From 3Ds Max to Unreal Engine 5

1. 3Dsmax To Unral Intro01: Hello, and welcome to our comprehensive course on transitioning from three DS Max to Unreal Engine five. I'm your instructor, Ama Sawalha, EP games partner and unreal engine authorized instructor. I am thrilled to guide you through the essential steps needed to ensure smooth and efficient work flow between three DS Max and Unreal Engine five. We'll kick off by familiarizing ourselves with the TDS Max user interface. Next, we'll dive into unit setup correctly to maintain scale and accuracy between TDS Max and Unreal Engine five. Navigating TDS Max efficiently is a key to smooth modeling and technical process. Layering is a powerful tool for organizing your project. How to manage and tide our scene in TDS Max is very important. Next, will be understanding materials and dive into exporting simple and complex materials. Polygon mesh IDs, attaching and detaching are essential for managing complex models. Editing normals is an important step for achieving smooth shading on our models. UVW mapping is critical for texturing your models realistically. Pivots are essential for proper modeling alignment and animation. Exporting is the final step in three DSMC, will guide you through the FBX export settings, Data Smith transfers from MAX, SketchUp or vet, allowing us to import models from different software with ease. Once we've prepared everything in three DSMC, we'll transition into real Engine five user interface, we'll familiarize ourselves with the layout and navigation. Finally, we'll import our models into real Engine five, we'll cover the import process, settings to watch out for, and how to integrate your models into a project seamlessly. By the end of this project, you'll have a solid understanding of how to prepare and export our PDS Max models on real Engine five. Thank you for joining me on this journey. Let's dive in and transform your TD modeling skills with PDS MAX and real Engine five. 2. 02 Case Study ENG optimized: So before we dive deep into real engine and its technicalities, we're going to talk about the example file that we're going to work on it, and I'm going to try to make the same of it in our course. So it's called Wi D Island Farm retreat. It's in America, in the United States. The architects have designed it. Their name is MW Works. I love their work. I opened another tab of their work. Project area is considered big considerably, but we can check together how the project is amazing, and it's immersed within the jungle. And you can see as architects, they've had difficulties to deliver architecture that, you know, is in harmony with the environment. They haven't cutted any trees. They haven't sculpted the land, you know, So you can feel that the architecture is comfortably adapting to the environment. You know, it's main materials, we focused on steel, glass. Colors are vibrant and also, you know, reflects modernity, and the style of furniture is contemporary. So it's very, very nice project. It's one of my favorite projects, and it as a case study, it's going to be very good for us because it's going to challenge us to learn all the elements that we need to cover in the architecture context. And all the concepts in visualization excellence. So the project consists of three buildings. One of it has the living room and the kitchen and the dining room. Another building is the bedrooms and the private functionality is the toilets and all of that. And there is a third building where it works as a garage, and there is an office and a reading area and also a guest house. And we can see that the material that is used as we considered modern materials as stone, glass wood and steel, and the color palette is in harmony with nature. So we can feel that the building is blended with material. And you can see how much for example, the trees is close to the structure. And this is very difficult in architecture to consider, to be honest to build a building that is very close to nature and not have to do any intervention with it. It is a process. It is a process. And this is basically the basics of architecture is basically to create an experience within the environment and not change any of the nature, you know, as much as possible. As you can see, there is a big thought in the architecture when it comes to nature and how the building sits on the land and how the building overlooking the view here with the water, and the trees. It's a dream house. So basically, only it's difficult when it comes to logistics, but when you look at the view, you can make some exceptions and consider living here. So as you can see, there are multiple stories, and there's some stuff that is under the ground, and some stuff is above the ground, and it's open plan, it's modern design is very elegant. It's simple in the same time. I gives us very, very nice feel of interior design and exterior photography. We're going to talk about how we make such pictures awesome pictures, lighting, animations, how we're going to do simplification of models when it comes to proxy, and when it comes to optimization, we're going to talk about LODs and Nite and how to make the visualization appealing lumen. And as we can see, this is the plan here and all the relationships of the masses of buildings between each other and how the areas and the functions and the zoning, and how is the structures helping basically in conveying the functionality of the client and the user. So basically, for us to cut time, we've just covered one building with all the furniture. We've covered all three structures. But when it comes to furniture, we covered only the building as we see in the South because it's all the same concept, and we're going to learn it if we can visualize this building. So in a very decent way, then we can visualize the entire project when it comes to interior design. And it's going to help us to decrease the load for the people who doesn't have very good computers, you know, So we'll try to cover like what we call a medium to big scenes, so we can be smart utilizing the tools in real engine and the workflow when it comes to medium to large scale projects, you know, because some other courses, we can do small projects, and when it comes to big projects. I basically come across problems that I don't know how to solve, you know. So hopefully we're going to cover a lot of solutions and a lot of connections and a lot of you know, excellent tools that we're going to cover the lighting, the materials, and try to, you know, do our best to get our project very close to nature. This is basically a ge study. If you like the architects and their work, you can follow them or you can check their projects and see also learn how are the pieces all put together and how is the materials and all of that. You can check them out and check other related architects. And it's very important for me as an architect for me to always feed my eye with stars that I like and that are trendy. So I can take those elements and help me with my future projects. So this is basically all about the case study, and what we're going to learn will be with you in the next lecture, and we're going to talk about unreal engine itself and the work flows and all the templates inside. 3. 03 Max User Interface ENG opt: Hello, everyone. Welcome to this class. Okay, so Amy told us how Unreal Engine is an amazing software and has a lot of capabilities. Okay, we want to start working. So if we want to start working, we need prerequisite software that we can work with. Unreal Engine, every update, they're adding more modeling tools that I can use. But they are not actually very fully developed modeling software, you know, like three DS MAX, Blender, Maya, Archcad, grasshopper, sketch up. All these softwares has advanced modeling tools that I can build everything I need and all the edits that I need to make, and also when it comes to materials and all of the stuff. So these softwares can give me capabilities that I cannot actually do in unreal engine fully. It's a gaming engine, so I need a prerequisite software. Which software are we going to work on? It's going to be three D Max. And in this lecture, hopefully, we will explain all the user interface of three DSMC and how is the fundamentals and how does it work? So basically, this is three DMX, and this is the user interface, and how does it look like? So we're going to talk about all the tools and where everything we need is located. And like we cover all the concepts of three D softwares, right? So, such as moving, rotation, navigation, zooming, and also stuff like SNAP and how to make certain modifications to the object, it's going to be an interesting journey. All of that. By the way, Transformers movie was made on T DSMC. Of course, with the collaboration of other softwares, but most of the three D geometry and how the truck transforms to a robot. All of this was done on T DSMAX, so it's an amazing software. I can learn it further more and do a lot of things in it. All right, so let's begin. So let's explain. T DSMAX basically is divided to menu bar, toolbar quadrants, and like the place I work, and I can see all the views, and whichever I build, I can see it in all views, as you guys see all the orthographic views. I've got the creation panel here. Everything I need to create. All of it I can create from this panel. I've got the modifier list. If I want to do some specific shapes on my object, I can use the modifier list. And later on, when we use three DS Max as architects, we're going to get to know all the modifiers that we usually use. So as you see all the user, we see here, we've got it in the menu bar. So if anything got hidden, I can get it from the menu bar. I've got the animation bar under here, and I've got here the navigation panel. So it helps me with how to navigate and rotate and do everything with my view. So all these tool bars is added when we download corona render or VA render. So that's specifically for VA and corona, and I can edit some stuff I need. So basically, look at the menu bar, we go to file, we see all new reset open, save as import export everything I need for three D software that we all know. I edit, if I need to edit everything. If I created an object and I want to like undo, redo, scale, rotate, everything, I can select it from here. I've got the tool bar. I've got all the tools that I need, and also some other tools like the layer explorers and explorer. If I want to do snap, if I want to do alignment, measurements, mirror. As you can see, there are useful tools that we will use down the way when we work with architecture and three D. It's a lot of things, it's very beneficial. I can use it from the tool. We've got the group, if I need the group, if I want to export them, attach them, detach them, explode them. I can do all of that from group tool bar. I've got the views. I can control the views that I have. How is it wire frame clay mode, or if is it look like anything like stylized or standard, everything I can control from the views. If I went to see how many polygons I've got, things like that. If I want to go into a camera, I want to create a lot of cameras and when I see the specific camera I want. Create basically is the same create that we talked about on the right view of the software. In modifiers, basically is the modifier list that we've got here. I've got the animation and everything that is related to moving the objects and the cameras and effects and all of that is basically covered in the animation panel. In the graph editors, if there is anything I need to see anything in my project in a specific view and specific order. I can see it from the view or if I want to see multiple things. I basically more advanced tools to like, organize my project together. I've got the rendering tool here. It has everything that is related to rendering from the render setup, and what kind of render is it? And what is the render software? Is it VA corona? I've got the exposure control, the environment, I've got the render frame window. I've got the gama. Everything that is related to rendering is in rendering. Customize, I can control the user interface that I have. If I want to add more tools, if I want to remove tools, I can control everything, like, literally, I can customize everything three D MAX. I can create it all from the customized menu bar, and how does it look like? I've got the scripting, scripting panel, I I want to create any code, I can create it and do a specific change that I can't do easily in standard steps in three DSMC. So I can here create coding and make, let's say, situation easier. I can download scripts that is free or I can buy them, and it can save a lot of time, guys. So this is an interesting panel for us to view and check out later. We're not going to work with that. It works with Max script and other coding stuff that we as let's say, architects, we don't come across, but I can create anything I want, if I want to dive deeper into it. I've got civil view content, Arnold. Things that are downloaded to three DS MAC help If I have any question, if I want to talk to Autodesk, I want to download tterials, or review fundamentals of anything. I can view it all here. Also, you can find a lot of things on YouTube and other references, but here is all the auto desk exclusive stuff related to three DSMAX. Here I've got the tool bar back and forth, undo and redo, selection styles. I can find it here, all type of selections. I can select specific selection, if its lights, geometry shapes, anything. All of that more. Let's say tools that makes my life easier while I'm modeling. It makes it much easier. Part of the selection, when I create inside when I select inside or outside, I've got move. I can move on any axis I want or two axes. I've got rotate here. Also, I've got scale. I've got a review how the pivot is oriented to the object or to the world or local or parent or gimbal. Very useful tools when I'm using in modeling. Here, I've got the Pivot centering, I've got the snap snap for objects, and also angle for Snap. And if I do right click here, I can got more options here, more like the Autocad and I can create this specific snap that I need. Of course, Snap who doesn't know it is the point that I can attach objects together. Almost get it close together. With persistence. Here I've got options where how much my SNAP values are, and like, how is it previewing and what's the percentage and all of that? So I can control and calculate precisely my design. So this is a very useful tool. I've got the home grid here that I can fix the grid and make it larger, smaller, based on my project. It helps me with modeling and it helps me when I snap to grid based on specific points, and I've got here also more options on grid. Same thing for this angle snap, same thing for objects. I've got percentage snap and other advanced snaps I can get into. I've got the mirroring, I can mirror the object. I've got the line, I've got layers that I have seen explore. I can control the render setup or I can start rendering here. So many options I can I've got the access constraints here that I can constrain on which direction my object is going. But we all know, and as expected, the people that are talking So many options, I've got the access constraints here. Helps me with moving my object in a certain direction. But we all know as when we take the unreal engine course that they have background in a three D software and how does it work and all of that. If you don't have three D background, we've got modeling courses in three DSM that you can ask us about, and you can learn all about so you can start from zero and all the way to after unreal engine. Also, if it was for any other person, it's very important for me to learn three DSMC. It also aspects for me to make my pipeline much faster and efficiently. But don't worry, we're going to cover everything that we need in three DSAX to use when it comes to Unreal engine. Even if I don't have anything to know in T DS MAX, if I go step by step, how am I going, you're going to be able to learn everything that you need in three DSMC before going to Unreal Engine. Of course, as you know, any question, guys, you can ask us and we'll answer you in an efficient time. So that's all about the user interface and three DSMC. Very basic, very simple. Next lecture, we're going to talk about unit setup and how is the best way to fix the unit setup for my project. So it's 100% compatible with unreal engine with no problems at all. I hope you guys benefit from this lecture, see you in the next one. 4. 04 Units Setup ENG opt: Hello, everyone. We're going to talk about unit setup. It's the units of measurement that we measure our objects, our scale, our grid, everything that's related to modeling. Okay. We can I locate the unit setup? We go to customize unit setup. Then I get all the units here, display unit scale. I got a system unit setup. I got the US standard feet, fractions inches. I've got a custom unit, if I want to do custom units. I've got lighting units, also, if I want to do certain units for lighting, so I'm going to click on metric. To display my units. If I want it to be displayed next to the number of units. We'll see that later on. I'm going to try generic and system units set up, I'm going to go to centimeter. That's the most compatible and what we need in unreal engine. So we're going to go to Smres, make sure that we always use centimeters, and make sure that always when we export from our three D softwares, we export in centimeters, if I want to use three D Max before unreal engine. So we go okay, we try a box, and then Okay. So how do I draw a box? I click left click, I drag, and then I release and goes to the height. So this box gave me length with and height in the details parameters, and I can change them here, either I type a number such as this, or I can copy a number if it was from another reference. So this way we can know that this has become a cube, 150 by 150 by 150, all measurements are equal. So I can see the units. How can I see the units to make sure that I'm working correctly, so I go to metric and I choose centimeters and okay and then These units will be displayed if I go to modify. I'll find centimeters next to each number, which I will realize that I'm working in a correct way. So if we put it in centimeters, we can always just double check from there and put it as generic, so we don't have a lot of numbers. And then I've got some segments length with height, and these are the edges of the object. I can increase them and decrease them by pressing F four, I can realize and see the view where it shows me the edges. And here I can control how many edges. But we need to watch out. If this is going to be shown as a cube, then no need to increase the segments because this will increase the load of the geometry, which we don't need because we're working in an optimized way. So how we're going to fix the snap with the unit setup. So we may right click on the snap. And here in the home grid. It's telling me all about the grid spacing and the lines in the grid and the perspective view grid extent. So it's telling me that it's ten by ten by seven. So these I can always change and fix them according to the snap that I've got if I'm snapping 2 millimeters or centimeters or whatever. For example, here, I typed 500 and check how it became. If I do seven, then it's going to be only seven by seven lines. So we enlarge the grid if the project is large and we need to be huge. So we can fix that from the grid and snapping settings as we can see from here. So if I want to snap the grid, I choose grid points, and then after that, as you can see, I can snap to the grid. And this helped me, you know, to be precise in the numbers you can see as shown in the viewpoard. So as we can see, it gave me correct numbers, 140 by 140 by 160, and these numbers can be fixed in the unit setup. This is everything about unit setup. I hope you guys benefit. We'll see you in the next video. 5. 05 Max Navigation ENG opt: Hello, everyone. Greetings. We're going to talk in this lecture about navigation and how to get an external file and navigate through it and move around and, you know, become fluent with Max when it comes to moving around. So we're going to go to File Open. We're going to go to desktop. We're going to go to the file location. This is the file. We're going to work together on it on the course. Everything we're going to apply on this file, and this is the file that we're going to export to real Engine. And we're going to have an overview on such a project how to work on. Of course, this project was worked with as many details as possible. And also, as you can see, it's three buildings, and there's as many details as possible. So it's close to the case study and the example file that we're trying to achieve and the result. So how do we navigate? So navigation has a couple of points. So if I click in the middle click of the mouse, I get panning. Scroll, I zoom in and zoom out. If I click Alt and middle click, I can orbit around my building as you see and can move flawlessly. If I press control Alt and middle click and I drag my mouse forward or backward, it makes a Zoom in a different way. It helps me a lot when there is a closed building. If I select an object and press Z, it zooms on it. If I press on nothing and press Z extend to the whole project. And that's basically the hot keys of the navigation. And the places of the hot keys are in the middle down right corner. If I click on the zoom, I can zoom in by dragging the mouse forward and backwards. As I told you, control and scroll, and basically middle click and move the mouse. It moves forward. I have the view here. I can distort my viewport, or I can make it even closer when I'm trying to get this single angle, you know, I'm trying to show things in my camera. This comes in handy to, you know, work with a field of view, you know? But when you overdo it, of course, it breaks the entire statistics and the D and the image. So for me, not to distort the image, you know, we've got pan here, as we all said, it's the middle click. I've got this icon here. I can orbit through it. So all the navigation basically is here, and I can use it either from the icons or from the hot keys. Of course, hot keys is the most suitable way. Last point is the four quadrants here. That's how I can view my quadrants or close them. And if I want to use out key for this is LW, where I can enlarge the viewpoort that I'm working with. Another LW, I can see the entire quadrants. And these are basically the main tools that I use to navigate through my scene and be able to move around easily, you know. So we explain these points to make it easier for the student, you know, to collaborate with Max, especially for the people who has no idea about Max. That was it for this lecture. See you in the next one. 6. 06 Max Layering ENG opt: Hello, everyone. Welcome to this lecture. We're going to talk about layering and how to make new layers and how to organize our objects in layers, so it's well optimized and organized when we export it to Andred engine and the work flow that we usually do between three DSMAX and Andred engine. Either we're talking about walls, floors, ceilings, fall ceilings, or even furniture. Everything we will do in layers, so we are well organized. Additionally, we will learn how to make correct naming convention in the correct way so we can work everything correctly and efficiently. Let's start with layers. Where do I get the layer Explorer from? I get it from the toolbar. I can click on this icon or I can go to tools, and I can ask for layer Explorers, so it opens the panel. And as we see, have layers, and some stuff I've modeled and some other stuff I've brought from other files, so it came as the layers that they were done on that file. So we want to clean together the files and put new layers to organize our file. Let's open the default and see what's in it. There's a lot of objects inside the default. We're going to keep the default. This layer, for example, has a lot of objects. So basically, we want to remove them from this layer and put them into the other layer, zero layer. So we can delete the layer without deleting the objects inside. So this layer is empty. I can right click, delete, it's deleted with deleting no objects. And the same we do with the rest of the layers. We try to put the objects in the zero with correct naming convention. That's an object or a layer. How do I know if the layer is empty or it's full? If it's got an arrow next to the eye, so basically tells me that there is a layer. If it was empty like this, so basically it tells me that this layer is empty. All right. Here we have objects. Click, shift, click, and then we take them drop to zero. We minimize, we go to the other layer. We delete it first, and then we go we do the same for all the layers, basically, so I can get all the layers and the objects in one layer. So after that, I can do any layers from layer zero, you know, because I've got all the objects there with the groups and everything. So we need to put all the objects inside the layers. All right, so we delete this group, and now we've got one layer, and all the objects are in one layer, including the groups and all are in layer zero. Okay, actually, we've got live fixtures. Let's remove it, put it to zero. We take it all as a layer and try to put it outside. Good. Now we can take all the objects and drag drop to zero. Then I can delete the layer. Right click and delete. Or what we can keep the layer because I'm going to name lighting fixtures, or I can rename by floors. Let's start with floors, right click and hide all, and then we're going to go see our objects, and this plane, we're going to hide, right click hide. And this right click. Okay, we're going to delete this camera. So we're going to delete it. It was just to test in Max. We're not going to take it to Unreal engine. So now we're going to start with floors or we can rename it and put it roofs, exactly, and slabs. We take these objects, we select them, control and select, so we can take multiple selection, and these all explain the roofs or represent the roofs. Now I can scroll up, scroll down. Let's see where are they? Roofs and slabs. So if I want to find these layers here and drag drop here, you can see there's many objects. So it's going to be difficult and it's going to take a long time, and maybe we can't do it. What we do basically, to make it easier. So we make this layer active, and then after that, we do add to active layer. So Took these objects and put them into the active layer without me taking Drag drop every single object to this layer. We want to make sure that all the objects are geometry, editable poly, editable mesh. They're not lines and extrusions, just in case because we don't want to go wrong in real engine. So just in case it was a line, I right click and convert to Typle Po, right click, convert to the Typle Po. Now I've got all as objects, din in max, and I'm in the safe zone. All right. So we're going to go to the naming now. So we can do a hybrid process like the naming and the layering, organizing it all together. So I'm going to press first object. Okay, so I'm going to press shift and go to edit, and then tools. Sorry. And then we're going to go to rename objects. So I get this panel, and there's the base name, prefix, suffix, so I can pick objects or selected objects. So I'm going to the base name here. I can put the whole name of the objects, or if I want to cut the naming, I can enter the prefix and the suffix. But I'm just going to make it simple and put the SM that represents stic mesh under score, and I'm going to say roof Okay. And here, I'm going to say number. I'm going to say base number is 01. So that's like there and we say rename, check. It's all renamed at the same time without me entering every single object and putting right click and say rename and maybe go wrong and take long. No, we just shortcut this by the rename object tool. Basically, the scene is not like an entire city. It's not a huge scene. So basically, I can be clear on which roof is what? You know? Because I've got all five roofs. It's nothing. I can find them easily. It's like I have to hover over 30 or 50 objects with the same type. So now I click on the objects and hide them, and now I'm going to work with false ceiling. Okay, so we click the First click. Second click. Now we can rename and we say roofs and falls or ceilings for roofs and ceilings. Now we can click the ceilings also. This is not a ceiling. This should be ceiling. So we're going to do a ceiling, and we're going to click S from the keyboard to activate Snap and go to vertix, and then I'm going to go to the point. As you see, drag drop with lt and middle click to rotate the view and get the orbit, and then I snap it to this one. Then I can drag it up and then I can right click and go to the modifier list or the details and give me the 2 centimeters. Maybe this is good. Let's see. And we make the color white. This is the color. This is not the material. We're going to talk about the materials. So don't worry. This is the same thing. We want to make it white, and we're going to take all the false ceilings. The four of them, right click, convert to apply in case to make it sure that they're all geometries, no lines there, and then I'm going to go assigned to active layer. And then I'm going to say ceiling. Base number one, rename, good to go. So we named the ceilings in a correct order. So now I know the roofs and I know which are the ceilings. Click height. Now, we can start with other stuff. What I like is to start with from bigger to smaller so we can start with a new layer and do and make sure that I created the layer that is outside the default zero layer, not within, to make sure it's just a separated layer. And I'm going to say walls. And then I'm going to pick the walls and hide them together. But first, I'm going to select all of them with control and put them within the same layer. We're going to talk about the attach after we organize our files on how all the faces that are next together, that we can attach them together. It's not that we do click by click, like a single object. We can attach objects and make our life easier. So we select this one also and we can say, we make sure that we are on the layer, that is the active layer. It is the active layer and we say assign to active layer. Then we're going to name all of them. We're going to hide them, see just in case if I missed anything, I'm going to take the stairs and put them with the walls. I can hide the walls and just say assign to active layer. But I'm going to select all the walls and put them together. We select all of them. Then we take this with them. Right click, or before, let's assign to the layer. Together with the other objects. Everything is hidden. That's good. Let's do the same, click here and then assign to selected layer. Okay. So if I press on anything by mistake, how do I select more than one object, as you mentioned, control, and we select the object? If I want to remove an object from the selection, I click Alt and I remove it from the selection. So we can select everything that is considered for me as a w, try to make a layers as possible. Also these, we're going to assign selected layer. What else? We can also consider the cabins as walls, but we want to put them in furniture to make everything more organized. The third layer we want to work on is windows and frames. We're going to make it active layer, and we're going to do the same process for the windows and the frames. You know, we're talking about layer now and how to organize layers. We can talk about how to attach and detach, but we're going to cover this in later video because it makes our life easier when it comes to selecting multiple things that are near each other, and especially that I'm not going to move them. They're going to be static all the way in unreal engines. So therefore, I can attach multiple objects and makes it easier for me to select multiple things, you know? Rather than selecting four or five objects, there could be one object. But no worries. We're just going to select all of them now and just add them to the layer of windows and frames. And then later on in the attach and detach, we can talk about how we can make them easier in terms of selection. Right now we assigned to active layer, and we're going to hide it, see if I took everything. Still, we've got things to add them till I make sure that all the windows and all the frames are on the layer itself, then and only then I can move to the other layer. Stein. So we press that so we can zoom extent and then we zoom in to the next area I want to work with. Signed selected layer. Okay, we still got a bit more to cover, so we're going to cover it all. Make sure we're covering all the frames and all the windows. And taking our time, guys, because, you know, when you take your time, especially in the beginning of the steps, then you shortcut a lot of coming back for mistakes, right? So we just take our time, we attach everything together in the layer for now. And this way we can make and guarantee that our file is going to be organized, and even when we want to export for real engine, we can export layer by layer. Okay. We're going to go back to the walls and add these walls back to the walls layer. This and this, also these. Also these, these the other walls, we're going to consider them landscape walls, assigned to layer, and then I can go and name them as walls, wall rename You see? Now, all of them are SM underscore wall. And what we mean by SM is static mesh. So we're not going to move this most probably, you know? So that's how we know that it's asthetic mesh. It's not a material, for example. It's not a texture. It is athetic mesh. Okay, so now we're going to pick all of them and rename them again. So I took the missing wall with them. And now I go back to frames and make sure that I cover what's stressed from the frames, to put them all together in the windows and frames, but let's check if I put them there. Okay. All right. We're going to add these also. And the attach and detach, we're going to reconfigure the windows and frames and after attach and detach, they're going to be clearer for us, so we're going to try to organize them further more. So let's put what's left. These will put in windows and frames also because there are steel structures or should we consider them roofs and ceilings? Let's do roofs and ceilings. Now I'm going to select this as a roof. We'll take with these and call them roof rename. And then we're going to take these and call them ceilings. Now we've got them all organized. I can hide these now and move to the next step. All right. Now we're going to make a new layer, and we're going to name it landscape, so let's remove from big to small. I will select the landscape and go make it on the landscape, hide the landscape, remove these lines. Put the walls also within the landscape. I select everything that has to do with landscape. So even these tiles, also the way. These steps, also the stone here, the gravel, k. These steps also Okay. Let's hide these. Also, this is landscape. I can consider the stairs as landscape because it's exterior. Okay, and I'm going to take these and consider them as landscape. Should we put them on the floor? So we'll consider them as floors. Let's consider them as floors. So we'll select all the rest and put them all in floors. Just to make sure that we don't select frames from floors. Now we make a new layer, sorry, Control Z. Now I make a new layer, and when I make a new layer while selecting other objects, the new layer will take these objects with it as a new layer. Now we took them and hide them and we see everything is hidden. Now we go to windows and frames, and we put the frames to the layer. What else? This is carpet. This is floor. No, we'll consider it within the walls. Because this entirely was one unit, so we don't want to differentiate a lot, so we're just going to consider this as we'll take these, put them in windows and frames and fold together. Windows and frames, and then we'll take. We'll consider, I think these walls and doors, we'll consider as windows and frames. These also should be attached. We'll talk about these when we get to the attach and detach. It's going to be a rich lecture and we're going to learn everything about attachment and detachment. But we'll consider these fundamentally from walls for now, and then after that, we're going to attach them to the walls, so they are just all one piece. Oh, no, control Z to get the selection again. That's one of the amazing stuff in three D Max. You can retrieve selection, not just like other softwares. If you miss the selection, then you miss the selection. You have to select it all again. All right, so now we'll see, we want to see what's next. We just want to check that everything is put in the windows and frames. Now we're going to talk about the furniture, I think, and the lighting fixtures. So let's start with the lighting fixtures. Deselect t with select. That's how you deselect and control with select, that's how you select and select multiple objects. Now we've got the lights. We can take this as furniture. Is this furniture or light. We'll take it as light for now. Also so far so good. Also this one exactly. Now we go to new layer, and we call it lighting ftures. All right. Light is hidden and all is good. We can put them with windows and frames because DSR doors. All these windows and doors, windows frames, and doors. Okay. And actually, we can put everything left on furniture, but we want to make it even more like organized, so we want to do furniture and decoration. So the large pieces will put them into furniture and even smaller detailed pieces will put them into details. We'll select all the relatively large components. As you can see now, what are we meaning by relatively large components. And if there was a sink and I put it all together in this selection, that's because I want to attach it later on, so I want it to be together. I don't want to be looking for each one in a single layer and a different layer. So I'm just going to put them all together. The associated objects, they should be all in the same layer, even though if they were detached. So I We can select these. Also these. This one, we consider decoration. We'll select the kitchen cabins and the kitchen counters. And we make a new layer called furniture, and we hide the furniture and see what's hidden and what's their left. Okay, now we select. As I said, the associated objects, we put them all together with the furniture, even though they were small, just because they will be attached later on. We've got also. What else We're going to select these also, and also these. Put them with furniture. Now the rest could be on decoration. We'll make new layer and we'll call it decoration. I hide the decoration. I do Z just in case to make sure, I've got this, we'll put them into windows frames, and doors. What is this? This is object. This is an empty group. We can close it. That's an empty group. These together. We put them with windows, frames, and doors. Now we can drag drop because everything is much clearer and easier than before. As you see now, we can hide and unhide. Some things we've hidden by the objects themselves. What we need to do is just to make sure to unhide everything. We do right click hide all. Yes. Now we've got everything unhidden. And this way, we've organized the project in a very optimized way and when we want to export real engine, we can export in a very efficient way and we can export layer by 7. 07 Mesh Optimization ENG opt: Hello, everyone. Greetings. Welcome to this lecture. We're going to talk about mesh optimization and all the things that we need to know in Max. We're going to try to simplify the process as much as possible and try to make simplified models for unreal engine. As we know, there is two usage for unreal engine. One usage is the gaming, one when everything needs to be optimized and very efficiently modeled. And the other one is RCVS, and RCVS, and product design, we do very high detailed model, and every one of them needs to be considered in a certain way. So we will talk about old optimization procedures that we need from three D MAX to real engine, so we can further it even more there. So How do I know what is the polygon count in my scene or what is the load of my scene? So we go to the plus sign in the top corner on the left in the viewport. We say configure viewports and total plus selection. Show statistics in active viewport apply and okay. Then we've got statistics here. We've got 4,080,015 polygons. And this number for architecture visualization is considered a. For a game, and maybe this is a lot. It depends on it depends on the scale of the game and the hardware that will support the game. So let's select these and hide them and see the scene inside. So guys, there's a lot of the time where we model our stuff and there's a lot of the time where we get ready models from the Internet, so When I get models from an external source, they definitely are nice and they save time. But here's the thing. In three D modeling, there is a difference between when we get a model that is optimized in three D, or when we get a model that has extra polygons where the creators didn't really care because they knew that the end result of this was just to take an image. It was not to move around the object or for other computers to play it. So that's the difference that we have. So we're not obligating on the things that has high details, and they are in high polygon. We're obligating on things that has less details, and we're just giving them extra polygons for no reason. So we need to know which is important versus the performance and the quality. Always, we need to put this under consideration. So if we get other models from outside, the Internet or other references, and they were good, but they had a very high poly account, I might need to remodel these stuff. So if I have an RTX 2070 plus and above, I can work flawlessly in this course. If I got less, I could be working very well, but maybe I'm going to need to work with Nanite and LOD to be able to, you know, work around smoothly. But the thing is that we don't always have the luxury of having very good hardware computers. So we will learn all the techniques that we need to be able to optimize our work and try to make it work for whichever minimal hardware performance. Also, even if we have high performance computers, we need to take under consideration that sometimes we do send to clients and these clients, they're not always companies. They might be individuals that have very, you know, basic computers, so we need to optimize everything to be able to send it to almost anyone. Again, guys, we're not talking about animation here, that we're going to put it as a video, that we can post it on YouTube? People can watch it from any device. We're talking about real time. So we need to optimize as much as possible. So let's take an example and zoom in and see these objects, and try to differentiate and be fair that does these objects need all these lines and edges for it to look like this, or can we remove some edges from it or polygons and simplify it even further. Let's move this here, make it right. All right. So let's take another model. For example, let's take this chair. This chair has a lot of edges, but I see it as they make sense because this chair has bends and has some distortion and also curvatures. On the other hand, this chair is considered a good model chair because it has very low polygons. This, for example, chair has very high polygons. This could be more optimized than that. So this chair we had to bring from a reference from the Internet. But like if we model this chair ourselves, we could achieve 50,000 polygons, not 263 polygons as it's shown, 263,000 polygons as it's shown in the object. So other objects could be way more a simplified. But as we said, we are dealing with good graphic cards, and we're dealing with high tech technology from unreal engine when it comes to ninit and LOD, so we'll be able to control our scene with the minimum specs possible. So my eye needs to be the filter guys, we always filter models, see if they have a lot of polygons compared to the quality they're giving us. So guys, we always advise you to model your models. Why? Because you get full control. Look at this model. It has a lot of details, but at the same time, in the edges, they are very low edges, so you can control the model a lot. If you're going to get this from outside, it could be easily 50,000 edges for nothing. Literally like after a certain amount of edges, we get nothing but just edges, you know, nothing to show details and so on and so forth. But when we do model our models, then we've got full control on how the model looks like, and in the same time, it's very optimized and very minimal. It's not taking a lot from the performance. So when we learn these fundamentals in three D MAX, we get to have control on what we can do here versus what real engine gives us as tools to optimize our tools. So it's very powerful to know, like this gives us a head start in MAC where we can control our models very well before exporting them to unreal engine and, you know, have to do some procedures there. So we always need to put it as a scale, performance versus optimization and level of details that is into every object. So these points are very important. This was all about the optimization video. I hope you benefit from it. See you in the next one. 8. 08 Materials ENG opt: All right. Hello, everyone. Welcome to a new class. We're going to talk about the materials. So I decided I want to make the materials before I want to do that touch and detach. And this has an explanation. Because there are some objects that has multiple of objects inside the same object like a door and a handle, right? For example, I want to make the door that is a wood door with a steel handle. So if I attached all the objects and start assigning materials, it's going to take all wood material. Of course, I can change it later, but it's going to be a long time because I'm going to have to select the faces and all. So we'll do the materials first. So let's start explaining now and talk about the workflow of the materials and how does it work. So here we have the Max file. After I finish modeling and everything is okay. I go to where I want to get external models from outside because simply they have the style that I want and the amount of polygons and everything, but like they have this small thing that is missing. So I can bring them in and you start modifying them and making them the way I want them customized. So these models, when they come in, they come in with different materials. F thing, they come with a standard, possibility they could come with a standard with Vira, or they could come with corona. So all of these three, they have something in common, which is the texture. Texture is the picture of the material I want to use. It's called the albedo. It's not the material. It's the image of the material that I add some filters to it. It becomes a material then after that. Filter such as normal and, you know, and other things. Reflection refraction. Each of them needs to be done correctly so I can view them as realistic materials in my scene. So it could be three types of materials. So the V and the corona has a way of export and the standard has a way of export. So if both of them work, what would we choose? The standard, for example, Here are others. V A F storm, coroner and whatever. The standard is basic. And what do I mean by basic is very light and very simple. It only got the texture on all what is there inside the material dialogue is the texture. There are no details, nothing more. This I can modify in real engine. The other one on other materials is going to be complex. Why is it going to be complex? Because first thing, there is between VA and Max, there is a way of import and export, and between Max and unreal engine, there is an import and export. There are some data here and there. All these data, Unreal engine reads all of them. When unreal engine reads them, We get a lot of nodes inside the material editor, which will be annoying, and it won't give us something additional than the material that is simple and only has a few nodes. So if you want to talk about this one, how unreal reads it, it's going to be very heavy. And the other material, it will be very light, and thank you very much for just doing it correctly. So it's very important for me to know all of these before we start working with the materials. So we will learn how to change everything we have from other materials to basic. So since we're going to work in material, It's also nice for us to know the other ways also and the differences. Basic and standard we get it through FBX, we export it through FBX, and the other one we exported through Data Smith. That Smith reads extra things other than materials and objects because there are some other things called light maps. Also that Smith reads them. And the Light maps is one of the way that is related to building light and real engine four that we covered before. It's different than in Unreal Engine five when we work in Lumen and ray tracing. Data Smith reads material or light channels that are extra just the basic. On the basic and the standard, we just get two light maps that they are the UVW maps, and nra UVW maps, which are channel two that are the light maps. And how do I open the object and make sure that all the light is coming. So basically, if my object is a cube, the rap The procedure happens to be this way, like I open the cube in all the polygons. So I turn all of these, I get a cube. So the same rap for all the objects that I've got. So I get the detail of the material correct and the lighting is correct. So Data Smith adds extra loads to the file. But for sure, it could be beneficial because it can cover more data and cover other stuff, you know, that are not there in standard, but the correct way and the lightest way is standard. But actually, we can use either or any of them has its benefits or drawbacks. So let's come and start with materials. Let's hide this object and hide also this one. Let's start from here. Okay. Let's have a look. So what's important for me, guys, more than it is a material that is 100% correct, that the file All of the file has material, and all the file has textures. Why? Because you can fix everything on unreal engine. Okay? Why should we have material here on Max and do it also on unreal engine? Some other people, they can just put materials on three D Max, and when I want to render, I render an amazing one. Why should I do it on unreal engine again if everything is good on Max and do them again on unreal engine? So this is a very valid question. But after some time with work, I'm going to have some experience in this file. From the beginning, why am I doing it? Am I doing it for Max or am I doing this for unreal? I'm going to build my own library on on Real engine also. So we can import and export and migrate our library easily and just use the materials we have that is 100% correct and very nice to any file I want? So after some time, I could be opening the library that I have in an real engine file that has 100 or 200 400 materials, and I open the new project through this file, and I can just drag drop and have an amazing material library to choose from. And it comes through experience because I've been modifying through this material list through a long time. So I got an amazing material library to use. All right, so let's start and check where we're going to start from. The most important part for me is to arrange all my textures in the scene and also in a folder like this. Each file I have from three D Max file, either it was a model or it was a scene. All the models or the scenes, they come with maps. Even if I don't use them, I copy them and I put them in a common folder that is called material. And I paste everything inside. So I've got all the texture inside my folder, and I can use them through my scene. So I go to file to get the textures and let my file read the textures that I have. So I go to file reference, acid tracking toggle. Then I can see that everything is missing when it comes to textures, so I need to load the textures. Why is that because I changed the name of the file, and I put it somewhere else. So the link is cut between the textures and the materials. So I click on the first one and I click on the last one and then right click Set path. And then as you see, mainly, I get the path of the file that you got it from was the downloads from the Internet. So it's basically the same file that the previous user used on their PC. You want to relocate them where the actual common materials folder you've created is and tell them to use bath. Then just wait for a couple of seconds. And it should work. Usually, if I've did the project correctly and I put all the textures correctly, then I'm going to get most of the textures. But if I missed some files, then I'm going to find a lot of missing files. So what I mean by, if I missed some files is if I missed some textures from other files, then we're going to have such as missing files, because as simple as that file didn't come with material or textures or as simple as I forgot to bring all the textures of that file. Well, as you see, it's a very good percentage that we got the textures from, so the others is that we can do manually. So basically, the main goal from putting materials on three D Max is just having textures for every single object and just for us to see an unreal and be able to see which material goes where. The workflow becomes smarter and faster. We realized that some of the things took textures, and these models came with the files that already had textures on, and some did not take textures as you see here. L et's check the file together. What didn't take texture, we need to give a texture in the form of a standard material on Max. Now we're going to do M on the keyboard and all where I'm get is the material slots. Basically, it's the same in the toolbar. Basically, the basic that I have here is V. I want to convert the basic to standard. I'm going to go to render set up from here, go from render and choose scan line renderer. That's the standard of three D S max. And that should be it for me on in their settings because I'm not going to render on three DMAx. Then I press M on the keyboard to get the material editor and start converting my project into standard materials. Let's start. Let's start with the rules. Let's take a new material slot, VA material, click on Vira and then go to general scan line standard legacy. That's it. That's the standard material slot on Max. Then I'm going to go to diffuse and just increase the color to the black. Drag drop, we're going to rename this material, for example, because of its material, I'm going to say M underscore roofs. Concrete, for example. Even if I don't have the concrete texture, it's okay, I can get it on real engine. It could be a little bit dark. Let's make it more lighter. I think this looks okay. Maybe I can make it brighter. I started to edit spontaneously because I already assigned the material to the selection. Now right click Hight selection, and I'm going to start working as I was working in layers step by step. Now I'm going to select here another texture and put another color and move it to standard. Then I'm going to change it to white. That's the false ceilings, and then I'm going to name the materials M underscore wall, for example. Rag drop assigned selections height. Now on the windows, I can select all the windows. Select similar. Let's see if I get all similar. I got even the frame, so now, let's just select manually and select just the glass and give it all one material. This material should be the blue material because we're going to create the glass material on real engine. In this model, it took also the frame. So we need to make sure that it's only glass without the frame. But it's grouped. It's fine. We can take it later on. Now I'm going to select also what is not grouped. This is also a grouped or attached model. All right. Let's make a new material slot and select standard and select blue material. Just for me to guess that is blue. That is a window, that is translucent. Change the blue to make a more higher contrast blue maybe. Right click, hide selection. Let's select the group starf. Let's right click a group open, drag drop, all right. Drag drop, right click, hide selection. Then here also, drag drop is Hide selection. Here, it's not grouped. Let's drag drop and hide it. Okay? What about here? Drag drop. Same goes here. Select, right click, Hide selection. Pen, select. Drag drop, group, open, Drag drop. Click Hide selection, select, group, open, select these planes, Drag drop, assigned selection, Assigned selection, Hide selection, group, open, select. Let's click Hight selection. We make the video go faster, guys. Repeating basically all the steps that has shown, some of them is group, some of them is selection, and some of them may be attached, we'll check. Okay, here we have mistake in modeling. This should be a window. Basically, we're going to open a window. What we will do now is we're going to go to polygon mode element mode and press F four and just delete the logs here and check if the edges are aligning. We need to fix it. We just can take polygon mode from the detail panel and just activate snap and move the logs, and just make sure into vertex mode, or remove the grid mode and do vertex and then just make sure it goes to the edge. Same thing here. Now drag drop the material of the glass hide and same goes here. Either I assign from here or I drag and drop the material. It's the same. This way, I think all the glass material is done. This is a good part that is the glass. I think this was hidden before. Let's check. Election. Check the model. Just the advice, guys, always remember to do save because it saves you. It saves you from moments where you've worked for four and five and 8 hours and all your work is gone. All right. Let's go to the frames material. Let's change it to standard legacy. And then after that, from the dis, go somewhere to Charcoal gray and assign the material. That select similar. We got similar. Now we control and select additional objects manually so we can try to get all the frames. Even those interior ones, and also the frames of the window. Also the columns and also and also the separating frames. Guys we're going to make the video go faster, selecting the frames. Okay. Let's try to assign and hide selection. See how much did we progress. Sign hide selection. I'm selecting from the viewport. You are free to select from anywhere else. If you want to select from quadrants, for example, you can do that. If you LW, you open four quadrants, you can select from here or there or there. It's all okay. You select whichever you feel comfortable selecting from. For me, I like to do selecting from the perspective because there's some details, you know, so I like to make sure I'm selecting everything, and I don't like to select things that are behind things, you know. So this is the way I like doing it. A. H. This way we finished the frames, now we're going to get to the subframes. Those, we can give a different material. Any other materials. Now we're going to select similar and see if I can get many selections, and then we're going to go to this material and give it to those. Hide, repeat the process again. Same thing, took even a bigger amount this time. But we just want to make sure that is taking the correct thing. F three to take it in wireframe mode and to deselect the things by Alt and deselecting them. This way. Also, what else? We get out. The selectos, also because this has the same material as the frame. This window, we forgot to put with the frames. Also same thing goes here, S for the frame. Same for those. Also these Also the swarm. Okay. So now we gave the material and we hide them. Now these should take the materials of the wall. Also the ide selection. Let's see what else also this one. We give this even the same material for the wall and we give the same material of the frame. Also this one. Okay. This way, I believe we finished all the frames. Now let's work with the wood material. Let's see what variation of wood materials wood textures and materials we have in our scene. So let's take the pick and choose a, an empty slot and pick and see the material of the chair. Okay. So that's an ra texture. Basically, this is a physical material or corona or V. What we do is copy the texture from the base color and change this to standard, and then write the click where the diffuse is and paste. Now this is a standard texture. With standard material goes to unreal engine, fully correct. Let's take this one, pick, S. This has two materials, multi sub object material. Basically it has two textures. With two materials. The first texture is one on top, the second one is one on the side. Now we're going to copy the one from the diffuse and go to go to parent, copy from the diffuse, then change it to standard and then paste into diffuse. Then this is standard texture with standard material. Same here, right click copy from the di standard right click paste. This object is good. Let's see other, other Woods, other wood things. We'll pick this material C copy standard right click paste. This way, scripting can help us a lot, because if we have a script that can change all the VR ray materials and the corona materials and other rendering engine materials into standard textures and materials, this is going to be amazing. This way, scripting can help us. I'm pretty sure there is this script somewhere, somehow, either people have done it for their own selves or they're selling it. Scripting comes in handy. Again change this to standard also. That's a group, so we're going to take one of these, pick the other one, and take the texture, move this to V ra paste. This I think has three materials. Let's pick the third one. Let's see this one. That's a V so copy, paste. Of course, if we attach our model then basically we're good. But we're doing it now because we want to do the textures first and then the attach procedure. Same for here, copy, paste. This is not the group, this, we need to attach. This could be okay. Let's pick Let's look for the map because this one does not show the map along the way, like the others. Let's pick the wood. Now we've got it. It's a sub object material, so we'll go to the fabric, take the diffuse standard material, past the fabric now standard. Same thing goes to the wood, right click copy, standard and paste. In the diffuse. Now we've got the wood and it is standard material. Now I can take this wood and give it just for the models that they are in the exterior. We'll change it later. Don't worry. We did not hide the chair, it's fine. Let's do the wood panels, and then after that, we can hide it. Is sect similar? Perfect. Now we're going to give this material to the wood. But this wood is different than the wood of the exterior. We're not going to give it the same material. I think it's all okay. Let's see. Now, we've got some more here and here. Okay. Now it's all only external. M from the keyboard. Where is the material editor? Okay. It's on the other screen. Sorry, guys. So now we assign material selection, and we see the mess. We select this one and we assign. Okay. I think there is some sort of a problem, no problem. We will solve everything. This is the white control d. Let's remove this wood. Basically, what I'm going to do is take this color and try to give it a wood that has the same color. Give me this material standard, and we'll take the color of the wood. Try to get it as close as possible. Let's say and now we want to assign it. Okay. So now we've got a specific slot for the wood. For the external wood. This, we can get grass or any other material. Let's see, this is the foundation of the building. Let's take this wood also and give it the same color as the wood. So it all takes time, guys, even if it was on corona and Ve or any other render engine. Basically, I'm going to need to do the process and to do a trial and error. And for me to know that this material is okay and perfect, I need to make multiple of renders, which each render could take me at if it was on high definition like half an hour or so. So this is why guys, at least on real engine, we get to view it in real time, so we can change it directly on the other softwares for us to make a material perfect takes much longer time because usually we don't always get the privilege of having a good computer to render on. So yeah. So now we continue with the other objects. We give it this material. We take this table and give it this wood. No. What about this? This is possible. So guys, basically, what I'm trying to do here is to give every model possible a texture on max or a color or an identity of material. So when I export them to real engine, I've got something associated to it, and I can control it further more. Select all of these and see if all of these has the same material and see if I have changed this to standard or not. Yes, we did. We can give it a gray material. Also, all of these, we can give gray material that we've done on max and just assign it to them and hide them. We're going to have to select all the components. Also here. Also here and here. This is gray, this is gray, this is gray. Also, this table could be gray, the lamp. Sorry, gray. Right click Hide selection. Also this and this and that. Sie hide selection. T also the handles so take charcoal gray. Select similar. Also, all of these elements take gray, so this is good. Also, this we've done. This is gray. These books should be considered done. But open, let's check. It's a VA material. So we change this to standards. So here we don't have a diffused map, so we can take the reflection map. A map. So the priority is for the diffuse. If we don't get any diffused map, we take any map that is available there. Same thing goes here, right click copy. Sorry. We make it standard paste. There the verse, but it's okay. As long as they took both textures, it's fine and also the books, then it's okay. Let's see this one here, also. Let's see more books. So when I select all the books, A. And hide them because all of them are standard. We take this multis of object material. These books did not take any materials, so we can change them with other books or look for textures and assign them to these books this chair group open, select. Let's do So sometimes guys, this case is valid that it has a material, but it's not shown in the viewport, so I just go and see any maps if there's any maps in the material slot. So if there's no map that is valid, so I just can create a slot that is from scratch or just give it any other material that I find suitable. So I believe I'm going to give it the same material as the chair. This one, not this one. This one. This one had the fabric, so we'll just give it the same fabric as the other chair and we'll change it later. But the most important part is that every object takes. This is all we at, but we don't want it to its ID. Okay. Okay. So basically, in this case, we have a problem with the IDs, guys, of the object itself, of the polygons, not 100% fix. Okay. So only for this chair, we're going to jump to the ID parts, so we're going to take element mode from the editable. And I want to make sure that that I am on the edit p and I want to attach the pieces. It's the same process, but we're just going to make it for this one, for us to make it clear, what's the problem for this chair? I want to make sure that I'm attaching the correct parts. And where else? I took the structure all of it. Nothing missed. All right. Now what we want to do is select the element mode of this object or the polygon mode. Control all with a polygon mode, then we're going to go to set ID and do two, type two and press enter, then it's all with the wood that I want, regardless of how the map looks like, it all has took the same ID with the same wood. You can see we can fix things here. We can edit things, so you can see the wood becomes more realistic and looks better. This way we finished this chair, and it's more organized now and even more efficient because now it's all attached. This one hide also still this is a group, so we open and we make sure everything has a texture. Let's see which texture does this material has. Okay. Wait. We We We hide the carpets, but we did not make them standard yet. So this is one of the things that cause problems later on. So let's just pick, go back and change this VA material into standard. So we'll just click on the button here and we're going to go to map, see if we've got any maps. This is the glass material. We're trying to find the texture of the carpet. So select. Here is it. Map, copy, hear a standard, then we go to the diffuse baste we've got it here. Same for this carpet. I think it's the same as this one because we change the core material. Hide, now we take this. Sofa group open, and we pick standard and paste. Guys, just in case for the people who doesn't know control Z is how we undo Max. So now we're going to do a fast forward and do the same materials of the furniture. The textures will take textures and the colors will take colors. Okay, guys, here we're going to do a multi subobject material for the model because this has no material from scratch. We we've done the modeling for this one. When I clear the slots here, so we go to utilities and we do reset material editor slots. But I don't want to reset because I don't want to lose the materials that I have here. So basically, I'm just going to give some colors to this model generally just for us to have a material assigned to it. Now we're going to take a new we're going to take a new slot that has a color and now we go from general and go to multi Sub object. Now we got it. The first color is material 17, and then we go to the second one and we choose a standard material. I want the color to be like a little bit brownish for the ground. And the street will take gray. Now we've got two materials, drag drop, rename, S. Now we got this one. We just want to swap it now. Now it's all good. Also, we can make it brighter a bit. Okay, maybe just a minute for it to be clear and this will take the same material of the ground Hight selection. Close this and go to the details. Click Z. This is how I zoom in. And now I want to continue and finish all of these. This we're going to delete because this is not a very good model. We're going to replace it with another one. I think this one, we're going to delete as well. We've got other models. We're going to talk about how to import that they look much better. What is this? Something. Group That's a group. This group, we're going to hide selection. My selection, Now everything is hidden. Now all my materials are good, and we've done the materials for everything. As we said, the concept is that we're trying to give every model a standard material slot. Everything else we're going to fix on the real engine part. Of course, some of the things we left, there's going to be a lure that we're going to fix everything. But don't worry about it. Everything is going to be okay before we export it to real engine. That was it, guys see you in the next class. 9. 09 Material Pt: Hello, everyone. Welcome to a new class. Before we talk about attach and detach, we're going to copy and paste some models that I have that I fixed in the main file. This is a ready file. I've got two files, one for you guys, and one for me to test and trial before I explain them. Okay, so we've got more than one model that we want to fix. We want to copy them to the file that we're working together from them are those two vases. Even this one I deleted it, but I want to take it again. We could delete it later on. We'll check. I want to take these objects, and usually, guys, I'm going to do an ult Q to isolate and then I'm going to go to file Save as or save selected. And then after I I do save selected, I'm going to name the file in and take the same file and drag drop to my main file and merge it there and move the objects where they should be. On the other hand, I have a script. This script makes my life much easier in copying and pasting, other than saving as the file and merging it to the other project folder. I've got a script that does copy and paste. This script is fully explained in my YouTube channel. You can go check it out and see how to download the script. I've attached the script to it also, so you can download it, install it on your Max and start going, and believe me, guys, this will save a lot of time. All right. So basically, what we want to do now is copy these objects, other than save selected and merge and naming it and move it there and try to put it in the same place and the right place. So now I just copy, and I go to the other file and just paste my objects. Check this out, guys. What's nice that the objects has been copied in the right place, exactly in the right place, other than me moving them and merging the file, and so even the materials, I don't have to fix them because I've already copied the textures. So before we finish this lecture, we've got a couple of books here that we did not convert to standard material. So let's just check together. So we're going to pick And as we said, it's still a V ray material. What I'm going to do now is copy the albedo and go to scan general, sorry, scanline standard, and then right click paste in the diffuse, and I've got the book. Same thing goes and applies to the rest of the books. Pick the material of the book on an empty slot, then change it to standard, paste, good to go. Same applies to the other ones. All right. This one already as material is the same as the previous one. Oh. Yeah. These I guess they are standard materials already, so just let's make sure. This is VA, the other one is standard, so we changed this to standard, as we know, selection, go to empty slot, pick scandar paste. Those are attached. There are multiple objects. This will give me supposedly a multi object material. But for some reason, I can't see the multis object material. So let's make it standard and see if all of them, they will take. Then they all have one texture. All right baste. So why do I guys do this? Because simply if we leave the materials to Vira and we export them, we will export through FBX. So if we export FPX, FX does not read the materials of Vira or corona. So basically, we're going to have a problem that the models won't have any materials on them or any textures. So that's why I do standard because it's sad by the FPX, and it's read by Vira and corona when I export through Data Smith. So we do with the Safeway. And also the standard, as we mentioned before, it's much lighter than a VA material. Okay. So some books already has some materials that we already did in standards. So now, we just pick and see which material is assigned to it. How do I know that this material is assigned into the viewport or not? So I've got slots and I've got like a frame around the slots. And it's like a white frame. And inside these slots, it's an empty wire frame. So this is an indicator that this material is used in the scene. When it's completely empty, no framed, then, the material is not used. And when the material, the frame has white border, like this four quadrants, has like white borders, like filled white. Then this tells us that this material as shown is the material that we are currently using on this object. So as you see, it's, the one just above it is empty from the inside as the frame that I mean. So if I press on it, it becomes white. If I hide it, it's no longer like filled white, that means that I'm no longer on this material. Same goes to this material. So this is an indicator for us to know that where are we in the scene and where are our materials. Okay. Right click, convert to b Poly. Let's see if I've got any problem with the normals. So from the modifier list, I press edit normals, then I do control all and after hovering on the Gizmo and I do break normals. But we'll cover this in different lecture. Okay. Now we're going to make sure that this has standard material and that the model itself has no problems. Okay. Let's make sure and make a reference and do acid tracking just to make sure things that we took materials, but they're not taking materials, so material. Okay. Okay, so, you guys, I found out that the materials not saved on the file that we were working on. So I looked for the file that we were working on the materials together. That was the last saved version from it. So how did I find this version? I went to file open. In the Max. Whenever I do file and open, there is something called project folder. This is the basic file that has saved all the materials and the textures and the autobCs that I worked on for my project. So how do I get this file? I basically go to file open, and then when I open, I go to the root folder, and basically my scene usually is in the scenes. But I'm going to go to AutobaC and pick this is the third one, Autoba three, and this is the most recent date that's yesterday at 5:25 28. So that's the file we're working on. So there are some missing stuff. Not everything we've done had materials. So now we're going to give materials to everything, same steps as the video we did and go back and do the books again, unfortunately, and then we're going to be all ready for the next lecture. This way, we finish the materials and go to the attach and detach. 10. 10 ID's Attach and Detatch ENG opt: Okay, guys, hello. Welcome to a new class. So I fixed a couple of things in my file, and I took the objects that I needed and other things I had with other materials. I took it, and I did the same thing with the workflow that we learned earlier. So I took the object and I gave a material, and just in case it was a VA material, I converted to a standard material and it was okay. But yeah, everything is separated and well organized and already has a texture. In this lecture, we're going to talk about attach and detach very well. Let's take this chair as an example. It Q to isolate. We'll go to group and open. This chair is a group and it's a three pieces chair. How do I attach this object? Let's understand the logic of the attach and detach. I have an object, for example. So this object is consists of two pieces. So this is piece number one, and this is piece number two. Usually, what I can do is attach both of these. After I attach them, if they didn't take materials, both of them will become the same material. And this is wrong. But there is ways around it. After they took the same material, so now I need to detach this object and this object as ma as in geometry. Let's say this is the other object. So it's two objects. So the most important part for me is the material to be separated, not the object itself. So as long as I'm going to move the object together, there's no need for it to be detached, and so many objects in one object and it's group. So it's very simple object, so we just can attach them together. They're not just further away from each other. They're very close and very consistent in size. So if it's a small object, then makes sense for me to attach it and just change the material to separated materials. So for me to be able to change the materials, I need to enter the polygon mode, and we'll see what does that mean in a bit? From the polygon mood, I need to pick the IDs that the faces has. And these faces will be separated depending on the objects and the materials of it. In the material editor, what I will do is to do a multi subobject material. And pick one to be the fabric, and two is the steel. Multi seve object materials gives us a lot of slots, maybe up to ten slots, slot number one is fabric, and slot number two is steel. Either it was a color or a texture of steel or anything else. Basically, what I did is, I did the inverse, also works. Before I attached, I fix the materials of the objects. Although there was a lot of objects, but in this case, no need for me to enter the polygon and edit the ID and give a multisubobject material for this, multi sub object material for that. If I gave material for the first object and the second object, then I can attach directly both objects, and Max will understand that this is number one as an ID, and this is number two as an ID. No need for me to identify the IDs because they are already identified with the material of the surfaces. This way works and this way works, no problem. Let's work with this object. This object already took material and editable poly and same for the other one. Now I no longer need the group, so I need to close and then ungroup, and then I need to attach match material IDs to a material, and attach this one also and click Ok. Now I've got one object with two materials, two separate materials. When I choose M from the keyboard to open the material editor and do reset, and now I'm going to pick. Check guys. We've got three materials in one multi sub object material other than giving me three different slots of standard materials and picking a standard material, then Multi subobject material and go through the manual process. Now we can do it in automated process. So no need for all of this work to prolong the work. We just can pick and give materials, and after that, just attach and everything will be controlled. So see if we hover over the IDs, we can see that they are with different IDs, one, two, and three. Other than doing this manually, I can just give material to everything and then just attach it. Then it becomes an automated procedure and the material slot gives me tib object materials that ready. This is the strategy I followed. For everything else in the scene, we need to do the same concept. Let's take this kitchen island and attach attach. Same thing follows till we complete the entire object. Basically, what I'm doing is just attaching relative or related objects to each other. It is basically much easier for me because I gave material to everything, so there is no problem at all. All right. Same thing. We do. So we finished the object, we hide it. Next object, convert to diti P, because I need to attach it and attach all the components associated to it. Now we move it to make sure that is one object, and it's all the same material. Same thing applies here. We ungroup and attach everything together. But we need to convert it to editi poly to be able to edit it. S So now it's one object I can hide. All right. So this is one object, and these are two objects. So basically, what I'm going to do now is ungroup or delete and just copy instance by clicking ult and dragging, and now I get an instance and they're ready. Same thing goes here. We need to attach everything that is related to each other to become one object, and it's easy for us to change the materials of, to change the model. And it's going to remain a static, so it doesn't make sense that it's multiply groups. It makes sense to become groups if we're going to do a certain interactivity on it. But if we don't have an interactivity, then we can attach the entire object. And we need to focus because we don't want to be attaching stuff that is irrelevant to us to the kitchen island. So this is what we need to do. Just go over the objects and attach all of them together, and pay attention to a irrelevant objects or other details. So basically an indicator for me to know that this specific piece did not take material, so is that while I'm attaching, I see that the object that doesn't have material, when I'm attaching it, it's taking another material. It's changing the color. So this way, I know that this object has no material, for example, okay? We're going to touch this object also. I think this way we finished the kitchen island. Yes, we did. We're not going to touch the oven. This is going to be a separate object to work with. Basically, what we're going to do is fix the buttons of the oven because they got lost while we were copying and pasting. We're going to copy them from the main file that is done. The file opened, and I'm going to copy the buttons to the other file. And the buttons already are attached on the other file, so basically, we're just going to delete this counter and just copy the other one because it's ready. So copy objects and paste it. There we go in the same place, with the same material, with the same everything. So that's the advantage of scripting guides. Make sure you go back to YouTube and learn how to install it and use it because it saves a lot of time. Does not just move objects, I also organize them in the same place. Let's check the chair and the frame. So as we said, we want to take each of them as material, and then we attach them together, then they become a multi sub object material. These chairs are pre donone so we can hide all of them. Hide selection. The table, for example, the legs of the table is a material and the top is a different one. Sorry. So basically, what I did is I gave material to the top and material to the leg and just attached everything. So the table must be attached if I want to change the model in unreal, for example. Otherwise, it can be separated, but we highly advise that we attach everything that has to do with each other, and that does not have to move, you know. Moving to this model, so basically this model is a copy instance. So how do I take an instance is ult drag, and then I pick as an instance. What does instance mean is that when I copy, anything that I edit on this object will be fixed altogether on the other objects. It's not a normal copy. It's an instance. So basically, if I know for sure that all these pendants will be the same, so no need for me to give like every single model, materials on its own and attach everything on its own. So basically, no, I can just do one model, and So basically what I'm going to do is unique. I just clicked on the button to make it unique, and then I'm going to attach. Both of them has materials, group and group. And what I want to do now is make sure that everything is attached. Attach. So now the attach is done. What I need to do now is make sure I'm out of the group. Those two are done. I can do this, or I can do just one of them and just copy all of them. H I clicked on the group directly and deleted it without going to group panel in the toolbars and changing it there. I just moved the desk to show the light, and now I want to attach the two objects together. For us to be focused, let's hide those and do the same for this object. First click, then same click at the same place, I can click the object behind or below, and then I touch both of them and. Moving to this object, convert to the poly, to remove any modifier that has on top of it. So now I attach everything together. Now I've got like an entire piece together. I've gave it material, I give material once, I give you V, I give you V once. Everything I do once once they're attached. And I know for sure that this will be stationary. This we're not going to move, so I will attach it as well. Also these handles, and I didn't take the materials of the wood because I gave unique material to this object. So now I hide, all the shell is gone. It's acting as one object. Now here, what do I have? So if I delete this box, this box is higher than the wall itself. Saving. What I need to do is to edit the box itself, convert to editable poly, I'll take the vertex and just enable snap by S and make sure that I controls on vertex snap, and then I move it down and attach it to the top here. And everything is great. This one, I want it to be white. Now I attach the wall and I attach the handle Just in case I want to open the door or close it, I can open it or close it. Why did it open like this? We'll talk about it in the pivots. Same thing goes for this object. This FFD modifier helps me to move the object and stretch it. Convert to the b poly and attach everything. These cabins also I want open, so it's okay for me to attach them together. This all I consider one entire piece, and same thing goes here, attach, attach. We're good. Ide. Okay. Same for the cabins. I'm going to consider the entire cabins like one piece. Because these won't move, and these won't move as well, so I just can attach everything together that won't move. But of course, this is the cabin. So we will attach only the cabin. We won't attach other stuff that has nothing to do with the cabin, such as details. You know, details are placed in the cabin, but has nothing to do with the cabin. So now I can attach the back as well. Okay. So it attached the wrong object, so we want this object to attach, not the wall behind. So right the click for me to leave any command in Max and hide selection. This is one object or sorry. Let's attach the handle. Same thing here. Attach hide. Okay. Same for this couch. If we hide, and these pillows are separated. So only in this case, it makes sense for me to group the pillows and the L shaped sofa. Why? Because I want to give every single pillow a different texture, right? So I can either do what I did before is basically place a material and then attach them, or I can just group them and send them to Unreal and give separately materials there. What I can do now is control with selection, select all the pieces of the couch, and group also maybe the book and close group group, and then group group again. And what do we call the group is GP underscore couch and to make it more specific long couch. If you want to specify it even longer, a long living groom couch. But I don't want to make the name very long. We'll just stick to this. So we delete those control Z, I think there's a duplication of objects as I expected. So now hide and just delete the rest. We're good. So just to make sure if we unhide But they're. They're good. All our pillows are there and it's grouped, it's not attached, so as we wanted, close control Z, control Z, control Z. Now we're here and we get deletes and continue in the last point where we continued. This book is a duplicate as well and hide all, exactly, so it has two books the same. Now I can delete this book. This is one piece, we can hide directly. So guys, if it's a editable mesh or editable poly doesn't make a difference. These all we want them as groups. Make sure this one has a material. After some time, all the procedure is much easier and only minimal things need to be done. Underscore table accessories. Hide selection. All right. Now, this is one full object. Hide selection. We're not going to attach, neither group hide same for here. We check if it's a group, we ungroup it just in case. Let's move it, make sure. Okay. Basically, what we're going to do now is just hide it because all good. These all we can group together. Group group group. One group as well, because I want to empty all the groups, GP underscore coffee table. So I can read them easily on real engine. Same for this lamp. But open, this is grouped. What's grouped is the bulb, the grouped with the side lamp itself. Basically what we need to do is give a random color for the light or take an existing material for this one. Pick from this spotlight material and I know it's a color, but we'll differentiate it non real. Z to make zoom on it, control scroll shift with the mouse, so we can zoom in, drug drop this material, and we can give this material any other material. Now we can attach them together because then we have three different materials for every single element. Now we close the group and ungroup, or we can delete the group, as I showed you earlier, just delete the boundary. And same for all the other pieces, guys. These, for example, are a lot. What we need to do is to attach all of these. Basically, what we do is select everything that has to do with the objects, lt and deselect the edge of the house, and then lt Q, and then I can attach right click Converter b ply, and then I can do attach. There is next to it, something called attached list, and I just attach all the spheres, attach, and then I've got it all attached. At the same time, I I didn't do this attached list, so look, what I need to do. I need to keep on pressing till tomorrow till I finish everything. I need to go to the sides and I need to go to the other viewports and try to, you know, make it correct, and maybe while I'm attaching a moving object. So after some time, I need to be smart in Max. If there's the tool for me to attach everything, then why should I do this? So basically, when I attach them as a list, so I select one, convert the poly and attach list, and attach all of them. Of course, guys, it's necessary for us to have it all isolated in a view. So I don't get thousands of options when I want to attach list, right? Because if it's all in one scene, and I want to attach everything together, then I can attach the entire scene. So now this entire object is attached, and everything is good. If I want to do it piece by piece, sick longer time. So I did unhide for everything. Now I need to quickly and hide. I deleted the kitchen counter by mistake. So basically, I need to reimport it again. You see, it's good that I have another model. Otherwise, I need to go back to the auto back and see if I'm lucky enough to have it there. Otherwise, it's permanently gone. But in my case, I'm good. I just copied and paste. Basically, we want to save this file and show you how can I retrieve the auto back files. Basically it needs to be in the root folder of Max, not the folder of the project itself. So basically, as you guys see, if we try to open it from the scene itself, then it's not going to open it. What we need to do to come back to that file is basically an empty Max UI, and then after that, try to open it from there, you know, by doing file and open. Let's say, don't save because I don't want to change anything else. So this is the root folder. So now I go to auto Ba and here, I've got a chance to retrieve the file that I deleted anything. So if I deleted the thing and came back to it after 1 hour, 2 hours, then I've got it lost for good. So that's why I need to always have copies and always save, you know? I've got three copies of the file. Always guys keep copies because you can always come back to them just in case you've deleted anything by mistake here or there. So in this way, I've got everything under control, and I've got nothing to worry about. Okay? So I think we're good now and everything is attached. We were able to retrieve the model. So all of these, even the dining table and the chairs, we can group them together to help me with the hiding and hiding objects. So basically, we want to focus on is the windows, guys. Right click converted DP. You see, we have space here. So basically what we want to do is converted DP. By the way, these mistakes in Unreal are very problematic because if I have gaps in my model and lights enters, then it can break the entire build of the light or how the light is reading my scene. So we need to make sure that our model is completely sealed. An unreal engine, it's very important for me to know that all my models are sealed. Now, basically, I need to go over the process and make sure that all my model is sealed. Snap can help me a lot, guys in making sure that my model is sealed. Same thing goes here. So I can basically use the access constraint just to move it to the ZD. And to zoom in and out just to make sure that it is 100% sealed, converted the poly attach, and then we can attach the frame and the window. And guys, we're going to come back to this point. Remember, we're just going to continue now, but we're going to come back to this point where we will talk about this specifically the windows. So now I want to make sure that everything else is sealed, but the rest is okay. Sounds like they are okay because there's no seal. There's no gap, sorry, right click hide. Now all is good when it comes to the glass. These three pieces. Now, these metal doors that are within the window frames. So now, since this will open, what I need to do is, I need to attach all of it together. I don't attach the bigger frame. I attach the smaller frame, and since I have the vertical elements and the top frame and the bottom frame, then it's kind of I've got a frame for the entire door, so I'm going to attach the handle, attach the small frame and the glass itself. So this is attached now. Ideally, we're going to talk in pivots, but ideally is basically we bring the pivot to the corner. And this way, I've got a door that opens 90 degrees like I have a hinge door. So it's going to open to the outside only. All the things that needs to move together, we attach them together. Things that doesn't need to move, then I can attach bigger groups together. Most important part before I do attach is that everything already took material. Or I attach and go to the IDs as we explained and change the IDs to one, two, three, four, to ten, if we have ten materials. And then after that, give it material and make sure that each ID took the material that is associated to it. So this way we attach the windows, the way we attach the furniture. Also, such models, how do we attach. Such models already took materials, so what we can do is we can attach them with the phase. All right. So since the vase has no material, then when I attached it, it changed the material of it. Drag drop. It's not changing the material. Here, let's check the faces and see if the normals are flipped. We'll go to normal, control, then break. No problem with the edit normals, then maybe we can go to the element mode and try it from the editable poly. Basically, this model does not need edit normal. Basically, let's talk about the normals quickly. Normal guys is basically when I have such an object, and the color of it from the outside is glass. For example, When the normal is flipped, What does that mean? That means that the glass that I'm supposed to see from the outside is inverted to the inside, and what I should be seeing from the inside is inverted to the outside. So how do I fix this? Is the first way is I edit normals, and not all the ways edit normals could work. So I press on the row and press on normal and then break. So it breaks all the normals, right click converted the polyit works, or I go to the polygons. Maybe select element, and I have an option down called flip. Let's look for it. Maybe from dit. Let's press control with the polygon mode, so it covers from element to polygon with selecting all the faces that I need to have. Control and click on polygon. If I want to select all the vertices, I press control and select the vertices or all the edges. But if I'm in an element mode and I go to polygon or edge or vertex, If I'm on element F four, if I select, for example, this polygon, and I told it control and click on vertices. It only selected the vertices only around it. I selected all the object as an element mode and I said Control and polygon mode, then I go down to the options and look for flip. Here is flip. W red this way, the model is flipped and wrong. When I flip it and it's red that is bright red, then the model is correct, regardless of how is it looking now. I think there is a mistake with this object from the model that we brought it from. That's I think as I said, we have a problem with this model, so now I can easily just draw a cylinder and delete this object. Almost from the center point, I drag it up, it created it down, so I put it up this w and I in the height it get it here to see how many sides I have for it to be smooth, I need six sides, not more. Then I can delete this object. But here, I need to fix the cylinder. So it looks like a vase, so I need to click, converted the bell poly and take the polygon. There is on top deleted. Then from the modifier list, I can enter shell. Now I've got 100% these. I can put it up a little bit and try to center it to the plant. And this, I can give any material and it's 100% correct. Here is the power, guys when we have modeling tools and modeling skills. I can fix anything I want anytime I've got a problem, but if I have no modeling skills, then I'm only constrained by the models that I get from outside. So if all the leaves are separated, we take and do the same thing that we've done for the walnuts is basically take it and isolate it and just, you know, attach all the leaves together. So guys, the things that will move, I attach them together. The things that are, for example, such as like a group of a coffee table and the plants, I can group them all together. So when I move them together, they are much easier to move. It wouldn't make sense for me to attach them because they're not the same object literally, but they are together, so I can group them. Same thing applies to the cabin and everything that has multiple objects on top of each other. So the last thing we want to talk about in detach, if this object did not take material, and I attached both objects. So suddenly this plate is wood material as the board. So what we do is we convert to the tiple poly, then we go, for example, if we attach But just in case that the plate did not have materials. So what I do is basically select through element. Why do we select through polygon intellect through element? There's a lot of tools to make a quicker selection, but if there's an element mode, so we can just select element mode. So select element and say detach, and then we change the name, and we say, Okay, and this way, we're good. So that's why I left the naming of the frames and the glass and the windows for later because I wanted to attach and fix all the frames in the glass, and then after that attach and then after that name everything together. So for example, this frame is box convertible poly, attach, attach, attach. So now it's easier for me to name four objects as one object other than naming four different objects. It's even easier to give material and just identify anything related to it. Same thing goes here. Right click, convert to the Bel Poli, then we attach the entire frame. Of course, it's going to take a bit of time, but we make our lives easier. Selection. You see, attach, control Z. I've got only one object much easier for me to name. So here now we select attach, attach. This window, it's up to me. Am I going to open it or not, but I think I'm not going to open it, so I just going to attach the window with the glass. Same for the glass panels. Same for the handle. Same for this object. We just want to attach the handle with the door. So just in case I want to open it, it can open sliding with the handle because it's realistically going to open this way. Even the toilet, I attach the handles with the door. And in this case, I'm going to fix the pivot of it in the pivot lecture. So this is the logic of the attach and detach. This is a group. We're going to group and attach all the elements together with the handle, because the handle is going to open with the door and the frame without the exterior frame. So if I take the entire frame, attach the frame, look what happens. Now if we rotate, it's wrong. We just attach the frame and the handle together. Then I attach the glass with the frames because this glass is going to be stationary. It's going to be fixed. So I can attach it with the glass. And the same way for the entire scene. So I can attach and detach the entire scene and the objects that are related, of course, under a certain hierarchy. But the things that I want to have interactivity in the most, I need to focus on the most. So this we have to put under consideration. So for example, I'm going to look at this environment from the exterior, so I'm going to give material to this building material to that building. So I need to attach everything together. So when I look at it from the unreal viewport, I can just drag and drop and all the surroundings of the building already took the same material. I don't give the same material for multiple of objects. Of course, in a certain logic. So I attach things that are in the same place. I don't attach wood with different buildings, for example. I just attach wood with the same building. So for example, let's explain through Epic pen. So before this, let's zoom in. So this is the screen of Unreal, and this is the viewport of the unreal engine. So Unreal engine reads everything that is inside the frame. So it makes sense that all of this piece is attached together and this together, and so on. So I I attached like all the wood together, like this building and this building, and also the building, on the other hand, What will happen is basically, even if I'm looking at this view, it will calculate one, two, and three, because they're all attached. Even if they're not in the view, it will still read it, so this is even more load on the file, because it's reading everything together, even though it's hidden. So that's why I need to attach things that are close to each other only. So when I'm here, it doesn't read the entire project, right? It reads just the area I'm working with. This way, I'm not optimizing my project and my work is wrong. What I want to Later on, if I want to do collisions, then this is even a bigger headache. That's why I only attach things that are next to each other and related to each other. Things that will be fixed, I attach and stay there. The things that will move. I attach the things that will move with it only, such this door. I just attach the components of the door. I don't attach the main frame. So this is the main concept of the attach and detach and the IDs. We're going to talk in the next video in a very short video about the edit normals and try to fix it and show you guys how to edit normals correctly. Just in case we didn't do edit normals on Max, we can do it on real engine. I hope you benefit from this lecture, see you later. 11. 11 Edit Normals ENG opt: Hello, everyone. Welcome. We're going to talk about flipping the normals in the editable poly. So now we're going to hide the roofs and go zoom in to these glasses and take them as Q to isolate them in the scene. And as you see, they are black. They don't read neither light nor texture. Now we're going to select element mode and go to edit elements and try to flip the faces from the So the main indicator that I have a problem is that we have a dark red, and now we have a bright red. So when it's bright red, then it's correct 100%. When it's dark red, then it doesn't read neither light nor texture or material. So this could be the case in multiple of objects in our scene and when I copy them from other scenes. So it's okay. That's how I can fix them. I can convert them to editable poly and flip the faces. Of course, there is the modifier that is edit normals, but now we're going to cover this for this sake. And as you see, we can now see all the materials with no flip faces, and it's all 100% correct. So basically, just in case I forgot to do this step in Max, and I moved forward to unreal engine. Don't worry. We can fix this as well. There's no problem. In Unreal engine, there's a tool to edit the normals. 12. 12 UVW Map ENG opt: Hello, everyone. Welcome to a new lecture. In this lecture, we're going to talk about UVW mapping and it's one of the most important topics in unreal engine. As we know, we fix the materials of the objects that we have. So now we need to make sure that the mapping of our object is 100% correct. So we're going to give you a couple of tips how to do that. So let's take an example. I have this table, for example. The scale of the table, guys, is different than the scale of the chair than this object and this L shaped couch, everything that has a certain scale. So for us to be able to fix the UVs here, We need to take a couple of things under consideration. I have a way based on experience, guys, is that when we give a text to an object, we can unify the maps and the UV coordinates. Then after that, we can work on the work flow that we are doing the rest of the objects on. Let's delete this and make an example. Let's take this object for instance. This object when it goes to unreal, unreal engine reads it as a three D model that has a texture that has a material. And also has a light map channel. And this slight map channel is one and two. One is for the UVW map is to make sure how the texture look like on the object. And two is the Andra UVW is that when light is exerted on the object and how the object is open, as we explained in Andre engine four. So In nal engine five, we're going to need Light Map one only Channel one. We're going to work in Lumen technology. We're not going to work in build. So then, we need to focus on one and make sure all of it is correct. What is the UV that we need to do for our work to be correct? We need to do object by object, go to UVW Map, pick the closest shape to the shape, and we picked box because it's the closest. So we'll give this a texture just an example to see how it looks. Okay. So, let's do an actual wood, actually. Something that is very close to. And we'll change it liter. We'll jug drop and now we've got the wood. But this is attached, so we need a multi sub object material. Basically, if we gave the material of the wood to the wood and the of the handles like the charcoal and then we attach them, then we're not going to have this problem. But the thing is that we want to explain here is the UV. When we do UVW map and do box look, how the texture looks more realistic. Of course, we can calculate the distance on all of that according to real life, but This looks much better than the repetitive pattern that was on it before. Be the texture is looking good here, we can leave it as it is. But this in unreal engine, other than we're going to learn how to do materials and also scale the UVs, and also we're going to rotate the UVs, and we will learn like a couple of modification on the UVs, inside real engine for us to be able to fix anything that was not working correctly on Max. This is basically the length and the width and the height of the object on three D max. If I want to edit these in unreal engine, this is also could be done, and it will be fixed on all axes. So what we need to do in unreal engine or in Max, so unreal engine is 100% compatible is that we unify the length of width and the height. So this way, we make sure that all is to real world scale. Even if it looked better before, we make sure just to make it 100 by 100 by 100, representing 1 meter by 1 meter by 1 meter. Later, when we give it any material, for example, if we want to change it in unreal engine, then I have no problem because the UV of the object is 100% correct. So I can give it any material and it will read with the actual size, with the size of the texture because some of the textures are not unified as two by two or 64 by 64 or two k by two K. Some of them are like two k by four k, so I need to make sure that I'm doing it correctly, at least a unified one, so everything else can work on it. So just in case there's anything I missed in Max. We have all the tools, same tools in unreal engine that we can fix everything. But in the basics, we need to do everything in Max, so we need to learn everything on Max and make sure to cover everything on Max. So it's very good for me to know how to do this on Max and on unreal engine. We need to make sure that most of the objects or if not all the objects in our scene has a UVW map and is like 1 meter by 1 meter by 1 meter. We want to convert this to edible ply just to fix the texture of the handle, and I no longer need to give it any UV because it's collapsed now within the editable poly. I'm going to pick the elements here. I have two ways, either. I pick the element and I detach and I give a material or I drag drop the material directly from the editable p, and then I've got it and it's correct. L et's try this here also. Drag drop, try another way. And I can later fix everything, no worries. If I drag drop here, it's going to take the entire object. I need to fix it and I need to be inside the editible poly to select one of the selection modes and try to fix it here. The second way is to detach those objects. After I detach, the name is going to get corrupted, so I need to fix the name as well. After I detach, I can select and just drag drop, and then I've got this material, and then after that, I can reattach it. And it's fixed. So I can do either or in different ways. This is how I do it. What I would prefer is to do option number one is basically just to collapse, take element mode and just drag drop. Just in case I forgot. Ideally, I should do them as IDs. But just in case I forgot, I can do it this way. Yeah, exactly. This is how we should do it. Set ID number one and number two. But just in case I forgot I just can take element mood and just drag drop the material onto it. And finally, I can give this object the UVW map and choose box, and do 100 by 100 by 100. Except the objects guys that all the material is very correct and unwrapped on it, and if I give it any UV, it will be broken. So as you see, this is an unwrapped material. So what I need to do in this case is just leave the object as is. This object already raped. So that's why we see the channel here. We see all the components of it in one map. So what do we mean by that? This is an object. When it detach it in the rap process, We've got a border in the rap and when it separated it as a cross, for example, map. What it did is other than giving it a UVW map for the entire object as we've done in this, he took face by face and gave it the material of it and what's going to be visible and whatnot. So that's why it looks different than the normal texture. This is the entire object is one texture. It's not like what we did previously with the UVs and the cupboard handles. So basically, as we mentioned, such objects, we just leave it as is and it's already unwrapped, and the UV looks okay already, so we can leave it. Just make sure that it has a UV, and everything is going good. Complex objects guys. Usually, we leave them as is because they are unwrapped. In unreal engine four, we had to basically fix the channel two. Look here, for example, this book, if we try to fix it by UVW Map and give it 1 meter by 1 meter by 1 meter, then it's broken. I want to edit in real engine. So I just leave it as is. And basically when it's working, I know that this object UV is correct and the material is correct and everything is correct. Visually looks okay and fine, so I can leave it. So I can pick the material and always make sure that all the slots that I have here are standard. So Vira here because the material itself is named VA. But basically what I need to know is its standard legacy to make sure that everything is correct. Same thing goes here. This is unwrapped because this is how it looks. So this is unwrapped. So if I leave it as is looks fine to me, but if I do UVW map, for example, and I do box, look at the sides, for example. And I do 100 by 100 by 100, look what happened. So it became broken. So why do I make it broken? So just leave it as is. By the way, guys, if it looks okay, then it already took V in the base file that it was created in. I hide it and continue to the next one. What we need to make sure is that this object is receiving texture and it's looking okay to the real world. We have two types of objects. Basically simple objects, is window, wall, cupboard, cylinder, anything. These objects I can give you V map. And it needs to be 1 meter by 1 meter by 1 meter. Some things are complex objects. We don't always need to give it UVW map, and I don't always need to give it 1 meter by 1 meter by 1 meter because it's already correct and usually, complex objects are static. We don't do anything in in unreal engine. All what I do is the material of it and fix it and just to make sure that the reflections and the bumps and the other channels are well, and the rest is okay. We don't need to edit or modify anything else. Even I don't need to give it light Map channel two because we're not doing built procedure. We're doing lumen simple objects, floors, tables, Complex objects, for example, such as this, material is working well on it, I just leave it as it is. Just to make sure that the material on it is standard that I have the channel of it. Also here. Heck if I do UV map here, for example, look, one by one by one, look. It got completely broken, so I deleted and it's okay. Since we're talking photo realistic, so maybe we even change this model unreal. Just in case I needed to edit any Vs in unreal engine, they're not going to be any problem because we're going to have all the parameters that we need to fix, and we'll be able to fix everything that we want. So here I didn't attach everything because I already have a file that everything is attached to it. But for you, it's very important to do all the steps to make sure that we are capable of understanding the content and also producing it later on. This is what I expect from you guys that I show you something and I expect for you to apply it on the entire file for your hand to take on the software and become experienced and problems occur then and we can go back and forth and learn. For example, this object, we can attach all the components together just to make sure that every single object within the object is attached. Now if I do UVW map, it looks good to me already. If I do UVW map, I try to do box and 100 by 100 by 100, look it got corrupted, no, no need, just delete it. And make it this way. I can fix it and wrap UVW map, but no need for it. It's already fixed for now. This is the main concept in the UVW map, guys. Again, every object needs to go through the UVW map procedure and make sure that it's a box and 100 by 100 by 100. Either an object that has a texture or even a color. So this object, I'm going to give a UVW map. Even if it doesn't have a texture, I give it a UVW map. And if I want to take the initiative and do a texture for it and just to make sure look how it looks like, I can do that. So sorry, we're just going to undo this. We're going to give 100 by 100 by 100 in the length width and height. So we see this like we have seams and the seams are looking like a cube. Same goes to everything. But what I need to do for this object, I give it like an attach. I attach this to the rest. Attach, attach, attach, attach, attach, and then we give it UVW map once. No need to attach these components. I attach them together. Now I do UVW map, box and 100 by 100 by 100. So this UV for the entire object other than giving every log a UV on its own, which will take longer steps. The boundary of the UV is the same as when I give each log a UV. It's okay, so don't worry about it. As long as it's 1 meter by 1 meter by 1 meter. Same thing goes here, I attach all the faces and do UVW map. And do a box and give it 100 by 100 by 100. So guys, at least I need to do this step for all these steps for one entire project, so I can call myself that I am an unreal engine user and a three D Max user. Even the glass needs a UVW map because it's going to have a reflection, I needs to reflect the real world correctly. For example, this spotlight has an already unwrapped face because look how it looks fine and looks realistic, so no need for us to give it a UV. And also, guys, we need to understand the concept that this is a very small object, so it's not going to show very much, but also it looks okay, right? We're not going to leave it when it doesn't look okay. And we're not going to look at it much. It's going to be in the ceiling, but just in case we look at it, we need to fix it. So we need to understand the concept of a block versus small blocks, and what's going to be shown and what's not going to be shown. I can fix all the materials of everything, and it's important. But Things are more important than other things. What's visible to me the most is more important, what's going to be, for example, visible every three, four, 5 minutes. All the objects needs UVW map. We need to apply this for everything. Just in case, if we have an object that has all the UV map correctly working on it, and I tried doing UVW map and I did the box, and the object has got corrupted. What I need to do is just delete the UV that I introduced and just leave it as is, and just continue to the rest and continue forward. And I hide the objects that I'm done and continue with the rest of them. H ide all the objects that I think the UV is correct on them. This is all what you need to know about UVW Map. We try always to anticipate any problems that we get in the workflow, see you in the next class. 13. 13 Pivots ENG opt: Hello, everyone. Welcome to a new lecture. We're going to talk today about the pivots. All right. Pivots are the center point that the object moves around. For example, this object, we've seen the Z Y X this exactly called the Gizmo. Every object we press on we get the gizmop. I don't really care if it's in the center or in the corner because it's not going to move, nothing will happen to it. Pivots are key on the objects that they will move. Also, the key is for me to have the pivot in the center of the object not so far from the object, so I don't have any problems moving the objects and looking for the object and where it is and all of that. By the way, guys, all of this before in Unreal Engine four was not available to fix. If any mistake we've done on Max and export to unreal, we're going to need to re import to unreal to fix this. We've got two exportation means. The first one is Data Smith, and the second one is FBX. All right. FBX when I export the file, can you see this? Basically, this is the 000 point f three dS max. Originally, all the objects should be all gathered around the zero, 00. Object by object, I go to the movement and type in zero, 00. So when all the objects goes to unreal engine, we're going to see that all the pivots and the axes will find them into the middle of the object when only it's in the middle. But if I export this object with the place of it, I'm going to realize an unreal engine that The pivot will be these three axes, we call them pivot will be in the center. Basically every time I want to move the object, I'm going to need to move it from the center, not from the center of the object, the center of the filed center of the world. It's going to be problematic and very difficult to deal with. Of course, I can fix this in real engine and make it work. Noworries. But we explain a concept that we need to know before exporting to Unreal. So Otherwise, I'm going to need to move this objects to the middle, and all our file, we're going to find in the middle here, so we find the pivots in the middle. This is in the FBX form. Otherwise, we're going to have a mistake and it's going to be unpleasant. In Data Smith, when I export, as long as the pivot is in the middle of the object, it will be exported in the middle of the object in unreal engine. This is one of the Data Smith advantages. But as we said, Data Smith is more heavy on the file than FBX. FVX is much lighter to export to unreal engine than Data Smith. So I want to do an open world game, my choice is FVX. Data Smith will be too heavy. And my computer will more often crash. Even if I managed to optimize the game, it's not going to be like, you know, launch on all the different hardware respects. Other things in pivots, we need to know, for example, such as the window. Let's hide all of this. For example, this window. This is going to be a window slash door, let's delete all of this and start explaining now. This door or this window. We explained before that it's going to rotate. It's going to be a pivot door. The pivot will be in the corner. For the door to open outside and if I want it to close to the inside. This is important for us to know the theory of. This it's going to happen on a multiple of objects, and it's very important for me to take this under consideration. For example, this object, when I went to fix the pivot of it, I go to utilities hierarchy, and then I tell them affect pivot only, and I move the pivot manually to this area where it's the corner. I can use this snap, but no need for this snap, and then I'm going to press affect Pivot only again. Now, sorry, I can rotate the door like a hinged door with no problems at all and looks realistic. When I was in the middle, it started rotating like the mall door, which doesn't make sense. Unless I want to do it customly in the design, then that's different. Of course, we've got the mistake in this door that the edge of it is under the floor, so we need to take the vertices and pull them up with a snap till it snaps with the wall. I'm sorry again. I need to fix it further. We're fixing this door. Basically, when we rotate it, it doesn't show that it is overlapping with the floor of our building. Now we need to stretch it to the top. Simply we will attach it up. How do I fix the door? I go to affect pivot only. Center to object then, I can move the pivot down and move it to the corner. Then I can enable this snap or disable the snap and remove the effect pivot and the door works well. Same concept I can do in unreal engine. We just explain generally. In this, we can do control all and effect pivot only, so all the pivots will be in the center. Since we're going to export an FPX, so all the pivots will be dislocated if I keep the project in this way. How can I fix this? I need to take this window and put it in the zero, zero, zero. That's how I guarantee that the pivot will be in zero when it comes to FPx, and this way, I need to apply for all the objects for me to be able to have them all centered. And when I have it in real engine, I need to still put all the objects back again to their shape. So not really practical. Otherwise, I need to center the pivot to all the objects, and then after that, I can export them and fix the things that I want to move in real engine. So basically, we're going to give you the file that will be ready and we'll give you the file that is basic, nothing is ready in it and see you guys can apply on whichever one you want to. So the pivots, this is what we need to know about the pivot that needs to be in the middle, and when it comes to a moving object needs to be logical. So for example, if I have the pivot here, look how the object rotated, it doesn't make sense. That's why in Max, I always like to center the pivot into my object, so I don't like to have these problems in unreal engine. Same in unreal engine. I can take multiple objects and effect pivot only when it's going to move only and move the object. Then after I can fix everything later manually if I want it to move or rotate. So on so forth. So as you see, for example, if I want to rotate it, I need to do it manually. So that's mainly the major part that you need to know about the pivot. Everything that needs to rotate. Pivot is broken down to two categories, static. Even static, I need to maybe rotate, move or scale, even though it's going to be rare to scale objects, it could break proportion. So I I might need to move over it. So it's only fair for it to be in the center. And this I can do in Max, and I showed you how and also I can do in Unreal, which ultimately the project will be in unreal. So it's prayer for us to do in unreal. So it's very important for me to know how to use it. So the second option is for it to be movable, and movable should be like the window door So the window could be sliding. So if it was sliding, the pivot could be in the corner or in the middle. So it could be, for example, going to the right 1 meter or back 1 meter. The door we have hinges and will rotate from hinges. I need the pivot to be centered with the hinges, so I can be able to rotate it 90 degrees and bring it back 90 degrees. Basically, this is all I need to know about the pivots. Where do I fix the pivots from from hierarchy effect pivot only, and then I move the pivot through the move tool. Then after that, I can effect pivot only and all is done and I'm done this way. 14. 14 FBX Export ENG opt: Hello, everyone. Welcome to a new lecture. We're going to talk in this lecture about exporting real engine, and we're going to summarize everything we learned in three DS MAC so far. And we're going to know the best way to export the Unreal engine and how to export to Unreal engine. Now, guys, let's reset and explain. So we want to do a checklist. This checklist we must do before we export to Unreal engine. First thing, first. We want to make sure that the poly count of the models are optimized 0-1 million per model. Not more than 1 million per model. We want to make sure that the material is standard material, so we have to convert all materials to standard. Third thing, we should make sure that all objects related are attached and what is detached. The groups also classified and separated and organized. Number four is the pivot, Pivot must be center of object, and for movable object, they have to be where the hinge is. Normals must be all correct, also are not flipped. Also, all the textures must be present. So when I export, I get it and I don't miss them. Materials must be all present, and I believe this way, our work should be okay. Considering all the aspects in three DS Map. If I want to add one more thing to real engine four, it's going to be light maps and rap UVW map. All of these should be okay before I export to Unreal engine. One more thing, I should make sure that the objects that I have, all of them has polygons specifications, not lines, I need to convert all my objects to D poly or D mesh. It can be a box or cylinder. It's okay, but it is preferred to be polygon mode or mesh mode. Because I get a lot of parameters to edit in the polygon mode or in the mesh mode. One more thing, I need to make sure that all the naming convention is correct, and naming has a certain way to name with is mainly static mesh. We've got materials, we've got T for textures, and I would do GP for groups. If it's a, I will call it L underscore, et c. So everything is organized. We should layer as well and organize our layers to make my exportation procedure easy. Finally, I want to export FBX. Click and hide all. This is the ready file to export. Let's make a quick check and see if everything is in order and in layers, and that is correct, groups that are named with GP. Here. We've got two objects. These are the plant. These we put in the accessories or decoration. Click convert two. Convert to Dil poly and group open or ungroup, we want to put this first thing, we want to name it S underscore vase plant. After that, I'm going to drag and drop to decoration. Right click, delete. This way everything is okay. Let's take a random example and check if everything is well done. I believe there's something wrong here. Let's do another UV. Interesting. Alt Q. It hasn't worked. Y. Let's check the polygon. Let's leave the polygon mode and put UVW map, and then it should work. On, b one, b one. All right. Same for the rest. I gave the wood texture. Most probably most of this will be changed in real engine, so don't worry about it. But just in case for us to make sure that the UV is well projected. Let's take random samples, also let's check. Pick standard. This one, for example, standard standard. Okay. Let's see this one, for example. Standard. I've got a corona material here. C standard from Scan line. And paste. Now it's standard. Let's see other objects. They're all standards. Also all standard. Let's come here, check standard. Good. Everything we've done based on the parameters and the checklist that we talked about. Now we want to start exporting and take a layer by layer. I want to hide first comes first. I'll start with the ceilings, make it the active layer and select all file export export selected and then I go to the file location. Make a new folder, call it F Vx, and we can type ceiling here. Save. We've got some parameters to consider. So not much to do here, just to make sure that there is no animations or cameras or lights are imported. We need to make sure that the media is embedded. Also from here, we're not going to change anything, turbo smooth and preserve edge. We're going to keep all and now okay, and now it's all exported. So I hide the ceiling and do the same for the decoration. One by one. So just in case I'm going to press control all and export selected. Decoration. Save. Everything is okay. Let's do okay now. Let's do the floors now, control all, file, export, selected, and we'll type floors. Save. Advanced option just in case there's anything I want to change. Here we can change it just in case that the object is rotated in terms of gizmo, but this is mainly used when I'm doing rigging. I'm not doing any rigging, so let's do okay now. Now all the floors are exported, next furniture, control oil, file, export, selected, furniture. Let's type furniture, save. Okay. All right. Landscape control all file export, selected and landscape save. Now we do the lights file s lights. Walls, File export selected. Sorry, File export, selected. We'll type in walls, save. Finally, windows frames and doors. Even, we should move to the kitchen floor. This should be with floors. So now I need to re export the floors again. So basically, what I want to do is export windows frames and doors, and then after that, we're going to re export floors windows doors and frames. Okay. All right. Now we go to floors, control file, export, selected, and we export on top of floors, the one that we exported earlier. Okay. Okay. This way, guys, we exported all our scene in a very organized way. What's next is for us to pick the correct template to begin with in the unreal engine and to download the software and move on with unreal engine itself. 15. 15 File Update ENG opt: A and Anki and updated ena Asia behead Mara. Type Sura Mesa, Ben Woodlock Hy actor Al Walker. Rena material Zia ul torana Mafi Car ja. Fish amable accessory Zon, Raena, Rena a F four. But Nava models, Miscul, boa Beth Biltor, esta interior design actor by S Ha Ha material a cushions, do Cache. F N Bill Model Teil materials. Can update, S Hmm materials, accessories. To Do Dish Engine Herm copy as instance. Ashfna. Joost Michael Livna performance. Fakan Fi update, kd model, Sawin na Kio, Abilma, Nishi, Lamar, Bill and and Madman Export Km Aden ksi layers, Shaka and Nmapor M O D Besse model, iba Faza Mortaa i. Fas and cap Napod Model ad Lady mote, an Already a bottle file Adalfo. Objects, Atoka and Amon K B part decoration. Polyform, damas decoration. Shan aji olia, right click delete layer, Mie Chu sf Nechama basket, Mas Mom keyboard, Shan Mon, Tyoarb, Hero decoration bordo ProNja and Sama M underscore basket. A toilet basket Badami, decoration, Tama Tamai layer, me Fam decoration, Baha, underscore declaration frame. Okay. Decoration frame, decoration, B, delete ello, right click delete. Chata Gorman at Colmar Bori, a layer small books, Banana, Adole Dragon decoration, Bani and Rhal edit, tools he can't naming. Rename objects. S M underscore book. Number base number, 01, rename. Rename D one. Okay. Fc export. Do export Man re Dom export floors, De main layer, the Deci t ML export, do a components al layers, la Dora export control Odata export selected, p one drive drive, and engine for one them folder with the FBX FBX export. The floors. Save A geometry, bo smooth, or more Tama in bed media and bed media doesn't conject floors, home ceilings. Mo, Aziza Waltz, active active layer. A Cucina Mo group close, culpa, a ceilings, M main layer, file export selected medias. Bed media, bed media. Okay. As ceiling, decoration of Halia main layer, Oil ceilings. Shaaer ma Export, select on a decoration. File decoration. Decoration, furniture, file export, selected furniture. Ndscape, control oil filed export selected Landscape lights was windows with the frames. T. A export the latest update, L F Tabana, Liao A. Ahi layer zero, Aero. Am I in the step shot Mana der decoration, wool furniture. Fat mean fee actor decoration furniture and come actor wood decoration. Fmm decoration at home. B decoration, so empty, m m with decoration. Us and the tools rename objects corn decoration, We enough that cool decoration file export, selected, override the decorations. Okay. Tekashi up to date to Mahina a file Max C S Tema Amax files, bag FBX export Herbert. 16. 16 Downloading Unreal Engine 5 ENG opt: Hello everyone. Welcome to a new lecture. We're going to talk in this lecture about the first chapter that is directly related to Unreal Engine five. Guys, I'm very excited for this. We all are learning Unreal Engine that in a very early stage, that's a blessing. So buckle up. Let's jump to unreal engine. Let's open a new Google Chrome tab and I'm going to say Unreal Engine. I'll go to the main website. As we talked about it in the first lecture, and we covered what is the capabilities of unreal engine and what is the possibilities that can open for us. Now I'm going to do download. Here it's going to tell us more about the minimum requirements and what's the cost of the software, which is free. It says real Engine is free to use to create linear content like films and for customs and internal project. It's also free in many cases for game development and 5% trail, the only kicks in if and when your title earns over $1 million. If we make more than $1 million, then Unreal Engine will be partnered with 5% on the game that was created on the engine. We've got a Marketplace and EPI games development com. All of these, we highly recommend for you to check so you can always have other resources of checking and solving our problems. Before downloading AndreL Engine, we need to download DEP games launcher. We'll download launcher from here. The installer will install. I already have the launcher, so I'm going to just open the launcher now. Now the EP Games launcher will open. Just in case when I download the EP Games launcher, it's going to ask me to make an account and sign up. We need to sign up and we can sign up with many accounts as possible. I want to make a sign up with new account, so I can be able to download Andre engine. How to do it, I'll go to sign in and then I'm going to do sign up from here and sign up with e mail and just type all my information. What's my first name, last name, display name, e mail address, and password? Of course, accept the regulations and just continue, and then they're going to send me a factor authentication or e mail verification. Then when I download the launcher, it's going to open in this way. So we talked about the launcher before and what every entity does and what is the games and what is the library and where is the unreal engine tab and related to real engine and the samples and there's a course I'm taking and in Unreal Engine Academy, and I can download the sample from here or follow along from here, or I can just download samples and just open and discover the file, you know. Beneficial things that can help me expand my knowledge in real engine and in multi discipline. It's very important for me to know as much as possible in real engine because it's going to help us, cooperate and collaborate with other majors. So it's not very important for me to dive deep into other majors, but it's very important for me to educate myself about it. So I know at least who to call if I needed somebody or some company or you know, what's happening in the world. So in the marketplace, everything that I've got to download from the library, So here is the library of the plugins and assets and real engine versions. And the last tab is about twin motion, and it's completely free. I can download and discover it there. So how do I download unreal engines? So usually, what I'm going to do is here, I'm not going to find any copy of unreal engine. I have three copies here. So I'm going to add from the Con next to engine versions. So I already downloaded 5.0 0.3, so now it's going to give me anything else than the versions I have. So the suggest is 426 because I already have five. If I don't have five, the suggested will be five. So what we'll be working on five and 5.1 will be downloaded very soon and updated from EPI. So there's a high chance that we're going to continue the course on 5.1. But for now, we're going to download 50.0 0.3. So I just install whenever I pick it, and then it's going to ask me where you want to download the software. So as we said before, we're going to repeat again, EPIC pen. Our friend in explaining. Basically, I will hover over this folder and also focus on the C. Why do I download any software on the C drive? Most of the C drives that are on laptops or PCs, these days are SSDs, solid state drives, faster than hard disk drive. It's very important for me to on the SSD because it opens faster saving my data is faster, and the load is faster. Also, everything is faster because this is faster than this with ten x times at least. So that's why I download on the C. If there is a copy that I don't usually use, and I get it like once a year, open it once a year, so I can download it on the D. But the basic unreal engine copy that one that I always use is highly recommended to be downloaded on the C. Of course, the C that's considering that I have SSD, if I have HDD on the C, so just downloaded whatever. And if you guys have HDD, please just go and buy SSD because I mean, there is versions of SSD now and NVM two and all of that. So HDD is good for data, not good for opening or loading files. So usually the storage of HDD is much bigger than the SSD storage. But this is going to be more expensive in price if I want to get the storage of HDD on the SSD performance. To one terra byte. Of course, I can increase it to how much I want, you know? But 1 terabyte is pretty decent, so it's enough for us to download all the softwares that we need. No need to buy 1 terabyte of SSD. If I've got 512 or 256 because all I need is just to download softwares. Of course, depends on the softwares and the amount of softwares I work on. After I download and wait for it a little bit, then I'm going to realize that real engines already downloaded. It's going to take some time, and I can launch it from the EPI games launcher or from the desktop as you can see it. This is the way we can launch, and this is how I download real engine, see you guys in the next lecture. 17. 17 Unreal UI and Navigation ENG opt: Hello, everyone. Welcome to a new class. I'm very excited to jump into Unreal Engine, and I really hope that you guys are excited as well. Let's start. Okay, guys, we talked about three D Max and everything we need in three D Max, and we talked about Epic Games launcher and how to download real engine. We want to start Unreal Engine. As we said real engine, we can open it from Epic Games L launcher or from the software icon that I have. Anything works. It's okay. When it opens like this, this interface is basically showing me from recent projects, projects I worked on before. No worries. I will do a lot of projects in Cha, and Games also is another category. Games guys has another language of architecture visualization. Basically in games, Unreal Engine gave us a couple of templates to make our initiation of our project much easier. So for example, we've got a blank that is empty, completely empty, doesn't have anything. I can configure everything from zero. We've got the first person shooter. And in the games language, first person shooter is very famous. So if you want to describe a game, you tell them, so, guys, it's a first person or a third person shooter game that is in D or A or whatever, you know. So it shows only the hand of the character. For example, counter strike CSG is first person. Third person shooter, for example, I see the character of mine. For example, Pub G and Fortnight, these are third person shooters. Of course, they've got other modes, but the main mode is a third person shooter. When they started configuring the game and building the game, pretty sure maybe they started to do the third person, you know, so it makes the job much easier. We've got top down. It's like viewing the player from top, and it's basically very close to GTA one, if you guys remember it. Vehicle is basically for cars, and I can start any automotive game, I can start with vehicle, Handheld AR is for augmented reality, virtual reality, I've got any VR experience that I want to build from scratch. This template has a lot of solutions. Then after that, I've got the film and video on live events. Basically, virtual production, movies, and display. Everything that is related to virtual production is through this category, art is our category. Many things to talk about to be honest would be covering a lot from the CVs and how to work with everything there. Also, the automotive is basically when I want to describe a manufacturing part or I want to showcase a car. Here, anything that I have to do with automotive is basically from here, and as you guys can see, there's a variation. So we go to project location. Where do you want to save your project from games? We can start and see from architecture. So it doesn't really matter. I can save my project and the location, and there's the project name that I want to start with. So we can start with black, and understand what is the blank, and maybe later we can migrate to RC VIS or we can start another time with RC VS. But blank is basically for us to understand the basic unreal. And they're all the same guys. I can take anything from any category and put it into my black. No worries. Don't worry about it. Not just to depend on only one category. If I can work on blank, I can work on anything else. From the blank descriptions, I've got project defaults. It's asked me, do you want it as a blueprint, Blueprint, basically user friendly coding, more welcoming, inviting and easy to deal with coding. I can understand it as an rviz more than the C plus plus, and basically it's not based that I can connect to each other. C plus plus is basically if I'm a developer that I want to type a code, it's different than the blueprint. We're going to work with blueprint. But if I'm a developer, then of course, C plus plus is my platform. Target platform, it's desktop or mobile, I will do desktop. Quality or pre separate it's going to be maximum. Start your content is basically a library of materials, effects, many things that I can add to my project and I can take things from, makes it easier. But it's heavy. I don't want to start with it. Take start the content takes 1.5 gigabytes, somewhat from 1.5 to 3 gigabytes of storage. I've got the project just empty takes one giga two gigs. No need to add more and we're going to learn everything from scratch. R tracing, I'm not going to enable it now. We're going to enable it later through down the course. I'm going to pick the location of the file and I'm going to do a new folder here. And this folder I want to name unreal File, and I'll do a double click here, select folder. And here I want to type modern, we can use space guys, by the way, when we're naming here. So if we want to have a space, we've got to do an underscore. Or I can attach words together. For example, I think it's long, so maybe we say modern house retreat, MHR, and that's it. Create. So guys, since we are opening a blank document, of course, not going to take time to load. Of course, it depends on our hardware specs. The better specs we have, the faster it will open. But bear in mind that when we open projects for the first time, they will take a long time to load. Why? Because of course it depends on the geometry and how big the project is. But because unreal is processing the project with maps, shaders, textures, light maps, models, everything that is in the project visual effect, post processing cinematics. So it will take time to load all these shaders. But the good part is that it loads it only once and it loads it in the cache folder. And whenever I'm done, I close the project, I open it again. It will open with no problem. Of course, again, depends on our hardware spec, but in the end of the day, it loads only once. Unless I delete the cache data from the root folder, otherwise, I don't have to worry about opening the project again. Unreal opened and this is how the software looks like. Fresh, elegant. We haven't done anything. This is template from Unreal. Let's start explaining the UI. Basically, this is the window of the viewport. This is where I see all my work. We see everything is there. This is a template from unreal engine. We'll see to the navigation and see how we're rotating. Basically, this is a menu bar, file levels and assets, and there's a difference between them. We'll cover all of that in the coming lessons. Save current level, save as import, export, new project, Zip project, and exit. Everything we basically need to navigate the software. Edit, I can do and redo copy based, delete, duplicate, some plug ins, project settings. We're going to talk about these everything that I need as extra and as settings, window, cinematics, content browser, basically, this is the one below. Details is basically on the right. Veport is basically viewport one, the one in the middle. World partition data layering outline and world outliner, this is the world outliner. Layer levels outliner. Place actor world settings. We're going to cover many of these. Basically, many options. I've got the message log output log. Those we're going to be coming across open marketplace, if I want to open the make marketplace. Quicksiil Bridge is basically a huge topic. You guys will love it. Load layout, save layout, remove layout if I have a certain layout. Enable full screen, of course, F 11, like to see it with a full screen. Tools, I've got a lot of tools here, and everything that is in the menu bar is there in the pipeline and in the UI. But just in case I lost anything, I can get everything from here. No worries. Build is basically when I build light and build environment, and all of that is an unreal engine four. This is another way of viewing the rendering that I have. Select is basically when I select different selections. Actors, different types of actors, we can bring to the scene and some of them are options that are available in the viewpard. Visibility also can hide and unhide many things. And to help, if I want to ask any questions to the community here, I can save here, I can have different modes of creation. It's basically very close to the categories of things I can create an unreal engine. Such as landscape foliage and mesh paint. I've got some modeling, also tools that are very handy, especially in real engine five, fracture, if I want to do fracturing or any related effects, brush editing and animation. Many modes. Here, I can also add things that are there pre done for me from Unreal engine and place them in my viewport and start editing further with them. Here if I want to edit on blueprint, we're going to talk about this later. Here, if I want to add a certain sequencer or master cinematics. If I want to play my level, It plays basically when I simulate everything that I have there in my level, I want to see it altogether working platform, if I want to export a certain supported platform. Here, basically the world outliner for everything that I have in the scene. So basically that's like the scene explorer in Max, everything that is here and I can check and navigate to it, and there are some basic elements for lighting we're going to talk about. There's basically the landscape that we can see in the viewpoard, and its elements. So we said that everything in my project is here in the outliner. If I want to manage this, I can manage it and do folders from here and organize my work. If I want to look anything in my viewpoart, I can look from the outliner, because sometimes I can upload an entire project and all the project elements are in the content browser. But nothing in the world outliner, but what I drag and drop in the content browser and put it in the viewport here, then I get it in the world outliner. Here basically the details of any object I press on, I get the details of it. If I go, for example, to any of the standard elements like the sun, I've got different options here. I can view and edit from. Again, I'm trying to make things as basic as possible, guys, all of these will make sense when we start practicing with our hands. So we will be coming across the things and we'll understand everything at the time. Here is the content browser that we have here. Anything I add here and I imported the files that I finished from Max. I'm going to find the content browser, and I can navigate from them and see which ones I want to add to my viewports, and also organize everything here. I can add things here like blueprints, levels, materials, Nagra systems. Levels is basically is the same as when we're playing a game and there are some different checkpoints and different levels. We're going to talk about it in details. Don't worry. Basically, the concept, the building that we have, we can consider the interior is a level. The landscape is level, the architecture is 11. The grass is level. If I want to go details, I can go even further. Materials here, we're going to talk about them. Niagara system is responsible for fluids, motion graphics that are in unreal engine, and there are a lot. Basically, there's a lot of options, guys. Many disciplines work here. So if we want to import from game add Quicker content. Many things. If I want to import from the FPX files, we're going to talk about just now. Save all is if I want to save all the assets that I imported into my projects. Save saving the current level and the current situation of the scene. So I need to save all and save every time I want to quit the unreal engine software. Here, basically, the project hierarchy is the same as the windows. Settings here some extra things and some things I can show and hide. Things that are hidden in unreal. Engine content has a lot of stuff. I can hide or show. Don't worry, we'll cover all the things that we need as rtvis. We've got another settings on the top right here. Basically, just for me to know where is everything, and what I'm going to use and what I'm not going to use. Here basically is the viewport options. So I can make cameras from here, I can increase the resolution of the screen from here, I can control the field of view from here, show FPS, how many frames do I have per second. All of these things I can see from the viewport options. L et's bring them back together. If I want to make bookmarks, certain layouts, all of these I can access from here. With our workflow, we're going to need what we need from here. Perspective is basically the top view left view, bottom view front basically the same as any three D software. Difficult viewport, cinematic viewport, lit, unlit, and how I'm viewing my viewport, certainly bias to a certain option, Lum overview, anything that I can visualize, basically, I can see it from here. This, for example, has the same concept as the clay and the wire frame and the things that we have in MAX. Ways to view my project. And every single one of them has its own usage, LOD, lumen, anit. A we'll talk about. Show here, if I want to show certain things that are in my project, anti aliasing, if I want to change volumes, post processing, navigations, skeletal meshes. Here basically is the same as I am filtering selection by what in Max, but it's not a selection. It's just showing me elements that are in the project that I can further visualize and I can control view and hide. Scalability here, basically it's telling me what is the quality of the project that we have here? Is it in the lowest or in the highest possible? Am I still working in the workflow or am I done here? And I just want to visualize it and showing us what you did So cinematic is basically the highest epic is medium or above medium. So if I would do show of PS here. I've got 60 on epic. But if I go to settings and basically, I do engine scalability settings, I if I do cinematic, look at the frame rate that I've got a drop to half. So I should be careful navigating. If I do low, look, it's like 60 and above. So basically, this is the highest we get on laptops. And also, we can control these settings from unreal engine to axis 12240. But 60 is not going up or down, so basically it's the same as efficient as 120. So scalability is very important and when am I using it and how I want to visualize things. A big difference between cinematic and low. We're going to talk when to use everyone. We're going to talk about the tool bar here is basically selection, movement, rotation, and scale. Let's basically add an object to visualize things on, shapes, Q, drag draw. If I want to put the cube up, I pick move and access the Z gizmo and put it up, rotation. I can rotate very intuitive. Also, there is a snap for movement and rotation. It's moving every ten here, for example, like Max. So after some time, guys, we're going to be very fluent with these things. Just tell me where is everything and I can fix everything I want. I've got scale, and I can scale in any axis I want. I've got here transformations for Gizmo. I can view the gizmo in different layout and the transformation. Basically, further tools for me to be able to control the Gizmo. Is it world? Is it local? Is it viewport? What's the difference? Is the Gizmo layout to the world, or is it layout to the object itself or to the viewport? So let's explain further on EPI pen. Basically, this is the world that we have, and we have upscale for the world. It's the Z, and we've got the y, and we've got the X. So when it's local, the difference is, I took this object and I want to rotate, and by the way, move is W, rotate is E, and r is for scale, same as max. If I rotated it this way, for example, here, If I want to do world, and local world is basically to the correct world and our world, and local is basically axis, depends on the object that I have. Control Z to go back to the original form. Here, control how object snap to surface. So this is basically how I want to align my objects to the surfaces. Of course, it's going to have its own usage. Here I have the migrate, five, ten, and here, for example, if I want to move my object, it's going to move every 1 meter, different than one almost smooth. You see how smooth it is. Here, also I can do every 1,000. Also, we're going to see it sticking, not easily to move. I want to remove it, for example, I can move as much as I want. If I want to do one, if I want to enable grid snapped in, it's snapping to grid. If I'm going to do ten now, I have a bit of resistance, still smooth. If it's 500, you see it's basically every 500 units. Basically 500 sims. Here angle snap, as we said, we have snap for angle, every ten. If I do every five, it's more smooth, as we see count of five. If I want to turn it off, I can snap in fractions, I can scale every 0.25 from the original size. I can do it more, I can do it smaller. Scales, either I scale in uniform or in a certain constrain two axes, for example, or on three axes or one axis. I can choose depending on what I need. Here, if I put ten, S, it's going to scale only ten units, so it's like 10 centimeters. It will stick to ten units. If I want to scale very small scale, I can go down here and it's going to scale almost smooth. Almost like I have the scale snap turned off. Here the camera is the speed of camera. How fast am I navigating in the viewport. If I do one, it's slow, eight is very fast. Basically, we navigate if we were doing interior or exterior. If it's outside, we can do eight. If it's a small project product visualization, I can do one or two depending on what's suitable for me. Camera speed scaler is basically it increases things that is related to camera speed as well. Is like expanding the maximum of the range of four or higher values of the camera. Here is basically maximize the viewport that I have, so basically same as other three D software's perspective back from top. If I want to select, it's much efficient to select from the different viewports, because I can also select in groups here. And each viewport has its own options, of course, the same as the perspective that we have, and we can maximize it from the top corner. I can maximize any viewport I want and scroll out. I can Zoom out and scroll N Zooms N. If I take the four viewports, I can take the main viewport. This is basically for the main user interface in unreal and what each one of them is doing, how to scale how to rotate, how to move, how to navigate. We're going to talk about navigation just now. So Unreal engine is one of the nicest navigations of three D softwares ever because it's just like I'm playing in a game. We've got mouse navigation, and we've got WASD navigation keyboard. So if I want to do scroll in, I can zoom in, scroll out, I can zoom out. So for example, I'm on floor, if I do left click and I drag my mouse forward, I walk. The benefit of this tool, basically I move in the same level that I'm in the view that my character is this way. Left click, scroll drag the mouse forward and backward, and I can view right or left. This is basically the movement of the mouse. If I press right click on the mouse and I can see how I can orbit if I move the mouse. So I can look right, left, top, bottom. As I'm in like real life, W is basically I can walk forward. For the W to be accessible, I have to click and hold on my right click and press W. Right click does not walk, W does not walk, but right click only orbits, W with right click walks or flies, let's say, S is basically goes back forward W D, right, and A is left. I can control the four of them together. E is up, Q is down, and all of this with the right click hold in right click. As we see, we can navigate freely in the viewboard. And it's very nice and very accessible, guys. One of the best softwares I've ever used among 14 softwares, I use the softwares of. This is the one of the best few Is. For example, I'm very far. If I press on my object, if I press F, I can focus on it. The same as Max when I press Z, it os extent. Same, if I'm far, F on anything I need, will zoom on it and help me navigate next to it. While I'm doing W and right click, flying in the project, if I scroll forward, I've got it faster. Right click, W, and scroll the mouse. If the same and scrolling the mouse back, it becomes very slow as putting it one. Scroll back is slow, scroll forward makes my camera faster within the four range, but it's not faster than four. If I want it much faster, I can do eight and you see how fast it is. Also for eight, to become slow, I can scroll back. To make it slower. So I can have it eight and control, right click front, or right, left with scroll. It's going to make me control the camera how fast it is or slow, and even it can go faster than eight if I scroll forward. This is also a very important tip for me to know. We've got see components here that are important. I can control them. We're going to talk about every one of them when we come across them. But for example, let's come across the directional light and see what we are talking about. I want to do the camera three. I want to get closer. So I want to put the camera. Also I want to put the sun up forward. I've got details for the sun. I've got source angle, source soft angle, related stuff to shadow. I've got the temperature of the view that I can control. Is it cold? Is it hot? Is it neutral? I can control the direct intensity or lower the intensity. I can control the volumetric scattering. Many options, intensity, basic forward things in the sun and details that we usually control. If I do E from the keyboard and rotate the sun, you can see how I'm getting the effect with the shadows and the time of the day. And I can rotate the sun on three different axes here, for example, if I want to rotate from noon to afternoon, here, if I want to rotate, see if I want to do it night or day, and I've got other like the Y axis to see if it's like winter or summer or if it's the sun going up or down. So I can control the sun on any axis I want. Of course, there has a lot of templates that has significant properties of the sun. Art rviz template has extra options in the sun that I can control seasons and the time of the day and the time of the month. I've got the normal directional light that I've got in the normal template that I can control specific things in it. Many things So these mainly are just for our hands to get grasp on the project and how we can navigate in the different panels of the project and the properties in real engine. So basically, we're moving right and left by clicking left click and moving. We can also change from here, this basically location, and here is the rotation of the sun. I can control the rotation of the sun on different axes from the details panel as well. If I want to get it to a certain number that is accurate. All right, guys, this is it. I hope you benefit from this lecture and see you guys in the coming lectures. 18. 18 Importing to Max Fbx ENG opt: Hello, everyone. Welcome to a new lecture. We're going to talk about importing our models from three DS MAX. Last lecture, we started from blank that is in games, and this lecture, we're going to start from blank that is in architecture, and we're going to continue the course working with architecture. We're just going to change the name of the project, FHR. I've deleted that file, the one we did before, underscore RC Vz, for example, and create. Let's make sure on the desktop, y on the desktop because we agreed together that the desktop, the C drive contains the SSD and the NVM two, which is a solid state drive faster to read and to download softwares on and to launch software from faster than the other HDDs. HDD is just another drive that I have other than the C. In this case, I've got my external one, and this is the C, and this is external hard drive, as you see, that's the D. So HDD is lower than SSD. If I want to launch projects, I need to do them on the C drive. That's much preferable and we create the project. And as we said the first time we open a template. It's going to compile shaders and load for its new shaders and maps only for the first time. All right, so unreal engine opened now, and this template opened, a little bit minimal difference between the first one and this one. The only changes the components in the viewport and the measures in the viewport. So for example, let's see the archvi is what comes with. The only thing that is different is this component is sun sky component, and this component is if I go to edit and then plug ins and I do sun Sun position calculator, I can enable it and add it to any template I want. So it's okay. Okay. So now it's activated. What I want to do is I want to delete all the components that I'm not going to use, and I'll keep some. So exponential height fog, I'll keep it. The players start. Also it's where the player starts. And this is the component, is the pometric cloud. We will also responsible for the clouds. And this is the post poss volume is the one that is like a photoshop for real engine. I can correct all the colors and the brightness and the exposure from and with very nice parameters. Okay, so, guys, what we want to do now is to import our meshes into the project. I'm just going to keep all the elements here and just import my component. So we'll see what we have in the project hierarchy and see what we need and we don't. So start to content I don't need, so I'm just going to delete. So this will decrease the load in my project because starter content usually takes a couple of gigabytes from the storage and from the load. And also, it would be saved in cash. This is like a warning just to make sure that you are deleting your assets, so I was just assuring them that everything is okay. And then I'm going to go to starter content, select all the folders, and shift, delete, delete all the folders, delete. Then I'm going to go to content and then delete starter content. Let's see what we have in Let's see what we have in rC Vs defaults. We've got things I don't want. Also CVs empty. That's level inside. We're probably not going to use, so we can delete it. It's completely okay. So rviz adds levels for us just in case we want to do different levels. So we're just going to delete the thumbnails now and we'll go to content. And you see we've let's delete the Arcs default because we've got a main level here, the one that we're working on right here. So now we can continue. So what I did now is just I cleaned the file and I want to save all and then save Everything is okay now. So I've got cinematic scalability. I want to remove it because I don't want to forget myself working while it's cinematic and have very low frames. So I'm just going to choose epic for now and continue working with EPEC. I'm just going to use cinematic when I'm only rendering the final result. So no need to use cinematic while I'm working. So I want to import. Where do I import from, either from file and import into level, or I can import from the content browser right here. Before I import, I want to organize my files, so I want to add a couple of folders so I import into. So right click from here and make a new folder, or I can add from the ad button here and add a new folder. I'm going to name this new folder FHR Farmhouse retreat, and that's going to be it, I think. Exactly. Then I'm going to go into this folder and create some other subfolders, so I can put my content into, so I will do new folder, and what I'm going to say now is geometry. So geometry, exactly. Then click, new folder. We'll name it textures. A third folder, we'll call it materials. And then we're going to go inside geometry and do a couple of folders here. So we'll see which files do I have and what's the names of it? So I can do folders with them. So that's what we got, and we've got to name the folders as the same as these FPX files. So when we import them, we import them to the associated folder together, so we don't have any mistakes there. If you just want to report, we reimport only the category, for example, the ceiling, now everything together. I'll go to real engine. I'll do a couple of folders here, right click, new folder. I'm going to name this folder ceilings, and then right click New folder. I'm going to name it floors, third folder, furniture. Then we're going to make a fourth folder, we're going name this folder landscape. Right click, new folder decoration. Walls. Let's see what we've got left, new folder, windows and frames, underscore and frames or. What else we've got? Let's go to the folder. Everything is here, except for lights. We need to add lights. New folder, and we'll name it lights. O light. I can't do space, I can do light fixers, or I'm just going to keep it lighting as is. All right. This way we dump folders for everything. We want to do now next is import all the FX files into the associated folders. We'll start let's start with floors. We'll do import. Let's go to the folder that's on this folder and then FX export and we'll choose the floors and do open. I've got a dialogue here that I need to take some under consideration. So we've got a lot of options. Some of the things that we're going to talk about is, for example, we're going to use later on the build Nanite. The build anite is a very important tool to optimize our geometry and make it much lighter and reduce the load in our models. But now everything we're going to choose nanite for. So that's why we're going to leave most of the objects now or all the objects now without nanite. We'll go to advance from here and if I want to combine misses, for example, if for example, I'm importing like one piece of furniture, so I can combine all the meshes within. I would then combine all the meshes when I'm importing like an entire category. So just in case, I want to merge actors before I put them inside unreal. Generate light UVs, Light Map U Vs. I'm not going to use this. This mostly, we're going to use when we are importing data smith, and we are dealing with building light. Now we're dealing with building the light through Lumen, so UVs and Light Map UVs are not going to be used for now. All right. Distance field resolution is a very nice tool we're going to talk about. There are many tools we're going to talk about later on down the way. Import MODs. This one I have LODs on Max, and I want to import them. Miscellaneous convert sen materials, convert units, just in case I messed up the units, I want to correct them. But we already covered this chapter on Max. We need the units and ctime here if I've got any specifications for the materials here, FPX file information tells me the information one file. And that's it in general. These are all the options that I have before I import to real engine, and that's all good for now. Generate MH collisions. I don't want to generate any collisions for now. We're going to cover this later on in the chapter. So we're going to import all now and all is good. All right, so it's all imported now. So what we need to do is organize everything where it needs to be there. So I take the first object and shift and take the last object. And before I drag it drop them to their associated folders, I need to know something. Something very important we need to point out is the colors under the images we have here. So Blue is geometry, green is material, and red is textures. It's like CM blue. So what I want to do is just drag the components to the scene now, and we guys, what we did is, we imported as FBX, and this way, it reads an unreal engine where everything is located according to the zero to the origin. So I've got the location here is basically the coordinates while I drag and dropped. So if I want it the same as Mx, so I want to zero out all the values here, so I get it in the zero exactly the same as what I've done in three DS Mx. This way, I've got it all to the zero and the same in the coordinate. Basically, I want to organize my files now. I want to take the materials now. Click, shift to the last one and drag and drop them to the materials folder. Move here. This way, I've got one material folder for all the materials I need. The texture I've got here, I'm just going to drag it and drop it to the textures. Preferably, I name my textures, but sometimes I don't have the time for this and I import a lot of textures, so I'm just going to keep it as is and make sure I don't have duplicates and just drag to textures now. And this way I've got all the geometries only in the floor that is under the geom main folder. All I've got all the floors now and all is good, so I'm going to save all now, so it all saves something we need to know. We've got star next to every asset here. That means that it's not saved. So if I want to save this, I need to save all to my cash and what I want to do if I want to check here and uncheck some objects and save selected. So they're all saved now, and the star is gone away. Why? Because all is saved to my cash and into my project. Every time I open my project, I'm going to find these components inside well saved. So now I'm going to do import and go to walls. And what's nice is this remains the same as the last thing I've done. So no need to go over the FBX import options over and over again, every time I import. So I just import all and it's the same as the previous import. So import all for now. I've got the walls and all the materials and the textures. I need to wait for a couple of seconds. So now it's all red. So basically, I'm click the first one and click Shift, click the last one. I'm going to drag and drop them into my scene. And I need now from the details, from the transformation to zero out all my coordinates. So I get them the same as they are in mass. So this is the same as their location in three D SMAC. So, I'm orbiting around. Everything looks fine for now. Mm hmm. Great. So what I do next now is organize the walls folder. So I've got the geometry. I'm going to take the materials and drag and drop them to my materials, move here. All right. All is gone except for these two, so let's make sure did I forget them, or are they duplicate? So we've got one duplicate. So in this case, guys, I can delete this material or and replace it with another material or I can name it another name, and we're good. So If we double click on this material, or we're going to get the options. If I do F two, I can rename it. I'm going to do 01, and it's all good. Drag drop to the materials, and it's good. What I'm going to do say for textures, I've got this texture already, so I can rename it or delete it and replace it. So let's try to delete. Here's what I get. And Unreal Engine asks me, what do you want to replace it with? And I've got not a lot of options or any similar options, so I'm not going to replace it in this case. I'm just going to rename it and put it into my textures folder. Drag drop to the textures. It's okay if we have duplicate textures in the end of the project file, we're going to have only the materials that we use. Save all and save, then we go next to Let's start with Let's do the landscape. It's import landscape, open, import all, importing meses. All right. Good. We've got it all inside. So we need to do now is basically wait for it a couple of seconds to read all the meshes, and then after that, I'm just going to do the same, take all the blues, the science, the meshes, and drag and drop them into my scene and zero out their coordinates, so I get them the same as in Max. Okay. All set to position, 100%. Everything's good. Excellent. What's next now, guys is furniture. But let's do import. Let's do furniture and do open. Import all. It's all done. That's the furniture needs a couple of seconds to compile all the shaders, so I can see them and put them into my scene. Preparing shaders. Excellent. These are all the meshes, so I'll click scroll shift click. Click them all, drag them to my scene, and then I'm going to zero out the coordinates, and there you go, we got all the furniture components. Let's check them out. Great, great. Everything is in its position. Mm hmm. Okay. Mm. Mm hm. So here, guys, we've got some components that were imported by mistake with the furniture. They're supposed to be. Actually, they're supposed to be with the furniture, but it's imported as a decoration. But it's fine. As long as they're all imported, it's all okay. We can fix them in Max and put what's in furniture on furniture and what's on decoration and decoration. But we already done this step a couple of times, and we're going to end up organizing our file. So it's okay. Now we move all the textures to the textures and we organize the subfolders that we have into the geometry. So see what else do we have textures, even more textures. We'll take the materials, shift materials, move here, and no worries, all the materials will be fixed. So then later, we're going to check if we've got even more materials down to drag and drop them to my materials folder. Okay, so we've got even more materials as I expected. So we'll take the first one and the last one with shift, and then make sure there are no textures in between, move here. And now it's moving. Greater move, then we've got a couple of duplicates that we need to rename. So we're going to do now is check these, these are duplicates or these are extra materials. So why do we guys do this? Why do we do subfolders? Because if we do all the folders if we do all the objects in one folder, that's going to be problematic. And I'm not going to know which object going to go to which one, and would I fix anything? If I reimport, I'm not going to know which is gone and which is the left. So it's much easier and more organized in this way to do it. And also, I can't import all my objects together. Maybe if I have high specs, I can do that, but I can't import all my objects for a simple fact, because unreal might crash. So we do it in a very safe way, and we just, you know, import everything on its own. So I just rename all the materials now. We do F two, and we just add a number, any random number for us to keep the material, and then after that, make the decision if we want to keep it or delete it or replace it. All right. We're good. So we'll take them all now and drag and drop to materials. All good, all is there. We're going save all now. Excellent. Now all is saved and everything is in order. Next, let's go to windows and frames, import windows and frames. Import all. Good. They're imported now. I'll take the meshes. Shift, drag drop to the scene, zero out our cordans in the details when they load, 000. Excellent. We're just checking if everything is fine. All the joints. All is good. Let's organize our folder. Materials to the materials. Move here. We've got a couple of duplicates, we're going to F two and rename them with a random number. F two. F two. Same F two. Take the materials, drag drop to the materials. Take the texture, rename this texture. We can move this textures. It's a duplicate as I expected, so we'll rename it. Should have renamed it before moving it. Move here. And all is good. Let's go to decoration now and decoration open. The more the objects I've got, the more time it will take. So bear in mind, it's okay. It can take more time. This way import is all finished, and what I'm going to do now is organize the materials. I can do either or either drop the objects into the scene or organize the materials and the textures, and then after that drag and drop everything. Move the textures to the textures. Mm hm. I think we've got one duplicate. We're just going to try again. It's a duplicate. Okay. So now we're going to do is rename it. Drag drop textures, again, Okay, move here. And now we take all the materials. Try not to get any textures involved in between and drag and drop to the materials. It's okay. If you get it wrong, we can take the textures from the materials folder and put them into the textures folder. All right, all the materials is moved, 57 items. Now we're going to take the objects and put them into the scene. Let's see if there are more objects down. Okay, good. So they're all next to each other, so we're going to take the objects and drag and drop it into our scene. Imagine if you guys put all the import into one folder and all together, it would have been messed up, like, really messed up. So now we zero out our coordinates. All right. I've got all the details. Now we're seeing, let's double check see if all the geometry matches our expectations. Excellent. Okay, good, good. Awesome. Okay. What's left. What's left now is for us to organize our textures. So we'll take these. Also pressing control to take separate ones, move here. Textures gone, and now materials Also moving. Nice. We've got more materials. Let's take the textures first and move them to textures, then we can take the materials and move them to materials. Dg drop, move there. More textures. Let's see if we've got more. Drag, move here. More textures. We'll select all of these then, click shift, select these as well and move them to textures. I think these are the latest. What's left now is materials and we can click the first one, click Shift, move here. Mm. We've got a couple of duplicates. So what we do now is rename them. Same F to F to rename. Drug drop to the materials, move here. They will all be moved. Now all the decoration is there. Now we've got the ceilings, so let's import the ceilings open. Import all. Great. Now we've got it. Why is it so many objects and so many materials? There's something wrong. Definitely. Imported the ceilings. So decorations are imported with the ceilings. The max layer. The ceiling layer in Max has a mistake. I'm going to open the Max file now and refix it and import it again. Close, continue. Okay? Great. Now I've got the scene, I'll go to the layer explorer. Hide everything and keep the ceilings. That's the ceilings. Good, select, file export selected, and we'll go to the location of the folder. TPC. We'll go from here. I remember it was in one drive. Arabic cos, FBX, and export. I I overrided c the safe ceiling FVx. Now we import the same one into unreal engine. Now it's exported. What I want to do is to re import. I will delete these because these are wrong. And then import again ceilings, import all. Still there's a mistake, 123 objects. So I think, no, there's something wrong. There's something wrong. I'm just going to cancel the process and see what's wrong into the MAX file. Sorry. In this case, what you guys, what do we do? We go to MAX and we do file export selected, and we put it with a different name. Sorry. Ceiling. Okay, Oh, my God, again. Okay, so ceilings. All right. Or we'll put it ceiling. So it's different than the ceilings, and we'll do okay. Sounds good. Let's go to our real engine. We'll delete these because I cancel them. Okay, then I'll delete, b click. Delete. They're deleted. So we'll do import now, ceiling, open, import all. Man, what's wrong? Okay. Same mistake 136 objects, that's unrealistic. So, I'll leave it to import, and I'll go to three DMX and try to figure out what's the problem here, because definitely from here. Let's see. So decorations are selected when I select the geometries of the ceilings. Maybe some groups are associated to the layer. So let's open the layer itself and see what does it contain? It's all geometry that is related to the ceiling, we'll remove the decoration groups and try to export these and see what I get. Let's delete them from here first. Do the same with the English file, FPx, delete the ceilings. Go here and FPx export all good. I'll go to exporting now from Max select and we'll put it we'll name it ceilings. Capital ceilings save. Now, we're going to delete these Apparently, I was adding decoration objects that I didn't want to import with the ceilings, delete import ceilings open, import all. All is good. Nice. So now we've got just the ceilings, guys. Finally. And now what we do is drag drop, zero out our coordinates from the location. And now all is sealed and all is looking good. Mm hmm. L et's hide the roof, click press edge from the keyboard to control Z Control Z. All good. What's left now is for us to import the lights. This way, we've imported all the models that we modeled in Max. Duplicates, same procedure. Then we take them all materials, move here. Same for the texture. We're just going to rename it and put it into the textures, move here. And now we can add the geometry of the lighting. Lights open it all. All good. A is important, Excellent. We'll take all the geometry, drag drop to the scene, zero out our location. All the lights now are in place. A quick look if everything is okay. And double check that everything is closed loops, and I don't have any leakage because this can really corrupt and damage how the light is looking into our scene. This way, we're working correctly 100%, and we've imported everything that is related to three D Max as geometry materials and textures, and now we can launch from real engine moving forward. Last thing, I want to do guys save all that I imported into my project. So it's embedded into the cache, and every time I open my project, it's right there inside. All right. So this way, guys, we've finished the Import lecture together. See you guys in the next lecture. 19. 19 Pivot, UV and Normal Adjustments Into UE5 ENG opt: Hello, everyone. Welcome to a new lecture. In this lecture, guys, we will talk about three main things that are in three DSMC we previously covered, and we will learn how to cover them in Unreal engine. Flip normals, pivots, and UVW maps for objects. How to fix all of these in unreal engine without needing to go back to three DSMC and fixing all of the things that we will cover and talk about in this lecture. Okay, so let's start to talk about this in three DS Mx. We will hide the ceiling. We'll take this model. We will take a copy, we'll press W shift and drag, and I'll do a copy. Then I will put in the coordinate 00. Then I got it in my zero in three DS Max. First thing we want to cover guys is the pivots. So for the pivots in unreal engine, we want to check the same chair and see how the pivot is acting there. So we will press on the ceiling edge to hide both components, and then we will press on this chair and try to move it. I can't see the pivot here for some reason. The pivot is, what we call it the Gizmo is in the zero, zero, zero. So let's try to test on this and export this chair to unreal engine and see after we move the chair, how is everything is going to act in unreal engine. So file export selected, choose for me. Right click, Let's make a new folder, right here, and we'll call it tests. Go back test. This folder, we can delete any time and we'll put all our tests so we don't combine anything with our project. We'll do chair here and do save and then okay. It's exported, all right. Now I need to go to O real engine and import in the geometry, or let's do a folder here as well and call it tests and put everything here. We'll import now and do tests open. Import all as the previous one. All right. So if I drag and drop the chair now, I get coordinates and I zero out my coordinates, zero, x, zero, y and zero z. This is what I get guys. The chair is right exactly in the middle of the world, zero, zero, zero. And it's above the ground a bit because we've got topography guys. There are some buildings that are higher than other buildings. So as you see, there are different levels in the side, so that's why it's a little bit elevated, but we can see for sure that is in zero, zero, zero. That's zero, unreal. If I press on anything else, guys, it's going to be in the 00, zero, y because it's all exported in relation to the zero, right? So anything we click on the pivot will be in the middle. We did not separate the models in the origin for us to have the pivot in the center of the model. We've got it in the center of the world. But, guys, we took the strategy of whatever we need to fix, we'll fix the pivot of it. We don't need to fix, then we'll just leave it as is. So let's delete this chair, and we've already knew what's the difference between if we import this chair or if we import a separate chair with a 000. So if we want to fix the pivot of this chair, we go to the selection mode and do modeling. It'll open two panels for us, one for the main things and one for the details of the main thing, and then we'll go to transform pivot and from Pivot It's showing me that it's in the origin zero, zero, zero. I can pick the position of center, bottom, top, left, right. So I'll do bottom now because I want the chair to be moving from the bottom, I don't want any parts of the chair going under the ground, and then we'll do accept. Okay. Great. So now the chair has the pivot in the center of it before it was in the center of the world. So it was convenient and unpleasant. So if I want to control Z the process and show you guys what's the difference in moving both of them. So if I want to move look, how do I move it, it's so unpleasant. Also, if I want to rotate it, it's going to round about certain angle, and it's accurate and not really desired. So basically what I will do again from modeling mode, I'll go to the pivots and do bottom. I can do center, but I'll do bottom, and then I'll do accept. Great. It's excellent now. Now I can rotate see the big difference between rotating before and rotating now. All right. So this is all about the pivots. Anything I want to make, I can make it in this way. Anything I want to move, I can fix the pivots off. So it's so simple, so straightforward. So if I want to copy guys, I do from the keyboard and I just copy, and real engine, we'll read the same data over every chair like it's one chair. That's like the copy instantiations mode. We'll cover the copies when we come to the copies. I'll prefer to give the chair the material, and then after that copy it, so we don't have to work on it further more, we just apply materials once. So this way, we start to know what's the logic of unreal engine. Okay, Am we want to ask you a question. Why don't I just pick a couple of things together and just fix the pivot of them? Is it valid or not? It is valid. But the problem, guys, is that when we take these four shelves, for example, all the components within these four shelves, let's fix the camera and select all of these. For example. All right. Also with this. And we want to fix the pivot of all of these objects. So I'll click on Pivot, and then after that, I can do center, so I center the pivot into in between the objects. It's much closer than before. We 100% agree, but the problem is that all of these has the pivot in the center, not the center of the object, the center of the group, the center of the selection. So that's why I need to bear in mind that if I want to move something, I need to fix the pivot of it itself, not to do a group. Because if I do a group, then it won't be as accurate as what we've done with the chair. It's like in the bottom. So what we can do, for example, is click on any of the objects here and go to the pivot, and then after that apply bottom positioning, and then look, how did the pivot moved from top to the bottom. So this is correct, and also the previous one is correct, depending on what I want to do with my procedure. So otherwise, I can just leave the pivots to the origin in the way they are. It's completely okay. It doesn't affect anything because I'm not going to move it. So in this way, I take these things under consideration so I can work flawless in real. So for UVW Map subject. So I want to go From here from the create panel, I'll do box, I'll do cube, and I'm just going to draw the cube in the center zero, zero, zero. And I'll do 100 by 100 by 100 cube, and that's like 1 meter by 1 meter by 1 meter. Now what I want to do is delete the chair and move the cube to zero, zero, zero. This way, the cube is in the zero, and all its dimensions is one by one by one. Now I'll click M from the keyboard to get the material editor I have, and what I will do, I'll upload the material into the base color and reflections in the diffuse. So I'll go to general and go to Bitmap. And then I will import the checker bitmap, so I can see how it looks on the cube. Drag drop on the cube. I get the checker map and all is good. For example, I needed down the way to scale my cube and do it this way and y for example, I want to turn the cube into a metric. I want to do next is basically export this object and see how we can fix this in unreal. So I'll do here, for example, checker box. Save. I'll do okay, and all media is embedded and everything is okay, we'll go to an import and import to checker import all great. Now we can drag, drop the checker box into the 000. You see, basically we can see the UV, but it's not 100% correct. I'll position it in the middle and see what we will do next. If we see guys. The scale that we've done in Max, it has damaged the texter. It has made it incorrect. So before what we used to do, guys, if I messed up the UVs in three DS MAX and imported to unreal, I needed to go back to Max and fix this in Max. Do UVW map from the modifier list and then do box. And then from the box, fix the dimensions, make sure they're one by one by one. And then after that, see if I need to scale this further more and fix the gizmo of it. So basically, we do this from UV map, gizmo, and then after that, we can fix the gizmo manually to get the result that we want. So we can get the checker in cubes. So, for example, we do it this way. So we do cubes this way. And then we stretch from here a little bit from there. So now we get like, Yeah, this way we have fixed it. So before we used to fix this here, and then export it again and replace it there for it to be fixed. This time, guys, we've got tools in unreal Engine five that we can fix everything in our scene, almost everything in our scene. So basically, I can go to UVW Map, from UVs here. We do project. And then after that, we go do box, and from box in the dimensions, we make sure we're doing one by one by one. Se guys. Now it's relatively smaller. So what we will do is try to make it bigger, so let's do 505050. That's even smaller. Let's do 500 by 500 by 500. This way, we've we've got a 100% correct. Of course, guys, we did escape, so the edit we've done, it's not saved, so we need to make sure that after editing my edit, let's, for example, assume 350, we need to accept for the edit to take place. Otherwise, it won't take any place, and I will just preview what I've done. Without any edits. So this is also a very nice tools, guys that saved us a lot of time hovering over the UVs from MAX real engine. And there are also many ways to fix the Unwrap UV and the UVs and X four UV. These are advanced tools that can save us a lot of time. Especially in the softwares that are not Max or blender like Or Maya, software such as SketchUp and Revit. There are some constraints in the project itself, you know, in the tools itself, you know, we can't achieve the same result 100% like when you compare Max to Revett, for example. So these tools comes in very handy when we import from Revett or sketch up because we can fix anything that is basically damaged or corrupted or it's not working very well. So I can fix these in Max, but now everyone can work in Max and do correct working in Max and do all the tools in Max correctly. So that's why we teach these tools for all the disciplines, all the students from all different backgrounds of softwares. We can work on it all together and fix it in the tools of Unreal engine. All right, great. Let's go and jump to the third idea. So this object, I want to right click Converter D Poly, and then I'll take face the upper face, for example, I'll do flip Also, let's take this face and do. All right. So let's assume that this is a model for a drawer or anything I brought it from any other software, and we've got this in real engine or in Max that is flipped faces. Let's assume that we exported it directly to real engine, and let's do flip normals. All right. Now, what we need to do is bring it here and we'll do import, and then we'll do flip normals open, import all. Mm hm. And it's imported. Now I'll bring it to my viewport, and you can see guys how flip normals are previewed in unreal. The object is 100% correct, but the faces does not show. So how do I fix this? I go to a command called tri model. And then from tri model, we choose T cell, and then we then pick the face through the brush. For the phases I want to fix. All right. And then after that, we go down and we do flip normals. You see, guys, how it's flipped and it's 100% correct. Now I do accept, and I've got my normals fixed and object is looking 100% correct. Of course, guys, there's a lot of tools in the edit normals that we can use depending on the complexity of the model. So if I go to try cell and I click the faces, I can choose the size of the brush and selection mode that I want to select that will give me more options to select more complicated objects. So I can control everything from here that is related to edit normals that is more accurate and is better to work with. So because this is a simple object, it's a box. There are some other objects that are more complicated and more complex. For example, this object is more complicated, and maybe we need other types of selection within the flip normals and the brush. So I hope you guys benefit from this lecture, and you've learned the main things that we need to fix in Andel g in case, we couldn't fix in Max. I hope you benefit from this lecture and see you guys in the next ones. 20. 106 Importing to Unreal from Max using DataSmith: Hello, everyone. Welcome to a new lecture. In this lecture, guys, we will talk about how to import DataSmith from three DS Max to Unreal engine. Okay. Excellent. First thing first, we need to download DataSmith. We'll go to Google from here, and I would say Unreal Engine, Data Smith. Data Smith, real engine. Then here it's telling me what is the different international export work flows that I can work with real engine. And here I've got different softwares guys like we've got 12 softwares for now or 15, maybe. So we've got MAC Sketch, ve, Navisworks, rhino, graphy Soft, chica, Solidworks, Form Z. We've got CDB, open flight in real engine, I twin, CET. There's a lot of data exporting systems beyond what we need in in architecture, you know, and beyond what we need as visualizers. But it is a software that is well supported from any software that is exporting FPX and international exporting system. So for now, we're talking Data Smith only. We're still not talking about any other exporting mean. So we've got unreal 5.1 download 5.1. If I've got any other version, I put it and I download it and I add it to Max. So I enter the installer. I get from here installation, computing space requirements. So it's just generating the space requirements and making sure that I've got space for unreal to download Data Smith. So in this course, we will be in this lecture, we will be talking about how to export from three D MAX to unreal through Data Smith. MAX 2023 install. And in the coming lectures, we'll be talking about the other softwares on how to export from SketchUp and vet. Okay, great, it's downloaded now, so we will go to Max now. I'll go from here and I'll go to three DS MAX Island Farm retreat. I'll open Max, and then I'll drag drop inside it. Max has opened. And all is good, and now we want to open our project. Now we opened our project. After we opened our project, and we want to export from it. We'll do control all, file, export, selected. As we knew before in Unreal Engine four, it was saved from here. If Data Smith is not here, guys, I Max 2023, Data Smith, they change it to the ribbon. So we find Data Smith in the ribbon. We can't find Data Smith in the export like before in Unreal Engine four. So here I've got Data Smith, and here I've got Export and Export selected, so I'll do Export selected, and here you Data Smith, will go to the desktop, save it there, and we will do save. Or let's be organized. So we'll go to the drive and from the export FPX export. I'll do a new folder here, and I will call it DataSmith Export. Good. Now we enter it and we save it here. Now it's going to export as Data Smith. What I will do is I'm going to open a new unreal engine file, so we can import data Smith inside it and see what's the differences between Data Smith and FV. I'll do architecture or game or anything I want, and I'll do on desktop. Okay. Perfect. Now I want to import from here. Before I import, I want to make sure that the unreal engine Data Smith plug in is opened from here is activated. Data Smith FBX exporter, just in case, I'm going to export FPX, because the file is already FPX. So we want to do this, and we want to have Data Smith importer as well checked in. So Data Smith importer guys works at best with VR and Corona. So when I've got materials in most of the MAC let's say, scenes are already ready in Vira or corona. So everything is organized when it comes to materials. But we did in FX, so we want to see how to import as FX DataSmith, as well. So we will do import, and from here, I'll go here and I'll go to DataSmith Export, and from here, I'll do open, and I'll do okay. And from here Data Smith, I need to import only the geometry and the materials in Texas only. I don't need animations, cameras, or lights because all of these we do inside real engine. Why? Be lights and the units between Max and unreal. There's a huge difference, so that's why we always tend to have a huge bright scene or a completely dark scene. So that's why we will leave the lights for unreal. We're not going to do anything with the lights in Max. So no need to put lights in Max. It advance the static mesh options, the resolution 64-512. It's fair generate light MV. I, we can keep it port. So we'll hide the advance and we'll do import. The scene has imported and everything is okay. And I come around the scene and take like scroll around it. Here's the floor of the archivist template. And here's the file. Of course, guys, the materials, they won't be as in unreal because we did them from scratch. Here are the materials as FBX. Be in Max, we did not focus on materials, we focused on materials in unreal. If I focus on materials on max, I'll be able to get much better results than these already. So always if I have materials, it's okay if I don't have the materials, then it's also okay because now we know how to do the materials in both ways. So the geometries here are exported all at once in one folder. It's not like it's separated like the ones we did before. If I want them to be separated, I export the same in DataSmith as FBX, we export layer by layer. Then this way we guarantee that everything will be organized in n. Second thing in materials in Data Smith, all the materials together, textures together, it's well organized to be honest. So it organizes the file structure in a way. So if I go to any object and see the material of it and look for it, If I enter this material, let's enter a more complex material. You see that in Data Smith guys, it tends to export many nodes that we don't need than we usually do in the normal case scenario. Of course, this is nothing, guys. Usually, if we have an advanced material, then it will be a lot of nodes way more than that. And of course, Data Smith does not read complex materials such as blend materials and further advanced materials in MC. So we need to kind of make basic materials in MC. And bring them to unreal and be able to do the mix and matches in unreal. So why don't we prefer the heavy materials? Be heavy materials causes with many nodes, causes heavy let's say, materials on unreal, heavy packaging and heavy workflow, everything will be heavy. So that's why when we did FBX export, it was everything organized and simple, only the texture and a couple of nodes we added. So it was just simple. So we can add anything to it. So let's assume that we did any modification here? We did control and we dragged it. And here, for example, I hide it this one. And we brought, for example, this table, and we put it in the porche, and we did the dining area. Of course, the pivots are fixed completely okay, guys in unreal when it comes to DataSmith. So we'll do now control all file export selected. Remember, guys, we don't do export from here. We do export from the ribbon from DataSmith. So we want to locate the folder. We export from here, not from the export dialogue. We'll go to this folder and we'll save on top of it. We'll do it. And there we go. It did export again. And now, what I do is I go to the content here. From here. I'll do right click from here and I'll do re import. You see here, it gave me additional options, Save current level actors, Data Smith, scene and respawn deleted actors. If I deleted anything already, it can be respawned again. Import now, reimporting. Now it will update the scene for us. So what do I guys advise is that we reimport in the beginnings. We don't edit the materials a lot and do reimport a lot in the end. Why? Because I believe that it will re edit all the meshes again. It's like it's formatting everything that I did. So you guys have to try an error and make sure that everything is working correctly. But what's nice is Data Smith saves us a lot of time, guys, is that when I want to work in a company, for example, most of them they work in three D Max Vire or corona. So they fix the materials, and everything is crystal clear in Max. All what they need is an interactive tour or a walk through. So I don't need to repeat all of this from the beginning in unreal. I can just import it as data smith and do it all in unreal. But I gain a lot of data like the materials, like the meshes, like the pivots, everything is fixed. And it's smart, and everything is organized. So It saves me a lot of time. Why? Because the materials when we fix the materials in Max? When they come to unreal, 90% of the materials are okay and they don't need any edits. So that's how I save a lot of time in doing materials from scratch. So it's just a couple of small edits and materials, not like major differences in the material. Like for example, if I import glass material from Max, I need to fix their fraction and certain things. So that Smith has its own workflow and FBX has own workflow. You ask me what do you recommend? Speed is Data Smith. Quality does not matter, because in the end, I can produce the quality from unreal, from talking about simplifying the scene, then of course, I go with FVX, because FPX, the materials is simple and raw, and it's like one texture, one color, and I edit everything. Of course, if we edit FVX like before we got the models and we put them in the middle, and then in unreal, we distribute them, then everything becomes okay for the pivots as well, but it takes us time to distribute But there's other ways in real, of course, and in Max to fix things and the pivots. It's all there. So it's just a comparison. If I'm working for games and big scenes, I do FPX, if I'm doing small scene, and there's a team before me that is already working on it, I can do Data Smith to export results as quick as possible. I hope you guys benefit from this lecture, see you guys in the next one. 21. 107 Importing to Unreal from SketchUp using DataSmith: Hello, everyone. Welcome to a new lecture. In this lecture, we will talk about how to export Data Smith from Sketch up to Unreal. So first thing I want to do is I want to go to Google, and from Google, I want to say Data Smith. Unreal engine Data Smith Exporter plug in. I'll go to Geta Plug ins and from the Ga plug in, Sketch a Pro 5.1, Export do load. Now computing space requirements, same as for three D S Max and same as for Revett. Next, I accept next install Sketch a P 22, the one that we've got. Finish. Now I'm going to open Sketch. We'll do architectural meters. You see, guys, now we've got Data Smith exporter plug in here. We can dock in the toolbar that we've got. Here we've got a sketch up. Just an introduction for sketch. It's an easy software, and it's very well known, and it's usually used for architecture visualization Architecture three D and engineering. Now we're just going to draw a rectangle. We're going to increase the height like this, for example, 0.13. Now I'm going to I'm going to consider that this is the land, and there's a house from here, for example, I'm going to make this a little bit bigger. And from the house, I can do some trees like next to the house. So I'll identify them by circles. So different circles, and we'll bring them up from the push pole tool. Double click to make them same height. And then I want to make this a little bit higher than the rest. Now we've got trees, for example. And I'm going to come from here and try to do like a fence, with a simple rectangle. And let's make it as a fence. For example, So I want to export this to unreal engine before I export this. I want to apply any materials, even colors. I can do this green, I can do the house. Let's see. Like orange, beige for bricks. Perfect. And the trees I can give these like brown. For example, and now we'll do before this, I'm going to refresh. I want to open a new file for real. I'm going to pick anything, as we said. Now we know most of the templates that they're all the same, and we know how to get any template into the other one. Now we've got the template, and now I'm going to delete this from here, and I'll do export Data Smith. What I will do, guys is I'll do Toggle auto sync from here. After I do Togle autosyc, I'll go from plugins and I want to make sure that DataSmith is enabled. DataSmith import is enabled. We're not FVx here, so all is good. Now from here, I'll do direct link and it's read that ready sketch up is there and I can direct link to it. Geometry and materials import There we go, guys. That's what we did in sketch up is there in directly imported. Every 30 seconds makes a direct syn for sketch up. I can, for example, take more things, circles or polygons. Then I do sync. There you go. Everything I've done is there in real. So I can get models from three D warehouse and I can import them as in, and they will be there in sketch, so I can control whatever in sketch up and make a direct link with Unreal. How's the models are available in unreal guys? We realize that this is entirely one model, and all these materials are in one detailed parameter. So how can we separate the models in sketch up for us to have a better experience in unreal? So I go and sketch up and I take the model. For example, I'll do right click and I'll do M group, M group, double click, M group. And then I can take all of these and make right click M group. So these all are groups, same for here. Double click on the building or take the faces. If I do double click, it's going to take the entire thing because we built it on it. So we will do just click for faces, and we group the faces. So that's how I make sure that I am getting separate things on unreal. Now, I did different make groups. When I do sync, now you see they're all separated into different models. If I want the bottom of the cube, I can draw the cube and then move it and snap it with the surface. These faces are grouped together. I need to do this face is grouped with that one. So I need to organize my work in terms of what is with that. So it's better if we make everything in groups and organize everything in sketch up before we import to unreal. So now you see we've got many components here. Why? Because there are groups inside groups. So I choose if I want to merge stuff and which stuff I want to merge. So let's, for example, I want to take all of these and merge them. I'll go tools, merge actors, and then it asks me, where do you want to merge the content? I'm going to pick this place, merge actors. Okay, it's already merged, merge together, and Now I can fix any actors together. Here, I can take them together. These are all the things that from sketch up. I go from tools, I'll go merge actors, and from here, I'll do merge on top of that one. Yes, and then drag drop, that's another one, exactly the same one. They are not merging. Why? Because I'm merging groups with models? I need to merge models with models. I want to make sure that I merging models altogether, not groups. F here, tools, merge actors, and I'll do merge actors, and from here, I'll do save. It should be now all merged. Exactly. So that's what we can do. We can get models from sketch up, get them together and unreal, merge them, and then we've got it all fixed and all there. So this is how we import sketch up files to Unreal through Data Smith and change everything inside sketch up. And of course, anything I fix in sketch up, it will do direct link with real engine and everything is okay. I hope you guys benefit from this lecture, see you guys in the next one. 22. 108 Importing to Unreal from Revit using DataSmith: So Combat Kam A V C drogada Nk iv Nam import Unreal engine Ab et Dal website Data Smith Unreal Engine, HNF from scratch. Let's go to Google Data Smith Hot Data Smith plug in exporter to Dcvet, with download exporter. T Computing space requirements. Bo next. I accept next vet latter Sen install. Yes. Man Data Smith exporter A Databa Rt. La Monadno sample Architecture project. Fat sample Architectural project, Boraco d3d view port three D V Porta Boral Data Smith Minh bad Tg Oto sync. A a B and the A files Dato bag, bam M Bolt Smith, bolo direct link, Fabio vet. Bolsel materials, w geometry. Family por n is A vet, B l. Faso D Las. Behind the shine Ali Mad, Mad ad D Hala path Path. Nam Laon except good Tal arena, Zab moro, Cola Maze, Peal material, Tabato, Mcalan, Fab Dal Match, Mad, had, Sid material. Barro ended wall had boo dd type meson, men ended edit type of material wood bricks, Obagi Mcal, Ani, Wood one. Wo black, B, dark, direct link to a direct link, D export as as exported. Da Smith export Ma D link, Bdlnk, export project. Farzam Tat Farkam, live link is Anas Mensch Bader Amp M B for Badesha a Maron Mata Smith, do Export, export dim LO Import Content, Data Smith, file import, Simple House Data Smith pen import. Emporia and an a al B vet. Vet. Mara real, an Link direct import. F A DSO and K M O t. B Mansfield.