to your main camera, you might want to set it for eight K just for your images. But if you want to lower this, you can go in compression and advanced and set the maximum texture texture resolution. I'm just going to go ahead and set it to 40 96. I really don't need much more than that. You do need to go ahead and do that in all of them. So what I will do is I will, of course, just do this off camera because it's not exactly the most interesting thing, and it's also quite slow to but this is basically the way that you can always lower down your textures. And this is also why we always just imported our textures at four K because we can always lower it if needed. And then you can, of course, import this and here you can see our snow. Now, definitely, when it comes to snow, lighting is really important. So right now we have like super basic lighting, which will look really bad. So for now, let's just avoid doing that stuff. And first of all, start finding a rock material that we also need. So let's go rock, click on surfaces. Um Concrete, grass, historical, not just rock or stone. Let's have. That doesn't really need to be something much special. Like, here, rough rock. Like, that's already good enough. Let's go ahead and also download this one and add that, and then we can replace the original textures, hopefully with this stuff. So we've added those. Okay. Awesome. So we have? I don't know why the? This is the original one. It looks very different than a few seconds ago. It might be that I just need to restart Unreal engine because it might be a little bit confused from importing all of our textures and stuff like that. However, oh, there we go. After saving it, see, sometimes Unreal gets a little bit confused. I was already thinking that was really strange. But anyway, see and now it's messed up again. It doesn't matter. What we are going to do is we are going to replace the materials. It looks like that the only ones that we need to replace is over here the snow and then we have our rock. So if we just go in our mega scans surfaces, fresh swept snow and just grab your diffuse and just add it in here. Next, you want to go down. This one is your no map, select your nor map, and just press this button to add it in here. Next, we have rock, and it seems that these rocks are all the same, so we can just go ahead and add those. And here we need our texture. There we go. And safe. Now, you can see that the snow now already looks a lot better. For some reason, it's still a bit messed up, so I'm just going to again, restart. Here we go. So I restart, and now you can see that this definitely already looks a lot higher resolution. Also up close. What I would say is that I want to go in and I want to quickly go to a rock and just double click on the base color, and I'm just going to set the brightness a little bit up. Maybe 1.5 and press Enter. Tyga, 1.5 enter. There we go. Okay, so now it's a little bit brighter. And also, let's just double check my snow. So my snow is at eight K resolution. I'm going to go ahead and I'm just going to set this down to 40 96. Even for this, I don't need eight K resolution. 496 over here. Now, the rest, what you would see over here is basically the norm map, and the norm map is still from the original one. I'm not really going to change it, but the goal is that now if we look at it from distance, you can see that everything feels a little bit higher resolution. Lastly, what I want to do is I'm going to grab this material, right click and create a material instance out of it. Um BG Mountain. That's, I had epstcon I think. There we go. And I'm just going to go ahead and drag those onto my rocks because this way I at least have like I was hoping that it had exposed parameters. Sadly, it looks like that is not the case. This was the one, right? Oh, God. Let me just know that because I have no idea which one was. Yeah, yeah, this was the one. I thought I saw, oh, no, they just use constants. Okay. That's a little bit awkward. Yeah, that means that basically we have nothing about material instance, but it's also not really worth it for me trying to change this. So instead, what I will do is we have over here a snow. I'm just got to go ahead and set that one to Actually, you know what the snow is probably fine. I think what is causing problems is just this norm map over here, just because it's nor map, but it is four k, but it is a strong four K norm map. I am not sure if I even want to change that, that space gear. What I will do is I will go in, quickly grab these mountains. See here they just change the material. I am going to actually enable Nanite. The reason I do this is just checking if it's not broken. I think it needs to reload. The reason we want to make it nanite is because Lumen still uses nanite to basically calculate stuff. So by turning this into a nanite mesh, it will at least stay at, like, a correct resolution. Now, I probably want to do the same for these ones over here. Unfortunately, it means that I need to open up every single one of them. And turn them to nanite But at least then we know that everything should work totally fine with lumen. So even if something is low poly, always just turn on nanite if you are using the lumen system, which I assume you are using if you're using nV because lumen is more optimized when it runs on nanite. There's a bunch of much more technical stuff behind it, of course, but I'm not a technical artist, so I would not feel comfortable teaching that in depth. But anyway, okay, so here you can see basically now the difference between our old or our new one and our old one. And you can see that the old ones definitely have that much more lower resolution. I'm still a little bit worried about the norm map that you can see over here. However, what I suspect is that when we start doing our lighting, there might actually be quite big changes. So I will leave that for the polishing stage. For now, I'm just going to go ahead and I'm going to also open up this material over here, and I'm going to apply my snow. And also my snow normal. And same again, I'm going to apply my rocks. Rock, rock, rock and rock and the normals of it. To make sure that it also just uses to fill resolution. See, so often, you can just download assets and you can just tailor them to your needs. Now that I've done that, hopefully, yeah, up close. I definitely shows that rock. But yeah, again, still from a distance, it does still show that norm map. But for now, this should be actually pretty good. So now you can see that in the distance, at least we already have these rocks over here, and then what we can do later on, make these a bit smaller is that when we add our depth of field effects and we add our correct lighting and everything, it will actually make quite a big difference. So to finish this chapter of what I will do is next to saving all of my scenes is I'm just going to go ahead and I'm going to place a few more mega scan rocks just to give it a little bit more of a composition on the foreground and stuff like that. Now, for that, it's annoying when I always have the fast camera. What I need to do is I need to go in and definitely add my second view board, which I will have on my screen because s is really difficult to do this. And now we have a mega scans. We have our three assets over here. So often if it is not loading in the Tumnail just double click on it. And then it will load in. What I like to do sometimes just click on 20 assets, and then in my filters, and if you don't have these filters, you can find them here. Just select static mesh. In my filters, I can just go in, double click on them. There we go. Now all of them are here. So what I want to do is I want to basically just like my concept, and you can see over here that even AI understands that it's good to have something on the foreground and the background to basically dry your eyes in. What I'm going to do is I'm going to based on my main camera angle, although it might change later on, I'm going to place some rocks. First of all, I just want to figure out which ones I want to place. I quite like this one because it has, like, a lot of contrast. But what I would need to do is I would need to probably, like, scale it up a little bit, place it over here. And this one, what I'm going to do is I'm going to place it Let's see. I of course cannot go too crazy because it still needs to be logical, so we will, of course, make it look a little bit more logical later on. Let's try. Let's try this, but then maybe put a little bit more towards the side over here. And then what I was going to do is I was going to also add one a little bit more like outside of the screen. I'm checking maybe this one. There we go just for some composition. And then what you can do is you can, of course, also go in and you can add a few more over here. And then what we will do is we will pretty much like connect all of them together with models and also with decals. So for now, let's say that we have this kind of stuff. And this is just like a small formation of some small rocks and stuff like that, that we can just kind of place here. And then over here, these things we can kind of also fix by just having these clumps that you can see over here, you can kind of just like, push those in and rotate them around to hide the fact that there's clipping going on. You can also scale them. Later on what we can do is we can even use foliage painting for them, but just to avoid some clipping. So let's say that we have a bit of stuff here. Say that we have an embarkment somewhere over here. Then we'll have some decals also. Yeah, we definitely need some more stuff to kind of cover the ground. Let's see if Quicksil has anything in that range. Of course, we'll just place a bunch of decals, but just to see if there's, maybe some snow piles. Let's set them to nanite. Let's try Snowpile and this one also. And I was hoping for something that's a little bit more like flatter. Yeah. So just these snow piles. I think they will actually work really well if you just add a bunch of them. What is this? Snow ground. That's actually also a really good one to grab some snow ground. Snow hill? Probably not. Snow huge snow hill. Let's try that one, too. And now we get to the problem where I need to kind of remember, like, Okay, which ones did I just download so that you don't add like double stuff? This one. This one I don't think it will actually art double like the assets. It will just tell you, do you want to override it and then you can say no. But it's still heavy to just remember. Now, I don't know why these ones are a little bit stuck. Come on. I'll just pass the video, yeah, until this one is done. Or are these? No? Okay, there we go. Now they are done. There's no ground. And then we have that one, but that one I will just leave over on my other screen. So let's go in here. First of all, go in and just open them up. And later on, I will, of course, optimize the textures, that kind of stuff. We're just now kind of working on just placing some assets, and we're only really focusing now on placing the core assets. Later on what we will do is we will go in and we will place like a lot more big and small stuff. Around. What we can also do is we can also have a look on the and we'll marketplace to see if there's maybe some kind of interesting. Oh, this one cannot be as big, some kind of interesting like sci fi objects that we can use to enhance our scene and stuff like that. So that's also what I will teach you like. What I've shown you right now is on how to create objects using just tilable materials. That has its limits. So what we will do is we will also go on how to create like these air units, and they will have more traditional asset creation. So it will be like texturing and all that kind of stuff. Now, I had this, there we go, like the snow ground. And I was hoping yeah, that's what we can do is if we just throw this a few times in here. I'm just going to add that other grounds that it was still downloading. And of course, there's going to be a lot of snow and everything here. Let's see. Yeah, so we got something like this. So here it just like rocky ground, then we have these pieces. We have, of course, our snow piles. This one is actually quite good. So this one can kind of be used in many locations. Gonna lower this one down a little bit because it is clipping too much with our main view. But here, see, these ones are great to then later on add some decals to kind of, like, blend everything together. But like I said, we need to have a look around. We need to see what will look good and not what I'm doing right now is itty, just like some very, very quick and messy placement, just to get, like, some kind of, like, a composition going, and then we'll take it from there. Yeah, and then if you don't like this transition over here, what you can do is you can, for example, this one probably won't look good. You can try to fight like some stuff that can kind of, like, blend into it on top. And then once we have some details in here, this is going to look quite nice. This kind of like also the way that they did the when Un Wheel and Surv got announced, they had the desert demo, and this is kind of the same way that they did that kind of stuff. So just like that, you can start by just placing more and more stuff together. Right now, it will not look good, which I've said many, many times by now, but it's more about that when we have this camera view, you can see that we have over here like a little bit of snow and a little bit of just whiteness going already around. And the good thing is for that, that we can later on just refine it. Um, over here. Okay. Awesome. Now, what we're going to do in the next chapter, now that we have a basic composition is, I think that it is finally time to start with our lighting. Now, we often do multiple lighting passes and every lighting pass will just improve our scene more and more. So let's in our next chapter, start with the first lighting pass. Once we've done that, what we're going to do is we are going to do a decal pass, which is going to be quite important. I'll add all of these decals over here, but also all of these grunges that you see over here because right now everything is perfectly white. So all of that little bit of grunge detail and everything like that, that will be added using that decal pass. And also even, like, yellow stripes and that kind of stuff. So it's quite a big chapter. And once that is done, we are going to go in and let me just check my notes. Deco pass. Then we'll kind of do a polishing phase, and after that, what we'll do is we will start working on our aircon units and some antennas and stuff like that to just enhance things even more. The antennas, however, I might just download them online, for example. And then what we'll do is we will just start finalizing our environment. But it's already starting to look pretty cool. So let's go ahead and continue with this in our next chapter. 43. 42 Doing Our First Lighting Pass: Okay, so we will finally get started with our first lighting path, and this is going to make a massive difference in our environment. Of course, there's still a bunch of stuff to do after lighting pass, but this will already make a lot of improvements. So what I want to do is, first of all, I just want to make sure that my camera angle, You know what I'm going to hide this model for now. I want to make sure that my camera angle is sort of like in a position that I like yeah, let's start with something like this, although I have a feeling like we are definitely going to change the camera around quite a bit more. And now this support plate, I'm just going to remove it because else it will be clipping with the camera. So what we're going to do is we are first of all, going to just nuke out any lighting that we have in the scene. We want to have a fresh start. So volumetric clouds, sky sphere, skylight, sky atmosphere, all of these things can just delete. So we have absolutely nothing in here. Now the next thing that we're going to do is just going to double check our settings. First of all, let's go over here. And whenever I do lighting, because I assume that lighting that I'm making at least in this case, it's going to be for some final presentation. Of course, when we do final presentation, we want to push the limits as much as possible to basically get a really nice looking environment. I like to set everything to cinematic. Of course, if you are playing game, you would want to stay with high or epic. There isn't a big difference, but especially in the shadows, there will still be some difference. I then like to go to my project settings, and this is actually the first time that we are going over our project settings. One quick thing that I want to do is quickly go into maps and modes and just change the editor startup map to be your facility over here and also your game default map. This way, I'm sure plenty of you have already done it. Is it also in here? Here we go. This way, whenever you restart Unreal engine, it will just load up this specific environment wide away. But anyway, I just want to double check by going all the way down to engine and then to rendering over here and just make sure that everything is turned on to the right settings. We don't need virtual shadow or sorry, virtual texturing. For our reflections here, we're just going to use lumen for most of this stuff. Enable hardware rate racing were available, I do like to always turn it on just because I do have a graphics card that can support rate racing, and rate racing is very powerful. High quality translucent reflections. We don't have translucent like we can turn it on, but it's more like if you have glass or something like that, but we don't really have glass. So let's see, support I don't need rate raced shadows, like I want to have lumen shadows, so I can just leave that off. And I think, I think that's about it. Okay, cool. Now, the next thing that we need is that we need to go ahead and make a plan. The first thing is that we need to work on our sky. Now, because this is an environment that is very cold, like, because of the snow and everything like that, we are going to use a semi HDR type sky. So it's not going to be the classic HR, like you would use in Momset, but it would still impact our sky a lot. We are not going to use procedural skies. Next, that, what I really like with this is, yes, of course, we have our sun is quite white, which makes sense in like this. But I really like the contrast, the contrast difference between the darkening where there is shadow and the lightning over here. Our next dis, of course, you cannot really trust lighting in an AI program. Like, it looks cool, but yeah, you just cannot really trust it. So we're going to mostly just, like, wing it a little bit and just come up with our own things. First of all, what we need is we need our sky. Now for that, let's go in and just go in our lounge facility, texts, create new folder. Call it sky. And I often get my skies from polyhaven.com, and then you can go in here, click on HRI, so we're basically going to get an HRI map. Now, in here, I'm not sure. Let's see, outdoor. I guess I can just scroll to find what I want. And yeah, I'm looking for something that's like a little bit cold. So ideally, if we can find something that's made during the snow, that would be extra nice. But else we can also just take a sky that looks fairly cold. So I quite like the Kloppenheim sky, so I'm just going to middle click on it to open it up. But I do want to go ahead and just here. This one is like, for example, with snow. This one is snow. And then this one is just like the sky. So let's see. Is there also maybe some snow that actually has the environment still in it, because most of the snow is just, like, plain. And it would be nice if it's like snow combined with, like, some building type stuff. Yeah, but this one is during the night. You don't want to Let's try this snowy cemetery. A little bit incentive to take a sky there, but fair enough. And let's see. Is there anything else that just in case I'm just going to grab this one even though it doesn't have any snow. So now that we've done that, what we're going to do is we are going to add these pieces. Oh, that's models for some reason. So with this, what you want to do is you want to go ahead and you want to set this to EXR, you basically want to just go ahead and download all of these EXR files and just track them into your source files folder wherever you want. So EXR, I'm just going to pass the video until I've downloaded all of them. Here we go. So I downloaded the EXR files, and I've now imported them into Unwil. The reason we want to use EXR and not HR files is because we need them as texture files. So now, it still has the properties of an HR, but it reads as a texture file. Now in the compression settings, it says HR compressed. I often prefer to go for just the normal HDR as to avoid any compression because it's just really important that these textures are just highly accurate and as high quality as possible because they will affect everything from reflections to lighting to color. So let's just go at the set that. And that's about it. Now the next thing that we need to do is we need to go in and we need to create a material and create a sky. The first one is pretty easy, which is just going to be our material. Let's go into materials and just right click New material. Call it sky master. Now, I'm calling it sky master, but it's actually like the most basic material ever. All you really need to do with this is you need to go ahead and go into your main sky, and you want to set this to surface, opaque, and then the shading model to unlit over here so that it is not being affected by anything else. So it's like pure light, pretty much. Next, we want to go ahead and grab a sky, and we can later on just swap out the skies to whatever we want. So let's say we grab this one, right click and convert to peremptor so that we can change the colors. It's called sky. And then all that you need to do is you need to multiply this with a scalar perimeter that we'll call intensity. Let's set it to one for now, although often we need to boost this quite a bit. So often actually, we need to go for 100 or something like that. Let's go ahead and just plug this into our missive color. You see, you can now see with 100. And if I do one, you can see that makes quite a big difference. So, we plug this into our missive color and we can simply save this. The next thing that we need is we need a sphere that is inverted. So if we just go ahead and we have our sky over here. Now, if we set this to unlit modes that we can actually see our environment again. What we need is we need a giant sphere that basically covers the entire sky. But the sphere has a few specific things that it, needs to acquire. So what I tend to do is I tend to often go to my settings and just quickly turn on the show engine content. And I just want to type in editor sphere, just to make sure I got the right one over here. So this is like the editor sphere. It's like the default sphere inside of Unreal Engine. Next, what I tend to do is I tend to just quickly go to my modeling tools. And in here, I want to first of all, in the XFm, in the X form. I want to go ahead and I want to press duplicate and just go ahead and let's call this sky sphere. And just press okay. Now that we have this one, we just want to go in and we want to go to we probably need poly groups for this. I'm having a brain freeze. Attributes, yes. No, maybe not. So I want to basically flip my normals around. Oh, no, way, that's those normals. I'm going to go ahead and just generate poly groups. Just say from connected TRS, I just want one giant model, basically. And then what I need to do is I need to go. It's been a while since I've done this, so please bear with me. I need to go to my model, poly group edit, selected. And I was hoping that I can now just press flip over here and press Accept. There we go. So now we have a sphere that has flip faces, which means on the inside, you cannot look outside, but on the outside, you can look inside. That is important because you need to still be able to have lighting passed through it. Now pretty much the most important thing is that we need to go ahead and we need to set the scaling for this. So let's set the location just to zero, zero, zero, but the scaling needs to be above 10,000. 10,000. There we go. If we do not do that, then basically what will happen is that the sphere will interact with everything else, and we don't want that. So we now have our editor sphere. We can go ahead and go to our cinematic, and I'm going to create a new folder. Oh, wait, actually, we have already a lighting folder, so I'm just going to drag this into my lighting folder. Also, just to clean things up, I'm going to go ahead and I'm going to grab all of these models. Let me just check. Yeah, let's just select everything. And then deselect everything that's not the model. So we have over here, the, and we had a player start, and let's also deselect the landscape. There we go. Let you do the trick. Not that many models, actually. But we will out more. And then go ahead and just arts to a new folder. And got this folder assets. There we go. This way, I can easily turn it off like this so that our scene is a little bit more clean. And folder one, I guess can just throw into assets also. Okay, cool. So yes, we have atmosphere. Let's go ahead and set this back to IT. Nothing will have happened. But what we need to do is, first of all, we need to go into our materials and apply our let's right click create material instance and call the sky. Apply our sky to this additosphere. So there's a little fly here. I had to get rid of a little fly. So, okay, now, not much has happened, and this is because we still need to add the skylight and some other stuff, also. So what I'm going to do now is I'm going to go in here at the top, goes a light, and we want to start with grabbing a simple skylight. Now you can see that quite a bit has changed because what this skylight does is, well, we need to set it to movable. I will sample from the actual sky that we are using. So we want to set this to movable. SLS captured scene is fine. And over here, you can also control, if you set to 0.5, you can control the amount that the sky will affect our environment. Now, I don't know yet how much I want it to affect, but let's start with just a simple 0.1. Now that I have done that, just let me check my notes. Yeah, that should be it. So I just like to voice double check. I can open up my sky and of course, I can play around with a bunch of stuff. One of them I can play with is the intensity, say that we said to five. You can see that that instantly also increases the glow and a bunch of stuff like that. But what I'm more interested in is, of course, playing around with the skies and seeing which one works best. So I'm just going to drag them in. This will be off screen. But if I drag it in, you can see how drastically everything changes. Okay, this one doesn't make a drastic change. Let's try this one. And you sometimes need a little bit of time or you need to recapture your sky over here. The reason for that is because it needs to recalculate. Let's actually try the previous one because I did not recapture. Here recapture this one. This one feels very neutral, as you can see. Now, we have the snowy field. The snowy field instantly feels, in this case, a little bit more warmer probably because the snow itself, it was probably a sunny day, so then the snow reflects a lot of yellow. Now, if we go ahead and just grab the next one, that one doesn't do much probably because it's from like the same type of sky. This one I hope is a little bit colder. Mm, a little bit too cold, to be honest. Let's try this one. Okay, so I quite like this one. Of course, we do need to later on change our sky and what the hell is happening with our rocks over here. That's, interesting. But let's go ahead and just focus on that later on. If you feel like your textures are low resolution that they should be, you can go in here and just in case, type in R, streaming, pool size, and set it to 9999 for now. Only do it if you have a strong PC. Now, in this case, I have no I think something got mixed up in our materials, but honestly, we can fix that later on. Let's first focus on lighting. So many distractions. So we have this one. I quite like this one. It's a little bit colder. Let's try this one once more. Yeah, this one is way too warm. So maybe let's go for snowy field four. Of course, later on, we can also make sure that you do not see this actual sky because this sky doesn't look as nice. But what we can do is we can add an additional fake sky on top of this. But for now, let's go ahead and grab this. And let's also play a little bit more with my intensity. If I set this to five. Okay, let's see. One, recapture. And at this point, one thing that's a little bit tricky is that because we don't have a post effects, our camera will try to automatically adjust to give us a decent exposure. So I think that's probably something that we want to first of all, work on. We can go turn off the modeling tools. We can go up here and we can go to our visual effects, and we want to add a post process volume. Post processing is basically effects that are on the camera after all of the rendering has been done. These are the classics like vignetting, bloom, color grading, all that kind of stuff. I'm going to first of all, scroll down and turn on infinite extent to make sure that wherever we are in the level, this is active. Next, what I'm going to do is because I want to have full control over my lighting for now, I'm going to go to my exposure, turn on the min and max and set both of these I often set them to one or zero. Let's do zero. And then I like to use my exposure compensation to basically give me a default exposure to get started with. 4.5, for example. Now, based on that, now what we can do is we can play around with the intensity of our sky because now our sky will be impacted a lot more as you can see, based on the intensity. So if I set this to, for example, two, I can recapture. Let's start by setting this to 1.5 because we still need to add an actual light. And also something that you can keep in mind is that just like a moms, you are able to rotate the sky, and then if you press recapture, it does. Okay, not in this case. But depending on the sky, it will add changes to your environment. Now that we have done this, the next thing that we need to do is we need to probably get started with actually giving it a sun, which is the next most important one. Let's go in here, lights and grab a simple directional light. Now, a lot happens straightaway, let's go ahead and give me a second, throw this into our lighting. Is going to throw the post effects and skylight into our lighting. We now have over here our directional light. If you press G, we can see where it is pointing. I quite like the shadows that we have here. I like where the shadows are covering parts of the models. It looks quite interesting and I don't think I want to have my entire mountains covering areas. Now, what I'm going to do first is I'm going to go ahead and I'm going to win basically capture those shadows. Here, see? Let's turn off our snap rotation. Makes it a bit easier. So it sometimes just takes a while, and then we will focus on our colors and all that stuff. Maybe set the intensity for now to five just because it's a little bit too intense. And you basically want to just go ahead and find a shadow position that you like. I quite like over here, having also quite a bit of shadow. But as you can see this also changes a lot. Oh, by the way, make sure to set all of this stuff to movable, because if we do not set it to movable, then Lumen will think that it might be baked lighting. So just set it to movable, basically. Okay. I quite like having also a little bit of light there. However, I wish there was a little bit more light on the ground over Whoa, over here. Let's go move this here. So right now, the reason that there's not on the ground is probably because it is simply not being infected by it, but if I do something like this, let's have a look. Yeah, we do get a lot more ground effects. Right now, everything is also way too bright, but that's something that we will, of course, work on to balance things out. Um, Yeah. Like I quite like having this and having it on the ground. But then what I probably want to do later on is I want to grab some of these mountains to add some additional shadows back in. So let's have a look at this. I quite like also having, like, a little bit of light catching up over here. Let's start with something like this. I think that will work quite well. Now, the last thing that I'm going to do is I'm just going to already grab one of these mountains. Oh, now it works again. So I guess if I wiggle it around, that's really weird. I have no idea what's going on with the shader. So that is very strange. But I guess when I wiggle it around, for some reason, it turns back. I honestly cannot tell you why that would be happening. So I'm sorry. But anyway, what I was going for is, and I probably need to do this on a second viewport because Elsa just cannot see it. And I will show you in a bit. I'm basically just trying to use these mountains to capture some more shadows. But it seems that these are just, like, such massive mountains that we probably might not be able to get like what we want. You can see over here that the shadows are also not sticking out that far. So we might just want to probably use some kind of cubes or something like that to kind of like fake things a little bit more. Yeah, let's do that. Let's just focus on that later on. Okay, so let's say that for now we have this. Now what we need to do is we need to balance out our sky versus our light and stuff like that. So the first thing that I want to do is I want to go ahead and I want to start to get a little bit more closer into, like, this direction in terms of, like, the overall brightness levels. First of all, I'm going to set my sky back to one and go into my skylight. Recapture. And what I want to do is I want to go into my directional light over here. Surprisingly, the light is white, so I'm not sure why there are so much orange in here, but we can use the temperature to actually make light a little bit more whiter into this direction, which makes sense because the snow will reflect the light and because snow is white, the light that will be reflected is often also white. I'm actually going to set this quite high to probably 12,000 even to get started with. Next what I want to do is I probably want to go in and I want to set the intensity quite low. I feel like this would not have such a strong intensity, maybe like 0.5. And also one thing that's a little bit difficult is that we still need to balance out our materials. As you can see, these materials are less white than these, which now in turn makes it a little bit more difficult with our lighting. But we can already get some nice reflections and everything in here. So it is slowly starting to get somewhere. So 0.5, you can also use your source angle to make your shadow softer or sharper. And I'm going to set this probably to probably one looks fine. You have your indirect lighting intensity. If you set this to five, it will just basically add more light where there is shadow. But if you set this to 0.5, it can make everything a little bit more darker, which is probably what we want. We want to get, like, a little bit more darker shadows in these other areas. Same with my skylight, I can go in here and can play around. Although most of this you will see in the reflections. And what you need to do is you need to, like, keep pressing the recapture to kind of make sure that it works. Yeah, it looks like there isn't much of a change in this case. Okay, so we already have something quite interesting. Now, right now, there's a few things that are a little bit too overpowering. Our sky is too overpowering, so it is way too bright right now, and also our general light is too bright. But what we can do is we can use our post effects to basically start balancing things out a little bit. Let's go into our post effect, and let's go from the top to the bottom. First of all, we have our bloom over here. Now, when you are using cinematic mode, you can use a bloom standard that is way too expensive for games, but not for cinematic. That's convolution. Convolution is just like the most acro bloom you can get. So often you want to just use that and set the intensity often around default, 1-0 0.7. I'm going to go for 0.7. Chromatic aberration. What that will do is it will add the tiniest bit of lens distortion, which you also get in real life. Of course, if we set it's really high, although this actually looks pretty cool. I often like to set it super, super low. 0.15, for example, something like that. It's just that on the outer edges, you get the tiniest bit, which people that are watching this kind of stuff like they will appreciate it. Now, next what we can do is we can go ahead and go down and we can pretty much ignore all of this stuff. In our image effects, we can control vignetting and sharpening is actually new. So the vignetting will just add some darkening around your edges. Let's is a little bit higher. Let's do 0.5 and the sharpening, it will just add a sharpening on top of your environment, which we can also set once again to 0.5 for now. Now we have our color grading. So our color grading for now, I want to leave, but we are definitely going to work on that a little bit more later on, especially the temperature is nice because it can give us full control over our environment and change the temperature. But first of all, I want to go down and make sure that all of my settings are correct. So first, we have our global elimation over here, and we have a set to lumen. That's totally fine. Like yeah, honeestly that's fine. Now, I do like to often go in here and if you really want to push it, just push these values up quite a bit more. You can even push them beyond this distance, but for now, let's say we grab this one. See reflections. In lumar reflections, I'd just like to go ahead and turn on the high quality translucent reflections. Ray lighting mode, project default is fine. Quality because we have really shiny materials, let's just go ahead and push the quality to two, and that is about it, I would say. You can also do rate race emit clusion over here, but I don't think it will do much. No. So I'm just checking something. Yeah, so basically, that's pretty much all that we need for now. One that I do also like to often use is I do let's press G, by the way. I like to often use my film grain. And that is something that a friend of mine, Tilman Milder, who made an amazing lighting art course, also, if you want to follow that. He kind of got me hooked on it, and I will like it now. So if we just go ahead and turn on all of this film grain stuff, let's go in and set the film grain intensity to start with 0.2. Here we go. So it will just give you, like, the tiniest bit of film, g. Let's do 0.25 maybe to get started with. Oh, yeah, I'm gonna do 0.2. Now we want to go ahead and we have our film grain inside of our shadows, which basically means in the dark areas. I often like to boost it up a little bit more. This means that you get more grain in your shadows. See, let's do 1.5. And for the rest, you can also splay around this over here, for example, the size of your film grain. But for now, let's leave it to one. There's still so much stuff that we need to do on our environment, but it's already starting to look pretty interesting. So at this point, we have arrived at our color grading, as you can see over here. So with our color grading, what I like to do is I like to, first of all, play around a little bit more with my temperature. I know that we've played around with our temperature in our actual light. And what I want to do is I want to make my actual sky light a little bit less bluish. Just to match our reference a bit more. Let's go for 8,000. And then what we can do is we can use our Post effects to basically create some additional small changes in this. So right now we have a temperature in our post effects, and you can see that that makes a small difference. We can then get started by going into our global settings. First of all, let me just check if I want to. Actually, 6,500 was pretty. No, I want to go a little bit lower. 6,000 let's use 6,200. It's often quite sensitive. Now, let's go into our global. So in here, we have saturation and again are the ones that are often used the most. So with our game, we can just give it some overall lightning and darkening. So I do like to use that to often push things down, and we can use a saturation or give it actual color in the saturation, but I do not advise that should not have touched it. Or what we can do is we can give it like a tiny bit of a color boost. Now, in this case, I think for now, I want to leave it because I'm not yet sure which colors I'm going to make my materials. Now, in my gain on the Global, I want to go ahead and I want to push this down a little bit. So let's say 0.9. Now, next, I want to also go into my highlights over here, which is definitely our sun, for example. And in here, I also want to go ahead and go into the gain. I want to lower down my highlights a little bit more. Maybe 0.7. And I also can go in here and I can make my highlights actually like a little bit more reddish or orange, which is nice because it is really more like art direction to get something you like. But doing it in here, although maybe gamite would be better. You are not changing your entire environment. Of course, if I change the lighting color in my actual light, what will happen is also in shadows, everything will change. So I'm just going to go ahead and see if I can let's see, go like a little bit more. And it just has to be like really subtle, something like that. Now, next, we have our shadows over here, and for my shadows, let's have a look. I often like to give my shadows a little bit of, like, a color. Now, because this is an environment that is snowy, what I would expect is that my shadows itself here, you can see if I boost it up a lot. My shadows itself should probably be like a little bit more bluish. So what I'm going to do is I'm just going to give them a little bit more of like a blue tone. And now over here, I also want to go in, and I do want to make my shadows a little bit less storm. But I should probably play around a little bit more with my global because Oh, no, that's fine. Because right now we are getting some wy Oh, God. I always happens. So wy dark shadowing over here in these areas. So I want to find a nice balance. Now, of course, if you would use your exposure in here, for example, I said this one to five or even ten, you can see that the shadows do change because what it will do is it will change exposure based upon if your camera gets closer to it. You have a set of one. I guess I messed up too much because I use my exposure compensation. I will go over that a little bit later. It's honestly not important right now. I'm just going to go in my direction light and play out a little bit my source to set that a little bit less strong. Maybe like 0.4, 0.3. Let's try 0.3. And let's have a look at that post effect. So okay, we have our temperature, we have our global. Now, when I see this, definitely what I notice is we need to balance out our materials, and I feel like there are still too much of a contrast between bite and dark. I would like to have my just like everything that's in shadow, a little bit darker. And I would like to also tone down the brightness. Let's start by just setting simply the intensity of my light a little bit lower to one. And then over here we have my skylight. So, if I set this to one, it's I probably want to lower this down quite a bit. Let's go and set our actual sky to 0.5. And now you can start seeing the sky also, which you can see that it starts to match a little bit closer. Now, I definitely do not like this sky in terms of what is shown. So for that, I ideally want to have something with clouds like well, okay, that one definitely does not. Oh, yeah, yeah, you can see some clouds, something like that. So when we are at such a low level, I'm just double checking to see how much my sky still impacts everything. So, oh, and I'm just going to also set my distant field oclusion over here to 20,000. Let's make sure that our shadows are being cast also on our rocks and everything like that. Let's go ahead and recapture and recapture this one. Yeah, it makes too much of a difference. Yeah, I'm going to keep this one. It just means that we kind of need to create a fake sky. So yeah, I quite like then keeping this one. Now, my shadows over here, it is missing some, like, interest. Right now, I feel like there's too much currently in shadow, and I don't really like that. I do like to give it a little bit more shadow. I can, of course, also just play around with it and see what happens if I, for example, completely rotate my sky around, for example, this site over here, which is also pretty interesting, to be honest. And we can see we already definitely have much better lighting than we had before. I'm just it's always I always am super picky with, like, the shadow angle, and I never know, like, which one I want to do. Of course, we can also fake the lighting a little bit. But yeah, initially, I was really focused on this area over here. Now, what we can do is we can go ahead and playout with that area a little bit more later on. And then in turn maybe actually set by lighting something like this where it's coming from the other side. It has also some shadow on our actual mountains and stuff like that. Maybe make it a little bit lower. I didn't know trying stuff out. I'm just going to hide my mountains just to see how much they impact our shadows. Not. Okay. No problem. Yeah, I think something like this is already a little bit closer to what I want. Now, another important thing is, we can see these really dark areas over here. It wouldn't really be fair to keep compensating those without actually introducing some fog. So we can use our fog over here. So if we go to visual effects, and then we can just grab a exponential height for. The first thing I want to do is, I like to turn on volumetric. So we'll just like to have some volumetric for and this fog also once again, interacts with our lighting and everything like that. Now, having this, there isn't much I will need to do maybe give the albedo like a tiny bit of a bluish green, bluish tone like this. And what I'm going to do is I'm also going to go up and in here, I want to just play around with my density. And another thing that you can do is if you go in your skylight, the volumetric scattering intensity, that one controls how much the light interacts with the four. If I set this to zero. Okay, I guess on the skylight, it doesn't do much, but let's try it on the directional light. If I set it to zero, you'll see, it will no longer interact. So what I can do is I can set this quite low. Like it's not going to be super foggy day, maybe like 0.7 inch, and that already gives quite a nice feel to things. Okay. Okay, so we now have our sky. However, I'm not really happy, of course, with what the sky looks like, because as you can see, it's fine, having the clouds, but you can definitely see over here that we have all these weird looking trees. Now, quite a simple solution. So the tricky thing is that with these skies, you will need to keep this in as soon as you, for example, turn it off, and then as soon as it tries to recapture, you can see that it just doesn't get affected. There also, unfortunately, isn't a way to really hide it. Like, the classical way would be like, Oh, you go down and you turn on Hight actor in game and then hope that it still renders. And there probably are still ways that you can overhear make it hight actor but then make it like visible but I probably won't work. Like, I can try it out. Yeah, here, see? It doesn't work. So Oh, God, where did I now put it? Only On makes it visible. There we go. Honestly, quite an easy solution that I tend to do next to, of course, trying to find a sky that happens to also work well, is that I just go into my sky sphere, and I basically said, like the location we have where is my sky? You can see over here that we are still able to move it up and down. So knowing that, we can go into our cinematic eachor. First of all, let's just recalculate our sky. There we go. That looks a lot better. Go into your sky sphere and just go down here on location and set this to minus I don't know, 99999. Wow, even more. Let's add a few nines to that. Too many nights. One less. To basically until we get to a point where we mostly just see this clear sky as you can see over here. So everything else is kind of hidden. Now, next that, we can, of course, also go in, and I don't know which this one over here. We can use the ZXs. Yeah, the ZX is on the rotation. We can use to for example, give it some clouds over here. Now, the last thing that you would need to keep an eye out is, of course, the intensity of your sky if you want to have a brighter or darker. I think this one looks pretty good, but I might want to go for, like 0.3. Now let's do 0.4. But once again, everything is linked together, especially with lumen. So when I change this, if I now go in my skylight and recapture, you can see that once again, things change. So you kind of like need to justify the change. I'm going to keep it at 0.5 because I was not happy with the drastic change that happened. Even moving the sky around does make a change. So you just kind of like me to balance things out. Okay, so we now have this. Now, I think what I will do to finish this chapter off is I'm just going to go ahead and play around a little bit more with this camera to get a more cinematic feel. And once that is done in our next chapter, of course, we still need to also do some polishing and stuff like that, but we are going to work on our decals. And during that time, we will probably also just play around with our colors a bit. For example, the orange that we have over here. I want to turn a little bit more like more reddish orange. I can maybe do it over here. That's a nice thing that we can just change all of this very quickly. Trying to get the right orange here. Something in this direction. But like I said, we are 44. 43 Polishing Our Background Mountains: Okay, so we now got something that is already looking pretty good. What I want to do in this chapter is I just want to go ahead and do a little bit more polishing so that we can properly go into the next chapter, which will be all of decals and which will add a lot to our scene. Now, when I see this, there's, like, a few things that are really bothering me, and the biggest one is that these mountains over here, they just aren't working. I'm not talking about the ones in the back. Those are fine, but these ones over here, they are just too low polly Like here, from a distance, it looks fine, but just because our camera has such a Zoomed in angle, yeah, it just doesn't look good. So what I'm going to do is I'm going to go ahead and actually delete these over here. We can keep the background mountains, I think. It's surprising that even here, it doesn't look too good. But let's keep the background mountains so that we can just see it. Instead, what we're going to do is we are going to use the landscaping tools inside of unreal engine, but we're not going to go ahead and paint in the raw tools. Instead, what I want to do is I want to use something called the landmass tools. These tools, it does mean that we need to have a automatic type landscape material, but we will get back to that a little bit later. But to basically use the landscaping tools, what you want sorry, landmass tools, you want to go ahead and go to Edit and plug ins. Type in landmass and go ahead and just select this one and press. Now we just need to restart the engine. Here we go. And the reason I basically like the land mass tools is because they are a little bit more procedural and they almost feel a tiny bit like what you would have in like wild machine. So the way that it works is we would go to our landscape. And yet, this landscape is correct. And then what you will get is over here, you will get an additional sorry, not this one. An additional mode. I'm blind. Where are you? Oh, wait. Sorry, it isn't Blueprint. I forgot to select my blueprint brush. And over here you want to grab the first one, the custom brush landmass. And then you just want to basically click over here on our view. Now, give the second. It needs like loads. There we go. Now what you get is we basically get this spine over here, and the spine also has some actual height to it. What you can do is you can simply go ahead and you can move this spine around. And what we would, for example, do is we would kind of move this spine to start creating where we want our mountains to be, for example. So with the spine, if you go in, because, of course, we want to have these mountains a bit further, we can hold Alt, and then we can simply drag out this spine a little bit more. Hold Alt. There we go. To start creating a mountain. And you can see that over here, like twice to kind of, like, close the view. So what you try to do is you can try to already go in here, see? And use this to kind of close off the mountain or create, sort of like a mountain range. And then, of course, later on, what we're going to do is we are going to work a bit more on our shape because right now it's really boring. But let's go in and just try to start by generating like some kind of, like, a mountain range yeah, having a little bit there is fine, but definitely like over here, I would want to have a bit more. There are a lot of settings here in the right. However, one of the things that this mountain range does do is that it creates scale based upon how like large the mountain is. So in that sense, it is quite procedural. So what I want to do is I want to try and get I need a second view pot. I want to try and get already some of the peaks that I have over here in the right locations. And when I get them in the right locations, then what I can do is I can actually make it look like a mountain. So let's go and add a second view pot, and I'm just doing that in my other screen. Let's go ahead and just move this around. Yeah, something like this. Just give me a second. I'm just like playing hard to things. Yeah, I do definitely want to keep this one lower because else what will happen if you look at your viewpot is that it will just become one massive mountain. So let's start with something like this. The nice thing about these tools is that we can always change them later on. So now let's actually make Okay. Now let's actually make this look a little bit more like a mountain. Like I said, I'm mostly using this for art direction. If you want to actually, use this more, you can always later on create multiple. I tend to only create these mountains based upon the camera angles that I will create. But due to the environment, my camera angles will be really more like in, like, the close up ranges. Also, be a little bit careful that when you place a mountain to close that it does not deform the terrain inside of our shape over here, Oh, that's a weird shadow. I'll get back to that. That's a will weird shadow. So, how to basically make this look a little bit more like a large mountain top. So let's dive into our settings. Now, over here, our first settings are brush settings. We don't really need to do a lot here, but just one that I want to show you is that you can use your file off. And if you higher or lower it, you can see that it will basically higher or lower your mountain a little bit. But like I said, we use actually the shape to fairly accurately generate the mountain that we want. Now the one that's way more let me select this. The one that's way more interesting is the effects. In the effects, we have a few effects. We have an effect that's blurring. However, we don't really want to do this. What this will do is, as you can see, it will just soften the tips, but we actually want them to be quite sharp. However, I'm not going to go for zero because then it just creates artifacts. What I'm interested in is the curl noise and the displacement. With the curl noise, what you can do is it will basically add noise to make this feel more like the peaks you can see over here. So if I, for example, set my curl strength to start with one, Oh, one is really high. But you can see that it still maintains our shape, but it just starts to create these peaks. I'm going to go ahead and just click and drag to lower this and you can see that this makes a massive difference. Then you also have your second strength and the second one often creates normally creates some finer details, or I like to use it for finer details. So let's set the curl tiling to 25, for example. When you set the tiling higher, it should start creating some more smaller details. It is definitely a balance. In my case, the balance will be just looking over here. And seeing what it looks like. Now, knowing this, although let's first of all, do our final details also, let's set the final details to 100. There we go. Now we get something that's a little bit more it does destroy our shape a bit, but it does add a little bit to this stuff. Let's start with something like this. Now we can see that it does look a little bit more like a mountain range, of course, it will not be as perfect as what you can see over here with all of the really nice, what do they call it? I forgot what they call it, the sloping where you can see where all of the water and everything as fall off the mountain and just creates those really nice grooves. I used to know what it is called, but I forgot, sorry. Anyway, we have a curl noise, and now let's go into our camera and use our far off to compensate a little bit more for that really strong noises that we have. But that's already starting to get somewhere. Now the next one that we want to work with is our displacement over here. I often has a pretty basic noise. But what we can do with the displacement is it will art well, normally, it adds quite a strong satis to ten. That is strange. 100? Normally, it adds some quite strong displacement to it. Let me just check. I guess I just need to set it, like, way higher, so let's to 10,000. Okay. So, for some reason, it was not you can definitely see like this is really strong, so 10,000 is too much. Apparently, it needs to be higher. I can remember it was like in the hundreds. But I don't often use this tool because I'm not so much a landscaper artist. Let's start with 600 gives me a little bit of displacement. Let's start with 1,000. And here you can see that it does start to already art a little bit more displacement. Let's do 2000. And I basically want to try and get a little bit more of that rocky feeling, which we are now starting to get a little bit of what you can see over here. Of course, it won't be perfect. We might later on even be able to supplement our mountain with actual rock meshes for mega scans to just bring it out a little bit more. But for now, I think this is looking pretty good. I think what I want to do is maybe you can see that when I change this, it does actually still change. Based on a camera angle, I'm going to quickly just throw on again a second viewpod. The reason I keep closing it is because, of course, two viewpods means that it needs to render twice as much. So I don't have to like to do that. Give me 1 second. I'm just moving this around. I have some trouble selecting it. 1 second. Come on. Thank you. And you can also rotate it and then move it a bit. No, that one is not really affecting too much of it. I'm just trying to get more interesting shapes and I keep miss clicking. Okay. This one is creating most of the more interesting shape. So let's do something like that. My noise, 2000, I'm quite happy with that. You can also play around with your displacement dialing. One, two, three, four, five, I'm going to stick with two. 2000. Let's try 3,000. I'm just looking on my other screen right now what is more interesting. Now, let's go for 2000, but then let's go in and supplement this shape a little bit more later on with just additional rocks. I guess last thing I want to show you is that over here, we can control the fi off, although we don't really need it because you will never be able to see it. Just in case you want to know, you can use your smooth blending over here. And if you just basically play around with this one, inner and outer threshold. I guess we need to go really high, 100. 100? It does normally create smooth blending. Do I need to go 1,000? There we go. 1,000, needs to go a bit higher. And the inner I'm not really sure often what the inner one does, but it's most likely just like the out one that we want to use. So if you set it to like 2000, for example, you can get really smooth blending with your train. And right now because we are using the noise, it does impact it. So maybe if you like, set it to, like, 6,000 or something here. Now it becomes really like just smooth rocks that are kind of like stepping out. But of course, at this point, because it is really close to our mesh, we always want to make sure that it is not clipping or anything. And I'm going to get rid of this let's go out of landscape mode. I want to get rid of this one just because it's annoying me. Now you can see that we have a mountain range that is looking pretty good, pretty nice from a distance. And yes, we do have also these mountains in the background. For now, I think it is fine to leave those mountains. You can see them like a tiny bit over here, but they are quite far away. The reason why we did this is because we can now apply material to a mountain range, and this material, it will have a lot more higher resolution textures. The only thing that we are missing is that we will not be able to use the really nice norm map that you can see over here. But that norm map that you can see on here is actually the one that is causing all of our problems because it's just not a high enough norm map, basically. So for our landscape material. What we're going to do is we're going to be a little bit lazy, and there is a free landscape material, again, on unreal. So let me just open it up. And it is called the Landscape P 2.0 out generated material, which you can see over here. So, this one is quite nice just to give us a base. It's way more advanced than we need, like it will place grass and trees and all that kind of stuff, which we don't need, but it is handy because instead of us needing to dive in and create a landscape material, all we really are looking for is a material that will automatically based upon the slope that we have over here, a different material. Art or snow or art, rock, and then even if you want, you can even add some grass and stuff at the bottom. I already went ahead and I imported this, just to show you again, landscape pro 2.0 out generate material, go to free, permanently free. Scroll down and it will be on the first page. But yeah, I went ahead and imported it. Now, what we need to do? Is select our landscape. Scroll down and it is called STF. And then in here, you want to go into environment, and then you want to go into Landscape, I believe. Yeah, because I'm just checking because there are so many materials. Let's see. These ones are landscape with tesselation, which I don't need. And we want to have an instance. Let's just first of all, try this one. Landscape Pro V two instance. It's a newer version. So normally I use the V one version, and you basically just want to drag this into your landscape material, if it allows me to. There we go. Drag it into your landscape material by, of course, selecting your landscape, and everything will be pitch black. Perfect. Let's ship it. But no. Let's go in and we want to go into our landscape tab and then we want to go into paint. And what we basically need is we need to have all of these layers over here, and those will basically control things. Now, I honestly don't really like the look no, I don't like the look of this. Let's go one back into landscape and use the landscape ground adjustable one. That's the one I normally use. I was thinking that the V two version would be like super similar, but here you can see the difference. This one is really nicely organized. So what we're going to do is we now are in landscape and paint. And we basically need to click on these layers and just select them. And then you can see that it will instantly start adding all of our details in here. Now, of course, this is not the one that I want, sorry, not one, not the materials that I want, but those we can swap out in a bit. But now what you can see, although it looks quite ugly, over here, you can already see that it is basically generating the rock where there are slopes and it's generating the grass in between it also. I hope that we can, along with some Mexican acids make this look good enough to get a little bit more like this effect over here. Else we will just keep working on it until we make it look good enough. In the end, you guys are at least learning multiple techniques to take in different types of mountains and stuff like that. That's nice. Heaven, yes. At this point, we can pretty much because it's all automatic, go ahead and get rid of our landscape material, sorry, landscape tab and open up our not that one, the adjustable instance that we have over here. Now there's a bunch of stuff in here, which we are going to use to basically replace our textures. We just need to kind of figure out which ones we want to replace. And there's a bunch of settings for the blending, which is what it's over here down at the bottom. So shall I probably just replace my taxes first? And also, what I'm going to do is in my shader I'm going to nuke out this effect. I like automatically dds grass and everything, but I don't want that. So that's one thing that I will do first is go in here. And let's check because you can see like this is quite overwhelming, which is why I did not want to create it myself. I need to have let's see embitoclusion, specular, tesselation, fade distance, displacement, normal roughness, diffuse. It's really nice that they like, Oh, here we go. Grass output. So this is the one that I basically want to work with. I'm just going to go ahead and select it, and I hope that it will not create any errors. Let's delete. And this one also we can delete. I think that is not creating any errors, so let's go ahead and just save this. Else you would see it down here. But now, you can see that we have this. So no more grass, which is exactly what I wanted. So at this point, we can start by just replacing our textures to make it way more simplified compared to an overpowered material. Let's go in here and let's go to our mega scans. Where are you? Mega scans surfaces. Let's start with the snow. So we probably want to have snow wherever there is grass instead. Of course, I need to kind of, like, check. So I think this one, let's just replace it. Perfect. Okay, so that is the snow. I just need to make sure that this is the only snow that we are using. And I also want to play around a little bit more with the tiling. Let's go ahead and just replace this and our roughness. We can go ahead and try and use this one and it should still work good enough for what we are looking for. Also, sometimes you have these problems over here. I will go over that a little bit later where there's sharp shadows on our landscape. But for now, that does look pretty snowy, if I would say so myself. You can also control the normal strength and stuff like that. And tiling, on a way the tiling is probably down there. Oh yeah, here, so you can control the normal strength. I guess what I will do for now, I will leave it to default, and it's more based upon a camera. The second one, which is the one that we have now is looking really bad. Let's go in and grab our rock. And I don't know which rock it will be. Let's try this one. No, that's not the one. Or, actually, maybe we should try the normal map. Yeah, let's try the norm map, actually, because that one is the most overpowering. Okay? So it's not rock one. Not Rock two. Hm. Let's see, triplane or normal detail. Is this rock causing any problems? No, that's just like the small detail. Triplanar mapping, no map. Okay. That one is causing problems, but not all of the problems. So it looks like that it has a special mask, which is a little bit annoying that we need to go ahead and alter. So knowing that, what I will first do is I'm first just going to drag in my rock in all of these slots because I'm not completely sure which slot is using which rock and when. So it's better to just drag it all in. And then what we'll do is we will have a look at the map and alter it. Just in case also just change dirt to rock. You never know. Not that we need to parallax or anything like that. Okay, cool. We have this no map, which is pretty basic. We can just go ahead and dd this one and then we can control the strength, but we don't really need that. The one that I'm more interested in is this one. The cliff Rock mask, let's have a look and see what it exactly does. If you just go ahead and turn off the channel. It's just a channel pack texture. It looks like it's a height map, ambient occlusion map. And then roughness and another one. It's going into our mesh. So what we can do is we can probably just, like, alter it. So it's using this for the triplanar mapping. I kind of do not need triplanar mapping. So I'm just thinking if I can literally replace it because as far as I can see, it is not controlling the base color. It's only controlling the stuff. And if I look at it from a distance, as you can see over here, it is looking fine. So rather than creating a new one, want to try and see if we can just simply remove this. And if we would remove it, it would probably become a black texture to remove it with. So let's go in and very easily, let's quickly go into Photoshop and create a black texture. Here we go. It's just literally A 512 by 512 resolution black texture. That's all. And I'm just going to go ahead and just export this as TGA, scarlet black. There we go. Because I just want to not use this, but rather than changing the material, because I don't know how much of this is affecting the material since I did not create the material, it's probably safer to just do this. And I will just add it to here. Just drag this in here. Okay, so that is causing black. Let's see. That's probably because our ambient clusion is supposed to be. So, this one is supposed to be black, green is supposed to be white, and blue. I'm not sure what blue is supposed to be, to be honest. It doesn't really show which is a bit annoying. So let's just try this out. Instead of just calling it black, let's go in and let's go into our channels. So red is black, green, contra I, blue, and then we have an Alpha that's also black. So let's try this one. And I'm just going to go ahead and I'm going to call this. Let's just landscape flat, and let's save that Because right now what you're seeing is most likely just the ambient occlusion, like it's thinking there's in black ambient clusion. See? There we go. Okay, cool. So we got those pieces done. Now, we have control over here. So as you can see if I just you need to let it loose to control it, but we have control over here over our just general mapping. And then we also have control over the blend bias, which is just control like how much do we want to blend it? Sharps detail. That's one I don't see doing much. And we also have a bunch of control in here, but I'm not sure. Most of the controls will no longer work. So let's just have a look, triplanar mapping. Over here, that we just add like mapping of our overlay rock, which is this one, second one. That might be quite nice from a distance, I mean. Oh, here the rock channels. I could have literally said green probably to zero? No. Okay. But yeah, let's not touch that. Rock AO strength, zero, one. Yeah, let's just leave it. I'm not going to try and work on this. I think we are already spending way too much time on this. So let's start with something like this. I don't think there's much else that I want to do. Of course, one thing that I do want to do is I want to go ahead and work on my rock texture. I'm just trying to find it. Here we go. Because I want to make it more of like a blackish texture that we can see over here. Now, probably what I can do is I can just add an overlay. That might be easier. So if we have a diffuse color, might be easier. It does mean that I need to find the rock that I need, which might be less easy. But here we let's see. We have dirt dirt rock. Um, and I'm not completely sure if these rocks are actually the ones that are controlling it. For some reason, I have dt count difuse as my parallax. That's a bit weird, but not exactly what I don't really care too much about it. I'm just trying to figure out which rock I actually need for this. And you want to add that just before it goes into your landscape blending. So let's go in here and let's basically add a constant t vector. Right click, not preview, convert the perimeter. Rock color overlay and then multiply this one. First of all, set this to white. White means that we will have no color changes. Although I already probably mentioned it. I want to multiply this one to a few that I think are the ones that are controlling the rock. If we go over here, we have our layer grass, dirt, layer rock. Let's go ahead and hold control and just swap this one around. So lay a rock and then just duplicate it and once again, have this one and then grab layer rock, too. Since we don't really need any of these rocks, let's just do this. Layer forest. Let's start with something like this, just to see if we have it. And then it should probably show up here, there we go. And that's just hope. That's too bad. So that's not the one. It's just like dirt, in that case. Let's just go ahead and start replacing. So it's not forest. Could it be dirt? Let's set this to like five. 1.2. Doesn't look like dirt, so that's why it is so confusing to me. Okay. We definitely don't want to change our grass layers. I'm just going to go ahead and pass the video and figure out which one it is exactly because there's no difference in me doing it off camera. Okay, I had a look around and it looks like that this material is constructed in a very different way than I'm used to, which means that we unfortunately cannot really not at least easily add a overlay like this. Instead, what I found is that it already has some values built in. So right now the rocks are basically done using the triplan on difuse map. Now, this texture is not one that I created, but I'm fine with it using it. And then what we can do is we can control, for example, the desaturation and the power over here. Let's say that we want to make these rocks a lot more like whitish, we can set the desaturation to 0.5. You can see over here that the rocks are now starting to change. I can also go ahead and I can control my power to make them darker or brighter. Let's say 1.5 to get more darker rocks. Next that, the last thing would be simply to play around with your blending over here, and you world bias also. Like I don't want to show too much rock. And finally, what you can also do, actually, we can do that in this view is we can select our land mass, and now we can also play around a bit more with the displacement, if you want. Let's say that we set this two, for example, 3,000 and see how the material reacts with this displacement. Okay, let's try 2000 gam because that one I don't really likes a three here see. So you can see that the material definitely reacts based upon these values over here. I would say that for now, that's probably more than good enough. I'm checking if there's anything else that I might have missed. But else what we can do is we can also start placing some additional rocks on these mountains to just improve everything a little bit more. But it just depends how good. Yeah, this is all fine. It just depends how nice the rocks are from mega scans that we can use on here. But basically, now like here, we already do have a snowy top, as you can see. So it does kind of also fit in with the rest. I would say that the rest is a little bit more darker, but we can kind of, like, play around with that. Let's now go in here. Let's go to our Quixubidge. And let's see if there's some type of rocks that we can use will like on here. So let's start by just typing in clip. And tree the assets. And you see if there's, like, like, most of these rocks, the colors are unfortunately probably too strong, but I'm more like N not sandstone. I'm just looking for maybe I'm looking more for, like, Icelandic rocks, which I know that mega scans has just because they are, like, a little bit more grayish. Tundra. Nordic rocks could maybe also work like these type of formations, but these are, of course, beach formations, so the rock will look quite different. So I'm just trying to find the best match. Let's try typing in Iceland and then just go for nature and maybe like rock. Let's try over here to see if we can find something that is that we can place basically on top of the cliff. And that's the important thing. Like needs to be able to work on the side of a cliff, basically. Lava outcrop. I mean, we can just download it, and I will only download it on high quality and not on, like, Nanite quality because it's gonna be distance, and it's ddt. Rocky ground. Let's try also that one. Like I said, I do not know yet if this one will work correctly. But let's just go ahead and just, like, add a few of them just to see, because it's always good for us to just try it out. If it doesn't work, then we'll just go ahead and move on to the next thing. And I do like to keep this in instead of, like, showing you the right solution right away. And to be honest, doing it this way, also, keeps the price of the toy down, believe it or not. So huge Icelandic lava cliff. Those ones are sounding a little bit more interesting. So let's go ahead and add these because that's like the kind of stuff that really will work against, like, a rock the only thing is also with these techniques that we have used, it's really annoying or I don't even know if it's properly possible to actually change the shape of the cliff to form around our rocks. Let me say it like that. But we can play around. Let's see Mgcans three A sets. Let's say that we have over here, these really huge Icelandic cliffs. What my idea was that I will later on out like a snow material. But what if these kind work as a standalone in some of these areas where we have a rock. And like this. But then cross here, yes, we can artist basically add some more layering effects. But I'm not sure if it will actually work well outside of just the layering. Definitely here, it does add something. Let's maybe place it in an area where I can actually see it. Huge snow hill. Let's see, Icelandic jacket, rocks. And we can make these, like, nice and large. And let's see if we just, like, use these to kind of, like, fill in some of the spaces. Okay, we don't have a back for this one. Icelandic lava rock crop out. That one does not feel like it will fit in here. Let's see. What do we have here? We have Icelandic rock. I was thinking like placing these here, but now that I look at it, that probably will not look nice. And here we just have some rock formation. Once again, like this one will not really work. So it's more like this kind of stuff that's probably going to be more beneficial to use. We basically use this to add some more additional shapes to our mountain. Mm. I'm not sure. Like, I just don't think we really have. Like, right now, what is happening is that it is kind of like breaking up the shape of the mountain. Like, this is fine. So I think we just need to be super careful. So it's still good that we use this. But let's try to avoid these really large chunks. So let's try more to, like, go and, like, place them a little bit, just in some places to stick out. Because here you can see, like if we place them in some places to stick out, it looks okay. But when we make it too overwhelming, then what will happen is that it just loses the shape of the actual mountain. And that's not something I wanted. So Here, let's see if we can, like Use it a bit more like this. And don't forget that we will art snow in a bit, well in a bit later on. So but let's see something like this, and is there anything else? No, I think this one is just too big. It's not like it's too big and straight like it works great on a standalone, but not in other places. But once again, like I can use this one over here. Just like kind of bring out a bit more silhouette and shapes. No, not that one. And then the hope is that, of course, later on, I think for now, I will leave it at this. You can see that rocks are working. And later on what I will do is I will just like in our polishing phase when we have a time laps, we can, like, play around with this. So, okay, so the technique is working to just improve things a bit more. Normally, what I would do if it was not an icy landscape, I would use trees to basically add more visual interest. But unfortunately, right now, we cannot really add something like that. So let's leave it for now. Now we are there 40 minutes, and we literally only did like the rocks, so that's a little bit unfortunate. I think at this point that we are at a close enough point to get started with our decals. So we got most of our elements in here. Let's just work on our decals, and then what we want to do is we want to do an entire polishing chapter again. And this time the polishing that chapter will focus more on balancing out the lighting and also adding some more foreground and background elements and stuff like that. So let's go ahead and get started with our decals. 45. 44 Creating Our Color Decals Part1: Okay, so in the next few chapters, we will go over on how to create decails. Now, it might sound like an easy and quick thing to do, but it will actually make a massive difference in this type of environment because we will be using the decals to just give it like the general grime, scratches, dirt damages, and also our logos and any type of, like, additional details that we want to create. Now, if you want to learn a lot more about decal creation, I recommend we literally created a course here, creating custom decals for games, which will go over literally everything you need to know on how to basically create decals, multiple different type of decals and stuff like that. Some of the paths that we will cover in here, we will, of course, now also go over specifically in this chapter, but it will be a little bit less in depth. So, the first thing that we are going to do is we are going to go ahead and start by creating some of these details which are like logos and numbers and just like general stripes and all that kind of stuff. That's the first ones that I want to create. So for this, what we're going to do is we are going to go inside a vote shop, and we will pretty much do this one just in votoshopFle and new. And let's go ahead and create a 40 96 by 40 96. Canvas over here. And with these decals, because I'm going to control the color of them inside of Unreal engine, what I want to do with this is I mostly probably, yeah, I think I don't want to actually give the color because I don't know yet which orange color I want. Instead, we're just going to simply make it a black and white type decal. So first of all, we're going to go ahead and get started with, like, some sips. I'm going to well, first of all, let's go ahead and make a black background. Oh, sorry. Don't select anything, go down here, solid color and create a black background. And now let's get started by first of all, like we tick stripe which I want to use in case I want to play some stripes on my actual ground. So we can go ahead and we can create a Tixmon. Then hold shift and just also create like a thin one, like you can see over here. And let's go ahead and create a white color for those. Now, that one is quite simple. So we got these ones over here. Also, one thing that we do need to keep in mind with these type of decals is that these ones we are still going to map onto planes. And the reason we do that is because else, for every single decal, we would need to place its own unique texture, and I don't really want to do that yet. However, we might later on need to use, for example, if we want to have something on the ground, we might want to later on also create some additional texture files. I'll go over it in a bit. So we got these ones over here. Now, let's go ahead and just generate a logo. So for our logo, let's go into Discord. And over here, I already did a few tests, but basically, what we want to get is we just want to get a very basic minimalist type logo. So once again, we are just using Mid journey for this just to create something very quickly. So slash Imagine. And let's go ahead for something that's like a, well, I will pretty much just copy what I have here. So here I have a simple minimalist. Let's just copy this one. We are going to start with simple minimalist black and white logo for a Sci Fi facility, something like that. Then what you want to do is you want to give, of course, a few keywords. So you just pass comma. Now, I like to do vector because often logos are in vector. I can also try illustration, Logo, Design, modern, Sci fi, something like that. And then the last thing that I'm going to do is, I'm just going to go ahead and I'm going to press slashlash V 5.2, just to use the latest version, double check, make sure that that was the one. Like, I want to keep the logo square, so I'm not too worried about that. I guess the version. Okay, I guess I didn't use that. No problem. Then we'll just leave it. I'm not going to go over that. It's basically just selecting which version you want to use of Mid journey. So let's just do something like this and see if we can get something quite close. When I was generating this one, I quite like this type of logo that you can see over here. Of course, Mid Journey is not good with text, so the text inside of it would just be like completely useless. But let's have a look. Now, I did this time art the word illustration, and I can instantly see that that is not giving me exactly what I want. But let's just wait for it to finish. So although I don't know. I want to try and avoid wily tin shapes like you can see over here. So let's just go ahead and once again, let's select this slash IMAGINE gets rid of illustration. Let's see. Simple black and white logo. Just do simple black and white logo. So as always, we're just trying to get close to what we want. And then what we can do is we can start generating variations based upon that until we have exactly what we want, basically. So I can see that this one is already generating to be although this stuff over here is quite interesting, actually. Yeah, this could be quite interesting. The one that we have over here because just lower. Let's do variations for number three and start with that. But I also wanted to go in and do one more Imagine slash Imagine. And then Sci Fi, and then I will do, comma minimalist to just add it back in the end again. B. So this one is going to be used mostly like here and we'll probably also use it here. We also need to generate a bunch of texts and stuff to fill in all those empty spaces because we had a lot of empty spaces. And then after that, what we'll also do is we will go ahead and create some decals that are going to be like to give the paneling impressions and stuff like that, and it's kind of lucal. Just don't worry. This one was the okay. Number one is pretty interesting and what do we have here? No, I don't like that. Let's see. Number one, although I kind of like this one. Let's also upscale number three, and then we can generate some variations of that. Let's also generate some variations of number one and maybe also of number two, since we're here anyway. Let's see. So we have upscale scale this one. Let's try now to add some strong variations and some subtle variations. I need to wait for some generations to finish. But let's see if there's something. Because I quite like this. I just don't really like the we tin shapes, but we could play around with that a little bit more when it is finished generating, so it will be almost done. We have this one. Then we have this here that looks more like alien. This one looks also quite interesting, although it looks a little bit too basic. This one might work. Just keep looking. Oh, I like this. This one is quite interesting because it feels like some kind of like a rocket, which is kind of like the type of facility that we have a lounge facility. And then this one is going to be oh, I also like that one. Um I think I'm going to go for this one, actually. Like, I quite like that it's like a rocket, but I like that this is a shape that is more like it has an even size on the top and the bottom, which makes it fit a little bit better. If I would have this one let's see this one or this one. I'm just checking. So, this one is just like some bottom lines. But I do quite like the cutoff, but I can create the cutoff myself. Y Let's grab number three. So let's upscale number three over here. And then let's use that and maybe add some very small changes to it. So we're going to upscale it, and let's just upscale it times four on top of that. Let's just also add some subtle variations, just in case there's one last one that I happen to see that I really like. Here we go. Let's just see if there's a variation. Yeah, this one is actually exactly what I was looking for. This one over here. This one I don't like because it's a little bit messy. I like this one. Yeah, let's do that. Let's upscale number three. And that's the one that we're going to go for. Now, let me just check because it might be that this upscale is already more than enough. Let me just 1 second. I'm just going to make a folder called textures decals, Then a folder called color decals and in here, I will just throw this in. And then I'm just going to quickly check the size of it. So right now it is 1024 by 1024. Yeah, that's enough. So I don't really need to upscale it to four K. So let's you go ahead and import this one over here. Now, next thing that I want to do is I'm just going to get rid of the text and stuff like that, and I also am going to get rid of the background. Actually, I might want to upscale it to four K. Oh, yeah, let's upscale it two times to not spend as much time. So I'll just wait until this is done. Here we go. So let's go ahead and just open this one. And audit. And then this one we can kind of delete for now, just so that we have a better selection, basically. Because what we're going to do is we are just going to go ahead and select the white areas of this. Yeah, here, that's looking really nice and sharp. I like that. That's cool. Especially, it's just so easy. Like, I'm not a logo designer, and I'm definitely not going to hire a logo designer for a tutorial, of course, when it's just something here. So then it is really handy to just use AI to quickly just generate some of your designs. In those cases, I do see it as a tool. I'm going to go in and right click Rest, rise my layer. Select. Let's do color range and see if we can just select the white color. And then plus control shift I and just press delete. Yeah, that seemed to work totally fine. Let's also delete my text over here. And there we go. Now we have our logo. Easy, does it? Oh, looks like there's some stray pixels in the top. So you can just go ahead and select around your logo and just press the delete button. And now if you're free transforms now it's working bit better. Okay, cool. So we have our logo over here. Now let's go in and just do, like a few different type of stripes, for example. So first of all, we're going to go ahead and let's say that we have one of these. Is going to go ahead and make it a solid color. Over here. Let's see that we have three versions like this. And then what I'm going to do is, well, I'm going to actually scale them up a little bit. Let's see. So we have three stripes like this. I'm sorry, I'm not happy about the thickness of them. Let me just click. There we go. That looks a little bit better when it's like a little bit thinner. Let's try again. One, two, and three. Next, what we can do is we can duplicate this again. But this time, what we're going to do is we are going to add a free transform and hold shift to do like a 45 degree angle. And also what I'm going to do. I'm else going to just like cut this over here. Next, I'm just going to select and I'm going to select it on the same line as my old shapes. Now, you want to just right click and you want to merge these layers together so that you can just do a delete at the same time. Here you can see that I accidentally messed up and I did not extend this out far enough. So right click free transform. Yeah, here, see? That's what happens. So you need to really make sure that when you duplicate this, right click free transform, just make this extra long, something like this, and then hold shift. And I'm actually going to go ahead and I might actually do two versions. So that's first of all, sorry, free transform it like this. And then duplicate it again. So make sure to go up here to your move tool, I'll shift and just duplicate this again, a bit further out. Now what I can do is with this version, I can go in and I can rotate it 45 degrees, and you can see it on near your cursor. We'll say 45 degrees. Done. Right click, merge and delete the top and the bottom. Here we go. And then we have this one. Right click, and let's just merge it already. Free Transform. And this one I'm going to go for, like, maybe like only 30 degrees. Yeah, let's do 30 degrees over here. And then once again, just go ahead and select it and just delete the bottom side. Let's see. Yeah, that is great. I think the 45 degrees one is a little bit too strong, but we now already created it. So it's like no point for us needing to, like, remove it or something like that. You can if you want to right click and free transform and go in and, like, hold control to maybe like shift things around a little bit or get it to your liking. You can even do, like, some crazy shapes if you want. But for now, let's just leave it. So, okay, we have some of those shapes over here. Let's just do some really simple shapes. Let's say we have like one of these. Here we go. So it's literally just got to be like a white shape. Let's all shift. Duplicate and this one, let's make it more of a Oh, sorry. More like a square shape. You can double check by creating a selection and holding shift to make sure that it's square. And I can see over here that it's not exactly square, so I can do Control shift I and then just press delete to delete anything outside of that shape. So we have two really simple ones like that. What do I want to do? I'm just going to select these ones. A, let's select both of them. And I'm going to go in and go to select modify and smooth and give the smooth of five pixels or something like that. Press control shift I to invert your selection and just press delete while clicking on your mask. And this way, you can see over here that we will add some rounded corners to it. So we got some of those shapes that is also good. What else are we going to do? I just keep looking around also. To see. Like, of course, we have a bunch of texts and stuff like that, but I want to, first of all, see if there's anything else that I need to, like, art in here. So we got our stripes. That's fine. We don't really need too much other stuff from there. Yeah, maybe some kind of just weird shapes. Let's say that we have one over here, and then another one that's over here. And then you can go to your polygon Slack tool or your lesser tool. And then if you hold Alt, you can, like, start cutting away pieces. So let's say we cut away a piece over here. And let's say we also go to our rectangular select tool, hold Alt Shift. And I'm just going to, like, cut out a shape. Oh, sorry, not Alt shift. Alt. Sorry about that. Yeah, we go to, like, cut out a shape, for example, and let's go to our lesser tool. Actually, let's start by already just creating shapes that we don't lose the selection. So we got something like this, but I'm not yet a fan of this. I'm going to go in and let's now go into our mask and just press delete and create a shape here. It's going to be like super random. It's just like random Sci fi shapes type thing. Maybe something like this. Now if I just go ad to select the shape and go to select, modify, smooth, and this time at the smoothening to ten and's beveling, copra shift I, and I'm just going to go ahead and I'm just going to use my eraser tool, which we have over here to only around some corners. I don't want to kind like route all of them, some of them. Like these ones. Then press conto shift I again, press X to flip around your color. And then what you can do is you can also include some rounded corners by painting them in instead of out. Yeah. I think something like that looks kind of fun. Just like a random shape. So like that, you can also go in and just create a bunch of different shapes. Oh, we like this kind of stuff. We might want to make that indica also. Let's go and keep looking if there's anything else that we might need. Let's just do this one also lastly, and then we will go over to our numbers. Let's go to our logo. And basically, what I want to do is I'm going to grab this logo, maybe make it a little bit smaller. I'll just place it here. And I'm going to select a cube, hold Shift, and you can hold space to basically move the cube around. And we want to have this a logo in, like, the center of this. I'm just trying to eyeball it a bit. There we go. So now we have this logo. You can still use your arrow keys to kind of move it around to make it more accurate. Then what I'm going to do is select, modify, and I'm going to smooth it to give the nice. Actually, I'm going to make it more smooth. Smooth, let's say, like 50. Okay, that's when you smooth it too much, it's no longer like a nice round cylinder. There is, of course, ways that you can fix that, but I don't really or I'm not really in mood. Let's do 15 instead. Here we go. Now what I'm going to is I'm going to create my shape like this. And maybe I need to move it a bit more here that might be better. Next, I'm going to select my logo below it by pressing Control and then selecting it, and then go into your shape and press X to flip the color and press delete. And then delete that old logo. There we go. Now, having this, I can see that there's some color differences which are not correct. So I'm just going to go file adjustments and levels and just like, push these up. This is probably because our logo is AI generated, so it's not perfect white. So I want to also go into my logo, image adjustments levels and just push up the levels to make sure that it is a perfectly white logo like this. So now we have these two variations where we can also have one that's just like a cube. Now next what I'm going to do is I'm just going to go in, and I'm going to over here, probably create some simple text boxes. So let's say that we have this one, although let's do that a bit later. Let's first of all, create some text. Now for the text, it can be something really simple. So let's say that we start with, like, I don't know, G 31, for example, three to one, whatever. It doesn't matter. Then, okay, three to one because it's like counting down 31, two is maybe better. What you want to go ahead and do is you want to find a cool font that you might like. So I quite like product sons, but you can go in and you can just find whatever font you want. For this, you can even go for simple REL, but try to get for something that fits the team. What I also to do is I tend to click, and then I can use my scroll wheel, although the annoying thing is that there we go. Sorry, click and use my scroll wheel. And that way I can find whatever one I want. But I'm going to go for product sons, which are now lost. But it's a font that I use a lot. Now the MnOPPPP, where are you? Papyrus, which is like the AvataFont. Come on, products. Product sons. There we go. Okay, finally. So yes, we now have this logo. We can right click Free Transform to scale it up if you want. And we can start with like a few of them. So let's do G 31. Let's have another one. That is just like the letter G. And let's have another one. That's like section over here. And another one that's like a facility dash North, for example, something like this. Now the reason why I place these in here and not in here is because these ones will basically be engaged around like you can see over here, around other shapes. So we now have a few very simple ones. I'm going to have the facility north up here. The section will go below the G, I can play somewhere here and the G 32, I can play somewhere over here. Then I can grab, for example, this one, and I can repurpose it. If you cannot see it, just temporarily set your opacity down and it makes it easier for you to then right click free transform and to then go in and hold shift to do like a Nice transform over here. And you probably guessed it. You can now just hold Control and click on the G, turn it off, set your paste back, and then in here, just press delete. Oh, make sure that you select your mask. There we go. So like simple G, nothing too special. And we can basically do this with all of them. So let's say that we have this one. Oh, that's the won one. Guess I need This one I need over here. I will just go ahead and start placing these. Let's do this. And yeah, it's up to you to, of course, decide, like, how many do you want? So just have a think about this we'll add a lot of colorful detail. So this one is not so much about the dirt, but just like adding colorful details. So it is quite nice to have. What I also tend to do with these areas where it needs to become longer, don't just scale it because when you scale it, what will happen is that you will stretch out the circles. Instead, what I tend to do is I tend to just select part of it. I then go to my move tool and I hold Shift and I just simply move it like this. And then I just scroll in until I see my pixels. And then I just use my select tool to basically select from one side to the other and then press press X to flip your color so that it is black and then press delete. And now it just has become one simple shape. When you go from longer to shorter, it's often a little bit easier. So what you can do is you can go in here. And then what you can do is you can just select this entire shape. Use your move tool. Oh, sorry. Make sure that you have your correct mask selected. And, normally it would also like here would remove back the shape, but I guess all we have to do after this is just quickly select this area because it's leftover and delete it. So we've done this stuff. We can now go in. This one is going to be section so I can Control click section, delete it. Set your pasty back to one. I can control click the G Delete it pass it back to one, and I can control click facility. Delete it. And back to one. Okay, cool. So we have these pieces now. Now what we can do is we can still use this text over here as normal text. So we can right click Free Transform, move it over here and just place those pieces of text in here. I'm going to just organize it a little bit more neatly. So we have facility north. Let's say we can go ahead and we can just say, da da, da, da. Oh, it's not working. Let's try again. Da da, da, dash, da da, something like that, random numbers and text often works quite well. And you can have a look around also over here. You can have lookout. I actually like having some more stripes that we can probably use in some areas. That's actually a pretty good one. Let's go in here. Let's do loading in all capitals. 01. And you can also select this and then you can go into your options, although over here it's way the capital letters. And there are some more options here. If you just go here in the top, you get all of your options. You can make it like bolt or you can make it like tilted and all that kind of stuff if you want to. Now, I'm just going to go for something like this that is fine. Next, what I will do is I will go in and I will add maybe some really big uh three, one, two. Yeah, let's do that. But let's make this one, like a bit bigger. Over here. So we have some of that stuff and just looking around. Oh, yeah, let's do some of those. That's always good. Just like the classic like cation, careful, blah, blah, blah, all that kind of stuff. Not that one. That's crap loading one. Like cation. Closing door. You can also over here set the text to always start at the left and just go to the right. So caution, closing door. We can be like I don't know what. I'm just having a look around in my reference over here. Watch your step. Sure, we can watch your step. And these are going to be more smaller text, of course. Like, this is stuff that is just a little bit in the background in some small areas. B, da Just like some more serial numbers tat. Now let's see, is there something in our vimen specific that we can Let's go for Do not touch. Another one that's like warning. Another one that's haolic systems. For the fun of it, I will also have a fast track tutorials in case anyone tends to pirate my course, which actually is hurting me a lot. So please don't pirate this course if you're watching it and you're enjoying it. So yeah, so fast track tutorial. There we go. Because it is like a space type thing, we can do launching By 01, Yeah, I think that's more than enough text for now. So we got a bunch of text and a bunch of those type of logos and pieces, and you can definitely add more if you want. You can add some warning signs and that kind of stuff. But for now, let's leave it to this, and I will add more if I need to. Now, having this stuff, the next thing that we want to do is right now everything is absolutely perfect. But this is like a facility that is in an area with a lot of snow and all that kind of stuff. So I want to break things up a little bit more. So I'm just going to go ahead and export some grinches from substance painter. I'm just loading in, again, my low poly trim sheet because it's just a plane, and that's exactly what I want. And just go in here and create a fill layer, right click and then add just go in here and add a black mask. And in this black mask, you want to add another fill. So I'm basically just going to go into my grunge over here and find a grunge that I might like. For example, here we have grunge dirt, for example, something like that. Now, when you have done that, if you Alt click, you can see that now we have this grunge we can also go in and we can say, I want to make my tiiling a little bit smaller, two or maybe even three. And I can then go in here, right click, and it doesn't always work, but you can try to press copy mask to clipboard, and I tend to press it twice just to really force it to copy. And then if I go here all the way to the top, I can go to edit and I can just paste. And now you can see that we have our mask in here. At this point, if we just go in and we add a fill layer at the top that is black, then we want to go and select my mask, press Control A to select everything and Control C to copy. Click on my mask and go into channels. Turn on the final channel, which is your mask and just paste it in here. This way now, now that we have a mask, you can see that now we are like this additional dirt everywhere on here. And now it's up to you to just go to images, adjustments and levels. And you can go in and you can make this stronger or less strong, whatever you want to basically break this kind of stuff up. And you can, of course, also do some manual work. But for now, that's try Let's see. Black just means that it will not show up. I'm going to go for something like this. That's okay. But I really don't like the tiling over here. So what I will do is I will just go ahead and use my clone patch tool, set it a little bit larger and just go ahead and just paint away some of the tiling by painting it into other areas. There we go. So like this, you can go ahead and you can paint away stuff that you don't like or something. I can now go back in here into my fill, and let's say that I also want something that has some scratches. Over here, these ones. And this time, I'm going to set my tiling maybe to only two. Right click Copy Master clipboard. I go in here, and we can just go ahead and add it and we can paste. There we go. With this one, once again, we can just duplicate our mask that we had before. Contra A, contra C, go into the mask, Contra V, paste it in here. Now we have some scratches. What I'm going to do with this one is I'm just going to go ahead and use my brush and at a soft brush at quite a large scale. I'm just going to paint in black, sorry, paint in white. In my mask, I said, Come Weird. There we go. Paint in white, and I'm just going to paint away my scratches a little bit where I don't want them. There we go. It's more like just over here. I want to have some scratches to just interrupt the shapes and stuff like that, which I think will look a little bit more interesting. And just like that, you can just lay on more grunge and details. I will leave some space at the bottom in case I want to add some additional stuff in here. But let's say that for now, this is looking pretty good. We can now go in and file, and I'm going to, first of all, do a normal saves, and I will save it as a PSD just so that you guys can also open it. Co details. I scores here one. ANAC I'm also going to file save as copy, and I'm going to also save it as a TGA. 01, underscore mask. Save and just press Okay. Okay, cool. Now all that we have to do is we have to go inside of TS Max. Let's go ahead and turn off these things. Let's create a new layer that is called color Dgals. And in here, I'm just going to go ahead and create a plane, and I will make the plane, for example, I know, let's say, 2000 by 2000. That seems like a decent size, gets rid of all of your segments, center the plane. And also one thing that I like to do, I'm centering the plane, but these are going to be planes that we are going to place on the object. So I want to actually go to my side view and hover it above just above the zero point because that means that inside of unwheel engine, when we drag it in, it will also be hovering just above it. Now at this point, you can just go in and select a material. And we're going to go ahead and get started by selecting our Let's go over here and just call this color. Details. Apply the material and just go into your color, select the bitmap. You probably guess what we're doing. We are just selecting our collar decal mask. Okay. And then it will show up. Here we go. And now it's just a matter of cutting stuff out. So because these are going to be decals, it will only read the white areas. So we don't have to be worried about, cutting it perfectly, but of course, I do want to make it a little bit clean. So I'm just going to try and place a few lines just to cut this out like a decent area. This is why I also try to keep everything a little bit on one line. Here we go. And now let's say that we go, for example, over here. Let's say that we have this one, selected, detach, selected, detach. Now, the annoying thing with that these are all going to be separate models. So please do keep that in mind that we need to exput all of these as separate models, but I'm going to show you a little twig on how to make your life at least a little bit easier. But before we do that, let's go ahead and we'll probably pass the video and just start cutting up all of these details the same way that we did our trim sheet. Here we go. Okay, so we now have all of our decals and everything over here, ready to go. Now, there's one more thing is that we have our naming convention over here. Now, it's up to you to decide if you want to name everything exactly the same name or if you just want to go ahead and go for, like, DGal 01, DGl 02, and stuff like that. I will go for the letter with DG 01 and 02. I am using a tool and it's called Soul Burn Scripts. I'm not really going to go over on how to install it and everything like that. You can just look up online three SMAC Soul burn scripts and then you can download it because technically, you can also just rename them manually. But the reason I like this is because I can go in here and I can go to my object or sorry, my name manager and just press Apply. And then over here, I can just give some automatic naming. So I can just say decal, for example, and then I can do steps where it has the different numbers, and I think this is it. So if I just press Apply, here see decal 001, two, three, four, five, six, seven, et cetera, et cetera. So at least this way, I don't need to do the whole renaming. Now now comes an important thing and that is that we are going to export this. However, instead of exporting every single thing as one individual FBX file, which will take very long and will be very annoying to import and setup. What we're going to do is we are going to actually export this as one FBX file and input it into real as each individual models, which is why we need to rename all of this. What I want to do for this is I want to set them all in location. So we can remember that the Z, we moved it up manually. So only on the X, we want sets to zero, and on the Y, we want sets to zero. Now, everything is basically in zero, 00 and ready to go, but still it has that hovering effect a little bit over here. We can now select everything export, export selection. And in here, we can call this color decals. Et's go ahead and put it. Now, if we go into DTS Max, into sub into Unreal engine. That's what you get when you're using so many softwares and you need to explain every little thing. We can now go into assets, and in here, I'm just going to make a folder. I'll call this color decals, just because when we import it, they will, of course, become their own separate meshes. Next, if we go grab color decals, you want to drag it into import. But the important thing is that we don't need anit for this. That's the first one. We don't need collision for this. Well, it doesn't really matter if you generate light MPVs. The one that you want to do is you want to turn off this time combine meshes. Keep in mind that it will remember these settings. So please make sure that you are turning this back on, if you want to import any type of models. The uniform scale, that one is a bit more tricky. I guess if we just have a look and we grab, for example, our hallway module. Based on that, I would say that, yes, the uniform scale is fine. So let's just leave it the way it is so we can pass import. Now what it will do is it will import every single decal with its own decal name. At this point to, for example, start testing it out, we, for example, drag in our logo, and we can go in and we can set the snapping to 90. And now what you can see is that it will hover just above it. So that makes it very easy for us to just place it here. Now, of course, this one, in this case, we just want to lower the scale a little bit. But let's say we grab it over here and we also throw it over here, for example. Okay, next thing that we need to do is we need to create our material. Now for this, we might be able to just reuse our trimset 01 over here. So let's go ahead and grab our trim sheet master and just double check. So let's see if we import our color, Oh, no, this is not a decal, so I need to go in, duplicate this, and I will call this Color Diga master, and let's just edit this one instead because what we need to do is we need to import our Cutextus decals. And here, input our mask, so give me a second. I'm navigating to it. Here we go and just drag that in here. So first of all, what we need is we have our decal over here. We want to go in and remove any type of base colors. So this is just going to be a simple color. For our metallic, we don't want any of this to be metallic. We don't need a normal map for this. We just want to have a roughness amount, so we can basically get rid of a lot of stuff over here. And we also don't need our AO. So basically, this is all that is left. I kind of expect more to be left, so sorry about that. Right click, convert the perimeter and call this mask. And then in here, what we want to do is we probably want to go ahead and Ty already set this as a decal. So if we go for deferred decal and what set to translucent, we can then go in and we can grab our mask and throw this into our opacity, and our color overlay should basically work correctly. Let's go in and save so I for some reason thought save buttons here. We can then go into materials, Cola decir Master, create material instance and call this Colo decals on the score. Orange. You want to open it up. Just go to drag it over here. And what I want to do is I want to make my roughness amount, probably like 0.8 to give it like a tiny bit of shine, and I want to open up my orange metal. Just quickly click on the color overlay and just copy by double clicking 46. 45 Creating Our Color Decals Part2: Okay, so I did most of the placement. As you might have noticed, I did not do any placement on these sites, and that's basically a time saver for me because it's a tutorial. What I will do is, later on, think, probably after the decal chapters, I will go in and I will set my final camera angle. So it will be like multiple camera angles. And then when we have our polishing chapter, I will simply polish based on those camera angles and stuff like that. That's why, if I don't have a camera angle like this, I don't really need to spend half an hour wasting my time placing decals here. Of course, for you guys, if you are play round and everything like that you just want to look around and stuff, then I don't know what happened. Then I do recommend, of course, placing it everywhere. What are we going to do? Now, there's one more thing that I wanted to do with my collar decals and once that is done, then I think what we'll do is we will move on with the dirt decals. For my collar decals, we have this really large plane over here, which does look quite interesting. I quite like the idea of having some large overall stripes that go like this because I feel like that in our composition, having those additional shapes like they look really interesting, if I would do something like this and then move it over here C. That looks like really interesting. However, we can, of course, not do that with a simple plane because it needs to follow along. I will show you how to create a more traditional decal. It is super easy. So basically what you want to do is, let's say that we grab a new and it doesn't have to be four k. Let's do 1024 by 1024 pers contra I to invert it. Basically in here, what you're going to do is you are once again going to in the center place a white beam like this. Then we can do a solid color and we can make it white. Now, next, I will just go in and I will quickly just copy my grunches and just paste them in here. And let's see. This crunch over here, I'm Let me also just copy and paste this stuff in here. Control C, contra V because I'm not too happy about it. I just want some small scratches. I don't really want any super large details. So what I'm thinking is that I can grab this piece over here. I can do a Control C, and you can see that it has actually scaled because we went from four k to one k, but that's okay. And then I can go in here and press Contra V. Now I have this one, and now if I go ahead and just play around with my levels, m you see, I just want some small specs and stuff like that. And what you can also do is you can also press this little button over here, which de links are material, although I expected it to kind of work better. Normally, when you delink the material, what will happen is that you can, move it around. I guess, in this case, because it is also linked to our actual mask. We are unfortunately not able to do that. But this is fine. It doesn't matter. I'm rambling on as always. What I want to do now is I have over here my color decals, and I'm just going to save this one, file, save a copy. And just say TGA and just call it cool decal 02 underscore mask, for example, and save it. We then go into reel, of course, move this over here, decals, throw in our mask. Okay. Now that we've done that, we can go into color decals in our materials, and we can duplicate cool deco orange, duplicate and cool deco underscore stripeceOange. And if we open it up and drag in our mask in here. It should already work totally fine. So the cool thing is that now we are not actually going to make a mesh. What you can do with actual deco materials like we have used here, is when you literally drag on the deco material, and if I press G, you can see that it places a mask. The nice thing is that this mask deforms with our actual shapes, and I notice that I need weighted normals. But thanks to these shapes, we are able to also, for example, go in more drastic areas like over here. And what you need to do is you need to rotate. Oh, it's just turn on snap rotation. You need to rotate over here, your mask, and then you can just go in. You can scale it up, place it around like this, and it will map along. The only thing is it will map along literally everything. So that's something that you do need to keep in mind that we need to be a little bit more careful about how that we want to place this. Also, what you can see is that over here, of course, it does some stretching. Now, you could literally make it go all the way this direction over here, but it just kind of depends what you want to use. Also, nice thing is that you can use your movement over here to control how strong that you want this decal to be. So let's first of all, just see if this actually looks good or the way I want it to look. Let's go ahead and play around with my scale a bit more. I quite like it. I think this looks quite interesting. Now there's another thing that I'm going to art, which I had to art anyway, and that's that I want to have control over my opacity. If I just go ahead and go in my color decal master over here, I want to simply go in and I want to multiply. My opacity with a scale perimeter, which remember is a click, it's called opacte and set it to one by default. And this way, we can control how strong we want the opacity of our decal to be. And I can go ahead and can save again. Now, if I go into my color decal stripe, I can go in here and I can also just like originally, I can just go in here and I can play around with opste to make sure that I can still see the stuff behind it also. So at this point, it's more a matter of just going into your treaty view. M I'm going to sell it to 0.8, probably. Here we go. So 0.8. Next is that we need to figure out over here, we do, of course, have now this overlapping. We need to figure out, where do we want to cut this off? Ideally, I would want to have it cut off here, but the only way that I can properly do that would be to split up the bottom side from the top side. Or what we can do is we can technically create also a decal, sorry, a mesh that actually follows around here. So I lost my decal. For this one because we need something so highly specific it would be better to create a mesh for this one. So I can go in and do that. It will need to take a bit of playing around. However, I also wanted to basically place these lines over here, and over here, we don't need to mesh because this is a bit more simpler. But I still wanted to show you the technique. So that is all no issue. I want to go in and create a second viewport cause I quite like the idea of just having some stripes that are almost guiding the player towards, like some point. I'm going to a make Ml pasty for this one a little bit stronger. And we later on will need to work also on the sun. But what you can do with this one is, yes, you can go in and just place a stripe all the way along, for example, like this. I'm going to also show you how to make it so that some objects are not receiving the decal. So here sometimes just having some stripes and stuff like that, just to guide the player eyes is quite nice, or just literally just the arts of visual interest. You can just go in, place your decal. Then over here, we once again have the prom where it is technically touching the top. Now, one thing that you can also do is you can also scale your deca more flat like this. And that way, when you place it closer, oh, wow, it's really large. Let me just do it. Here. When you scale it flat like this and then place it closer, what it will do is, as you can see over here, it will not continue on as strong. Should have probably done that for all of them, to be honest. Bear with me. I'm just going to go ahead and quickly remove these and redo that just because it is technically the better way of doing things. I just did not really realize how large the box actually was. B, if I just place, like, one or two of these guidance types, it would be nice. And then I will just quickly create like that unique decal just for that one area. Over here, you can also see that technically this should also work, but I will, of course, still show you the technique. It has to do with, like, making it so that it doesn't map on some assets. Now I have these. I can now go in and I can grab the Deca orange stripe, and I'm just selecting all of them, except for the very first one. I'm going to later remove that. And now let's say that I want to place one here and let's say another one is going to be probably here. For now, something like that. I think that looks quite interesting just having those extra lines, and we can just improve those later on also. If you want to make it, that you don't have, for example, the blending proms like over here where you can see that it is blending on the snow, which not what we want, you can select your assets, or let's say that we select all of them at the same time because they all have the same name. And then you can go all the way down to rendering over here and simply turn off receive decals, see? And now it's no longer being applied here. Okay, so we got that one done. Now the last one that I was going to do is I was instead of this one because I first figured like oh, it's a bit slow, that we could just run it all the way down to the bottom, but I don't think that will look good. Instead, what we can do is we can simply use that deca that we created, and we can go into Tres Max and we can basically map it on here, just like a normal mesh, and then all we have to do is place the separate mesh. The reason I don't want to attach it to my hallway module is because then it will always show up everywhere, which I do not want. Now a cool little trick that we can maybe try. Don't know if it will work, but we'll try is that we can go in and let's say that we place one single connect line over here and then just right click and create a shape and press o. Actually, I'm going to do that even better. I'm going to add and add a pool, then create my connect line. Right click create shape, and just make it linear and press okay. Now if you just remove the added poly, your original mesh is totally fine again. Now, it looks like that it accidentally created this line inside my color decal, so I'm just going to drag it into the Hull and module for now, just so that I can see it. And with this line, I'm just going to go ahead and I'm going to send it my pivot. Now, why is this line cool? It is because we can use it to basically add a sweep modifier. And if we set the sweep modifier to a bar and then decide on the thickness of our line basically, let's go ahead and go for something like this, and I will clean it up later on. So probably like a thickness like this should be fine, which is like 120 thick. Next for my wit, I basically want to set my wit to the point that it's just hovering above everything else. Now, the the idea that I had, although it might not work, was to skew this. If we just add a modifier and add a skew modifier and set it on the here on the Xxs. Nah, that's not what I wanted. There are a few more modifiers that we can ty, but also one that might just be more easy is to just go in and grab an FFD two by two by two and simply select the top. And just push the top out and the bottom out to the way that we want. Now, doing it this way, we also have still control over our sweep. So if we just press the show end result button, we can go in here and we can, for example, set this a little bit bigger to 150 to try it out. You would then like your FFD. And once that's done, you would art your added poly and for your added poly, we are just going to go ahead and select the outer layer, plus contra I and just delete everything else. And next, I'm just going to go in, and I'm going to, let's see. How does that push? Oh, okay, that pushes out quite nicely, actually. Yeah, we can probably just keep this. You can, of course, go in and you can do a little bit of cleanup. For example, over here, if you have some meshes really close together, you can go in and just quickly, like, collapse these pieces. For this decal, what we want to do is we just want to give it a simple smoothening of one. It doesn't need to be anything super special. Let's say that we have something like this to get started with. I think that should probably work. We can then go in and we can add a color decal. Now for the color decal, we can technically just use our original mesh and decal, all that kind of stuff. Let's just apply this color decals material and then add adds poplOly this stuff, we would not be able to Keep non destructive when we change anything. So let's try to just do it white the first time. I'm going to place my seam just somewhere where you cannot really notice it over here. It's like, break. Then, like, just press straight in selection, and then I can always, unfold it. But most likely just doing a straightened selection is enough because we need to keep this, like, super straight. We then go in here. And we just place this decal, as you can see over here. Now, you can see that there's some stretching going on, and this stretching is because we did the straightened selection. You can try to relax it, but what will happen is this stuff over here where it doesn't really relax. You can also try to face. Technically, yes, relax the entire thing, but then just double click on the top, and then hold Shift and flatten it out. Double click on the bottom, hold Shift, flatten it out. And then move it back into place. That's probably the best way to still keep the no stretching intact while still also keeping everything straight. At this point, we can go ahead and Oh, let's not convert it at ply because I might want to still change it. At this point, I can probably just, like, move it here in the center. And I'm probably going to just throw this into the color details note by now. File export export selection. Um, Hallway. Module stripe, for example, something like that. And let's go in Unreal Exports. To unreal. Assets, color decals. Yeah, we can probably destroy it in here. Hallway module stripe. Yeah, should be fine. And now, because we only moved it left right, if we just copy our hallway and then this dragon decal, it will automatically just place it in position, and then we can just go into our materials and grab our orange material on here. And now it's just a matter of placing it in the position that I want. And there we go. I feel like that fits pretty well. Okay. Awesome. So yeah, we have that one. I don't think it's too, it's not too thick. So I'm quite happy with it. So let's place one here. And it's okay to kind of just clip it through all of our other shapes. It's like they painted it on top. Ideally, I would have wanted it exactly like in between, like some symmetry like I have over here. But I'm honestly fine with it. So let's just do one more Let's keep that one symmetry and this one I'm going to move a little bit further back. I don't know, actually. Also because right now it's overwiting decals, as you can see. There is a way that we can fix that, but let me just, I think something like that looks good. What you can do in here is you can wait, it's not a real decal. In that case, all we can do is move it forward. Basically, right now, the problem is that it doesn't know the sorting order because we are overlaying two decals on top of each other. Normally, there is an actual sorting order in here when it is a decal. However, right now, unless I have it in my rendering settings, perfect. Translucency, sort priority. If I set this to, I believe you just set this to minus one. No, I think one. I need to go in here and set this one to one. Set this one to zero. There we go. Now we have a soft priority between the two translucent materials, meaning which one will come first, which one will come second. I just want to double check, these types are not overlapping anything. I guess at this point you could also just probably do this. That's probably more logical, but still useful for you to know. So we have these types over here. Pretty cool. I can go in and also just place one still here for now, and I can probably do the same where I grab this one. I like duplicate it. I replace it with my hardware module stripe. Actually, let's open it up and let's change the actual material because that's more what I want. There we go. So you have this one, and I guess with this one, it still feels more logical if I set the scaling. No, not minus one. On the red axis to minus one. There we go. Red axis to minus one. Checking where I want to place this line. Like, I kind of want to place it here, but then I would need to push it a tiny bit more. Yeah, maybe I can do that. Maybe I can place one here and one here. And then sometimes if you cannot select your shape because it's so close up, just hide your model, select your shape and paschtro H. And I'm just going to oh, push that out until H. Oh, sorry, push it out, push that back in, in this case. And yes, I know that we, of course, need to fix the lines on these models and all that kind of stuff. But like I said, I like to often do that in polishing chapters. For now, I like to just focus on teaching you all of the elements and then we can clean everything up that we need to clean up and all that kind of stuff. But this is already looking really cool that we have these large stripes over here. I don't know if there's anywhere else where we might need a stripe like this, maybe Um, over here, it might be nice, like, somewhere, have a stripe. We can go and Just basically test things out, which also will nice with the s d, because you can very quickly just do, like, some scaling and it might not look nice yet. But we can, like, get a sense of what it will look. Ah. I think I mean, that is pretty cool. I don't know if it's cool enough to change it. Yeah, that is pretty cool. Let's try that one because we can also just angle it like that. Let's grab this decal over here. We are angling it this way. Let's just go in and set our rotation and set the rotation this way so that we can now scale our decal in a bit too much. And we can basically play around with all of this rotation stuff. There we go until we get something like that. Also just make sure that your decal is not too long. Yeah, I quite like that. That's pretty cool. Of course, you can also do a material change if you want to, but I quite like just going with the flow, and in this case, the flow happens to be that I'm using a Digal. It's not anything special or stuff like that. You can just use whatever works for you. Of course, I want to also, like, mimic this on the other side. Okay. Yeah. Pretty nice. So you can see that this already like art a massive amount. I can literally show you. Yeah, a type and decal. And I just basically select everything. And let's first of all, save machine. Here you can see, like, basically the difference before. I can I like press G 1 second. No, I don't think I can press G. Well, have a look before. Oh sorry, before, after. So that definitely adds a lot more stuff. Now, one last thing that I wanted to do is in our black versions, the grunge maps are a little bit too strong. So I'm just going to go in here and in our black material in my opacity, I can actually also boost my opacity to, for example, two, and doing that, now you can see that the grunge maps, like they still are there, but they are taking up less space, maybe like 1.5. Oh, sorry, they are Yeah, yeah, they're taking up less space. I guess that's good enough English. 1.7, for example. And if I then go in here, look at that C. That looks a lot better. Awesome. So that is it for our color decals. Now, in our next chapter, what we will do is we will move over and start with creating our dirt decals, which are going to be things like leaks, scuffs, scratches, just like a bunch of stuff like that, just to make our scene a lot less perfect. And also what I want to do is I also want to address these lines and everything, and I want to start adding an AOMp inside of these lines. But that will come also in the next chapter. 47. 46 Creating Our Dirt Decals Part1: Okay. So in this chapter, what we're going to do is we are going to go over on how to create dirt and leak details, basically. Now, these come in a few different forms. So over here, as you can see, one of them is going to be like it's almost like an overall grunge detail, which will just give us some very slight grungy dirt and everything and we can also use it to create little specs and all that kind of stuff. Next that, we are also going to have a decal that looks a little bit more like like paneling. Like over here I don't know if you guys can see it, but you have very thin lines often that just have dirt build up. So here you can see it really well. So here you can see, just these random little lines and paneling and stuff like that. Although those panels would not technically exist literally in the geometry, we can just, like, go ahead and use some decals, kind of like, add some dirt and everything there just to indicate that it just looks a little bit dirty. And we, of course, are going to combine multiple decals together. And next that we can also probably do like some classic leak details, but I don't want to go too overpowering with those. Now, next to that, yeah, we also going to have some edge damage details like you can see over here. Those I need to choose where I want to use them because I quite like having those break up over here like my orange areas, but we just need to have a look and see where do we exactly want to use this kind of stuff. You could, of course, also do masking inside of your entire model, but that will take much longer to do. So that's something that I've done in previous tutorials, but won't do here. Let's start with a simple concept. Let's start by creating a paneling type decal that we can just kind of like map over here to give some visual interest. For this, what we're going to do is we are, first of all, going to go in and open up substance painter. Here we go. And in this case, we're going to use subs painter to make them just because subsisPainter has a lot of generators and grinches and everything like that, which could work quite well. But there's a few things that we do need to do a few specific techniques. Let's start by creating a new scene. Yeah, we just make PBR metallic roughness. I believe that does not matter right now. And for the file, we are going to use our low ply trim sheet again. We're going to go ahead and I'm just going to go for four K, even though I probably don't need it and just press Okay over here. So okay, our panels. Now, I'm going to go in and once again, we only really need a mask, so I'm just going to go and close everything except for my base color so that I can just preview things. I then can remove the first layer and create a fill layer and make it completely black. Oh, I'm just going to quickly add a roughness map to this. The only reason I want to do that is that I can go in here and I can over wt my roughness to make it look completely dull like this. Now that we've done this, let's say that we are going to start with the fake paneling type decals. That one is going to look, well, you can see it everywhere a little bit. It's a very subtle effect. Let's use this one as an example. The first thing that we need to do is we need to create the actual panels. Let's call this one base then create a new fill layer. Scaled panels. And I'm going to go and add a black mass to this. And then to that, I want to add a fill layer. Now, for the pedaling, we have also generators inside of substance painter. Over here, for example, we have some brick generators. Now, the one that I was hoping for, and here you can also have different generators is a multi brick type generator, which I know is in substance signer. I've actually never had to use it inside of substance painter. But let's just have a look. So we have the tile generator, which is pretty good. But I'm afraid we might not have that other one. But that is no problem. Then we can just, like, use this. So let's start by just grabbing a tile generator and throwing it in here. Here we go. Okay, now, a few things that we need to do is we need to go from Patron and just set it to square. And then if we click on a patron or a patron transformation in here, we have control over, for example, scale, which is the one that we want. And we just create very, very thin lines. Also, I want to invert this. I don't know if I can do that in here. Would be nice Blending blending mode. Revert, I'm afraid that I probably cannot do it in here. Invert? No. Okay, in that case, what you want to do is you just want to add another levels on top and just flip around the black and white sliders that now becomes an invert. It's too bad. Normally, there's like an invert button, but okay. So now what we can do is in our panel patron transformation, we can create like start up panels. I'm going to go for, like, some really large ones. Probably something like this. I then also want to go in and I want to set my scaling to maybe 0.995 to make them a little bit thinner. So this is quite easy. Now, what I like to do with this is because I want to have different sizes of panels. I'm going to go ahead and I'm going to just duplicate my tile generator effect. And I want set this to multiply. And then with this one, I can go in and I can set my paneling numbers a little bit higher, and you can see that we now start to overlay different amounts. We can also set the middle size and over here to change the general sizing, but I'm more interested in going into my offset and in here, setting the offset random. So this will just give us, random offsets that we can use. You all have some global offset if you want position n. Okay, let's not do that one. So now at least you can see that we have a bunch of different paneling and stuff like that. I'm going to just keep playing around with things a bit. So let's say the X and Y. Ooh, something like that, maybe something like this. Let's do something like this. So you can see that we just have, all these random lines. And those are going to create our fake panels. Everything is still tilable, which is also really nice because these generators are tilable. Okay, so we have our levels. And the next thing that I'm going to do is I'm going to go in art and ankle point to this. And at that point, I can go in my panels and I can turn off the color. So we basically only need this for a mask. Now we're going to get started with actually generating our mask, and we're going to start with a simple filler. I'll just call it dirt. And let's make the collar completely white, like pure white over here. Next, we're going to have a black or sorry, a black mask. And then if we just go into our smut masks over here, let's grab a simple dust occlusion. Now with this dust occlusion, of course, because we have not baked anything, nothing will happen. But if we just go into our microhight and select our anchor point, then go into microdtils and turn on our microhd, you can see that now it's able to generate based upon these microhd details, as you can see over here. So what I'm going to do is I'm probably going to do I want to invert this one? I'll definitely not invert it there. I'm just having a t. So you can go into your levels, and I can press invert to invert it here. And then play around with my AO radius. I think I want that because I want to have the dirt or at least this dirt. I want to have actually creeping up in between the bottom so that we get something like this. We can play around with our AO radius to basically control how much dirt we want. Then on top of that, I like to set my grunge amount quite a bit lower like this is still just dirt. Then I like to add a fill layer on top and just throw in a random grunge to basically break up our surfaces. Let's say here, Cp web red for example. We just want to go in and we want to set this to multiply, and now we can see. Okay, maybe cobwebs is not the best one. Maybe here just like some random dirt and then play around with like a balance and contrast here. And then we can basically start by just breaking up these surfaces on top. Now that we have done that, the next thing that I'm going to do is I just want to probably add some general dirt on top of this. We can go into our mass generators and just see which one you like. I'm going to manually paint the leaks. So we can twice surface one, but often it's way too strong. Did it overwrite something? Oh, no, I did not. Okay. So if we grab this one, microhd anchor points panels, and then go micro details and turn on the panels. I think in this case, like I said, only very limited amounts of grunge or generators actually work with this kind of stuff because we have nothing baked and it just expects you to bake stuff. Let's try some sharp dirt, for example. Let's get rid of the bitmap. I don't need that. Sharp dirt microhdPanels. And let's just play around with my Ambit oclusion radius. Okay, so that does start adding also some dart like on the outside. And what you can do now is you can set this to Probably just like a simple linear dodge will work. Yeah, just a simple linear dodge. Max lighting might also be better. Let's do Max Lighten. So this is just like some outside dirt and we can now play around in general with, like, our dirt level and contrast. Here we go to get, like, some more broken up exterior dirt. And what I'm going to do is I'm probably going to lowwn my opacity because I want this to all be like quite soft dirt over here. So now that we have done this one, we can go in and just out like maybe some much larger but more generic dirt. So for that, let's see, maybe dust occlusion could work, but then inverted. Let's try this dust occlusion on top. Once again, micro height, panels, microdtils height. I don't think this one, this one won't work. Let's try a different one. You just need to kind of find the right one. So we don't need some edge damage. Maybe edge is dusty because we are inverting it that might actually look nice. Panels microdtils microhight. Oh, you really don't like it? No, let's try different one. Maybe some dust that's like soft dust. Here, soft Dutch dust edges, maybe. Oh, that one uses a curvature. Curvature systems are not able to use anchor points, unfortunately. It might take a second to find the right one, so don't worry. Just keep trying to look around. Dust saddle, for example, let's see if that one works if I add a panels mask over here. Like, I know that there are a few that work, so I just forgot their names. This is starting to give me something at least. What I'm more after is a break up. Here we have our global balance, but then I want to use the textures to break these balances up. Let's just go ahead and first of all, get rid of all these maps over here just to make sure that it's not getting confused. Let's make our but occlusion white. Our curvature can be gray. A and just playing around with some settings. Like, I quite like this dirt, but I was hoping for something that's a little bit more stronger. Oh, wait. The reason I like this dirt is because we already have this one, so it's not actually generating new dirt. Yeah, I kind of expected these textures to at least blend over it. A let's see if we could subtract, sorry. But I'm surprised that these textures are not really working. I guess then this one doesn't work. What I will do is I will go ahead and I will just have a look off camera to find the one that works because this might take five, 10 minutes or something. I found something that I like, and basically what I want to do is this. I want to grab my duct and duplicate it, and I'm just going to go ahead and I'm going to close this and let's also remove this one. I'm going to once again use the dust occlusion, but this time with this dust occlusion, of course, just do the same micro height and everything. What we're going to do is we are going to basically use our AO radius, along with our du level and tone down our grunge map to get the du leveling that I wanted. But the reason that we need to split this up is because I want to add another grunge on top of this to basically break it up. We now, for example, add another fill layer. Then we go in and for example, we use I don't know, this one, for example, and set this to multiply. Maybe set the tiling to like three or something. So we are breaking this up using another grinch, and if we would have done this in the original dirt, then it would have also destroyed all of our other details. So let's say something like this and let's go back into dirt and just push the levels a bit more. But lower down our crunch map and go back then into the crunch, just try to balance it all out a little bit. Something like this. And now I want to just go in and I'm just going to tone down the opacity of this. There we go. Okay, cool. We now have some general paneling going on. The next thing that I wanted to do is I wanted to go in and paint in tiny bits of leaks and stuff like that. Now inside the subs painter, there's a few ways that you can do it. One of them is by literally using a leak generator. If I go, for example, at a new fill there, but I don't know, it doesn't always look too good, we'll see if that works and ls have another method. If I go in and sype a leak, and let's go Ntaxius here in our brush, we have our leaks. Now, I have this realistic leaks, which I created myself. Or leaks 01. But let's say that we have a traditional leaks. You basically double click on it, and now you can see that you can paint it. Let's just see. The problem with this is that it needs some high detail or high detail position data. So right now there is no position, so it doesn't know where to go because it is not it's just like a flat plane. So the second method that we can do for which we still need to keep this fill layer, is that we first of all, go into Photoshop, go ahead and create a new black scene. Let's make it four k, actually. 496496. And we're going to create something called the stencil. A stencil is basically masks diverted from real life images, which we can then use to paint stuff in. It's very often used. I will probably cover it more in the chapter when we go over how to create our aircon units. But for now, the way that you basically can do this is, I'm just going to go in Alphas, uh, I normally have all these tensils already because I create a bunch of them myself. But just to show you, you basically want to go to, for example, decals, and let's say that we are looking for some leaking inside of texts.com. It doesn't matter if it's dark or green or anything like that. What we are after is we are after, like, really small leaks, like stuff like this, for example, maybe this one over here. This one, and I'm just middle clicking, by the way. Maybe some really soft dirt and these tiny leaks are actually really good. Now, you then go in and you basically just download the stuff that you want to use. We can just use the free versions. Here we go. And then if we go in here, we can start by simply dragging in these leaks And just place them into your Alpha. And you can just place them really neatly if you want to. That's totally fine. I don't want to scale them up too much because these are still quite small, and I don't want to lose too much resolution. But it doesn't really matter where you place them as long as they are not clipping with each other and are inside of the Alpha. Let's say something like this. Now that we've done that, the next thing I'm going to do is I'm going to select all of these pieces, right click and I'm going to steize them. Right click again. Oh, we need to do this one by one. Right click on one of them, go to blending options, color overlay and just set it to white. I guess what you could do is you could just merge everything together. And then blending options. Color overlay. There we go to save some time. So now what you can see is we have a bunch of leaks that are now working. And you can do this with, like, a bunch of other stuff like damages, dirt, whatever you want. Just go ahead and just add it all in here. And once you are happy with it, you can save it. And I'm just going to save it into our Alphas and stencils folder. You can choose. I'm just going to use TGA. Uh, and just call it leaks Stencil 01. I then go to Substance Painter, Import it and just import it as a simple texture. Also, by the way, let's just go ahead and save scene. Textis decals. Dir decals call it panel dirt over here. And I was going to now, so I have over here my fill layer. I can go up here to projection mapping and I can grab my leaks. And you guessed it at this point, it's as simple as just like, following your here if you hold S, you can see over here your settings. I believe that we went over this before. But in general, if we, for example, go to our To Divie that might be easier. Here we have a Tu Di view. Oh, I accidentally already painted. And I can now go in and I can, for example, say, like, Okay, I want to have some small leaks over here, and I can just go ahead and paint these in. And, of course, later on, we do need to go and probably, like, clean this up a little bit more. I'm surprised that it's so strong. But that's, I guess, something that we can fix later on. So we can go in here and we can start by just like painting in some of our leaks already. Now, this is all way too strong. So what I'm going to do is I'm already going to add a levels on top. There we go, just push down the levels. I'm also going to already push down the opacity. So, that's more like it, just like really small subtle leaks is what I'm after in this case. And like that, you can go in and you can start painting. And sometimes you can go and paint like some more stronger leaks if you want and just combine the leaks together, all that kind of stuff. Just start painting in some interesting leaks. And, of course, keep in mind, directionality and all that kind of stuff. And we'll see in real engine if this is too strong or if we want to actually have it stronger or anything like that. For now, we'll just do this like really quick and simple. I also don't need to have them everywhere. You can just do it as a per panel thing where some panels have these leaks. So panels do not. It's totally fine. It gives us a natural break. But here you can see that we have a bunch of different leaks. Yeah, I think something like that's already good enough. Oops. Just trying to make this a bit neater. There we go. So now we already start to get also a few bits of leaks and everything like that. Now, at this point, what I'm going to do is probably do I want to, like, change my panels? Probably not. I think I'm going to finish things off with a simple fill layer, which is completely black, along with the black mask and another fill. And it's just going to be some overall grunge that we are going to layer on top just to break up everything one last time. And for that, we can try, well, maybe these ones over here, like grunge leaks or something. So the tying made it two. Play around with your balance in contrast. You'll see that we just completely break everything up once more. Okay, so let's say that we now have this. At this point, it's as easy because most of these leaks, they don't really need a base color because they're so simplistic. So we can twice just already export it. And if we find out that we need a base color, we can just create one, which is not too difficult. I'm going to go decals, dirt decals, and I want to go in my output template, create a new template, and just call this decal mask. You just want to set this to be a simple, let's just do a simple RGB. Remove the name and just press dollar sign text you set. On the score. Mask. And then what we're going to do is we are just going to grab our base color and just throw it in here. Now, one last thing is, I just need to go in my text set and call this one Panel Deco under score 01, which means that it will be called panel Deco score 01. On the score mask when we actually export it. We set our export location. We set our decal mask, Taka and let's just export it as four k, even though we probably don't need it. Now, let's see if our work paid off or if we need to make any changes. I am now inside of real engine. Let's have our textures and then our decals, and we can just input it in here. Panel decal mask. We can then go and grab our color decals. By the way, this stuff we can remove materials. I need this one over here, the orange stripe, duplicate it and just call it dirt Sorry. Panel dirt. Decal the score zero, one. Open it up, dragon a panel dirt and make the color like a brownish dirt color to get started with. Say asin Go in our materials and grab our panel dirt decal 01, and it will be very subtle. So let's this over here. And we can also play around with our opacity. And when you set it higher, here we go. See, now we start to get some more panels. I guess we need to set it. Let's do it this way. Let's set it in here. Let's change this back to our full dirt. There we go. Just to get the biggest range from it, and then we would just lower it down inside of Unreal engine instead. That should be fine. DecalsRClick, reimport. Now if I set this back to one or maybe two, 1.5. Let's make the dirt. You see, this is why we don't really need the base color. You can barely even see it. But you play around with your dirt. Then when you're happy, you go in and you scale this up to become quite big panels in this case. I will scale it in because I don't need them to be so intense. And then I can, for example, go in here. I can set the decal sorting order to be something like three, which means that they will basically be on top of everything else, or I can set it to minus one, which means that they are under some of them. But then if I just go ahead and I duplicate this and you can also move it around a little bit more like this, what you can see is that we will very quickly just get some general panel dirt over here. Now, when we start adding a few more variations, this will, of course, look quite a bit better. And I think this one will look especially good. I'm trying to find it. There it is. For example, in here. And we're, of course, going to combine this with leaks and everything. But this is a general concept. You go in here, especially over here. I will look quite nice. See? And now it starts art like this Dort. Also, one that I like to do if I can find it. So here we go, is I sometimes like to just scale it only on the X and Y axis. And I like to try and, like, sort of line it up a little bit more with our lines that we have, for example, like that. And that's what just make everything feel a little bit more polished. If we line it up a little bit more with the line. But like I said, it doesn't have to be lined up with every single line or anything like that. That's not really why we made this one. I'm going to scale this one up a little bit more. For example, this one, I'm going to line up over here. It's just to give some general dirt and grunge. And then our goal is to also later on add on a little bit more general dirt on top of this. For now, I will go ahead and finish this chapter, and in the next chapter, we'll just go ahead and continue creating various different dirt decals to make this look a lot more interesting. 48. 47 Creating Our Dirt Decals Part2: Okay, so let's go ahead and continue by creating our decals. Now, the second one I'm going to do is actually quite easy. All I want to do is I just want to well, first of all, let's save this scene, and then just do a simple save as, and I'm going to call this one panel dirt underscore. 02. I should have called the first one underscore 01, but Oops. Panel dirt underscore 02. Save. And I just want, like, bigger panels. That's pretty much it. I'm just going to go down here into my panels and my tile generator, and I'm going to basically set this one maybe to like And also, what I'm going to do. I'm just going to temporarily turn off my manual painting. All of these are procedural, but of course, we did some manual painting. And now over here, let's see here, just go for something that's quite a bit larger like this. And once that is done, we can go in here, and I'm just going to go ahead and add a black mask, but I want to remember you can try to copy the effect, but often when you add a black mask, it will remove the effect also. So then if you just write, click and now press Paste effect. At least it will just add the levels back on. And at this point, we can just do the same thing where we have a projection mapping. And like for these ones over here, they are pretty ideal to use these leaks. Something like that. Maybe go for some more stronger leaks that then go over. It's like weaker leaks. A bit like this. This kind of stuff is totally fine. Maybe more leaks here. Maybe like a few here. I feel like the levels is not working exactly the way it's supposed to work, but we'll a bit more here. And that's pretty much all that we need for now for this one. So let's just double check my levels. Oh, no, it's working fine. Then I guess it's just like a little bit darker. So we have this one. We can once again just go in our texture list and call this panel Deco 02. And then we can already save file export textures. And we can export this as a simple deca mask again. Here we go and just import it into unreal. There we go. Just move this over here. And then if you just go into your materials, we will have our panel D decal 01 just duplicated and it will automatically be named 02. And then we can just apply this. Cool. And at this point, you can, for example, let's say that I don't like this one, for example, over here. I'm not a big fan of it. And later we can maybe decide to also add a tiny bit of normal map details in here that could be interesting. But for now, let's say that we have this panel dirt. I can just swap it over to panel dirt number two. I can definitely notice that this one, this one would only work in specific cases, and it's really strong, which is interesting. Compared to the rest. So yeah, there is some strength. I guess I did end up turning down here, the opacity a little bit. So let's just go ahead and do that. Oh, wait. It's because I did not art. So here, I can tone down the opacity. I forgot to turn on the breakup after. Now that should do the trick. Re import. There we go. This one, for example, I feel like it would work well around these areas over here. Now, there are still a few issues. We now do have these panelings over here, yes. But I do feel like that right now there is a little bit of a disconnect between well, not actually seeing the panels and the rest. We cannot really art and norm map. Well, we can ard the norm map but then everything would need to be super super even and that would defeat the purpose. Instead, what I want to do is I want to minimize the width between these panels. And once I've done that, I'm also going to just minimize the intensity because I want this night to be like a subtle detail. And then what we'll do is we will add on top some of more like these smudge details like you can see over here and just like some random details to kind of get this while at least looking good. So that's the focus for now. I go to go in my panels over here and quickly go to review. If I just click on my panels, I can see over here their thickness. And what I will do is I will set the scaling, which is over here to 0.998. And then I want to set the scale on here, we have the X and Y, so we probably just want to set that here. On the Y axis point let's see if I do 1.1, Oh, no, sorry. It's because I have two panels. I forgot. So I need to go to these panels over here. I thought it's something that happens in substance designer that there's often like a disconnect between the two panels. Anyway, now it's like a little bit thinner, as you can see, and it still works also with our leaks, so we don't have to, like, change our leaks or anything like that. Just go ahead and export this one. And let's also go in and open up our first ****. I accidentally pressed disregard, which means that it did not save. That's something. Let's hope I don't need to change it, and else I will just redo that later on. Anyway, that was really awkward. Yeah, that completely threw me off. Okay, patron transformation, scale 0.998, second one, Patron transformation, scale 0.998. Export. Okay. And what we also want to do is we also want to go in, and it's for now just reload these. Yeah, the here see that works a little bit better. We also want to go in and we want to create just like individual leaks, basically. Now, for those, first of all, what I want to do is now that I have changed my paneling, I think I do not really want to have any, like, cuts straight through my logo. I'm just trying to avoid that and scale things up a little bit just to get it a little bit nice. So this is really concepty it's something that it will look good from a distance. But of course, it's like, take it with a grain of salt. It's not the best solution. The best solution would be to, of course, create manual decals or to use only single leak decals and it literally place like hundreds of decals just all over the place. But this is just a quick way to just add some general dirt and stuff. See, from a distance, it looks pretty good. So the next one is going to be what I quite like here. It's just going to be like smudges and stuff like that. And then after a while, I will also create individual leaks which we can place on these areas over here. But I first want to focus on this one. For our smudges, what we can do is we can probably still use SubsisPainter. And yeah, I guess we can just do like a saves again and call this one do I want to do a saves, actually? Or do I want to use substance designer for this? I'm going to use substance Ziner. The reason I want to use substance inner is because I can then export multiple smudges at the same time. So let's go ahead and open up substance signer. You can do it in both. Like it's made by the same people, so it's not that different. Let's go new graph empty. And call this smudge decals, for example, and just press Okay. So what we're going to do first is we are going to find a bunch of grunches that we want to basically use. And these grinches can just range from adding little specs and dirt to adding really strong dirt and everything like that. So I like to often just hover over and just see. Like this one, I think I quite like, and then I just press Show in explorer. And then I go designer and I just drag in that SPSER file that it has just selected. Did I not? I believe I made this one. Yeah, I made this one for substance, I think. Don't Yeah, yeah, I think I made these for substance. So that's quite nice. That one. I can't remember it looking so good, or someone else made it. One of the two. I also like this one. It's like a leak type thing, so let's go and drag that one in. Let's see. I just also like something that's just some dirt here. This one is like dust, which might also work well. Now, of course, there might also be a chance that our details that we are going to end up with will be too specific, which means that we need to start generating a base color, but we will take it as it comes. I have these leaks, but I don't know if I want to use these ones. I feel like I just want to create my own leaks for that kind of stuff. But I feel like there should be one more thing that I kind of like. And later on, we also have like Wi directional stuff to scratch away paint and stuff, and we do need a base color for that one. But right now, this one is still just like the more basic decals. Mm. Let's see, we have some smudges. We have some yeah, maybe I should use this one. I don't think there's much else, so let's just go ahead and see where we can use this. So we now have over here our four grunges. And what we're going to do is we are just going to go ahead and prepare them. There's a few things that we need to do. First of all, we don't want too much white, so we just instantly press Invert, play around with our balance. And I just want to basically see if I can get some small specs and stuff like that. If you feel like it's not working as well, you can try to blur your grunch a little bit. Then use a histogram scan to control how much of your grunch you want to see. Like, these ones, I want to be like little spec or, like, smudges and stuff like that. And then to kind of, like, tweak things again, you want to add a slope gray scale. And if you then plug in something that's quite noisy, for example, clouds to different scaling, what it will do is, when you set your samples up, your mode minimum, it will start cutting away at your shape, but at a very low level, it will just make your shape feel a little bit sharper. And speaking about sharpening, you can literally add a sharpening on top. So that's just like a really quick way to alter your grunges. Now, the most important one is that we don't want to have a grunge map like this because it will have hard edges, since even though it is tilable we will not place it as if it is tlable. Because of that, we are going to blend together our grunge map, which what I like to often use is number 01 here grunge map 01, because the cool thing is that if you set your balance all the way up and throw on your brush pattern, see, you can see that it will basically create almost like this mask. Then we plug in the mask in the top and we set the blending mode to multiply, and now you can see that it will only be left wherever there was white in our mask. And finally, we output this, and we call this output, for example, smudge underscore 01. Like that. And that's basically it for the more higher level editing. For example, with these ones, we don't really need to do much. We just have this one. We again, just like blend this together like this. And then what we can do is we can just once again just do like an output, called the Smudge 02. Once again, this one, just copy these outputs. We just have this one and maybe here, we just want to, play around with our balance a little bit more. So these are really just going to be like small specs. Smart a tree. And finally, we have this one, but this one we probably want to go ahead and also edit this mask, so let's just copy it. And the reason I want to do that is because I don't want to lose all of that detail at the top here, see, then there would not be much left. So I'm going to set my brush pattern quite a bit back over here. But then what I want to do is I want to do a multi now, let's just do, like, a Blur, high qualtyGraycal, maybe? Mm, that softens it. I don't like it. Let's just use it like this, but we'll see how bad it is, and else we can always go in and start cutting it way, but then we would have to cut it so much that it's probably not even worth it anymore. So for now, let's just go ahead and I'll say this one. CO four. So this is why we use substance Zina because now we have these four outputs, which we can all export at the same time, and we can easily make changes which we can then also export. So if we just go ahead and select our dot decals, we can, first of all, save this and call it Smudge decals. And then we can right click. And just like we've done with our other materials, just export it. Targa files, automatic export when outputs change, and we can just go ahead. And export all of those. Then all you have to do is just go into Unreal engine and import them. There we go. So let's just go ahead and grab, for example, well, first of all, let's make some materials, and then we will just grab one of them. So let's do this and smudge 01 decal. Open this one up. For some reason, it closed all of my other windows. You guys don't see that, but you can see that over here, it does require, so it says that it needs them as color, and this is because we exported some from painter. So all we need to do is just turn on SRGB. Later on, we will go over on how to optimize this kind of stuff. But for now, it's more about visual development. Or they often also just call it Loop deaf. Are you color? Oh, you're set to gray scale. Sorry. Make sure that's also set to default. Stry again. Come on. You should be totally fine. It probably is fine. Like, once we close it down and open it up again, it will you'll see, now it's fine. So we have Smudge decal 01. Let's just go ahead and duplicate that. Oh, I need to rename that properly. Smudge 02. Duplicate smudge 03. And 04, open them all up. And let's see Smit 01, 02, 03, and 04. Since I don't know yet what opaciti I want for now, I will just go ahead and I will leave it open on my other screen. And now let's go, for example, grab one of these panels. And simply grab, for example, smudge 01. And now you can see here, Sm 01 just asks these random specs a little bit. And first of all, I'm just going to balance everything. So when I see this one, the first thing I want to do is I want to just change my opacity down to 0.5 or something, maybe even lower, 0.3, because I want these to be like really small specs. And I will just change my opacity for all of them. So we have this one. And for this one, I want to go ahead and set this also to 0.3 maybe, bit higher 0.5. Maybe 0.4. 0.4. Then we try the next one. The next one just shows, like, a few specks, so I actually want to increase that one probably to like five. And now it shows some more specs. Three, maybe. Two. Et's do three. But let's make the color a little bit lighter and a little bit less brownish over here. There we go. So we can also balance it that way. And lastly, we have number four, which is these really strong leaks, but they actually are not that strong in here. Which I guess is good. Let's send us to four. There we go. So these are just like really large leaks that I guess you can use sometimes if you want to, like, from the top or something. Yeah, that actually looks pretty good. So maybe what I want to do with this one is, again, I want to just set the color a little bit less brown. Okay, cool. So we now have all of these materials ready to go. And now what we can do is we can, for example, start by just like, Well, I kind of like these leaks. So let's just go ahead and add these leaks over here. Then let's say that we switch over not to that one, but just to, like, more specs. You can also minimize the leaks. So if we, for example, grab our leaks Digal, duplicate it and call it underscore soft, for example, and use that one. In here, we can basically fade out our leaks. So we sent this one to like two, see? And then it kind of like fades out. And at that point, you can then just go ahead and continue on and say, like, Okay, I want some. What do I want? Some, like, more like dirt specs, I guess. This one doesn't show too much. Let's do some of this. Over here, just like some dirt specks. I'll move over here and over here. And I think I'm going to make my dirt specks a little bit stronger. Let's say 0.5. Here we go. And then maybe what we can do over here is we can go back into, like, just adding some leaks and once again, fading them out. Now at this point, you can, of course, layer on decals. If we now, for example, grab these little specks that we have everywhere, we can go in. You'll see, we have all these little specs, and we can go in and totally just place these also on here. So you can see that this very quickly makes this will a lot more interesting, especially when we go to our view. See what a big difference this is compared to if you look at some of these other areas over here. So this way, we can definitely add a bunch of really interesting looking details. Now, as I said before, I first want to go ahead and just create all of our details before we continue on. We now have these ones done. We have some individual leak decals that we can make, but we can literally just grab our masks that we already created for stencil and just use those. So that one I'm going to see. Yeah, we have enough time. Let's just do that one. For that, I'm just going to super simple, make 1024 by 1024. Go ahead, press contra I to invert it. And we are simply going to go in and grab our No, where are you Stencil. There you are Stencil. Oh, God. I forgot that we merge it together. Let's grab this one over here. Just press CtraZ. Go in here and press Contra V and just free transform it. There we go. And place it in the center to make it a bit more easy. There we go. That's literally it. Save us copied. I cannot be easier. And we're just going to save it to decals, dirt decals, TGA, single leak underscore zero, one, for example. Easy does it. Like I said, this tutorials way over time, so I'm going to willy make the most of every single second. I say that, but we all know that I just tend to, like, keep talking and talking and talking. So I am sorry for that. For now, let's just go ahead and just do this. Single leak. And don't worry. I'm going to also clean up our materials in just a bit. I just want to finish this one. So single leak, throw it in here. Let's set our color to be more like a brownish color and set our paste maybe to, like, one to get started. Now, what I was saying is if we go in materials and just create a new folder called decals, I can go in here, and then I can just grab all of these everything that has to do with like a decal, normal only master. I also find them to be decals. Trim only also decals. So all of these, I'm just going to drag them into the decals folder. There we go. Now, we have, for example, over here, Adcal, we can grab our single leak. You can see over here. We can go ahead and make that smaller. And that's great to add some more specific details. Let's say we have this one and then set the opacity to 0.3. My 0.5. Let's do 0.4. Here we go. 0.45. That's the last one. So now here. So these ones are great. If we just want to go in and we have not yet done this with our larger decals, we can go in and just add like a bit of leaks. I actually don't like placing them too much. So I will literally just have them just once in a while. Oh, Wong button. Say, over here, I can add like a few more. And let's say that I can also make them leak, say down here. So you like that. We also have our individual leaks, which again, dd quite a bit more. Okay, it's finally starting to look interesting. Also, the cool thing is that these decals, they have roughness. So as you can see, we have a nice difference where the decals are really dull, but then our metal is still a little bit more shiny. So this is starting to get closer to what I would consider inl. What was the next thing? We've done our dirt. We've done this. I swear I said something that had to do with color. 1 second. Let me just check my reference because I am so forgetful. Oh, yeah, I wanted to do, like, damages, that kind of stuff on like It's basically just like adding some damages where we can on like orange bits using, like, scratches and stuff like that. Now, that one is not too special. I'm just checking. Let's say that we use this, for example, over here as an example. It's basically just a decal that makes it kind of feel like there is a like there is just like some damages that is exposing our metal below it. Let me say it like that. So let's go ahead and continue with that one in our next chapter. 49. 48 Creating Our Dirt Decals Part3: Okay, so we have now arrived at the chapter where we will create the last decal, and it's going to be more like decal that kind of strips away paint. So it will just be like to showcase the metal below it. It's just a little bit of an annoying decal to make, I guess, because, like, it's a completely different system and stuff like that. But after that, we have a really solid database of decals. And you can already see how interesting this looks just for fun. Here, look at this. Without Width. Like, it's such a big difference. So after that, we'll kind of just do a time laps, and I'm gonna place it everywhere. And yeah, I don't know yet how much we'll do on the floor. I need to wait until I actually know these. So, oh, yeah, we need to create the snow decos. Don't worry. I technically forgot, but it is on my list. So these decals, the way that we're basically going to make them, they're like, not the most ideal decals to make. I'm just going to use painter. I don't know. That's weird. Painter? Hello? Something is a little bit broken. I'm just going to restart painter. Okay, it works again. That was strange. Anyway, what we're going to do is we have over here just one of our dirt scenes and I'm just going to go ahead and do a save us. I'm going to call this um Metal damage 01, that's pre save. Now for this one, we need a few more things. First of all, let's call this metal damage. 01. In our text set settings, I managed to actually miss click and click it away. If you accidentally click something away, you can go in here and you can just go ahead and reload it. 1 second. Come on. You can do it. Where's texture set setting? Display texture set settings and get in there. There you go. Okay, finally. We need a base color we basically need, like, almost a normal material. So base color, roughness, normal, and metallic are the ones that we need for this. Pretty much this stuff we can remove. The only reason why I wanted to keep this was because then I don't have to set up my plane and everything like that. So yeah, just having like a default base that is just nothing is fine because we are going to generate a mask. And let's say, so it's like some kind of just scratches. It's like a horizontal type thing that we can create. Now, if we go in here and just have a look. So let's start by just grabbing, like, a Grunge. And let's make the base color completely white. And let's see. So first of all, let's start by creating our mask. And so, add a black layer and a fill, and then we want to just grab like something that has a little bit of directionality to it, and it feels also a little bit more metallic. Just having a look around what would be the best one. Like this, this does have some directionality. It's maybe not metallic, but it does give a bit of that feeling. If I just said this to like two, to give it some more scratch up type feelings. Let's say that we have something like this to get started with. We can also go ahead and just set our contrast a bit higher. And it's basically going to be like some scratches that we are going to, like, switch off. Now, I'm going to throw this layer into a folder. Called a folder mask. And then I'm going to go ahead and art a black mask, and I'm going to get started by just adding a simple paint, and I like to always paint in just like a normal paint to make it more non destructive. Then just grab a brush and just grab some type of interesting brush, something that has that has some sharpness to it, for example, or some sharp edges to it. Sorry, that's what I should say. Now, what we're going to do is we are going to basically just make this. So if you just click here on hold Shift, we want to make this a horizontal. Vertical. A vertical shape. And this way, we can basically use it in more flexible ways. Now, having this one, I'm going to go in and then, let's say, add a let's add a fill layer on top. And let's grab some kind of like a scratch crunch to kind of, like, take away some of the details a bit more. So let's go in here and we have a grunge scratches. And we want to set this one to multiply. And then we also want to go ahead and invert it. So now, if you play around with your balance, here, see, you can kind of take away some scratches here and there, which should look quite nice. I'm just double check. Okay, so here are the scratches. And let's set the scratch tiling maybe a little bit bigger. I know. Just Let's go back to material. Yeah, so here, just like some detail that we can just scrape away, basically. Now that we have this one, all that we have to do left, next is we need to go in and create like a plane material. Now, for this, we can probably actually use our metal that we have inside of unreal engine because we have a bare metal that we are using in, like, some small spaces. I can't find this right now, but I know that we are using that one. So let's probably just go in and use that. That should be good enough. So once you have this one, you can go file. Let's do a quick save, and let's export this. So in the end, I actually did not need all of those roughness and metallic and everything like that. Some reason I had it in my mind that I had to recreate that. Anyway, the export settings are still correct, so let's go ahead and just export this. And now let's go into unreal. Decals, metal damaged era one mask, but we, of course, do need to change the material, so that has not changed. Now, for this, we can probably use our trim sheet. Let's go ahead and duplicate that one. And let's call this one Phil No, not fill. Mm. I have no idea what I'm going to call this one. Metal damage deco. Master. Sorry for the bad name. I just cannot come up with anything good. So let's go in and just use this one. Now what we need is we need to grab our decals, metal damage. And, of course, we can also use other damages for this. Right click, convert to perimeter. Call it damaged mask. And now in here, we want to go ahead and set this from surface to translucent. Oh, sorry, deferred decal, and then translucent. So now we have this one, and then we want to go in. And for metallic, we want to set a plane value, like we don't need a map metalness map. Our normal map is going to I can probably switch that out. So I can go already in my painted metal, select the normal, and just switch that out. Next, we are going to have our roughness. Honestly, for the roughness, we can probably get away with just a simple value. We don't need to fill on roughness map because you will never really be able to see it because we don't have that much detail in here. But seclusion map is going to go away and our base color will become our, we can just make it a painted metal. That's fine to just have a plain base color, then we have a color overlay. I know what I'm going to make it a normal color. So in the end, all that we really need is we need our normal, and we need to also multiply our mask with a scalar perimeter. What you'll call opacite. Wow, this material has been all over the place. Like, I keep changing my mind halfway through. Sorry about that. But anyway, okay, so we have a metal damaged normal, and for res we will just use values to basically set everything up. That should work. Or not we'll see. So let's go in. Of course, if this would not be metallic, then you would need to have normal textures. But because it is metallic, that's why we can be a little bit more flexible. Let's create the material instance. Metal damage 01. Now what I'm going to do is, I'm just going to go ahead and probably use it up here to get started with. Let's go ahead and rotate this. Let's go in and scale this down. Let's say that this is something that I want to have on here for the damage. I can see already see we definitely need to work on it a little bit more. But we do have the directionality. Now I'm going to go and open it up, and I want to go in and I want to set a few settings. Our collar is going to be let's first of all, set our metal to one. So it becomes metallic completely. Then we have our roughness. Let's set to like 0.2 to make it a shiny metal. And now we want to go ahead and we want to set our color to be a little bit more like darker and bluish and set the tiling maybe to like five or something like that. There we go. So where am I? Here I am. Now we have at least already the metal a little bit working. Now the next thing that I'm going to do is I'm going to make this mask a little bit better. So let's see. We have our mask over here. What if we can literally just make it a little bit stronger that might actually already do the twig. Decals, metal mask. Of course, we can create a few ones of that. So that one would work, but it would work more. That one would work better in these areas over here. So let's say that we keep this one. And then let's go in and just also do another one. Let's do saves, metal damage 02, save going here, call this 02. And now for this one, we simply are going to use a different grinch map. Let's see, something that like No. Something that's metallic. There just isn't that much metallic stuff going on. That's the thing. I mean, this one does some specs and damages. That could work. Let's see. We also have this one, this one. Now, this one is a little bit too scratchy, I would say. This one is too noisy. Yeah, so let's go more in direction of leaks ester. Yeah, actually, something like this might work. Maybe make it a little bit bigger. I think this should work here. Then of course, you can always also decide if you want to add a bit more damage to this. For now, I'm just going to leave it straight because that's probably the only shape that I need because this is very subtle details. I can go ahead and export this and it should export under the new name, which it did. Let's import it. And let's then duplicate our metal damage, and it will automatically be called metal damage CO two. And now we can just swap out our mask Yeah, that feels like two really different ones that will work quite well. And we also want to go in, and let's say that this one will mostly be used on orange. I don't want to have it as strong. Here, it's more going to be a darker color, and I probably need to then do the same with the other metal damage also. So in orange and darker values, it's just going to be a more darker color. That's just going to be here to kind of, like, break up the surface. A little bit more like that. Let's say that this one it really shine in these type of areas over here where we can go near. Of course, something like these pillows. If you want, you could have made it into a unique texture, if you really want to give it a lot of small detail. I will just work with details, but I will still show you pretty soon, actually, how we are going to add some unique details ourselves using the more classical methods. But here you can see here. Now I can damage this a bit. I can even go in here and I can, for example, rotate this a bit and maybe use the slightly different metal damage over here and maybe make this like a little bit thinner. I don't think that's a bit annoying that it's shining on the floor, but we can probably balance that here. If we for example, do something like this, just quickly select the floor in this case and scroll down in our rendering settings and just turn off the receive decals. I don't think this one will need a decal, and if it does, then we will just alter this a little bit more. Here you go, see. Of course, later on when we are balancing this, we can once again go in and change things out in terms of the material colors and stuff like that. Now we can also go in here and this one I probably want to make it a little bit bigger. Here we go. This is where it can really shine, which is kind of ironic choice of words, seeing as it's shining. But yeah, here we can go in and we can, like, maybe we do want to, like, push this down a little bit, but it can give us some really nice just damage details on top of everything else. And you can really push this with, like, more and more decals. So don't be shy. You can push this to the limits if you want. Nowadays, decals are not anymore that expensive or unreal. So often we are pretty much in the clear. I just need to check that it's pointing in the right direction. It is. Make it a little bit thinner. There we go. And if you want you can also flip this around. And place it over here. See? Just some extra damages. So that is it for those metal details that we can also add in just some places. I would say that at this point, we will just go or I will just go in with a really large time lapse and basically place all of the details and also additional details. Now, to do that, what I first want to do is I first want to set my final camera angles, and I again almost forgot about the snow. Let's go ahead and create the snow. Sorry about that. Snow is super easy. All we God, all that we need to do is we just need to duplicate one of our materials, which one do we need to duplicate? Like one of the dirt ones. Let's say this one, duplicate it. Scarlet snow underscore 01, and just quickly go into designer. I need to restart designer also because it has the same bug for some reason. That's probably because my PC goes into sleep mode while I am using multiple resolutions. So I will create the snow decal, but, of course, in the Tips, I also will need to go in and, like, figure out where I want to place all of these rocks. So we'll do that. Then we'll have one new chapter in which I will prepare everything for the time maps, which means creating new cameras. And once that is done, then the timeps will happen. So basically, for this one, all I really need to do is I just need to grab these ends. Call this snow underscore 01. And literally, what I want to do is at, I literally want to just use this one over here. That's probably already good enough. So set the brush pattern, and I'm also going to set the balance a little bit down. So we don't even need to have this blend. We can just remove it. There we go. So this one snow 01, we can now just go in and we can export this Go in here. Decals. Where are you snow 01? Snow 01. And I want to use a Yeah, I guess that I guess in the end, we still need, like, a decal, just like our trims decals, unfortunately. So let's just duplicate this and call this snow decal. Master. And the reason I need this one is because I need to set it to be a decal, so I need to go deferred decal and traslucent, but I still need a base color and I don't need a metallic. So what we can do is we can remove the metallic. I need a norm map, and for the roughness map, I want to just use the red channel because I believe that mega scans uses the red channel for roughness. So we can check here, occlusion roughness, diffuse, so I need a green channel actually. Just plug the green channel in here. You don't need an ambient occlusion. And the only thing that you need to do next is you need to go in and just drag in your decal right click Convert. Scarlet mask and throw this into your opacity. That's everything pretty much. We can go ahead and we can save this. We can go to our decals. Snow decal Master, duplicate this. Snow 01 decir Sco 01, I guess. Go to open it up. Oh, hey. Sorry about that. I did not mean to do that. I meant right click material instance. Snow D Gal 01. There we go. That works. And next, all that we need to do is we just need to swap out some of these pieces. Here we have our fresh swab snow, so let's drag in our base color, normal and our roughness. I can see over here that we have one small error. ORDP is not set. I'm going to just go in here. I'm going to grab my roughness, and I'm going to just press this button so that it has the correct sampler type. Right away. That way, I don't have to go in and try to change things. And now, at this point, we can go into materials and decals and we have our snow decal over here. You can then go in and you can scale this up. Push this back in a little bit. But I actually want to have it overlaying quite a bit. And the general goal was that we are placing this here and it will act, Oh, yeah, it actually needs to be on these decals. So we need to make a small change. Remember how we grabbed all of the snowy piles and we ignore decals. Yeah, we can't do that anymore because we need to have these received decals. So instead, what we're doing is we are going to turn off sorry, turn on received decals. There we go, see, because then these degas, they blend really nicely with everything else. And it just means that over here, what we are going to do is we are just going to, like, strategically place these in some locations. Let's say that we have this one, here, I can just, like, delete it. And instead, we just want to place the snow here. And see, when you have this snow and you can just duplicate this a bunch time, you can see that we can very quickly start by blending in and out all of these interesting details. You can also go in and set the snow to be at a higher priority. So let's say one, so that it goes over the line. Like that. And just like that, you can very quickly blend snow. You can do this with anything dust and whatever you want. So we are just going to go ahead and do this. And of course, we will also place some more snow later on or some more variants in the decals. But for now, this should do the trick. Okay, let's go ahead and save the scene. Now we now have all of our decals ready to go. So in the next chapter, I will go ahead and just place my cameras. It will be super short chapter. And then we are going to go in and do an entire polishing phase again. 50. 49 Placing Our Final Cameras: Okay, this is going to be super quick chapter. Like I discussed in the last chapter, we are just going to start by setting our camera angles. So at this point, what I want to do is I want to, first of all, go ahead and just do, a little bit of cleanup. So over here we have all of our decals, and I want to just go in and throw all of these if it actually wants to select into a folder that's we'll call decals. Just to keep things a little bit more organized. I will show you later on also some cool twigs, if I don't forget on how that you can keep your scene even more organized. But for now, let's just do this. It kind of depends how much time we have left. That's why I'm not promising anything. And I also want to go in and these ones just to make sure that I don't accidentally leave them in the project, I'm just going to call these ones Mega scans. Because of course, I'm not allowed to supply mega scans. Cool. We have this stuff and in our lighting, we have over here our camera. Now, this is the first camera. It's already looking pretty good. I would say that I just want to double check to make sure that my settings are correct. Let's see what we have with our settings. Digital Zoom is fine because we are using our cropping lens, as you can see over here. Now, with our focus mode, manual focus mode, Unfortunately, I cannot set my focus to be super smooth. Current focal length. Yeah, we should not be able to change that. Crop settings is 2.39, that's correct. Let's go in and just draw my focus plane over here. Well, that's interesting. So my focus plane is correct, but for some reason, the depth of field is being really soft. And I don't think I can set this much lower because logically speaking, you would go to 1.4 here see. You cannot go lower. This is because it's trying to keep everything accurate in terms of the balance between your focal length over here and your max and minimum. You can try to go in here and set a minimum F stop to I wonder if we can go lower. I never really try. Oh, yeah, we can go 0.1. At that point, we must fake it, right? Yeah, here at 0.1, we are pretty much faking it. So this is impossible for an actual camera. Now, I can go in and just use this because I do want to kind of get rid of, like, my mountains a little bit. I just want to have them a little bit out of focus. But like I said, in real life, it wouldn't make sense when you have a large scene like this to have the mountains that are so close out of focus that just doesn't really happen. So I want to be really careful with this that I don't overdo it. So I'm going to go 0.2, just to make that back mountain a little bit out of focus and also make the front over here. I'm going to very carefully move my camera a little bit because I want to get rid of my left corner over here and twice something like this. I will only do this for this specific scene and most likely I will change it again later on. I'm going to duplicate my camera reactor now and in this one, I want to set this back to 1.4, which is my default, let's go ahead and just save. With these cameractors, we can now go in and we can start by just creating various different angles. For this, let's say that I wanted to also have an angle that was like a bit more here. And I always like to have something on the foreground. I just gives me a better composition. Yeah, actually, quite like a more higher angle, something like this to get started with. Oh, I always do that. I have control. Okay. I have Control D as my roughness preview, but of course, in real engine, it doesn't mean duplicate. Now I just duplicate this again. And I quite like something like this where we can kind of see, I want to go if you go low to the ground, of course, you get that grand feeling, and I want to see, some of our reflections. I want to maybe have one of these on the foregrounds over here. What we can also do at these points is we can go in and, for example, play around with our lens settings and stuff like that. Let's say that well, for example, go for something that's like a little bit more 50 millimeter type lens. Mmm. Maybe let's try 40 millimeters. Just go, like, a little bit back. And we'll probably change this later on, also. Right now, I'm just like taking my time, finding the right settings. Something like over here might be nice. It's twice something like this. Let's go ahead and duplicate this again. I really like 50 millimeters, so I just want to go in and disc camerangle make one that's like 50 millimeters. Maybe it's just going to be like I don't know, like a side angle or it's going to be like a slice. Maybe something like forward facing. Yeah, forward facing would actually be quite nice. And then if I play around with my decals and stuff like that, Yeah, okay, let's do that. I once again press the Wong button. Let's go ahead and duplicate it again. And for this one, what if we do like the tower? Because we do have these towers and everything, and they're pretty cool. Yeah, let's say that we have a tower in, like, the left side. No, it's more nicer if we have it in the right side. And then, of course, we will have antennas and stuff like that on top of this also. Let's try, let's try something like that. And I'm just going to go ahead and I'm going to copy camera actor one again because that one has the field of view I want next. And I was thinking of maybe, but I don't know. I just depends if it makes, like a big impact to also have one. Like over here. Let's see, 27. Let's go for 35 by 35. Oh, sorry, no, we didn't actually need to go low. I don't know. I feel like it's not going to make much of a difference, but it will increase our work load a lot because I would need to, like, do all of the details also on this side. But I'm not sure if it actually will matter much because over here it is much more interesting side. If we go something like this. Yeah, let's do that. Actor five. And then the last actor will probably be something to actually showcase the doors. Although there is nothing in here, so I don't know how much I want to present that kind of stuff. Over here, it's a bit too dark. However, with this camera, what we can do is we can go in our options. And then if we go over here to the post effect options, you can actually overt the options. So we can go lens exposure. And then we can play around with this exposure compensation and stuff. But right now, of course, the bloom is insane, so you would also need to go in here and probably set the bloom down and stuff like that. But I'm just checking if this looks interesting enough. Because it's nice to show off, but honestly, I don't think I think because we will show off our actual air con unit, that one will be much more higher quality. Like, this is just like a random piece, even though we did add a little bit more effort into it, that's probably just not worth it. It's just turn off these settings. Loading 01. I'm not sure if there's really anything that I would care for. Let's just check. So we have this one. This is like our main angle. And in my case, because, of course, also thinking about the tutorial presentation, my tutorial will probably have this angle, and then it will slowly zoom in and stuff like that. This one, like a helicopter view. This one just shows off, like all of our decals a little bit more. Over here, it will later on also show off the decals, and we also need to improve our windows and stuff. This one will show of the towers and all the antennas that we are going to place. Yeah, and this one. Okay, I think for now, this is pretty good. I'm just going to leave it at this. So what I will do is I will polish my scene based upon those cameraangles that we just placed. The same comes over here with, like, all of our rocks and everything like that. I will make it look fairly logical so that when you look around, at least it feels okay, but it will be mostly based on our cameraangles. Now, knowing that, I'm going to in the next chapter, I have a Timps where I will not only place the decals, I will place the decals. I will place all of the rocks. I will place the snow. And what I might also do is I might also already go in and just start looking for some antennas and stuff like that that I can just add onto this scene. If I do that, I might probably like narrate over that part just showing you where I found it, but that's about it. FRs is just importing and placing. So let's go ahead and kick in again long Timps but after the time is done, we will have a really nice looking scene. So yeah let's go ahead and continue with that. 51. 50 Placing Our Decals Timelapse: A S and D. D. D. D. D the m Mm. I I oh Do I understand I understand 52. 51 Placing Additional Models And General Polish Timelapse: A So D. D. D. Don't the 53. 52 General Polish: Okay, so we are getting pretty close to the end now. I'm just doing this very small pre chapter. And then what we'll do is we will kick in the time laps to create our aircon unit. And the reason so over here, I got, like, a few images that for some reason, are not working anymore. Here we go. So the next few chapters, we are going to create like an aircon unit, and I just generated, like a few AI images over here, which are pretty good. It's going to mostly be like this one, but I will simplify it a bit by adding one of these things over here. So that stuff will all be done using a time labs. The reason for that is because we are basically going to use all elements that we've already used before. First of all, for the modeling, we are not going to do high to low poly mooding the reason that we are not doing that is to basically save time because else this would become a really large asset. So we are using simple weight normals. And then for the rest for the texturing, it's the same elements. We are basically going to apply our base materials, then add some mass generators that just add some dirt. Add some norm map detas and stuff like that, like we have also done in our trim sheet chapters, sorry. And maybe do some stencil work to just add some leaks and stuff like that, and then we'll just kick it over into Unreal engine because it is just a small asset inside of here. So knowing that, so this is what we got right now. I just wanted to mention a few things that I've done in Taps because the Time naps is not narrated. And that is that I used a few assets. As you can see here, I use some towers. These towers over here, I use specifically to create some interesting shadows. But for the rest, you can see here, I used a bunch of antennas and stuff like that, and also in the background, some antennas and, of course, our rocks. Now, all of the rocks they come from MgScans, I end up making it a lot less. Over here, I still seem to have some shadow problems, but I will focus on that a little bit later. So for now, that's fine. And also what we're going to do is we need to go ahead and make our ground over here a little bit more snowy, which we build doing this chapter. But anyway, I just wanted to mention where I got everything. First of all, the assets that you can see over here, which are these palettes and that kind of stuff and those you can find by simply going in here and typing in FastAC Studio into your search bar and when you find the FastAC Studio account, we actually also create environments. This one is simply the warehouse environment, you can see over here. That just includes a bunch of these assets and you can just get a nice Indie license if you are interested in using that. Next that's using some of the here some of the I don't know what it's like watch towers antennas and all that kind of stuff. But that's what you want to do is you want to again go to our station. Here we go. And for example, those Antennas, I just got them as like a blockout, in this case, from RM Manuka. And in here, he creates like a bunch of blockouts and stuff like that. So in here, I just found here see some rooftop assets. They don't have any textures or anything like that, so you cannot really use them up close, but you can definitely use them just to, like, very quickly place some interesting assets. And that is about it for the rest, like there isn't too much to say. Yeah, we placed our decals over here, which looking really nice. Are there some additional assets. Now the last thing that I want to do is over here we have a ground and I was thinking about like, Okay, what am I going to do with the ground? Am I going to add so many decals that everything becomes snow or am I going to build this inside of the shader? I decided to build this inside of our actual material. What we can do is we can go in and we can open up our master material, which is main master over here. Like this. And then what we can do is we can simply add the snow here. So we need a few things. We need our snow. Which I can just go at the surfaces and fresh snow. Please note that all of the snow will not be included. So what I will probably do is I will probably or make it white or use a placeholder or something like that. But anyway, let's say that we have our snow over here, and our norm map, then what we want to do is we want to blend this using a wordspaceGrunge. Now, for that, the first thing that we need is we need to have a grunge map. Now if we go in our lounge facility, textis and just type in New folder. Oh, not for new folder. Yeah, your new folder. Grunges. And now, I have a bunch of crunches that I already exported from substance designer. You literally just select some grunges from substance designer or painter and export it. So it's not really something that's worth showing, but just give me 1 second. Over here. See, I got a few. And I'm just going to get something that has, like, a bit of direction or maybe this one. And you just basically drag these in. You just need something to basically break up the surface. Now what we can do is we can also drag this in here. And then what we want is we want to go in and add a multi sorry, not multiply. Add a larp, so linear interpolate. And then what we're going to do is we are going to larp basically our base color, along with our snow. Now I'm going to show you because it's the same on all of them. So basically, of course, for your snow, what you want to do is you want to just quickly copy the tiling over here and just call this one, for example, Snow. Underscore tiling. And just throw it into your UVs and just set the snow tiling actually quite high to ten or something. Now what we're going to do is we have this lp, and this lp is like a blend inside of substance Zina. So you are basically just blending between these two textures, and you need a mask to blend it. Now, what we can do with our mask is we can actually go in and we can add a world world, Brain freeze. It's a world world aligned texture over here. Sorry, Bavereeze. And what we can do with the world aligned texture is basically a WorldSpace UV. So you can scale it up all over the world and make it really large. So I'll just show you. First of all, we have over here our grunge map. We need to right click and we need to convert this to a texture object. And then you can convert this to parameter. Don't do it before because else it will not work. And just call this snow grunge and you plug this into your texture object. Next, what you need is you needs click scalar perimeter. Snow breakup. Tiling, for example, you want to set the default value quite high to like 200, and you want to go ahead and throw this into your texture size. And then just drag this XYZ into the Alpha. I will show you what this is in just a bit. Now, the last one that we need is we need a static switch perimeter because we don't want to have this snow. As snow? On most of the time. So if a snow is true, but if it is false, it will just be the default. And by default, we will make it false so that we can just turn it on only when we need. And that's pretty much like the general idea. Now, we can do the same. For example, for a normal, we can go over here. And for this one, we need a because we are going to do tiling, we need a Blend angle corrected normals, and the blend angle correct normals node, it allows us to blend between two norm maps. So I can grab my normal, add my additional normal, plug in my tiling into the additional normal. And then what I can do is now I can just do the whole erb stuff, so we can just copy this stuff. In the Alpha, we can have the XYZ. And in this case, what we're going to do is oh, yeah, yeah, we need I forgot which 1:00 A.M. I doing. Number A is snow. So number A is snow, number B is no snow. And then if it's true and if it's false, it will use the default normal. There we go. And you can do the same with your roughness map, go in here. And you can say, like, Okay, number A or B is no roughness. Then over here I can grab the green channel for number A because this one we can just overlay. Only in the norm map we can want to blend them together. We don't have to blend it together, of course, norm map, but it will hopefully look a little bit nicer. And then we grab the Alpha in here and throw this into our roughness. Oh, and set the falls like this. There we go. So basically, I'm replicating the exact same one where I just control the tiling, add my snow, and then I can choose what to do with the snow. So knowing that, now to show you the actual effect of it, we can go into a facility. We can grab for example gray metal over here, and we can duplicate it and call this gray metal. Underscore snow. We can, for example, for now just let's say that we apply it over here so that it will be added. Then double click on it and just search your main master. Oh, wait, sorry, the main master is already fine. So we can now just go in and we can press has snow and turn it on. Now at this point, you can see that now the snow has been added. Now, we can go over here into our snow breakup you can see that we can make this quite large or small, whatever we want to add a bunch of snow to this. Now, next to this, we can also control the snow tiling, although that one is a little bit more difficult Yeah, you cannot really see that one too bad or too good. So I guess setting the tiling to one for now, should be fine. Now, of course, this gang, I'm not really happy with it, so I'm just going to go to my noise and use, for example, something like this. And like that we can control. Of course, what you can also do is you can also control your what's it called? What can you control? You can also control the opacity simply by going in here and then just before you add or after you have added your mask, you can, for example, use power or multiply. Now, I'm not sure yet if I need that. First of all, I'm a little bit distracted by this note. I just want to check. Default, no SRGB, default. Oh, yeah, that's the problem. I need to turn off SRGB and strike that in again. It is probably fine. I just need to reopen it. There we go. Now it's gone. Okay, now what we can do is we can go in And it's probably easier because we are using or this model somewhere else, it's probably easier for us to just drag it in here. And then kind of take it from there. I know that, of course, over here, there should not be any snow. Now, in our case, we cannot see it. In your case, you can, of course, just make it that in those areas, you basically do not change the material. And then if you want, you can even use snow decals, which we are going to use to balance things a bit to improve things. So over here, what I can do is here, see, I'm just going to, like, not place any snow here because I will just use some decals and then also over here, I once again apply some more snow like that. So now you can see that we have our general snow ground here. And then next for the decals, if we go in and we have our snow decal here, what I probably want to do is I want to have another one that is not as dense because this one here see it's like super, super dense snow. I need something that's a little bit more softer. We just go ahead and have a look at the grunge. So this is our grunge. And if we now open up designer, we should have saved this. So we can just grab one that's a little bit more directional. Here, if we go to our smudge decals, Yeah, something that's a little bit more directional and a little bit lighter. So let's go ahead and just copy this. And you can just add more decails if you want. I might also add more decails. It just depends what I need. But I don't know what I need until I try. So I can go in here and let's say that I go for something leaks are too strong, something more directional, something like this, but lower down the contrast and the balance. Although that might be a little bit too sharp, what about this one? This one feels a little bit less sharp. Let's start with something like this, and then you can once again change your brush pattern over here. Let's start with this one, and do I need to do anything else? Sometimes I do like to add like a sloper which is this one over here, just to make the edges a little bit finer. Yeah, so to make a bit stronger. Let's just go ahead and give this a try. So we export this. We can now go into unreal. Textis decals, dirt gals. Snow. I'm just looking for it on my other screen. There we go. Snow. Okay. Awesome. Go into our materials and our decals, we can duplicate our snow de girl 01 and turn into snow de girl 02. And next we just simply change this out. And let's see how that looks. And if we need to make any difference. So snow decals two over here if I make it a little bit stronger. I'm going to set my Oh, I don't have control over opacity for this one. Well, I do technically have control over opacity. I can just do this. I can move this down to an off snapping. There were going this way, my idea was to basically go in and place like some of these decals. Then on top of that, we're going to go in and we're going to place some of these more like white decals. But once again, I'm just going to scale this down and I'm going to lower down the intensity so that it kind of blends together Battles. Then the idea was if you then rotate it around a little bit and this and that we get a little bit of a soft fad where the snow just goes in and then it stops. And what you can also do, you can also go in here and let's make it a little bit stronger in here. Here we go. We can basically just make the snow stronger or less strong using decals in some areas to basically break things up a little bit better again. Here we can do this. Then of course, you can go in and now, once again, make it a little bit softer. And use that softness to fade out the snow a bit more. So a lot with the environment art, which you will often notice is fading. It's something that you will need to keep an eye out or keep in mind is that fading often makes everything feel really nice and realistic, and it doesn't need a lot to really, like, get proper fading. But rarely do things really stop abruptly when they are unless they are like man made or something like that. But often if it's more like organic and especially if it's nature, it doesn't just stop. It actually like very softly just fades out. Here we go, see. And now we instantly have a ground that already feels a lot more realistic. I can now go in and I guess I can probably, if I can select them. I can cheat a bit and just copy all of these at the same time. I'm not sure if that one is actually one that is, it looks like a line, so I'm not going to select that one. Let's say this one for now. This time, I am going to set my rotation exactly to 180. And I'm going to push this back in here and fur in over here. That's not really working exactly the way I want. Let's just check what am I missing? I guess maybe it's like in a place where I cannot see it. You can just press H to temporarily hide it until you can find it. Where are you? And you can also Oh, God, I never do this. You can increase the scaling of your stencils, but to be honest, I literally never ever use it. So I would not know out of my head, so I'm just going to go ahead and do it like The easy way and just grab like here we go. Snow. Just search it in here. I should know that, but there's just so many tools and techniques and everything that I cannot keep track of every single little button. So I'm just trying my best to teach you guys what I know, but it might not always, I might just miss some tools. But the goal is, of course, the end result. That's what's important. So I can do some fading like this. I can grab one of these and I can make these ones a little bit stronger faded. And I'm going to just make this area also a bit more stronger. Then duplicate it again. This time, it's a little bit less strong. Here we go. Sometimes you can also, although, of course, it's an unnecessary expense you can have two decals on top of each other if you need a very specific strength, but I do try to avoid that because, of course, it's just an expense that's not really necessary. O. But anyway, we can do this. And next what we can do is we can go in and I'm just trying to find. Here we go. One of these decals. And if you want, you can also just grab one of these decas and just make it like super, super soft. Here we go. And then just continue this one on to kind of indicate, like, hey, these decals, like, people are driving here, and they kind of, like, just push the snow out a little bit more or something like that. See? There we go. Snowy environment. Nice and quick. If we just go ahead and go to our camerangles, you can see that over here, that feels quite close to what we have over here. Of course, you cannot see the road as much, but that doesn't matter. It is looking pretty good if I say so myself. Maybe done over here in these areas like because I can see it, I would want to go in and polish them up by just like selecting, you can go in and you can, for example, press what was it Shift G to Oh, no, wait, you don't need to do Shift G. Need to, like, I forgot. There was a way that normally what I do is I press Chef g to basically just get rid of the group, and then I can select it. I know that there is a way that you can select within the group. It's like a shortcut. I forgot. I'm sorry about that. But basically, over here, what we can do is we can later on, and I will do that in my polishing stage. Just apply these materials here and then just again, apply some extra details. For now, however, I'm going to leave it like this. And at this point, what I will do is I will go in and I will start by creating the aircon unit. Yes. So we're going to go ahead and create the con unit, and after that, we will have one final policing stage, and then we are pretty much done with this environment. So for the con unit, again, it will just be like time laps, sit back, relax. It's just going to be like an extra model. It's not going to be as detailed as you can see over here because we are just making a tiny aircon unit that we can have over here at the top and at the center. So keeping that in mind, we also need to create some brackets around the back, and that's about it. So it's starting to look pretty cool, as you can see it wooly came together quickly near the end, let's go ahead and continue on with our aircon unit. 54. 53 Creating Our Aircon Unit Part1 Timelapse: I I I like that. 55. 54 Creating Our Aircon Unit Part2 Timelapse: I 56. 55 Final Polish And Creating Screenshots: Okay, so we have arrived at our final chapter, and things are looking pretty damn cool. So what we're going to do in this chapter is we are just going to do some very final polish. And once that is done, I will go over a little bit more like some optimizations and just some bonus stuff, and then we'll create some final screenshots. Now, in the last chapter we went over on how to create these aircon units, I just made a texture super, super quickly. It's not really intended to be looked really up close. So it's definitely just like something to look in the background. I highly recommend when you are creating an environment like this, like spend way more time on it. If I would, for example, do this for production, like for an actual game environment or something that has to work in production like unreal marketplace stuff, I would probably spend two or three times as long on it. Yeah. That's probably about right. So just to give you some reference. Now, let's have a look at my list. What I wanted to do is I wanted to go in and just add some stronger leaks over here on this one because right now it just doesn't really show much. So let's go ahead and just duplicate one of these decals and grab our strong decal. And because it is in direct sunlight, I need to make this a bit more artificial where I just need to copy the decal a few times. Of course, other thing that you could do. Oh, wait. 1 second. It's not It's rotate a bit. Another thing what you, of course, could do is you could change your material strength. I'm just going over here and rotating this a little bit. Yeah, that should work. And now let's also just rotate it a bit more so that I can also add some over here on the top. And let's see for distance. Almost. Now I feel like that there's just like a disconnect between these two leaks. So what I want to do is I just want to go in. You know, the sexy scale is a bit more flat. Same with these ones. I want to go in and just scale them at a bit flatter. Okay, so let's see. So we had this one. Oh, I miss clicked. There we go. Console H. Let's see, what's that like? And I'm just going to reduce the one that's actually on the bottom. That's not this one. It's this no checking which one it is actually. Not that one. Not that one. Let's just hide it. When we hide it, at least we start to no. And it's just magically gone. Oh, this one. No, also not. There, they're strange. Where are you? Am I just really blind or can I just not find you anymore? This one? I think it was this one. That is so weird. This one? I just cannot find it anymore. That's weird. I've never Yeah, there we go. Now press contra H. Okay. Finally, Jesus. Okay, so in doing that, I also remember something. I'm just writing it down so that we can go over it later. Okay, so the next thing that I want to do, I've like a little list here is, I just wanted to go in and it says change color on the ceiling. With that, I most likely mean that over here, right now, this is too white, and I just don't really like the look of that. So I wanted to go in and maybe make it like a black or a gray color. And from a distance here that reads a little bit better, everything just stands out a bit better if we do that, or maybe we can try orange just to check. We have a lot of decals. Orange. Now, I feel like orange stands out too much. Let's do gray, but then we will make the other one white metal so that it still has a little bit of white in between. Okay, so we've done those. Now the next one is going to be balance out the floor panels. And what I mean with that is that I just wanted to go in here in some of these areas, and I wanted to go in and just change this to a gray metal. But because this is a little bit time consuming, what I will probably do is I will probably just pass the video. Like I'm now just ungrouping it, selecting it, and just replacing it. So I'm just going to pass the video, and I'm just going to show you an example, have these panels, and then simply just, like, grab these decals that we have over here and just kind of place them. And you can also switch them around with other decals if you want, rotate them, all that kind of stuff. Yeah, for example, we can switch it out with our second snow deco. And it for example be nice to have those ones in the direction where we have, for example, our doors and stuff as if people have been walking here with the doors. But it's pretty much something like this. And honestly, if I have a look at this, because I only need to do it for my camngles, let's just double check. Yeah, I fix that camerangle. That one doesn't show, so I might actually don't need to do anything else. Of course, you guys should just have everywhere if you want to have multiple camerangles. But yeah, you cannot really see it anywhere else. I like the look of these eagles. That's fine. Okay, so we got that one. Now the next one was that add more contrast on the background of camera four. Basically, I was looking at my cameras and because we have white on white, there's almost no difference between the two, and it makes it really difficult to even see any type of contrast. Now, the only way that I can really fix that is by changing the actual snow color. But with that, I do need to be very careful. So I'm going to change it in my main camera to just check or sorry, in my main material. Not sure I have so many warnings. I will fix warnings and stuff like that later on. That's okay. But basically, I wanted to go in, and so this is our rock. I need to play around with my snow intensity. So that's probably here the power. If I set this to zero or to five. Okay, here, see it becomes a bit less. So what I wanted to do is I just wanted to go in and see how dark I can make this snow, which is probably going to be two, unfortunately, not that dark. To get more of a difference between the snow. And I also need to double check my decals that they are not too overpowering. And right now, that should be fine. From a distance, you won't really okay, yeah, you notice it a little bit. So let's go into our materials, decals, snow decal one. And that just makes a little bit Here we go a little bit darker so that it all blends a little bit better. And that will give us already a bit more a difference. So now we just go ahead and have another look at number four. I think for now, that should be fine. Over here, what you could do, but I have a feeling it's not going to look good is you can try to add, for example, large rocks here to break up the surface a little bit more. And then when you look at number four here, see, you get something like this. Now, I guess, yeah, it kind of looks okay. So we might want to do it, but maybe this is not the best rock to use. So let's just see if there's, like, a one that's a little bit better. And that's also working better as like a stand alone. Yeah, here, that one. This one is looking better for, like, a stand alone thing. And I'm just going to rotate place another one maybe like here, let's see. I I'm just rotating it purely based on this view. I feel like right now it feels a little bit too overpowering. But if I do let's see if I do something like this, maybe scale it down a little bit more. Yeah, if I do something like this, just to break things up and if I then add a few decals on here, I think that should do the trick. Can I just borrow one of you? Thank you. Just go in and move it over here. Go to make it a little bit wider. Play around a bit more with my material. There we go, see? So we get that blending, which, yes, it brings back a little bit of the white snow, but not nearly as much as when we would have our original snow and stuff like that. There we go, see. So now we have a little bit of blending going on. That's pretty good. I'm going to extend the blending out a little bit more because as you might notice, we don't have the most ideal blending between the snow and the mountain. But I don't really at this point, want to change it too much because then what will happen is that the snow that's inside of here is looking too dark because snow is often super super white. Something like this is looking pretty good. Gonna do one last one over here. There we go. Okay, so that fixes that stuff to bring out a little bit better composition. Next, we have fixed brightness on Cam number five. So if we go camera number five, or I just meant like the brightness I see over here, I just want to play around with my camera and then if we just scroll down because we did some manual lens exposure, we did some manual exposure over here. So what I wanted to do here, let's see. So five is fine, but I probably want to then go in my color grading and just push it down there a little bit more just for this camera. Here, we have a gain here, see? Just pushing that down so that we can see the logos a little bit better, that is totally fine to do. Okay, so we got that one also. Now the next one would be and the last one, it was like an optional one, which is to just have a look at the color of my sky if I want to play around with it. But I think I'm not going to do that because I have the lighting pretty much the way that I want it. So I really like what we have right now, so I'm not going to mess around with that anymore. So having that done, there's one last check that I want to do and after that, I will go over a little bit of optimizations and things you might have missed. So the check that I want to do is that if you go to show buffer visualization and roughness, I basically want to have a look at my roughness and see if there's, like, a nice variance between it. Now, coincidentally, there's actually really nice variance between this. So the only thing that I would say is maybe my snow could be a little bit darker. Dark means shiny, white means brighter. So I really like that over here, we have all of this nice darkness and grunge and everything that's exactly what I wanted. However, I would have expected the snow to be a little bit more brighter. So let's go to our snow and hopefully we can do it this way, else we need to spend more time. We can grab our roughness because we only use the roughness in here and we can push this down. 0.5 in our brightness. Here see that instantly just makes everything a little bit darker. Now if we just go back into my lit mode, give the second. I think I made it too much. Let's do 0.7. Yeah, I think 0.7 is working quite well. Now if we go ahead and again go to roughness, here, see, you can see that everything is just a little bit darker. Now the next one is also over here, we have these stripes and they have a really intense roughness, but I don't really get why because they wouldn't have that. I want to go in my roughness and I just want to push it down. I'm fine with it being a little bit less. So maybe like 0.6 to make it a bit duller because they are painted over and I also want to bring them out a bit more. But let's do something like this. Also, you need to keep checking because the roughness also alters the intensity of the colors. So you need to always, just keep checking again, and, of course, give it some time because this is Lumen needs some time once you switch modes to, like, catch up again. But, yeah, that's about it. Okay. Now, just like a few things that I wanted to show you, it is not really relevant for this specific tutorial, but it is relevant if you want to make any type of game environments for an actual video game. So what I highly recommend is that you have a look at our YouTube tutorial and Fastutil and look up for the video setting up a Tweedy asset for game production in nel Engine five. The reason we want to do that is because setting up the assets for production, it requires a little bit more work. And there's a few checks that you always want to do. So I just wanted to go over these checks, and also over here, this kind of stuff like the shadows. I'm not exactly sure why this is happening. It's really weird. I think it has to do with, like, the mega scans material or something like that. But here, maybe like SSS or something like that. Let's turn it off. But I don't really want to spend too much time on this because it's not something that you can see. So it looks like that there isn't really anything special happening. So I'm just going to go and ignore it for now. I know that's a little bit lazy, but this is a highly specific problem that I highly doubt I will ever get in any other environment. Anyway, as I was saying, there's a few checks. One of the most obvious checks is your collision. Now, if you just go ahead and go to your lit and then play a collision, of course, you need your collision to be able to move around. For example, you can see that these assets, they are created for an actual game, and you can see that the collision is really, really clean, see? Now, we have used outer generated collision for pieces. Most of it is looking fine. Over here, you can see that we already went ahead and we already did some generations, but it's just something that you kind of need to keep in mind, just in general. Also, um we have over her OAD these are just our mountains. So over here, the collision is pretty decent, but if you want to improve your collision, you can always just go into an asset, and there's a few ways that you can improve it. One of them is by removing the old collision and doing another auto convex hull and just press apply. And then what it will do is it will out generate a collision fairly close to the shape. However, another trick that you can do, but it is much more expensive is that you can go down here to collision and you can set the collision complexity to use simple collision or sorry, use complex collision as simple. What that will do is it will basically use your actual model as collision, but that's, of course, way too expensive, so we're not going to do that. But once you save it here, see, now your collision has changed. Now, the only ones where this would probably make a lot of sense to have them very unique is, for example, this tower module. In here, I could generate my own collision. I could use the outocvex, but I don't know if the outocvex will work. You can set a Hulcunt a little bit higher to basically make it more accurate. So let's just go ahead and apply. Yeah, for now that's accurate enough, but you can see it's not super clean. That's why I recommend that you have a look at our YouTube video because we will go over on how to generate your own custom collision and all that kind of stuff. Now, over here, I also have my door, and the door is currently Wi messy collision because you cannot actually walk through it. So that's another one where I would want to probably go in and just press Apply, just to give it a little bit of better collision just so that my cameras and everything don't mess up. It's looking really ugly right now. That's why I said before. I recommend that you manually change your collision. I also want to get rid of these characters because else I might just forget about it. But once you have a pretty decent collision, what you can do is you can just easily play the game. So if you just right click and press play from here, hopefully it will work. It's putting me under the sky. Or up in the sky. That's a little bit weird. That could be that it is that my sky sphere might have collision or something like that. Let's see. So collision, collision preset, no collision. Let's see if that hopefully works. I'm not completely sure. I go to press F to go to my skylight over here. Let's try again. Yeah, I see. So now you can see now we can walk around. Of course, Lumen needs some time, but you can walk around your environment, and it's looking pretty cool. So of course, it's looking will willy massive, but that's what we intended to. We intended this to be really massive doors, really massive everything. Now when you're playing the game, of course, you also want to set automatic exposure so that you don't get these really dark areas. But that's all like refinement, which I recommend. There's plenty of other tutorials that we have, which focus much more on actual game environment stuff than these ones. I'm surprised it doesn't have collision. Yeah, there's definitely something over here with the shaders. It's something that I will just off camera have a look at. But this is working quite well. Another thing is that I always have a shortcut that's Contra F. What you can do with Contra F, although we probably you need to go to visualize and mesh distance fields, you want to make sure that your models are fairly accurate or sorry, that this preview is fairly accurate to your models. The reason you want to do that is because this is how lumen perceives your models, meaning that if this was not accurate at all, what will happen is that the light interaction between your models and Lumen, it will be less accurate. You can improve this accuracy, of course, improving it means also more expensive by opening a model now, this is totally fine, by the way, but just to show you, you want to open up a model, go to LOD zero and go to the build settings, and in here, you can set your scale for your mesh distant fields. If you set this the two, it will more accurately represent your model. It's not a perfect system, so just keep that in mind like it doesn't always work absolutely perfect. Don't know why over here, it's just Oh, there we go. See? But now it does have a more accurate representation. Okay, so that's now also done. Now for the rest, I would say there are a few more checks. I recommend watching the YouTube video, but I just kind of, like, want to move on. Our scene is running nice and fast. Let's see. FBS counter here. We are at 60 FPS on cinematic quality. That's fast. It's probably because we have almost, like, no textures, like we have one metal texture, not counting the objects that we are on top, but this is just, like, really nice, really good. So to finish things off, I assume that you want to take some screenshots, and that is what we can do. We can go ahead and create some very easy screenshots, which we then can also, if we want balance a little bit inside a Photoshop, for example, you must make sure that you press G so that you don't have anything else on your screen. Make your view nice and large because we are using a multiplier, which means that we will multiply the screen resolution that we currently have. And then what you can do is you can go ahead and go up here. Of course, make sure that you have all the settings you want. I like to always go to my screen percentage and turn on custom overt and set this to 100. This will up the resolution of a screen a bit, making it look a little bit more quisp. And then if we go to our high resolution screenshot, let's say we said it's to two. The higher you go, the better your PC needs to be in order to basically render this. I tend to not go over two. However, normally, I render these images at four k. Right now I'm recording at 2560 by 14 40. So there is a difference. If I would render this on the four k screen, I will get higher resolution. But just to show you guys, I will just render one over here, and now it will take a second to load because it's like upscaling our screenshot and everything like that. And then down here, it will show you where it will have saved the screenshot, which is in your Windows editor over here. Like this. And then if we open it up, here we can see our screenshot over here. So we have this screenshot. Now, you can then go in, and if you want, you can continue on to, for example, the next one like this and then just again, press the button. But let's say that we have a screenshot that we want. Let's go ahead and put it inside of Photoshop to add some very small balances. Yeah, here you can see. So number one number two. I can see I've like some few reflection errors over here. These errors often happen if you have a roughness that is way too strong. And if I just have a look here, see, it's way too shiny. So I do want to just quickly fix that, but that is very specific of course to this. I don't know why it is so shiny. It should not be. So let's go into our afters multiplier, and let's set this to like 1.5, just to tone it down quite a bit more. There we go. That will work a little bit better. And then let's go in and just like I will take one last screenshot over here. Also, something that might sometimes work. If you have any type of weird bugs, you could go up here to your settings and just turn off real time and then take a screenshot. Then what it will do is it will basically just take a still of what we have over here. I'm just going to push this capture, give it a second to load, and that should do the trick. Yeah, also, like, the shadows over here are a little bit soft. I don't know if we want to do anything with that. That's up to you. I will, of course, like, off camera, I might do, like, a tiny bit of balancing here and there. But let's load this into Photoshop. So what I always like to do inside of Photoshop is I like to often just add a little bit of sharpening, a little bit of texture, just to make everything bring out a bit more. Now, we balance everything pretty well inside of unreel. So we don't really need to do any type of color balancing, probably, but you can go in here and chase that, too. Yeah, let's say that I set my sharpening a bit. And I just like to go into my oh, sorry, I completely forgot. I went to filter and then camera I did not show I did not tell you, sorry, force of habit, filter, camera raw filter. And then you get this window where you have the more basic techniques. Here, we can also quickly change the colors to make it more brighter if you want. The reason I try to stay away from drastically changing colors is because when I want to render out my videos, of course, those videos would not have the same effects. But basically, we have over here our effects, and I do like to sometimes just push up my texture and my clarity a little bit more. Like this, you can also maybe play around with your vignetting a bit more just to bring things out a bit more. I know I've said the word a bit more quite a lot. I don't want to go into details and maybe like art a little bit more sharpening. Now I cannot stop saying it. And for the rest, you can play around with your color mixer if you want to quickly check different colors. I'm not going to do that. But what I do want to do is I want to art a little bit of more like saturation. Here, Color Let's do vibrant. A tiny bit more vibrant, here plus five or something like that. If I just have a check, zero, Yeah. Yeah, it's a plus five good. And you can go over here to see the before and after views, also, just so that you can see the difference a little bit. But honestly, what I also like to do is I also like to press this button, and now you can see before, after, before, after. It just brings things out a little bit more. And then you can press okay. Now the last thing that I like to do is when I have an image like this, I like to often create a new file and I like to check the resolution. So there's four K resolution. So let's do 3840 by 14 40, which is the default four K. 14 40, sorry. New file 3840 by 2560. That's what I mean? To 160. 384160. There we go. So that's a 60 Mynine format. Now, with this format, I often like to make it a black background, and then I like to grab this layer, Contrace and contra Vd. Now, I do need to scale it a little bit, as you can see. So let's just go in and scale, hold shift, scale it, and then you just want to move it until it snaps together. And this way here, look how cinematic that looks, giving it a few black bars. You can often, throw in your logo and stuff like that, which I sometimes also do when we are creating like professional environments. But just like this, you can file, save a copy. And let's go ahead and just save it as JPEG. I'm just going to call it 01 for now. I will make my own files off camera. But here we go. Original, final original, final. See? So just like some few small changes and it just makes everything feel a bit more cinematic, make it stand out. And I think that we got a really cool looking environment over here. So this environment, what I would say is, like, yes, it went a little bit overtime definitely, probably about one third overtime. But I think that we got something really cool. It is definitely the type of environment because of the way that we constructed this with only tyable materials, it means that it will take a really long time before your environment starts to look good because you need a lot of details and stuff like that to improve things compared to when you do, for example, unique texturing, but doing unique texturing on such large assets is just not feasible. There are many more techniques that you can use, you can use like mask painting to paint in additional dirt and stuff like that. I have many tutorials on that, so just pick and choose the techniques that you want. But the techniques that I displayed here, are techniques that are really good to know when you work in the game industry and to quickly and efficiently construct your environments. Now, all of these techniques are often used in the game industry. Of course, when working on production environments, or production games, I should say, everything is much more streamlined and everything is much higher detail and more polished. But the general concept is here. Now, I hope that you really enjoyed this oil. If you made it this far, I really encourage you to leave a good rating because it will help us out a lot. And I hope to see you next time. So thank you for watching Fast tractor Oil.