Modular Building Creation For Games | Volume 1 | Tutorial Course

1. Intro Trailer: Name is Mel Sliger. I am a lead Tweedy environment artist, and I will be your instructor for this course. So in this course, I will teach you everything you need to know on how to create modular buildings for games. This course will cover a few key number of topics, including how to correctly plan a modular building, creating modular assets that have a high placement flexibility, building out interesting looking buildings in Unreal Engine, creating smart shaders to minimize texture creation, and creating a single powerful texture for our entire building, creating fake interior shaders, doing additional presentation and level art, and ensuring that our assets are properly set up. The general takeaway of this course is that at the end, you will have the knowledge on how to create exactly what you see in these images. And you can, of course, apply this knowledge to almost any type of building or modular project. For the modeling of this course, we will be using three IMAX. However, we are using universal techniques, meaning that you can easily replicate it across your preferred software, including Blender or Maya, as long as you know the basics of that software. For the texturing, we will be using Substance Painter, and of course, as mentioned, we will be using Unrealgent V for the entire level setup. With a total of ten plus hours of video content, I feel confident that at the end of this course, you will have to know on how to create module buildings and structures fast and efficiently. This course does contain a few small time lapses for repetitive functions and bonus content. However, we made sure that we do not cover any new workflows or techniques in these time lapses. 2. Gathering Our References: Okay, welcome, everyone to our very first volume on how to create modular buildings for games. And as you can see over here on our screen, we have a building. So this is the building that we're going to create in this tutorial course. We're going to go over everything from how to create a blockout, making sure that all the modular pieces fit together, how to create different materials, how to create the shaders to get like these fake interior shaders. And then also we do like a little scene setup, although that's more like a bonus. We're not going to go over on how to create all of these small assets that you have over here. They will be included in the project file, so that's a nice little bonus. But we're just going to use them just to make everything fit a little bit better. And we are also going to make it that you can even, like, go inside, althoug right now our example doesn't have it, but that you can have a little interior in here also. So that's basically what we're going to do. And as you can see, the building has quite a few interesting shapes. There is a clear definition between the ground floors over here, which is like this modern office type building with, like, some nice glass going on with some interesting trims. We also over here have quite a unique looking trim, and this is actually a unique piece. And then what we have is we have this interesting pattern over here to create, like, some extra shapes and just like, in general, I feel like visually, it has a really interesting silhouette, and that's why I wanted to use this one. So this is going to be the modern building. And hopefully we will also create a few more volumes where we'll go over more like traditional buildings. Like, what I really love is the buildings that you find in Paris or in Vienna and stuff like that. So, having this building, the very first thing that we need to do is we need to do some planning. So whenever I create a building, I try to always make sure that there is a real life copy of it because I'm not an architect. Like, yes, I can make up some general shapes, and that's also what I did with this building. I made up some shapes, but I need to have, like, a general idea and sense of what the building is going to be like. So for that, I like to often just go ahead and go to Google Maps. So let me just open it up here. So here we have Google Maps. And this specific building, it's actually located in Manchester in the UK. So it's actually a place that I happen to have visited. So if we just go ahead and scroll over here, the nice thing about Google Maps is that you can hold control, and then you can, as you can see, shift the view, and it is over here. So, as you can see, quite different. So here I kind of like ripped off one part of the building, and then I altered it a little bit to make it work for my use case because I want a standalone building. And for this, this is basically almost like three buildings. Like we have our main design over here, and then we would have another building design next to it, and then another one attached to it, and that just becomes a bit too much. So this will also be a good way to show you how that we can differentiate between them. So this is basically the location that we are going to use. Now, what we're going to do is in our source files over here, and you will, of course, get these also. I'm going to make a new folder and I'm going to make it or call it reference. So in here, first of all, what I will do is I will just create a very quick text document for you. And it's quickly called location. And just make sure that you save this location. Of course, I do it like this, but you can also go ahead and create a bookmark of this. Now, next thing that we need to do is we need to get some proper high quality reference out of this. So over here, we can, of course, go ahead if you want. Just we will always have this open, but it's sometimes nice to just go ahead and create a few quick screenshots. So I'm going to create one here. And then it will open up. Oops. Let me just do this. And I use share X in terms of the screenshots. There is also a way that you can turn off the labels over here. See that this looks a little bit nicer. I'm also going to go ahead and take a screenshot of here. And not sure if I need it on the back, but let me just take one more screenshot here. So that's just the general Google Map screenshots. Now, another thing is that we, of course, can use a street view, and I can remember that this area doesn't show a lot. Oh, sorry, the TD view, it just completely does not show anything. But I can at least, go over here at the street view, and I can try and create some screenshots. But I guess, in this case, oh, yeah, here we go. We have some images. But this building is not great when it comes to that kind of stuff. So let me just see if I can go around it. Ah, around here, I should be able to see a bit more. The reason I was here was because there was actually a game development conference that happens quite often here. So here we go. Let me just go ahead and get this. So this is quite nice to just get a sense of the shape. So I'm just going to take another screenshot here. And don't worry. I have way higher resolution images. But what I recommend also for your very first building, if you can, go to the location yourself to take a screenshot, because, of course, this it's a bit tricky. Now I kind of know my way around. Yeah, here, see, it's our blocker. But I can, of course, also imagine that if you are not familiar with creating buildings, it might be a little bit trickier. I'm just going to go to my top view so that I can then go in here and drag it in a slightly better location. Here. That's also pretty good screenshot so that we can really see the corner and we can see how that's all set up. I don't think there's much. Like, we can go this way, but let me see if I can go, like, a little bit further back, maybe here. Wow, that's a very low resolution image. That's not really worth it. Ah, there we go. Let me just notes that not going to load in. That's unfortunate. Okay, so let's say that we now have these few screenshots over here. I'm honestly already fine with that because we're now going to move on to the next step. So first of all, let me just get those screenshots and just drag them into our reference folder. The next step is going to be in my case, getting references from real life areas. So you can do this in multiple ways. Or you can go ahead and you can find buildings in Google Maps where you can go a little bit closer to them. So like, high quality that over here, you can zooming closing, you can really see, like, how are the frames constructed? How is this all connecting together? Where's the dirt and wear and tear. But what I like to do, as I said before, is I like to actually go to location or at least go to a similar location and take images there. So that is where, in this case, SkansMtter comes in. So I'm the founder of Scent Matter. A Scans metal, you can get pretty much for free, some really high quality reference photography and also three assets. So a lot of the assets that you saw in our demo, you can actually get them here for a very small price. So anyway, the reference, the nice thing is that you can just create an account and you get five free references. And each of these references, if we just go to object reference, and we can go to the buildings over here. So each of these references, so it's my Japan trip. We go here. These are the buildings that are actually coming from there. They come with multiple like 8k9k resolution images. So that's quite nice. So having these, I'm just going to go ahead and log in, so 1 second. Okay, here we go. And I have 996,000 credits, but that's just because I'm the owner. So here I have a few really high quality building reference images that we can use. They are not of that exact building, but they will help. So I can just go ahead and I can quickly download, for example, this one. And over here, you can see some close ups or frames like this. So it's up to you like how many you want to download. I don't think that one will be too useful. I think this one will be quite useful, so let's get that one also. These ones, I also don't think they're too useful in this case, for this building. So yeah, it's going to be a general combination. So we have those. I can't remember I had a few more. So let me just quickly check on the back end if I can give you something of my personal library. But anyway, what this will do is it will go ahead and it will have downloaded zip files. And all you need to do is just drag it in and you can just unpack them, and then you have all of your images. They are quite large, so just keep that in mind, because the next sap dot, what we are going to do is we are going to throw it all into pure rev. So here you can see that now we have these really nice let me it's opening up on my on screen, really nice and really high resolution images of our buildings. So that's what we want so that we can really understand how are the frames constructed, how is everything fitting together and use that in combination with Google Maps. It's going to delete the zips for now. And let me just pass and have a look in my personal library for this. Okay, so I found a few nice ones that looks like that they did not make it to the website. Um, where are you? I was looking at it like a second ago. Now it's gone again. I am blind. Oh, no. Wow, I'm really blind. Sorry about that. There they are. Okay. Sorry. So here I have some of the actual building, which are also very high resolution images. And the reason I like this is mostly because of this image so that I can really understand how this is constructed. I could figure it out, which is Google Maps, but it's nice to have it. And especially for tutorial, it is good if you have a little bit more information because I assume the people following this, they might be a bit new to this kind of stuff. So I'm just going to go ahead and I'm going to copy those and then also place those nicely in here. Okay, so that's that part. Now the next part is that we are going to use a program called PureRef. I'm sure many of you already know it. It is completely free. You can just go to Google and type in Puref. And basically, you can donate, by the way. What we can do in PURv's a very nice reference viewer. So we can drag in all of those images that we have just collected. And what it will do is it will open up these images nicely sordid, and then the best thing about it is that it will keep it all at the same or at the real life resolution. So at the resolution that it was recorded with, allowing you to zoom in and out into all of these details very quickly. I'm just going to pass the video because as you might have noticed, my images, they are very, very large, so they take a while to load in. Here we go. So that's not done. Now if we zoom out, you can see that now we have all of our images. So over here, of course, these images were a little bit smaller. So what I'm going to do is I'm just going to go ahead and place these up here. Like this. You can also just go ahead and you can make them a bit bigger. Just keep them similar size. Then over here, what I like to often do is I like to categorize my buildings together for which building is which. So we have over here that we can very quickly move around and see what we need to create. I think that's about it. And then we have over here this one. I'm also just going to show you a quick trick that once, for example, move these out of the way. Well, it's still quite a few. Let's say that these are all the same building except for this one. Sorry, these ones need to go here. What you can do is you can also just select all of it. Right click Images, arrange, and, for example, say optimal and then it will nicely arrange all of these images for you. So that's about it. I know there's one in here that I have no idea what this is. I'm just going to get rid of it. But now we have a pretty nice overview of what everything is going to be like. What we're going to do next is we are going to actually plan the modularity of our building. I think that's very important too. I can kind of do it out of my head, but I feel like it's important to show you how that all of this modularity is fit together. And for that, we are going to use a few of these images. Sadly, we cannot use the Google Maps one for this. We can, but it's a bit messy. Yeah, over here, you can kind of use it. So let's use just a few of them. I'm going to open up Photoshop for this, but you can use whatever you want. Here we go. So here we have Photoshop, and I have this image over here. Now, what I want to do is I probably want to go ahead and scale using my cropping tool to allow for more images to be in here. So we need to basically get every angle that might become a modular piece. If I just have a look at Honestly, this one probably already is better than that other image. So let's do this one. Then let's go ahead and get a very clear view of the site building over here. And let's see what else do we have? I'm just checking. So this will be covered by the side we don't have the front, so I'm actually going to also add this image over here. Oh, that fits quite nicely. There we go, like the front. So we now have the front, we have the side, and we have the base over here. I think that you be it. We just have a look around. So yeah, we have the site. Of course, the rooftop, we're just going to keep it very easy. We're just going to make that flat. And these sites, they can go kind of like all around. I know that over here, there's like a service entrance, so I do want to work on that, but I don't think we need to do that in our planning because those are more variations. You can see them over here a little bit. So the way that I like to work with this is quite easy. I like to just go ahead and use my polygon tool and I'm going to figure out using this the pieces that we need to create for our modularity. So I assume that when you fold this tutorial, you do already know a little bit about what modularity is. Modularity is basically the art of re using tree assets to create larger buildings. So the way that this works is if we go ahead and just use our building over here, for example, and let me just go into my building. Here we go. So, for example, this building, I have all of these modular pieces. So basically, instead of making this entire building as one giant chunk of a mesh, which is extremely inefficient because one, you need to do much more work. Two, it's very destructive because if you want to change one thing on a small area, you would have to change it everywhere. Tweets highly unoptimized because unwel engine and game engines in general, don't like giant solid meshes. There's just a bunch of reasons why you wouldn't want to do that. Instead, we have something called reuse, and I'm going to just show you, like in a very simple way. So I'm going to go up here and I'm going to set my snapping to 100. And let's say that we have over here this trim. So we have this building trim. Now, what we do with it is we make sure that the sizing is always in chunks of 1 meter. So 100, 100, 100, 100. You can see here, this one is 400 meters. This means that when we set the snapping on, we can simply duplicate this and see how it perfectly snaps together. And the goal is that when it snaps together, it will perfectly transition over to the next piece. You can very quickly snap it again, and let's say that now you are going to At the corner piece. Sorry for the corner piece, I need to rotate it a bit, but over here. So now we have a quick corner piece. And the cool thing about corner pieces is that they also are highly flexible, so they all work together like this. You can then even over here, for example, rotate this piece. Go here and snap it together like this. So like this with only two measures, we are able to construct quite a large structure, and it just depends on what you would want it to make. So over here, we can, for example, do something like this. Now, let's say that the same with windows, we, of course, have some very simple windows, as you can see over here, that if I would go in and here, let me just like I'm just temporary going off the grid because this is a special case where you want to kind of go off grid. Here we go. So here we can also do this with windows, and even these windows, they have a corner piece. It probably doesn't fit now because I'm not making it the way that it should be made, in this case. Okay, yeah, it doesn't fit nicely. I'm always a bit worried that I mess up or something like that, because I don't know exactly the dimensions of this. But here we now have, like, a very simple corner. So now if this would all be one solid chunk, that's it. But if you later want to change your mind, you would have to redo a lot of work. For example, what I want to do is I want to go ahead and turn these, for example, into this piece. So I can simply drag it on, and now it has become a different piece. Just like that. So that's very quick. I can also go in and with modularity, it depends, of course, on your mesh, but sometimes you can also go upwards with modularity. For ground floors, we don't often do that, but for intermediate floors that need a lot of repeating like this, you can do that. So we then can go in here, swap it out for another piece. And just like that, we have an interesting looking structure. And you basically just keep going like that. So on top of this, you can then go in and let's say, you would add a roof trip trim, sorry, not trip. So I go in here, I deselect my corners, and I think this is the roof trim. Yeah, it is. And the nice thing about it is that all these pieces, they share the same dimensions. This is important because this means that we are able to very easily just swap out the pieces for whatever we want. Just like that, you can go ahead and you can construct an entire building like this. So that's a general sense about modularity that you can reuse pieces and that they all fit together properly, no matter which piece you use to combine. So knowing that, if we just go back into Photoshop, we can go in here and you already know this one. So here, what we can do is we can decide, Okay, I want here, and it doesn't need to be perfect in dimensions. You just need to know what you want to create. I want to create one straight trim piece. And also, it's just like the initial creation. I then go down here, sorry, and select solid color. Here, let me show you again. Go here, solid color. And then what it will do is it will grab your mask, and then all you need to do is you set the opacity a bit lower so that you can clearly see the outline. So just for me as a memory of, like, Okay, so this is going to be one of our modul pieces. Now, over here, we can do the same where we say, like, Okay, I want to make a corner piece. The beauty of all this is that this is an initial planning, but we are going to create blockout pieces before we create the final pieces. And by doing so, during the blockout stage, we can simply add more pieces if needed, but we need to have a solid baseline. So here I have this. Now you can then also imagine that, Hey, I want to have a chunk that is just windows like this. So you can go ahead, solid color, give it a different color. Doesn't really matter. It's just for your eyes. Although doing breakdowns like this is sometimes also nice to show on your portfolio. And like that, I can go ahead and I can just There we go. Places. So now I can already construct this piece. I can construct this piece, and we have these pieces over here. Now, over here, I can see a door, and I don't know if there is a better place where I can see it. I can't really see a better place, but it's just for us to know like, hey, Emil. Don't forget. You also need to create a piece that has a doorway over here. So I can just at the angle, Do that. Okay? Maybe green is a bit more difficult to see in this instance, so let me just make it orange. So we now have a doorway, we have a corner piece, and we have a window piece. So that's quite nice. And then over here, if you want, you can, for example, create a lower window piece also. We're not going to do that because our building we're going to change design a bit. But just like that, B I've already taught about it, and we're already able with only three, four, five pieces to basically create an entire ground floor. And then I do know that over here, I do want to have one utility. So I'm just going to go ahead and add that one. And that should be already enough to do most of our ground floor pieces over here. And then all we need to do is create a little bit of variation here and there. So knowing that, we can now move up to the top floors over here. And so for the top floors, what we want to do is we want to have a look and see how would this like transition. So we definitely need two pieces because or, you need to make one very large piece, but I like to do two. So let's say that over here, we have this one piece. Like the anime, one piece. And we can go ahead and lower that. And then we do need to make sure that when we create a transition that goes upwards, it needs to fit together. So this over here, I can go here, but then what I can see is that this one is not exactly square. So actually, what I would probably want to do, although we do this more in the blockout, but just to show you, is I would actually want to oh, yeah, no, that is tricky. I think we need to have a look at the blockout, what to do with this match, because an important thing is that we keep everything square. So for now, let me just do this. And in the blockout, we need to see how we are going to exactly construct that. The reason I say that is because I never like to cut a model exactly in half like this. Like, if this would also be purple, logically speaking, like this, logically speaking, that would be correct in terms of sizing, but that doesn't feel nice, does it? So we need to have a think about that. So we have those pieces. Now, over here, we have quite a unique corner piece, as you can see. I'm going to alter that to simplify it a little bit for this tutorial, but I can already just go in and somewhere here just to indicate it. I can place, I do try to make the color somewhat separate a thing here. So we have this over here piece, and down here, I'm going to show you that this is actually not going to be much a piece. We are going to be able to reuse this piece up here, also down here, but we'll go over that a little bit later. Now there is technically also a top piece, as you can see over here, which like a top trim. However, what we are going to do is we are going to make it into a very simple cube like you can see over here. They are all going to basically be reusing the same stuff. Like you can see over here. Yes, if you want to taken also, just to indicate it. That that's more going to be like the one piece that we're going to make, and that's going to be able to run all the way along here. So we now have the top floors, and we have the side floors. Now, just for me to cheat a little bit. I want to just have a look because I did add some unique pieces. So here you can see, like, utilities. Over here, you can see a utility piece that has a door in it. That's up to you if you want to add some more pieces to that. But initially, we are not going to do that. For example, here, there's another piece that has this rotating door. I'm not really going to do that for this because it's a bit overkill for a tutorial course. I made this building, of course, already before the tutorial course. And it's also going to soon be available for sale on fab to be reel engine. But I think we already got most of it. The last piece is this piece over here. See, so I knew I forgot something. That's why I checked. And that's just over here, but that's obviously going to be very easy. Let's say, here, three windows. There we go. Uh Let's do this. Okay, so we got that piece also done, and I think that should fit most of our buildings. Now, of course, just for you guys, what I will do is I will save this. And now we can just go ahead and we can drag it in here. And maybe put a bit more at the top so that it's like the main focus point. And there we go. So we have now already done our planning. Nice. So in the next chapter, what we're going to do is we are going to start focusing on creating an initial blockout. We will be using Tris Max for that, but you can easily use Blender or Maya as long as you know the basics of those software. So let's go ahead and continue to next chapter. Where we're going to start by just creating these blockout pieces. 3. Creating Our Blockout Building Part1: Okay, so with our planning now done, the next step is that we are going to create our blockout, and then something that I always like to do, which quite cool is we are already going to build our entire building because it's really hard to make a blockout without actually knowing if all the pieces will fit. So after these few chapters are done, you will already have just like an entire building ready to go. And then all we need to do is we need to, of course, convert it to final, create materials, screp shaders and all that kind of stuff. But for now, so I'm using three years Max. Let me just move it over here. However, the techniques that we are using is not so much about modeling, but more about learning the general workflows. So you can easily use Blender or Maya or whatever you want as long as you know the basic concepts behind it. Hell, you can even use the unreal engine modeling tools if you want to. So over here, the first thing that I like to do is I like to go ahead and import a scale reference. Now, what I did is I went ahead and I placed it, sorry, placed it into the Expos folder in your source files over here. So I can just go ahead and it can go file, Import, Import. So this scale reference, let me just import it. What this is is that it is basically just a simple person that is at 180 centimeters high, which pretty much default scale of a person. Wow, I can speak today all of a sud. Um, next to that, I also have an arrow. So the reason I have the arrow is quite nice is because it shows me which area is forward facing in unreal engine. So in unreal engine, if we look at it like this, it would be forward facing. And that's something that we just want to make sure we have that everything is basically just like aligned properly with the camera when we drag it in. You very often, if you don't notice, have it that you accidentally have it sideways, which for a building isn't too bad, but still I want to have like a proper start. So basically, it's just a very simple overview over here. Now, next to that, what I'm also going to do is I'm just going to right click on any of these buttons up here. I'm going to set my grid points here, home grid from 10 centimeters to 100. So right now it is just 1 meter by 1 meter every grip point, just because we are working with buildings. They are much larger in that sense, so this is a bit easier. And there we go. Okay, so easy setup, we have a scale reference, and we have over here our building or our grid points. The next thing that we need to do is we need to define the initial scale. And as I said before, the scales that I often like to use is four by 4 meters for default pieces over here. To find that four by 4 meters, it says, the right balance where it isn't too large and too small, but also for gameplay, it fits nicely. And also something that's quite important is that in games, you sometimes want to go slightly bigger than they would be in real life. But in real life, even this would be 4 meters, I assume. Like, these windows look like one meters high. Of course, this piece would not be four by four. This one would be Well, it kind of depends what you want to do. If you want to split up into two pieces or just have one large piece. I'm probably going to go for one large piece. So this would probably be four by 61, two, three, four, five or six. So I'm going to go ahead and just get started with the base floor. So for now, move this little guy over here, and I'm just going to create a simple box like this, let's go ahead and set the value. So in the length, I want to have it 400 as in 4 meters. Then for the width. So with width, you have two options. Option number one is if it is a closed building, you want to make it a minimum of 25 centimeters. You do this to avoid any lumen errors, like, lighting, bleeding or any stuff like that. However, if you want to give the building an interior, then of course, what you want to do is you want to make it closer to real life. So that's a tricky one here. Do you want to make it close to real life or not? Now, what we can do is we can give an option that the bottom over here becomes a little interior. I could even like for you guys import some assets to make it like a little coffee shop or something like that, as like a little bonus. But of course, honest, I cannot give you too many assets because then the actual assets become more valuable than the soil. But yeah, so we can go ahead and choose what we want to do. So let's go ahead and make the bottom and interior that you can actually go through it. But then the top over here, let's make that solid. Now, nice thing is that we actually have a buffer zone in here. So that's really good. We have this solid black piece, which is a good buffer zone. So focusing first on the interior, I'm going to go ahead and probably make it like 10 centimeters. I think still having a little bit of tech frames to give it some space, that's quite good. Also, I'm going to turn on edge and faces. That's easy to see. And then for the height, we probably want to go ahead and go for 600. Now, remember how I said in the overview in the previous chapter that often you also want to go up and down. Like over here, we want to go up and down. But I believe that I also explained to you that ground floor pieces are slightly different in which we rarely stack them on top of each other. So we can often go at a slightly different scale like four by six instead of four by four. The only thing that you need to do is we need to make sure that all the ground floor pieces do fit together well. What I'm going to do is I'm just going to reset this to zero. And also, what I want to do is right now, the snapping is in the center on every point, but this does not often work well when we use our snapping. So instead, what I'm going to do is I'm just going to right click again here, and for now, I will just leave this window open. Let's move my thing here. And I'm going to go ahead and I'm going to go to snaps over here and make sure that vertex is turned on. Because then all I need to do is I need to go up here to our hierarchy, affect pivot only, and just simply in the middle of this pivot, drag it to the corner here, and then again, reset over here your point. You can also mess around with the values together to this point, but this is often a bit easier. So this is basically going to be our point of snapping. So the next thing that we need to do is we need to actually give this some shape. So first of all, I want to go ahead because this is like a nice default box, and I already, I believe, oh, no, I don't have my layers over. So over here, I'm going to talk on my layers. There we go. Now, inside of Blender, this is called collections. And here inside of Max, we just have layers, and inside of Maya, you all at one groups, I believe. But I like to just go ahead and copy this model. Past it over here, and I like to already give these layers the export name that I'm going to get. So a plain wall is always a good thing to export. You might always just need it here and there, so that's great. Now, when we create buildings, at least in the production environment, we often have an ID to the name. And in this case, this building name, the D that we have just for example, that we are going to use it was going to be MM zero, 0252 MM in my case stands for main model, zero, zero, 252 is just this is model number 252 out of everything we make. And then what I like to do is, I like to do dash. And then in this case, it's going to be G for ground floor. And then do underscore, plain wall. And I always like to do underscore 01. Go away creat Klaus. Underscore 01, just because I know that sometimes I might end up making a few more. So this would often be like the naming convention. If you want, you can also just do, maybe like this, G N, I'm going to leave it like that. So we now have this naming convention, and when we export this file, we can literally just go in and we can just copy this name. Oh. Yeah, copy this name, and then we can go ahead and export it. So that's how I did that. I accidentally missed a button. But now I can very easily also hide this, and I can just continue with this one. So right now, this piece is going to become, I can just add a new layer MM 002 52g Window. Score 01 over here. So this is going to be our window. And as you can see, this is the shape that we have. Now, knowing that a door is around 220 centimeters, we can kind of figure out how high this is. So I'm going to first define where this layer over here happens. So if we just go ahead and go to our site view over here, you can even also move this guy closer. And let's go ahead and create not a line. So, let's go ahead and convert this to add a Poly so that we can edit it, and then we are going to just add a simple loop. So knowing that the door is probably around here, so there would be a frame around here. I would say that probably what you want to do is probably want to make a frame here and here. I feel like that feels quite close to what we have here, although these windows do feel a little bit longer. Now, I like to often also stay quite close to the general frames. So I'm going to sometimes go into my home grid, remember, on the snap settings, set this to 50 or even 25. And see, ooh, if I go lower than that, that wouldn't look very nice. Let's see. So we have this. I'm going to probably as you said it's to 25, move it down once. Like this. So we're going to have a frame here. We're going to have a frame here. Then I'd like to also have a swift loop over here. So we have a frame here, and then this is like that thin piece of window. See, it's not really square. So we have our base, which later on we also have a door variation, thin piece, solid piece, and then up here. All we need to do is also have another piece, but I feel this already looks quite white. Now, another thing that you can do is you can turn on your snapping if you want. And you can just go ahead and you can snap this all to your grid. We are in vertex mode, so we can literally just select this because keeping it on the grid, it's quite smart to try and keep everything on the grid like this because you might end up with quite a few pieces, and then you might sometimes accidentally forget that you shifted something like a tiny bit, and then it's good to just know that you can rely on the grid for this type of stuff. Now, next thing is that we have four windows. That one is super easy. All we need to do is we just need to go to Edgemde, select all of these edges over here, go to connect and connect settings. And you said this to three. So one, two, three, four windows over here. And then, of course, we do also have the ends, but we can go over that in a bit. So we now have all these shapes over here. These window frames, right now, it's a blockout. So you can see that we definitely need to alter this a little bit later. I don't know if I have some real close up images. Not a lot, I guess, this is the same image. So but you can see, there's like a thick frame behind it, and then we have these tin frames on top, and in between there, there is the glass. So that's generally what we're going to go for. But for a blockout, we are not going to go through that effort. All we want to do is have the frames in the right location, have generally the same thickness. So for now, I'm just going to select all of these pieces over here. Add the chamfer and set the chamfer to zero because a chamfer on a flat area just splits up the frame. So I can set this to, like, say, 2.5 yeah, they are quite thin frames. So let's say 2.5 like this. That looks quite nice. Over here for the Swift loop, I'm just going to eyeball it at this point because it's a blockout. Also, another thing is because it's transitions over. We actually want to go half the size because when we sit them against each other, this half and this half on each side needs to become one full frame. Let me just move it a little bit more. So that's why I'm just trying to, like, roughly just half it. Does it have to be super precise for now, but let's do something like this. Then here at the top, we're not going to half the size because we don't have it stacking on top. And here at the bottom, we can also just place it here. There we go. So that's our frames. Later on, our frames will actually become like a separate piece that we will add on top of it. But for now, what we can do is we can go in and just to indicate where the windows are we can actually you know what I also want to do these ones. Select this stuff. I would say, actually, at this point, because this is going to become Citru, I'm going to do it slightly different. I'm going to first select these. I already forgot that I was going to make it Citru. Sorry about that. I'm going to first of all, select these and just delete them. Then what I'm going to do is I'm going to go ahead and I'm going to probably won't work because yeah, it just gap. Oh, no, wait, sorry, it does work in bridges. I'm going to just do a border select, so I have a bit of brain freeze. Select all of these borders and just bridge them so that they are closed off. So we have that as our exterior. Now, remember that over here, we had that buffer zone. So for the buffer zone, I probably want to go in, and I need to kind of know where my ceiling is going to be. I think my ceiling will probably be slightly higher than the window scale. I feel like that would be quite nice. So I'm going to actually place my buffer zone roughly up until this point over here. So let's say that we select this area. And I know that from the back it will look a little bit strange. And I know that I'm using a very slow way of selecting, but Now, at this point, I committed, so I have to finish it like this. Having this piece, I can go to my top view in my home grid, right now, it's set to 25 centimeters. So for these, I can actually just extrude them, and I honestly can just turn on snapping, hold Shift, and just snap it to the end. So we know that that one is 25 centimeters. So doing this, we have the thickness up here to make sure that there are no lumen issues, but we have the thinness up here to make sure that it does work for any type of interiors. Only thing that we need to keep in mind is that whenever we have corners and whenever we have pieces that are linked to it, that it doesn't look strange, that you don't all of a sudden, have something like this that is visible in the interior. If you cannot see it in the interior, it's fine, but else it might look a bit strange. So we have these pieces. Now what we can do is we can just go ahead and select these pieces and also these. I'm just going to hold Shift, and I'm going to push those in not too far. So this is just to indicate, Hey, these are windows, for example. So that's basically our initial piece. The only thing that we need to do now is we just need to go in place a very quick plane. Here we go. Plane. And you can just place that in front of it. I'm sure you all know how to create a plane, so I'm not going to go over that. I'm going to push it back a bit, and in Max, we have a cool tool, but also in Blender Maya, where if you flip the normals, in this case, using a normal modifier, and all these modifiers you see for me here, you can also find down here. If you don't have these windows, you can go down here and you can go ahead and press configure modifier sets and press show buttons, and that's how you can figure that out, how to turn it on. That's really for like a more beginner toil so I'm not going to go over that too much. So we have this plane. This plane is going to be see true, and then we have these pieces over here. What I'm also going to do is I'm already going to just apply some materials. So if we have a material here, it's just going to give us more visibility when we are playing around with this inside of unreal engine. So material one, I'm just going to call frames. Material two class C tru material three. Glass opaque. So first of all, we have glass ci through over here, and what you can do is you can make the color, for example, a little bit bluish. Then what we can do is just this entire piece. Let's first of all, just add frames, which we're going to keep gray. And then in the selection, select the insides and just make this glass opaque, which I'm going to make here, like quite dark blue, for example. Okay, that might be a bit too much. I still want to be able to just read it all. And there we go. First piece done. We can go at the Sava scene at this point. And where is my folder? Oh, it's hiding on my other screen. Let's go ahead and make a safe folder for you guys. Always good to save your scene before there's a crash. And I'm just going to go ahead and call this by the ID name MM 00252. Just for you guys, I will call it building, just so that you understand a bit more in case you want to open it up before you follow the course. So we have our first window done. Now, before we move on to the door, I want to go ahead and end this chapter by also creating the corner. So for the corner, as you can see over here, we just t to make it go around the corner, and corners are very often one by 1 meter. You need to be very specific. Just see here, British soap. Okay. You have to be very specific about the corners because of snapping reasons because corners they need to snap very, very accurately. So I'm going to set my grid spacing to 100, and I'm going to show you a trick that works in yeah, it should work in our programs, just slightly different. But it's quite a similar trick. So we have our window over here. We're just going to go ahead and copy this. And then we are going to create a new layer, and whenever you have something selected, it will automatically place it into the new layer. 252g corner, underscore zero, one, and turn off my window, make sure to do that. I might also in this course, make a mistake where I forget to do that, and then I end up editing two pieces. So it looks quite simple. We just have literally a continuation of this corner. Although later on, I probably also want to create a corner for these grids over here. So what we can do is we can go ahead and we can use the symmetry modifier for this. So first of all, I need to honestly, also, just for ease of use, I'm just going to attach everything inside of this as like one solid model. And then for now on the Y axis, I'm going to set this to -400, just to kind of push it there. And then I'm going to just effect pivot only and set my pivot back to zero. There we go. Because this is going to be the point where we want to have our corner start because as you can see, when we have this piece, it needs to perfectly transition. When the corner start here, it will perfectly transition over. Almost every piece is on the right side, except for corners. Corners are the ones that are often on the left side. You can do it on the right, but for visibility reasons, I like to do left. So knowing that, all we need to do, which is quite simple in Max is we add a symmetry modifier. On the Y axis, and then press flip. Oh, no, sorry, we don't need to press flip. I'm going into the mirror. You can just do that by clicking on. Here, see now you can see it. And we need to turn on snapping and the most important thing is to only snap to the grid point at 1 meter. So if we go in here and we snap it to the grip point at 1 meter, now it is perfectly snapped at 1 meter, and if we then rotate this using snap rotation, you can see how it then perfectly. See? Because of the snapping it perfectly just rotates around like this. Now, we might sometimes have issues, as you can see over here, where the frame in between is too thin. There's a few ways that you can fix that. Way number one is you go off the grid snapping. You push it forward until you have the frame at the point that you want. Like over here. And then what we can do is we can just manually push this back. And number two would be to just model the frames. So number two would be literally just pushing it out. Just because this is our very first corner, method number one would literally be we have this piece now over here, and we just go ahead and we would grab these angles. Like this, we want to go ahead and go to scaling and make sure that they are scaled flat because I felt like, but it might just be optical illusion. And we push these out. And then what we also do is we would also go in on this side, do the same, and then also push them out, and then on the back side, we would also do the same, just to show you. They will push it out like this. And then what you need to do is you also need to make sure that you grab the back angles. But for that, it's often easier to hide these pieces. I'm sure that by now you get it, but I want to show you the different technique. Over here, it already works fine. Yeah, you know what? Here, if you done add a smooth modifier, I think that already works fine. But because I'm going to show you a different technique, just because you might sometimes need this technique to also do some unexpected cleanup. So with this technique, I'm going into my cemetery without snapping and only on one axis, make sure that you only do it on the y axis over here. I'm going to push this in until we get to a point here, I can see it on the corner, see? That it is just in front of it. Then all I need to do is I need to go ahead and out and added poly and I need to select one side, so the side that's sticking out like this. And then if we just go ahead and just on the y axis, I know it looks a bit stupid, but wiggle it around, turn on snapping. Make sure that vertex is turned on in snapping. Go down here and select the vertex and snap it to the grid by then just moving your cursor to the grid. And now you can see that because we wiggle it on the y axis, it knows to do the snapping only on the y axis. Like this. Now you guessed it. Now we can select this end, wiggle it around on the x axis, and then grab the vertex that should be exactly on the X and snap it like this. So that's another technique to then move it back into place. And the snapping should work totally fine now. All you would want to do at this point is add a smooth modifier just to get rid of that really strong smoothening effect that often happens. And I guess if you really want to, we don't have to do it right now, but you can already just grab a corner, although this corner is quite specific, but if you have a plain corner, you can add a little chamber. That is often nice just to give it this smoothness that you know you're going to get later on. So 0.75, for example. And that's it. Our corner is now done. Well, plain wall is done for the plain wall, and probably actually going to make that 120 5 centimeters. But as you can see, because over here, it scales in the center. It's easier for me to just art and add a poly and the reason I like to and added plein instead of converted polygon is that I can always remove it and go back to my box. But I can just go in here. And once again, vertex is still turned on, so I can literally snap this and just move it to that grid point over here. I feel like for walls, it might be nicer if we have them actually solid because they need to become they are solid chunks. So you want them at 25. But like this, you can imagine it from the interior if we have a ceiling up here that has quite a nice transition. Over here, it's quite thin, but we are just going to, of course, manually add another piece there later on. So let's save our scene. And yeah, there is a good moment to stop. In the next chapter, what we'll do is we will create a door piece. We'll create some trim pieces over here. And then yeah, door piece, trim pieces. And at that point, let's just go ahead and already go into Unreal Engine just to show you the placement, make sure everything works. And then what we can do is we can create any other additional piece that might be needed for our ground floor and already build out the entire ground floor. And after that, we of course, move over to the top floors. So let's go ahead and continue with this in the next chapter. 4. Creating Our Blockout Building Part2: Okay, so let's go ahead and continue. So we got our window and corner. So I think the next thing that I want to do is I just want to go ahead and create a door variation. And, I mean, is it a double door? Is it the single door? That's a little bit difficult to see. But let's just go ahead and, um, seeing as we have 4 meters, let's probably make it a double door. So in these cases, what I like to sometimes do is just go to Google because I forgot and a double door was 160. Let me just double door size. I'm doing this on my other screen. So yeah, okay. So doors are around 80 " high. Which in what most of the world uses is 200 ish to 220 centimeters. That's often for, like, just generally for doors, kind of depends where you are in the world. And the width is around 60 ", which is like 150 ish centimeters. I'm from a centimeter country, so I will be using those values. So first of all, let's just go ahead and create a box over here, and we're going to make the length. Is that the length, the length. Although in this case, length is height, I believe, so 200. And I'm gonna make it a bit bigger. Oh, no, wait, that's not. Sorry, 150 I like this. So it was the height. I'm gonna make it a bit bigger, 220. Oh, that just hit. In that case, I'm not going to do that. 200 Yeah. So on to on. So let's just leave it at this bar. The reason why I want to make it a little bit bigger is because in games, often the camera needs a little bit more space to get through the door. However, in this case, since I do not think it is worth like completely changing all of the framing and stuff like that, I'm just going to kind of stick to where we are over here. So I'm just mostly going to focus on the width. So what we can do with this is we can go ahead and set this cube turn on snapping to, for example, the grid over here. And it's moving back so that we now know that it's exactly in the center of this piece. At this point, let's just go ahead and select our window pieces. Oops. Contra V, copy, new layer, Mm 00252. Uh, door on score 01. Let's the door. Oh, of course. I've not been typing. That's awkward. On the score door, there we go. And then in the corner, we have our cube. I'm just going to quickly drag that into the door so that all that we have left now is just this doorway. Okay, so for the doorway now, there's a few things that you can do. You can place an extra frame here. In which case, we have these two thin windows, or in this case, you can go ahead and you can just literally change the framing. Like that often happens also, where they actually change the window framing specifically for a door. To keep things easy, I'm just going to change the window framing. So all I'm going to do is I'm just going to go up here. And change these two frames. I think that will look more than good enough. So we have done that. Then over here we have our plane. Let me just go ahead and quickly place a swift loop in between the frames. Like this and then just delete that part. So now all that we have left is this, and all we need to do for this is we need to go ahead and just delete these faces over here. You can do a quick selecting the borders and just doing like Capli basically making sure that it's kept. And this is basically our doorway right now. Now, of course, what we want to do is we do want to create a quick blockout door. Right now, this frame, especially if you look over here, there's quite a lot more thickness going on in this frame. So just for the blockout, I will make this much nicer later on. I'm going to go ahead and I'm going to push this out, and then later on, I also want to have a check about, like, how does this actually look for the interior? Do we want to have, like, anything in the interior to make up for this strange extension? But I believe that this extension does usually happen quite often. So it's something that we need to kind of, like, have a look at. After what you can, for example, do you put like a trash can here and here and stuff like that, or like some plants to kind of, like, fit it better within the level art. So I'm gonna push that out. Now, the doors itself. Oh, I don't have to cube anymore, do I? Oops. The doors itself are 60, which is 50, 75 centimeters wide, in this case. So I'm going to go 75 centimeters for a single door. And for the width, shall we do? No, it needs to be a bit thinner. Let's do five. No, three. I mean, 3 centimeters does feel quite thin. I'm gonna go 4 centimeters. I feel like in real life, it's actually like five or something like that, but for now, let's just do this. And sadly, we do not really have any reference of a door here. Now, I'm going to just have a check. And for example, over here, this is like more automatic door. Do we happen to also that your utility door? I was hoping that we had some reference of a normal real door, just because usually working on reference, as I said before, it is quite a bit better to do that. What I'm going to do, however, just for the blockout, we can refine it later on because in the blockout, I do kind of want to move along quite quickly. Like, I don't want to spend too much time on a single door, so I'm going to convert to add a poly and I'm just going to out of memory, make a basic door, which is basically having this piece, and let's say the back for blockout insetting this there we go. So we have a door frame. Doors very often have the bottom to be higher. This also helps for when people accidentally kick against the door and stuff like that. So we have this. I'm also going to select these two over here, and I'm going to make those a bit wider because I want to have a more interesting handle for this. I'm going to grab a loop and scale it flat probably somewhere along here. I'm just going to add an additional frame that's also going to be quite thick like this. And now we have these pieces. We can go ahead and we can just bridge them together like this. And then what I want to do is I want to go to my side view, and just to give you another trick, which will use it more. I'm not sure if we will use more, but I'm going to use some spline molding. So I go up here into shapes and then just grab a line, and I'm going to make quite a white here. So I just hold Shift to make, like, a nice, large and straight spine like this. And this will be like our door handle once I'm done with it. And these door handles I like when they are quite large, something like this. Now, all I need to do is I need to bend the corners because I want to make it a little bit more like a round indication. I can simply select these two corner vertices on the spine, go to fill it, and then click and drag, and that will make them nice and round. Oh, over here, it's broken. That can sometimes happen with spine. Sometimes they don't perfectly align. In those cases, various ways that you can fix it. Let me just first do this one over here. Here, see. You can also see that over here, it's not exactly perfect. So, okay, one way to fix it is you basically do it by hand. Oh, I don't know why now is broken. That's strange. Let me just try and undo that. There we go. So one of them is fixing it by hand. You basically select these loops and you just like scale them and move them and rotate them until they fit nicely. Another way, although it rarely works is that you can right click Convert to spine to basically and then do reset X form. So you go to your utilities, reset X form, reset selected. And then convert to spine. I was going a bit fast. And that often resets the transforms and in this case, it didn't work out. Another way or you can redraw the spine or what I'm going to do is I'm actually going to draw a rectangle because rectangles very often do not have any arrows. So I'm drawing a rectangle here. I'm converting this rectangle to a spine. Then I select this side and I just delete it. So now we essentially have the same shape. But logically speaking, this shape should be much more Correct. Where I do this, see, and now this is more perfect. So in this case, I'm going to use this technique. Of course, you can also model it without splines. There's just so many ways to do this. Anyway, I have a spine. I'm going to art in Trez Mexico the Sweep modifier. In blender, it was slightly different. But all we need to do here is apply the modifier, click on a cylinder, and just change the radius to what we want. Like this, you can also change the segments, but I don't care too much about that. I'm going to move it here and I'm going to Push this a bit further back. Let's make the radius 1.5 centimeters, maybe. Oh, one comma five. Et's go ahead and just look at it without isolation. You can turn on off your edge and faces to have a look. I'm going to make it one comma two, probably. No, one comma three. I know I'm a bit picky, but there we go. So that's just a very basic door that we can push over, push open and stuff like that. I will have some reference of a door a little bit later. But for now, having this door, let's go ahead and just grab another plane. And just place it like normal, on the art and flipping the normals around. There we go. So we have plane. Easy does it. Um, I probably want to keep this intact. So what I'm going to do for now is I'm just going to go ahead. I'm going to duplicate this door. Up here, you can mirror the door and you want to mirror it on the Y axis. Now, good practice. Turn on edge your faces. Uh good practice when you do this, let me just move it over here is that you go in your utilities and reset the X form on them and then cover them to add a pool because sometimes it flips the normals when you mirror it. It doesn't happen on the latest versions of Tres Max, but on all the versions, we did have that issue. Now, I'm going to go ahead and because these are all new models, let me just apply the frames, apply the ctruGlass. That's enough for that. There we go. So that's just a very simple doorway. We can go at the safe and having that done, we now have a doorway, normal piece, Corla piece. I'm going to go ahead and focus on the trims. We do have these side pieces over here, but I want to then first move into unreal engine just because I don't want to keep waiting too long to play around with the pieces we actually create. And then we can just add a few additional pieces to this. So for these pieces, quite unique looking top trim. So first of all, let me just save my scene, moves over here. Let's use the window as our reference and create a new layer m00 252 dash T of trim trim underscore straight underscore f4m for 4 meters. So that's a little bit longer name. But because trims are used all over the place often, you don't really want to dedicate it to like a G or to like something else. Oh, sorry. I see here that I did change my name in convention. And if I do it without thinking about it, then I rather just stick with whatever I was thinking about. So G, and then we do it. Sorry, ignore me. So that's done. Let's now go ahead and create our trim. So the important thing is, of course, yes, we want to make it 4 meters. Oh, that's a plane. That's why it stopped. We're going to go ahead and make it 400 centimeters. Now, the width and the height is relative, I would say, but I try to still keep it even numbers. So right now for the height, if I do 100, is that too much? It is quite thick, and we're also going to have this lip on it to make it feel thinner. So I think 100 might be okay. For the width, it needs to basically, if we have it sitting here, we need to choose how far we want this to stick out. And honestly, 100 also feels correct there. If we stick it out, probably at 100, I think that will work best. So at this point, what we're going to do is you can change the pivot or just to show you. If you want, you can set this to 200 and set this one to 45. I know, that does not quite. So, I guess, 40, was it? Here, at 40. Now, technically it's also already at the correct position without changing the pivot. So that's another way of doing it just in case you want to know. What I'm going to do for now at least, is I'm going to move it up over here. Oh, it's 25. I want to move that back a bit. 30. 25. There we go. Yeah, that feels a bit better. I like to always at least have the back as one line on stuff that goes on top of it. So what we're going to do now is convert this to an added pool, and making the strem is quite easy. We just need to define that very first connection point where we're going to extrude this out. So let's look at it from the side, and I'm going to go for I want to make sure that it really doesn't feel like a cube, so probably this. And then over here, let's split this exactly in half. So let's just place a single connect here, and then it will place it exactly in the midpoint. And we can delete this. Let me just quickly bridge these. Okay, so this is what it looks like now. Um, Yeah, that's sadly we cannot see much out of that, but I do feel like there's too much overhang between this and this piece. So I am going to now push it back a little bit to go off the grid, but that's okay. We are allowed to go off grid, especially with trims because trims are often the ending, so they don't have to fit as well. I'd rather have them visually fit correctly than anything else. I feel like that might work. Let's move this maybe, like, a little bit forward. Yeah, you know what? I feel that that will work well if we go for something like this. So let's say that this is like a straight piece. For now we're just going to leave it very basic like this. Later on, we're gonna add all these construction lines and maybe even some lights and stuff like that. But I think this will work. Yeah. Okay, cool. So let's go ahead and just reset the position over here down to zero. And this point, we can also get rid of our window. So that's the trim piece. Let's save it. And now we also need to create a corner piece. Again, same technique. We copy it. M00 252. Why do I keep doing it without typing? Mm 00252 Ts Trim corner underscore 01, just in case we have. Also, sometimes you want to have corners. It depends on your building, but sometimes you want to have corners going like this, and sometimes you want to have them going like this, that this is the site you look at versus this. In those cases, you can also go ahead and change the naming, for example, to be or convex or convex or Con hull? No. What was it? Convex or Oh, my God. I forgot. Convex or something else? Concave. That's it. Convex or concave. And Cave means inside and convex means on the outside, basically. Or you can just do what I do, which is like normal and invert. That's how I like to do naming, because I feel convex and stuff is always a bit overcomplicated. Anyway, what we're going to do with this piece is we are going to go ahead and set the Lx, let's just set the pivot point. Over here. I'm just going to set it to this corner. That's no problem. So set pivot point over here, and I'm just going to reset that to zero. And for this one, so there isn't a lot of space in a one by 1 meter. So that's something we need to think. And also, we are not exactly on one by 1 meter, so we really need to rely on purely data, so to speak. So what that means is I'm going to go in here, effect pivot only, I'm going to set my pivot specifically on zero, 00 at this point because else this will not work properly. And then I'm going to symmetry it. Y axis. And I'm going to snap this turn a vertex to the 1 meter point and then rotate it. And if calculated, I don't want to say mathematically, but like logically speaking, at this point, it will perfectly fit because we are exactly at the 1 meter point where we rotate it. So at this point, all you need to do is let's go ahead and art and add a ply, for example, create a quick chamfer over here. I'm going to make this a little bit thicker, although we are later on going to maybe change it. So let's do 2.5. And after that, I'm just going to add a quick smooth modifier just to make sure that it's all flattened. So we now have this one and this one. And we can just apply some trims to it. There we go. Okay, so I would say our main pieces for now are already done. Of course, not the top trims and everything, but just for, like, the base. So what I'm going to do at this point is we are going to export this, and then we're going to have a look at it inside of wheel engine. So in expots let's go ahead and make a new folder called I'm just going to call it building. You can call it by the ID if you want. Now exporting is extremely simple, so I'm just going to show you one because it is a bit time consuming. I will just do this one. At at my studio, we do have normally automated scripts to do this, but sadly, I cannot give you these scripts. So I basically select the model, and I copy this name. I then just go Export Selection. Oh, I'm in a wong folder. Here we go. Sadly, that means I cannot copy the name anymore, but I'm just going to then wide it back. Once you export to this folder once, it will save your it will save your location. Trim corner underscore 01, and that's it. Like default setics are often totally fine. So smoothing groups on. Toby Smooth doesn't even matter. Davidson doesn't matter, and preserve edge orientation, keep it on and just press okay. That's all. So now at this point, you can just move on to next one. You double click to copy name. You select, make sure that you don't export the scale reference, and see now it remembers the location. So now I can just go ahead and keep exporting that. And because this is a very boring process, I'm going to go ahead and pass the video until this is done. Okay. That's all. The exporting is done. And now what we're going to do is we're going to move to nil engine. Now, in Unwil engine, I will give you this scene. It's a very basic scene, similar to default scene, but it has a slightly nicer presentation for later on. Of course, if you want, you can also just go new level and create a basic scene. Doesn't really matter right now, but this is the preview scene that we will use for the final building. So that's why I wanted to just use this. So having that done, over here, I have, like, a folder that I will clean up later on that just has a bunch of additional assets for you guys to use, but we will go over that in later chapters. Going to start by just creating a fold over a building. So MMO of course, if you have a project, you might want to call City, whatever the project name is, but that's up to you. 00252. No, I'm going to do this. 252. And I'm going to explain to you in a bit, but I want to double check that the name is correct. 252. Okay. So why do I keep this short? I do that on purpose because Unreal engine has a character limit of 255 characters. It's a hard limit. You can go beyond that point, but then bugs might occur. And Unreal will really scream at you. Also, if you make anything for, like, the fab marketplace, you're not allowed to go over this limit. So it's good practice to try and keep your folder names as short as possible. So I'm going to keep it short instead of calling it MM 00252 building. And then because under here, I need to have more folders. So we have this. Now I'm going to have a folder called assets. I'm going to also create a folder already called blueprint, which I will explain to you a little bit later. I'm going to also make a folder called textures. And I'm going to make a folder called materials. There we go. Blueprints comes later. That has to do with the setup of our see through glass. But for now, because it's a blockout, just in assets, drag in your meshes. And in the FBX export, the only thing that you want to do is, um I'm not going to turn on Nani now. Once again, the reason for that is because we are going to work with glass and stuff like that. So for now, leave it off. But I'm going to go in my advanced and make sure that combined meshes turned on. If you don't, you will get a lot of junk of separate meshes and stuff like that. Next to that, everything over here should be fine by default. So let me just go ahead and import that. Over here. Awesome. So what we now have is if I go ahead and drag in, let's say, our window, and I'm just going to reset it to 000 and F to zoom in. So this is now our window piece over here. So as you can see, it created three materials, so that's quite nice. Because these are default, I'm just going to go ahead and I'm just going to open them, and for now, we can use these except for the ctrou glass. So over here for the frames, I'm just going to Max always creates random colors. I'm going to make it like a slight grayish look. And then I'm also going to right click and add something called a constant, which just a value at 0.8 into my roughness. So basically, I'm making the roughness a bit dull, but also not too dull. Now I can go ahead and I can copy this and paste it also into our glass opaque, like this. But then for the glass opaque, let's go ahead and turn this into already more like a dark greenish color just to indicate, like, hey, well, not completely green, something like this. And let's make a value of the roughness to zero, sorry, to zero. That's too green. Sorry, I want to go a little bit more just like dark here, like that. That just feels a little bit like it has glass, but it still has some greenish tones, bit like Ove I'll see that glass is like these greenish tones to them. So that's for those two. And as you can see, that works right away. Now, for the glass over here, this is a material I'm not going to create just because I have this material, and I always use it, and it's been years since I even created this material, but I'm going to give it to you. And it's just this one. So it's something that I didn't even create myself. It's just I believe I followed tutorial myself. The only thing I apply to is some roughness variation. But honestly, it's just a fairly basic seed room material with fonel in it. And for the rest, you can have some control over the glass color. You can add a bit of roughness variation over here using a grunge map, but it's not great. And then it also add some dust, which just controls how strong the opacity is. That's all. So all I want to do is I'm just going to go ahead and this material. For now, I will move this to our building because in here, I will later on clean it up. And then I'm just going to right click, create an instance, and just call this MI for material instance underscore, glass on the score, Citru. Now what I can do is I can go ahead and open up my window, and I can also actually do that for my door and my corner over here. And I'm going to go to my materials, glass Stu and I can just go ahead and press the little arrow button to apply this specific material. There we go. Let's save this. And one last thing I want to do is quickly go into my glass and make sure that two sided is on because for now, we just have simple planes. So let me just add that two. Okay, great. So the reason I don't want to have nanite is because Nanite does not support strom materials. This also why we need to do blueprints later on. Here I apply it. Well, it technically does support it, but it will break the mesh. So just trust me, don't use cetrow materials on nanite. It might feel like it is supporting it in the latest versions of unreal, but it really does not. So we now have this piece over here. You can go into your material instance of the glass. And let's check here glass opacity. Here, I can make that like 0.8, which makes it a little bit harder to see. And the dust roughness, that one does not do much. I think at this point, I'm just going to leave. Like, you have some dust amount, but right now it just doesn't show much because well, just because of the lighting and just the way that things work. So right now, we just have a pretty good, nice setup going on. These materials are going to be removed later on, so for now, I'm fine with leaving them in. So we have our class here. We can set the snapping now to 100 and say that this is going to become that corner that we have over here. That's like a nice place for a corner. What you would do is two ways. Right now it's already snapped to 000, which means that it's on the grid. I could literally just drag in this corner and it will also snap to points of 100. So if I do here, see it snaps and I can move it over here. Another thing that I can do is I can simply duplicate this Cttrav and drag in my corner in the static mesh. One thing to remember, if you do that, the name over here will change. Now, nowadays, if we had it before where we did this for an entire building, all the names had changed and we wanted to change them back to, like, the actual static mesh name. Honestly, nowadays, you can literally go into AI and ask, Hey, write me an unreal engine script for PTN, for which you can go down here to PyTon that will replace the name in the outliner with the name in the static mesh. It will write you a script and it's done. Personally, I don't care about that name. It's it's not that important. So having this done we now have this one. Let's say that we want to have over here, a door like this. So that's a pretty nice corner. And then over here, if you want to have another glass window, I would duplicate this, place the glass, and I just need to rotate this 90, and keeping it on the grid, I can simply snap and it should perfectly snap together like this. And then we know that we did a good job. So this point, we can just move this over over here like this. Now, you might guess, Okay, what about the trims? So we can also go ahead and we can work on that. Let's say that we grab both, a corner and a window, or honestly, you can even grab all of it. Yeah, let's grab all of it, duplicate it, move it up. Drag in your normal trim, and it will replace the trim. Then over here, it should have a corner. I think this is the corner. Just drag in the corner. There you go. Perfect. Done. Maybe for your frames, just to make it easier to see, we're going to make it like quite a bit darker over here. And I'm going to also make it a little bit more shiny. Let's say 0.4, for example. Just to make it a little bit easier to see. And then I also realize that over here, I want to actually have a different material for this, which is going to be like dark glass. But that's something that we can focus on in our final. It's not really needed right now, but it's up to you if you want to add that. So like this, what we can do is we can basically just continue and keep building something. So over here, at this point, it would be also good if you just use these areas here or even better is that we use our Google maps over here. External layers. To see how we are going to make this. Now, we are just, of course, working like a straight view, so we're basically working like this. And because I slightly altered the building, I'm going to cheat a tiny bit because it takes some time to figure out how you want to make the building. And I'm going to have another building our old building as like a little cheat cheat. You are Wait, I'm in the Wong folder. Sorry, I need to go here, and I actually need to also do something in your building folder, create a folder called scene. And for this scene, I want to do a save as. So save current level a scene, and I'm going to call this building for you guys. To make sure that this building opens up when you open up the project, you can go to project settings, maps and modes, and you drag in the building in here. That way it will always just open up this scene. So as I was saying is that I have this, and I will go over that later. I'm not just using it as a cheat seat. Trust me, I'm also just using it to explain to you something. So over here, we have this large building, just to give us a general idea of, like, what we want to create. And over here you can see that we create just some interesting looking areas to give it some more visual interest. Now, over here, there is a corner piece in these corners. So that's also something that we want to create. So that's why it's good to see. But what you might have guessed is, Whoa, Emil in case you don't know how this works, what did you just do? You literally just dragged in an entire building, and it treats like a single mesh. That's called level instancing. And that's something that we are also going to use with this specific piece. So the way that that works, it's quite simple. We want to go ahead and we want to, um, Copy. Wait, I can do that much easier. Copy the pieces over here of our building. We then want to right click level and want to create a level instant. So a level instance is basically having a level inside of a level. It allows us to then very quickly drag in this level. It's also easier to then edit and navigate all in one level, and it's great if you have, like, much larger scenes. For example, if we have an entire city, each building would just be its own level, and that makes it that the actual city scene does not have like tens of thousands of objects in there that you all need to, like, manually select. So if you quickly want to move something around. So I can go ahead and press Okay. And I can this one, for example, LI for level instance, underscore m00 252, for example, and I can save that. So now it's in the level instance. Now, very important. At this point, I can no longer just click and dit. What you need to do in this case is you need to right click, go to Level and press Edit. And that's all. Now you can see that we are now in the level instance and we can edit this level. The only thing that's slightly annoying is that everything around it becomes a little bit more white, but that's about it. And then when you want to be done with it, so let's say that I do move something. Here we go. I move something. When I press exit, it will ask you, do you want to save it? Make sure you press yes if you want to save it or no, of course, if you don't. And just like that, are you are able to very quickly do even oh, sorry, it's Wong one. You are able to literally just drag in giant scenes and structures like this, and they are basically their own scene. You can even open them up into their own scene. You can just right click or sorry, you can just double click and open it. Yeah, let me just quickly save it just to show you. And you can see that there's no lighting. That's important. You want to make sure that you do not put any lighting in this scene because else you run the risk of having double lighting. But here you can see that this is it's scene. I have all of these pieces over here that I can just edit, all that kind of stuff. But again, so for now, what I'm going to do is I'm just going to go into my scene and building. And we are quite at quite a late stage right now. So all I'm going to do is I'm just going to as a reminder, make one screenshot like this. I'm just going to use this as a reference because in a tutorial, I don't want to spend too much time prototyping, so to speak. And, of course, I already made this before, but you do want to take your time into, like, just doing the prototyping. But all I'm going to do is I'm going to give you or myself, I would say, these two reference Images so I remember, okay, how did I make the base? And it's up to you, of course, to change the route how you want. The only thing I recommend is try, especially in games and when you make buildings to add a little bit more visual interest than just a square because just squares, even though it happens a lot in real life, it's a little bit boring. So we always try to just, like, give it a nice silhouette. That's the general thing that you want to think about is that when you have your building here, let me just do like this. Like, over here, like, okay, I have my main building. So instead of it just looking like a simple rectangle here and a simple rectangle like this, well, like this, whatever, not very interesting, but now you can see, look at this silhouette. So we have something sticking out, another sticking out over here. Then we have just the usual chunk going down. Then over here, we have, again, some sticking out, and it just visually, it just feels much nicer to have I know I'm drawing my mouse, so it doesn't look very good. But visually, it just has much nicer silhouette like this and that reads better. So at this point, I'm just going to save my Puref scene. And in the next chapter, what we'll do is we will start by actually constructing the ground floor, creating those additional pieces like you can see over here. And also, I will show you how to make, like an inverted corner over here. For the rest, there isn't too much special stuff going on. But yeah, I just want to go over that. And then after that, we can move on to the actual top floor. So let's go ahead and continue with that in the next chapter. 5. Creating Our Blockout Building Part3: Okay, so in this chapter, we're really going to focus on just finalizing our ground floor along with all of our pieces. So over here, in our reference, as you have seen, I just got a quick reference here just to get a general idea of the shape I wanted to get. However, you can, of course, also just go in here and have a look at any shape you want to create. That doesn't really matter. It's up to you. So the first thing that I'm going to do is I want to probably create some utility pieces. And the reason I want to do that is because, for example, over here, you can see that it also has a corner shape. So I'm going to create two of these type of corners probably one with glass and one without glass, well, semi glass, I should say. So but I quite like having, like, these utility areas where it's just like these metal walls with, like, an interestingsign, and it's up to you what type of design you want. Now, I don't know. Over here, I have some reference, I believe. Um I said, Car remember. You can also go for these type of panels, if you want. I just want to have something a little bit more interesting. The only thing I need to take care of is the anti alysing. I swear I had. Huh? I felt like I was very sure I had some type of reference somewhere, but sadly, I do not, it seems. In that case, what I'm going to do is I'm just gonna find some reference on Guru maps. So let me just drag this over here. So, the utilities are probably roughly around this area. Think over here. So that would be quite good if we are able to check. Okay, so here, I guess, they use glass. But I swear, like, I must have had the idea from somewhere to do that in our previous chapters. And I'm pretty damn sure the idea was somewhere here. So, give me a second. Yeah, maybe doing something with these pills might also be interesting on the back. That's something I want to just, like, explore later on. Ah, there we go. I knew it. So, yeah, we have these type of utility panels, and that's kind of what I wanted to create. We're going to make them a little bit more beefy than this, because else there is some pretty strong anti alysing. So let's use this as, like, our base reference. I'm just going to go ahead and have that on my other screen, and then let's go ahead and switch to TDS Max. So for this, we have our window, probably. Oh, it looks like it's hidden. Here we go. And for this window, the utility pieces, because I want to have them only at the semi part, we will have a plain wall, but I want to have them only in this lower part over here, and then we will have the normal windows up here, and I think that will give some type of like an interesting transition. So knowing that, I can go ahead and I can copy my window. New layer MM, zero, 0252g window underscore 02. Yeah, because we don't have another one yet. And you can see for these pieces, they are quite simple where like against a flat wall. So we don't need to make any type of special frames or anything like that. All I'm going to do is I'm just going to go ahead and probably delete this, I'm going to go ahead and select all of these phases, delete those, then go to border select and you select all of the empty borders and just press Cap Poli to cap them. And you know what? I can just literally delete this over here. I'm just going to get rid of this. I'm just basically filling in the shape. Over here. Select this outline and let's just do a quick bridge. There we go. The reason why I took a little bit longer for this is mostly because I'm also thinking that if I push these on top of here, they will stick out quite far when we do any type of transition. So that's something we kind of need to keep in mind. Or what we can do is we can push them inwards and then have the ends here. I think I'm leaning towards that solution just to make it look a little bit cleaner. So what I mean with that is for these shapes, I'm going to and a cool trick is, you can select bi angle, and you can do the same, of course, any type of three moon software where we can just quickly select this entire angle. I'm going to move this a bit further back over here. Let's start off select bangle. And Um, I'm going to, I'm going to completely extrude this back. It will cause an issue over here, but let me just first do that. Here we go. So let's extrude it back probably up until this point. The issue that it causes that you can see over here, it's not connected, so we need to just, like, do a quick connection because else it can sometimes result to some messy looking jumtre. So we have this. I accidentally did not push this back, but to be honest, when I look at here, it does kind of have a trim along the bottom. So it might actually be a lucky accident to have this. And I'm just going to keep it at same thickness just because our frames are also at that thickness. So now all we need to do is we just need to create one of these panels. So if I go to my side view, let's move this guy over here and I'm going to use a line. As you can see over here, it's pretty much like a triangle, so I'm going to make it straight, then up, then have like at an angle, and then back again because I want to make it quite thick. So it would be something along lines of this. So straight then up, then at an angle, then straight. And then just close down the spine. For these ones, I'm just going to quickly fuse them together so that they are one point. There we go. Now, if you want you can also just create more of like a hollow area in here, but you need to be a little bit careful about it. But I do think I want that. The reason you need to be careful is because it might introduce some more antializing again. And I will explain in a bit what I mean with that. So let me first just create another shape where I do something like this. Then I go up here. Like, that's another type of shape that you can create. The only thing I want to do is I want to overhear, move it up and down a little bit. So let me just No, I don't like that. Let me just push this one further back in like this. There we go. So anti alysing, let me just explain that to you after I have completed this piece over here. So yeah, we're just going to go for something quite simple like this. Let me just delete this back piece. So this just have the other way at the end. Then art and at a ply, select this side, and let's set this side to 400. There we go. And then what we would do is we probably just, like, go ahead and do this. And let's say that if you then copy it a bunch of time, I just want to see what that looks like from a distance. So, okay, super quick side angle because of the analyzing because I just want to quickly explain to you what the hell I'm talking about in these type of cases. So let's say that we have a plain wall over here. Now, anti alysing is basically like a flickering effect sometime that you sometimes get if you have a lot of thin shapes really close together. Showing it while also recording is a little bit tricky because also we have, like, it's highly situational and we have a bunch of effects going on, but I'm just gonna try my best. So let's say that we have, let's see, oh eight. I mean, something that's like 20 and we need something that's quite thin. The goal is that if you have something that's quite thin, let's say five, let's do three, for example, like this. Yeah, okay, let's just go for this, and then for the depth, we're going to go for like 400. So we have this shape over here. Now, nothing too special about the shape. I'm going to give it a quick material, and I'm going to turn off my snapping. However, there are a few ways of anterizing that will show up later. One is that if you have these thin shapes very close together, and especially with lumen nowadays, it will cause some anterizing. And here you place these very close together, which looks totally fine up close, of course, but for a distance, it will start to flicker. Another one. When you have these shapes and they have a slight rotation to them and are then close together. Here, let me just show you. I'm sure all of you know what antalyzing is, but I just want to show you when are the most common cases that we get them. So with these cases over here, that looks fine, although already when moving around, you can see that you get a little bit dizzy almost. However, from a distance, I know it's a bit tricky to see, but you can see the flickering effect. See that? I hope that you guys can see it on the screen. But basically, depending on the angle, it has a flickering effect. And especially here from a side angle, let me just see if this. Here you can definitely see like from the side angle where Here you see, where it just starts to create this little bug. Now, in those cases, you have, of course, the argument, Yeah, but it looks good up close, and my model is only up close, but you need to keep in mind that if you're ever going to make any screenshots or even have gameplay where your character is further away, it needs to handle any type of use case without looking buggy. And that's why we want to be careful with, like, placing these frames really close together. And that's why over here, we always try to just make everything like a little bit ticker, like you can see over here. Now, having these shapes, what I'm actually going to do is that's one thing I don't like. So let me just quickly delete these. So the thing that I didn't really like is that I want to go down here, and I feel like I want to just have another shape moving down. Let me just move this here. Something like this. And that it is still hollow. That's totally fine to have it hollow. But I think something like this just feels a little bit more interesting. The only thing is, I'm probably make it a little bit thinner, I would say. Yeah, let's make that a bit thinner, but then we need to go to the side view because we need to push this stuff up because else it will have a wide angle. And yeah, I'm mostly just eyeballing this because you're never ever going to be able to see like these tiny thickness variations or something like that. So I'm going to push it up over here. And like this, I can just go ahead and I can, for example, do this with a number of copies, like this. Or what you can do is you can go to tools array, and then just press preview, and then when you preview it here, you can set the amount, and then up here, you can change the Y axis or the Z axis. Sorry. And here, C. So I can basically just set this to a point where they're touching, which would be like ten point, something, something, and then you can just go ahead and you can add to the count. So I can do this. Add it to the count. This one needs to be nine comma five. Oh, no, right, I need to have this initial one to be a little bit lower. And now make a ten. No, 98. There we go. Nine com eight, so they're like, kind of stacked on top of each other. And you can see that we actually hit it quite nicely up here so it's quite close. That's a lucky accident. So there you can just press Okay, and now these become their own individual assets. So at this point, I'm not going to alter this. You can use the FFD box modifier to, for example, if you have these pieces, you can like an FFD two by two by two, select the top, and then you can move all of these models as if it's one model down to perfectly align it. The reason I don't want to do that for now is because right now there's such a minimal shape issue here that it's more eco to just keep everything original when we are starting to add a bunch of additional pieces. So basically, with this piece done, it's quite important now that we just go ahead and we already test this out. So I do need to quickly select these and just let's add a frame material to them. There we go. So if I just go ahead and export all of this, file export selection. Where is my expos folder? It is here. So G window underscore 02. And we first want to check before we move on to this because we're going to create a bunch of shapes like this and we don't want to have this effect that you have over here. Let me just also get rid of all of these test shapes. So let's import our second window. Yeah, that's all same settings. That's fine. And I'm just going to go ahead and in here because we're in a level instance level edit. I want to go ahead and turn on my snapping, duplicate this once, and drag this on. And here you can already see that we do have some small issues. However, those issues can sometimes also come from editing a level instance. So if we go ahead and save it, now you can see that they don't happen anymore. So at this point, I want to move further back. And this is kind of nice, what I see over here. So basically, what's happening is moving further back because we place them quite close together, but they're quite large. It will just look like a solid panel. And that's better, as you can see over here, that looks quite good. That is better than having them still look as individual panels and having actual issues with them. And if we go up close, like the stuff that you see over here where it feels like it's shifting out, that's just lumen. That's something that's quite difficult to avoid. However, when we have paper materials, that will become less. It's more like if you have very shiny plain materials or low poly meshes, lumen sometimes messes around with it a bit. And I also like it over here, like it properly closes things off. So that's also quite nice. I do see over here that we have a tiny hole, it seems. Ah, that is because over here, this mesh, it seems to have not pushed back far enough. That's something I do want to fix because that could cause some issues later on. So I need to probably select all of these. Let's add an added pole to them. And then from a side view, select all of this and just push it forward a tiny bit. And that should already do the trick for this. Uh, I'm not breaking anything, white. Well, we'll see you soon enough. Because moving it forward might also cause some issues with the frames, but let me just re import. Yeah, here, you wouldn't be able to see it because I'm not actually moving this frame forward. It's important to keep anything that you see in the front very civil. For now, I'm happy with that. Like that looks good. We got this stuff. Don't know what's up with the windows, but, um, ace, don't know what's going on with the windows. That's weird. Let's added to levels. I guess the materials have messed up a little bit, but in those cases, what you can do is, let's select this model, and we can just, like, art frames. And I'm just gonna convert this to add a pool, and then just like re art this. Of course, right now, it's not too important, but I do want to keep things somewhat clean. So I can now re art my material, and that hopefully fixes that. And once we've done this part, what we're going to do is we are going to also add now those corners that I was speaking about. And they are always a little bit more annoying than the usual corners. But it's pretty much using the same technique here, input. Huh, that's honestly surprising why it is causing those issues. Glass opaque and the frames. Okay, worst case scenario. Going to show you, although it's not super important now, is you can just select these pieces and detach them. Just for the blockout like in the other one in the final, we would fix it. But if you have some type of material issues, because sometimes Unreal does get confused when you are applying a material multiple materials to a same connected mesh. Although I haven't seen it happen often lately, it seems like that, in this case, that was causing some issues. So another thing for you to know. Now we are going to work on those corners. So let's start with just like the normal one. So we have Anhydal here we go. So this is our normal corner. Sadly, we cannot just use this corner and flip it around because this corner is like this. And we need the corner, although probably I have guessed it to be exactly in the opposite way. And we want to also have it still start over here. So in those cases, you often just want to go ahead and grab the window in this case. And apply it, and I'm just going to make name corner 01 underscore INV for invert. That's how I like to often do this, just to associate the corners a little bit better together. I'm going to merge all of this stuff together. Just for ease of use. And I'm going to go ahead and I'm going to set the position to four -400 so that it is at the correct position at 000, just like the previous corner. Effect pivot only, snap the pivot all the way to 000. And now, it's the same thing with symmetry. Only this time, we are going to on the Y axis. It's a snapping, snap your point again, 1 meter further, but this time, rotate it this way. There you go. So that should correctly transition, and you need to make sure that over here, if your grid point is aligned with the outside of the model, it should have the same over here. But I'm sure that you notice that. Like you shouldn't have this or some type of weird in the midway sections. Now, having this done, the next thing that we need to do is we need to, of course, double check, like, Okay, does the actual pieces here of the corner look correct? Right now, I'm not too picky because, again, blockout. Like, for example, here on the back side, it's not filled in. But because we go to just remake most of this anyway, especially corners because the windows will all need to be remade, this is already fine. So we have corner 01 invert. And now what we also need to do is because we are going to create like some shapes over here and over here, we need to have two corners that have these utility panels over here also. And after that, we might also want to just go ahead and create a door in one of them. So first of all, let's save my scene and create the other two corners. But for that, we can have this, copy this one will be corner 02. Make sure to turn off your other window. In this case, just going to select everything and press isolate because it makes it easier when I have a lot of models to then go into the attach settings and attach list and just attach everything. Basically, that's your goal, attach it all together. Again, go through the motions -400. Effect pivot only pivot, zero, 00. At this point, to save some work, I'm going to already copy it. Place it into another layer for the invert. So corner 02, underscore, invert. There we go. So then now all we need to do is we have this one, in which case we can symmetry it, YXs snap it one point further. Oh, sometimes you might want to turn on flip for it to work. I know. Oh, sorry, I move the model. Make sure to click once on the symmetry so that we're actually changing the mirror. And then a nice 90 degrees. At the smooth modifier. That's wide the way just go into the invert, Invert, symmetry, click once. Move and rot it. So it's not that difficult, of course. It's just you want to make sure that over here in the corners and everything, it's all nicely aligned, which this one seems to do. And this one seems to it's a bit in the tin side, but I'm going to ignore that for now because I don't want to spend too much time on a detail I'm going to remove. So we got the corner pieces down. We got a straight piece done. Let's just add one more door piece over here. And then over here, we should be able to actually create every single piece from that point on. Yeah, so that's nice. Awesome. And the one thing that I'm not going to make is like this large revolving door piece that for tutorial feels a bit overkill. So let's have a look if we can use our previous door over here. We might be able to just simply reuse that. Let me just go ahead and copy that. And I guess we'll just literally call this door 02. Here we go. Turn off the previous one, and then I want to go into my window 02. And I want to steal all of these pieces. Let's go ahead and copy that and move it to door 02. There we go. Okay, cool. So we got these pieces now for this door. You can see over here that we actually already pushed it back a little bit, but I'm just going to go in and select by angle, select this angle, turn off snapping. I'm going to just push this back in a little bit like this. And then over here, we mostly just want to cut pieces out, so let me just get rid of the glass over there. And sorry, let me just isolate this. It looks like it's already pushing out far enough. The only thing is that I need to give it a back wall. But for this one, I want to be slightly different. I want to get rid of oh, turn off bi angle of this one, and these three, and this one. And I think everything else, I want to kind of keep and then over here with the doorway, I want to probably like just make it fit a little bit better. But this should already do the trick. Need to clean this up a little bit cleaner. There we go. Then just doing the border select over here and then Capli that's usually what I do. And for these pieces, it's fine, but on a quarter, you cannot really do that. So I'm going to get rid of these side angles. And let's also get rid of this stuff. We don't need any of that. Honestly, for a blockout, I'm just gonna be lazy. I'm just going to go ahead and go art a quick box at the back and call it done for, like, a back panel. Yeah, so if I just create a box, especially because these pieces will most likely also not be visible from the inside. Let's go ahead and convert this box to add a poly, snap the bottom, snap the side. For the top, we want to go let me just move it inside here. There we go. And I'm going to snap this side to 400. And then all I need to do is just place a swift loop inside the frames so that we can hide it and just delete the font. There we go. Easy does it. So all we need to do now for these pieces, I'm just going to go ahead and I'm going to select all of them. Luckily, they're all called line, so I should be able to simply select every line over here, wiggle, wiggle to make sure that it's correct. It is. And what I'm going to do now is I'm just going to go ahead and merge these together. Sorry, isolate. Convert at the poly, select one, attached list, merge them all together. At this point, I am going to go a bit faster with that suf because normally, I do this stuff within like a second. And of course, in tutorial in beginning, you want to go slow, but at this point, I want to move along. Now, with these pieces, I could go in and I could, like, art swift loops like this and then remove them, but that feels a little bit slow. Another thing I can do is I can simply go to my front view, create a quick box inside the frames again, like this. Push this box inside of here, and then we simply have our frames, and we can go to compound objects P Boolean. Make sure to turn on remove only visible. This will clean up some of the vertices that are leftover and press start picking and pick your box. And then it does a boolean where it basically cuts away anything inside of the box and then convert this to addipol. Slago quick way to do a door. Of course, if you want, you can change the door, instead of having it glass, have something else. I myself will most likely make this opaque glass that you cannot see through or something like that. But that sells in the doorway. And I think that marks it. No, almost that almost marks it it. I need to have a trim that is also an opposite corner. So here we have a trim straight. And all I need to do is let's copy that. But that's a very quick one. Scopy the corner name. Gonna go ahead and call it corner zero score invert. Oh, I guess I accidentally did not move it, so let me just do that. There we go. And the usual, we are going to set, in this case, -200. Effect pivot only, Snap Pivot 2000. Add again, a symmetry modifier on the YXs, click once. Move it. Oh, make sure snapping is on. Even though over here, you can see that pivot is not on the center. If you just move it on the Y axis and then snap it over here to the grid, that still snaps it to that 10. And then what we can do is we can move here, and we run into our first issue with these corners. And that is because it is not in the center, it is not hitting the end over here. That is bad. That's not what we want, so good that we actually come across it so that I can show you. And it's just because yeah. The trims they often stick out and stuff like that. So it's up to you to define where do you really want the centre to be? And I wanted to have it stick out on the other end also. So what we do is we have over here our straight piece, quite easy. I'm going to go ahead and copy that. And I'm just going to go rotate this and turn on snapping. I'm going to snap this in this position over here because this is what it would look like in unreel We have this piece, we have this piece. And you guessed it. It's really easy at this point. We just art and add the pol, select all these sites and turn on our vertex snapping and simply on the Y axis, snap the vertices. Because if this is correct, then in unreal, it will also be correct. So now we can delete this, turn off the straight piece, and now we have a correct corner piece just like that. Be see that's quite an interesting look, but it should be fine. Um, I'm not I need to check because you can see over here that this sticking out, it feels a little bit unnatural here see. The pieces are not sticked out correctly, but I need to check how it will actually behave before I want to make any changes. So I'm going to save machine, and I'm going to just pass while I go through the effort of selecting the name, selecting the model, export, export selection, and do that whole thing with all of our new pieces. It's boring, time consuming, so let me just pass until that is done. Okay. So that's exported. And now it's a quick little trick. Well, it's not really trick that you can do is you can literally just select all of your FBX files and just write them in, even if you already have them imported. You don't need to import all the individual ones because the ones that are new will give you this pop up and the other ones will just be re imported. And since there are no changes, nothing will happen. So we now have this. So now let's go ahead and test some stuff out. So we have this wall. I'm going to go ahead and I'm going to well, first of all, what I'm going to do is I'm going to go to settings and press Add thumbnail added mode. This allows me to rotate the thumbnail so that I can actually see what these corners are like, because right now, that's a bit difficult. Oh, and we also need to create a plain wall still with just these effects, but that's going to be very easy. So that's press done. And now my thumbnails have slightly changed. I'm also going to actually go in and I'm going to select all of our Well, mostly new pieces. So those are these. And I just want to make sure that over here, everything is correct. So we have our frames glass of bake, and I want to have this class citr. But I don't know what this material is. It's probably just like a leftover material. So for now, I'm just going to throw in some frames, frames and over here. Okay, yeah, No, wait, class citrus supposed to be something else. I forgot. We already have this class, so we can apply that one. Sorry about that. There we go. That looks correct now. And let's go ahead and make sure that we save our scene. So where we were grabbing this piece. We already copied it, and we are going to start by an inverted corner over here. Well, that already looks nice. Then we're going to go ahead and copy it again. And now let's switch this back to our window piece, rotate it 90 degrees and snap it over here. And then we would copy it again and this time grab our second corner over here. Looks nice. Copy it again, switch back to a window piece. Do this, and then we have our let's say with the doorway. Then we have another window piece. And let's say that at this point, I would want to turn this into a solid wall so we can go over that in a bit. First, what I'm curious about is if our inverted corner over here worked correctly. So I'm going to copy that and grab our trim corner invert. Okay, yeah. I mean, it works, so that should be fine if I now go ahead and switch it to a straight piece. Then I guess I don't know what Oh, yeah, here, see? Yeah, so something is wrong. Because over here, as you can see, it does not properly snap. So I knew something felt a little bit off in that sense, and the offness is over here, as I imagined, where this needs to be pushed back. That is quite interesting, and I think the issue is a mistake on my part. So I'm sorry about that. And the mistake is that I assumed the pivot point to be here for this piece, and that's how I snapped it while the Pivopoint should have been at 000. So I do apologize for that. All I need to do is just reset this to 000, and then I'm just going to copy it. Throw this one into the invert trim. I already know that it's correct on that side. Here we go. And then for this one, I now want to rotate and I'm going to snap to grid points. Snap to disc grid point. One, two, three, four. That is how it's supposed to be. I'm sorry, everyone. So I'm going to now then actually just select all of this. And with our vertex snapping turn on, first of all, on the Yaxs, wiggle little bit, and then just click on this verts and snap it together like that. There we go. So now that should be correct. So it is still a quick fix to just invert. And hopefully you will also learn from my mistakes. I guess that's actually the biggest thing because you learn most things from making mistakes. So I do hope that actually, funny enough, you still make some mistakes in this process, just let you learn how to deal with them. There we go. Perfect fit. And now this one can have, again, a corner like this. I can just quickly grab one of these corners and this would nicely move along over here. Let's go ahead and save scene. So at this point, that seems to work quite nicely. I'm going to finalize things by having one long while and then I'm going to leave the chapter there. The next chapter, we are actually going to do the actual level art for this piece. So for the long wall, we have our normal plain wall and our window two, because I want to know, I do not want to keep those two, I want to keep those frames. I don't know if I want to keep those frames. I I don't keep those frames, it would just be like an extra tin frame, but then over here, it would properly transition. If I do keep the frames, there would be like a cut in between here, but it will look a bit nicer. I think I want to keep the frames because over here there's Oh, yeah, over here, there's technical Weady a cut. So we actually want to improve this a little bit later on because here you can see that there is clearly like a cut on that side. So in the final, I'm going to improve that because it's almost like over here, when it that's actually strange. When it transitions over into the door, I guess it's a door. An Hidal? No. Ah, it's the door. So with the door, there's a frame. So we do want to also have that on our windows over here. Just to make it very quick. Just to make it look nice in the blockout. You can just go ahead and you can push this down here. I don't need snapping for that. There we go. So we have our frames over here. And now what I'm going to do is I'm going to probably, like, save this. Let's just quickly export it before I forget. And then I'm going to copy it into a new layer. Contras, Contra V. I don't know why did Contrac that is an unreal thing. Contrave I just mean in Max copy, new layer, and this is going to be plain wall 02. Here we go. Okay. And all I have to do for this stuff, I accidentally created a camera. Not my intention. No idea where the camera is. It's probably hiding in In here? No? I have no idea. Okay, we will come across that camera later. It doesn't matter. I just want to kind of, like, move this thing along. What is going on here? Plain wall 02. Oh, because we separated out those messages. Okay, just ignore me. I am not thinking straight, but what I'm going to do is I'm going to Alt, hold Alt, and then I'm going to drag. And then I release Alt and then I release the drag. So that I basically select all of these pieces. And then all I need to do is just go to the top, Deselect the backsides because I do want to keep those and delete this. There we go. Now, at this point, I'm going to bridge these pieces because I cannot collapse them because of the way that this is created. So for now just bridge them. Takes a little bit longer to do. But then all I need to do is just push it back, create a quick phase, and then we are done. And then in the actual final, we will, of course, make this geometry much cleaner, much nicer. And normally I would already do parle. I would make parts of it final. The reason I'm not doing that now is because you guys learn more by me just starting with a blockout first. So we have this piece or these piece over here. I'm just going to deselect the top, and I'm just going to go ahead and I'm going to bridge that if it works. Let me just isolate this. Push it back a bit further. Ah. That is interesting. I must have accidentally isolate it. I must have accidentally kept some stuff selected, so I now deselect that, and now that works a little bit better. So we have these pieces, but bridge should work. There we go. Don't know why that didn't work the first time. I know that at the bottom and top, we have some leftover vertices that are not connected, blah, blah, blah, blah. I don't care right now because that is all just like Wile We hidden. I'm just going to grab this. Grab the bottom part. Push this up. It's another part over here. Push this up. I'm going to delete this, and I'm going to with this one, probably delete it two. And then just for m, no, I don't want to I don't want to edit that. I'm going to leave it. I don't think you will really notice any issues with it. So I'm going to leave it, and then for these ones, I'm just going to export it. So plain wall 02. You can also merge these pieces together if your scene is starting to slow down because of the amount of objects we have. But let's import plain wall 02, import, and also Window 02, we need to reimport. And there we go. Now we have these nice similar sized frames. And then at that point, we can just duplicate this, throw in a plain wall. And, of course, later on when we outweigenalmos to this, it becomes quite a high poly mesh, but because of Nanite we are able to kind of, like, play around to that and have that a bit more flexible. Like this. Awesome. So next chapter, what we're going to do is we are going to define the actual length of our mesh and the width, which kind of corresponds with whatever we have on top of here. And then we kind of go from there. So let's go ahead and continue with this in our next chapter. 6. Creating Our Blockout Building Part4: Okay, so in the previous chapter, we went ahead and we completed all of our ground floor blockout walls. So now what we're going to do is we're actually going to do the level after it. Sorry, hiccup. When doing that, I first of all, need to kind of, like, figure out the length and the width that I wanted to make. Sorry, guys. I had to passe. I actually managed to get a hiccup. The second, I press record. So yeah, length and width. Now, of course, it's quite relative. It depends on whatever you wanted to create. If you want, you can go ahead and you can, like, count all of these windows over here or something like that, and assume that the four meter window is like this piece. Or what you can do is you can just kind of, like, eyeball it, which is what I'm going to do. So because we don't have top floor pieces yet, I'm simply going to start with a cube. So I'm going to go in my, honestly, for this, you can literally just use a classic cube. So classic cube over here. You need to move it a bit further. And I do want to have it over here sticking out on both sides. And my idea, which I don't have over here, is that on one side, it sticks out a bit further and has some pillars to kind of, like, support it. I think that will be quite cool. And the other side, it's just because over here in real life, it also, as you can see sticks out. Also, you can see a lot of elements where this kind of sticks out and that kind of stuff, and I think that will be cool to have. So I'm going to start by just figuring out the width first. In which case with everywhere you look is like let's say, one, two, three, four, one, two, three, four, one, two, three, four, one, two, three. So let's say four, eight, 912, 24, 2016. And that correspond here, one, two, three, four, five. Let's start with 16, just to see. So let's start with 16 to 20 meters. The My is so let's do 16. And then we can go from there. So comparing this to our base, because, of course, with 4 meters, 4 meters is still quite a bit, so our buildings are a little bit larger than real life. I think I actually want to go for 20 because I feel like else we have very little space, do anything interesting down at the bottom over here because what would happen is here, just by using snapping, I would definitely want to have some space over here because of what they just have some flat roof areas. We also have that over here, as you can see, like quite some large flat roof areas. And in my case, as you can see on, I believe this is the backside, I'm also having flat roof areas on the other side, even though there's a building in real life over there. So having it at this sides, we have some space to work with. Now, next thing, what we're going to do is we're going to go for the length, and that one is quite tricky. If I would, for example, look over here at this, I would say that this length is like one, two, three, let's say, four times as long. So let's start with 80. That actually feels quite nice. 80. So four times as long as the width, 20, 40, 50, 60, Yeah, 84 I knew that. I'm totally not bad at Mt. I actually am I felt MT in school. But let's say that I would want to have it, like, stick out just a little bit over here. Is that too much? No, that feels like enough. And then over here, it would stick out quite a large bit. If you want, you can also give it some height. I don't really care. It doesn't matter for now. I'm just gonna make it like 20, for example. There we go. And it would technically also be floating a little bit like this later on, or maybe even one more. I don't know. Now, probably something like this. So let's for now not do the floating part just so that I can measure it. But let's go for something like this. So nice cube, we now kind of, like, know what to do. So the next thing is going to be some basic level art. Now, we already have made this section over here where I quite like that we have this commercial front over here, and we are also going to, like, play some assets here to make it visually more interesting. And once we've done that, it kind of just moves over into the utility where normal customers don't really go into these areas. Maybe we are going to make this into a closed door later on. So what we can do is we can right click edit our level. And yeah, I quite like to have it like some plain walls here just because in real life, you can see over here, I felt that looked quite cool to just have some really strong plain wall areas like this. So what I'm going to do? Is over here. Now, at this point, I could move back, but as you know, we only have one corner and that corner has glass. So it would all mean creating an extra corner. Or what I would do is I would just kind of, like, do this, where now, which is what I'm going to do just because I don't want to make too many pieces is now I just transition over, for example, into some windows. Like this. I just want to make sure that you know what? I want to actually continue this a bit further. So let me just create one, two, maybe over here. Oh, no, wait, because we also only have a door. So, you can make extra pieces. I'm just not going to do it myself just because it's a tutoil. But else I would totally make, like, a corner piece for this and also a door piece for this. Yeah, so I'm going to move this one here. I have a feeling my unweel is lagging, but no way it would be lagging for something like this. There we go. And what do I want to do? I want to push this one out further? Yeah, I don't want to make it even. So I guess I'm going to push it out a bit further. And then we have our inverted corner over here. That does leave very little space. Hmm. Or what I can do is I can move all of this, that we have four, but then it would stick out. Yeah, that would stick out quite far, to be honest. I am going to do that. Let me just go ahead and select these pieces over here. You know, it takes a second to select them. And here you can see also with the anti alsing that you can imagine on these walls, it would start becoming quite strong. Now, there is a limit to what we can do, of course. Like, at one point, you will get it a little bit, but we can try and avoid one, two, three, four. Yeah, let's do that. And then over here, I'm going to make it shorter like this, so we have a bit of a ticker body near the end. And at this point, I'm going to actually continue with our normal windows, probably. Let's rotate that. So we have our normal window over here and over here. And then at this point, I probably want to already give it our normal corner and push it along because remember, I want to create some pillars here. Well, in the worst case, we might just make it a little bit longer. But for now, let's do this. Let's now go in and Move this. Then let's go ahead and grab our like a door, for example. Yeah, let's do a door, and then let's push this and maybe do another door. I want to, like, just go a bit heavy on the doors on this side. Or do I want to have where the pillars are? Would I want to have some of that shapes again? Yeah, you know what that might be visually a bit more interesting. Or maybe entire walls. Okay. Then this one will probably also want to be tire wall. So wall, wall wall wall and wall. So we have some walls here and there will be like tick pillars, because my logic is that if you have very thick pillars, of course, that's normally fine, but you would want to avoid placing those tick pillars right in front of entrances. So that's the general logic I'm going for. So if I do this, and then on this side, we want to have it probably quite thin, I will let's see. So there's like a corner store here. There is like a very large like restaurant area on this side. So let's now over here, just already use one of these corners, so there's going to now be some normal utilities or some normal stores over here. So we have this one, and then we have a doorway. And I don't think we need to do too much on this side. Only thing I'm wondering is that's a little bit too thin for my liking, to be honest. And since we need to one, two, three, four swaps of space, anyway, what I can do is I can just swap this one out for one of these over here. And then over here, just nicely transition over to normal stores. So this one we want to make quite large. I'm going to do, I'm going to do something interesting. I'm going to make it probably up until this point. And then let's create a corner and then right away, invert the corner. There we go. So that we create a small gap in here. And then for this invert corner, I actually want to turn this into a second variation. And then let's go in. So right now, like, yes, I'm looking at references, but I'm also just thinking of something new. I'm not just because it feels a bit too much like cheating if I just look at what I made before without having any tart behind it. So we then have some thin area over here. I think that's quite nice. And in here would maybe be one with like a door. And over here would probably be also like a door. So we have just like another, quite large restaurant here. And then here is, like, again, like a loading dock or something like that. And then we have our invert corner. And probably at this point, we would switch over to let's try a door, actually, to like a normal area over here. Yeah, I feel like people could make this quite a nice looking entrance still. It's quite close to the utility walls, but I don't think it will be that disruptive. I'm actually going to make this a bit wider. Yeah, so it now sticks out a bit wider, which gives us a fairly interesting syhouet on this side. And then it will have just our usual corner. And then we'll continue on into normal windows. So you can definitely see, we can definitely add more pieces to this if we want to. I'm not going to, but you can make this visually more interesting by adding even more pieces. Maybe I will include some of those pieces that I created for my previous building because the metric should be aligned, as far as I know, but it can be 100%, but we'll see. Or maybe I make it as a timemp as like a bonus. I'm going to make probably one doorway here. And then at this point, it should and I'm just going to grab those top corners because we're done. Hmm. Would it be interesting to not have glass, but to have some utilities on this corner? It doesn't make much sense, though. Like this will be our main angle, probably. That is a lot of glass. So we probably want to not have it like transparent glass at the bottom over here completely. Just trying to have a think of, like, what we can do to make that visually more interesting. Definitely, like they did something like over here, and I kind of, like, did the same in here with, like, a unique piece. Um, what can we do to make that interesting? Maybe we can just turn it into Yeah, let's probably turn it into a corner. I think that will probably be the easiest thing we can do for now. So we just create a corner And I guess the corner would have a nice door. That makes sense. And then why the way Oh, that's so nice mode snap rotations. If you make a slight mistake, you can just instantly move it along. So these corners over here, right now, we are going to run into an issue. I'll show you in a bit. And the reason for that is so I'm just thinking if I want to add some utility walls here. The reason for that is because a corner is only 1 meter. So over here, we move everything up 1 meter. But then over here, we move everything up 1 meter, and then another meter which makes two. So we might want to balance some a little bit out here. You can see that it just doesn't quite fit because of these because especially over here, this all of a sudden just has become a two meter wall. So unless you replicate that same effect somewhere else, it might cause some issues. But what I'm going to do is I'm going to, first of all, because I just need to get a baseline fit first. So we have this. I was going to actually turn this a little bit more into, like, a utility thing. From here, here, and then over here, it would move. So now we know that we kind of, like, need to go one, one, two meter angle needs to be in between here. That is a little bit annoying, to be honest, but then it would also be two meter angle here. So, Just thinking about what I could do. If I do this. Because it's nicer if we can just find a fit rather than needing to scale objects because that always becomes messy. But if I do this and then go here, look at that. Then we compensated for that little bit of scale, and it even gives me a very interesting look. Nice. So now it all still snaps and fits together perfectly like this. And I quite like that. I think that looks quite nice. Yeah, I think we have we can make a corner store over here. We can make like maybe quite a large store here, quite a large, little restaurant here and definitely like some more restaurants here. I would probably even add another door here just to really fit that in. Okay, cool. So what I'm going to do now is I'm just going to go ahead and we'll save my scene. I'm going to Tilapsplacing these trims, because that is just very time consuming. So let me just go ahead and Tilap starting now. Okay, so the trims are no place. Now, what I want to do just to close things off, and then in next chapter, we will probably continue with the top floors, is I want to give it a roof and I also want to give it like some very simple interiors. Now for this, you might guess it's not very difficult. So we are just going to use the modeling tools for the roof. Usually, nanite and stuff like that, it doesn't like giant meshes. However, in this case, because it's extremely simplified, large mesh, it should not cause any issues. So over here we have our cube. Let me just start by making it the same again. And all we want to do is we want to make sure sort of snapping. All we want to do is we want to make sure that the thickness is 25 centimeters because lumen requires a minimum of 25 centimeters of thickness to avoid any light bleeding. So I'm gonna make the 25 and just kind of, like, place it up here. And now I'm going to move it down, and it's up to you where you want to place the ceiling. So to me, it makes sense that the ceiling would be a little bit down. Like this is probably the end, but that's a little bit too deep, I would say. I'm going to probably make it over here that there is, like, a little lip along our trim, and then over here we have the actual pieces. Now, let's just hope when someone is walking on the roof that they don't trip and fall. So we're going to go ahead and select our Added Poli, like, we've done before, right? Yeah, yeah, we did. So yeah, just in the model, and then you can select the measures. And else there are so many tutorials on the basics of these tools. So I recommend maybe checking those out. But they are very easy to just very quickly create some additional pieces. I'm just going to stick them in. That's no problem. The only thing I'm going to do over here is I'm going to push this back, and I'm going to place an extrude over here, and then another extrude because I need to have basically one extrude per area. That needs some additional shaping. So now we can push this back. There we go. Then over here, you can always go ahead and also place an Insert Edge loop, which we need it over here and we need it over here. It's press done. And then we can select these two shapes, Extrude. There we go. Select this one, extrude that out. Make sure that it just doesn't stick out on any of the other sites or something like that. And then over here, we can extrude this. Place a quick loop. You cannot press Enter to accept. You don't have to press the Done button, another extrude. And here, what we can kind of do is we can simply select these verses and just move them a bit. That doesn't really make a change. Don't worry about the UVs. We are not going to have any issues with that because we are going to use world space or also called triplanar UVs, which do not actually require any UV unwrapping for most of our pieces. So there we go. If you want, you can quickly look up the frame mesh and just apply that. We have a nice roof ready to go. So we can go ahead and save that. Now, also for the interiors, as you might have guessed, we can just go ahead and we can make this however we want. So all we need is some interior walls. First of all, for the roof, we can reuse this roof. So we can contra contravt, push it down. To the point where you would want for example, your ceiling to be or whatever it is. So I often like to just push it down to a point where it feels like on the inside that it looks quite clean. And I'm okay with having, like, a little layer around here. However, this is still how much is this? That's 4 meters. So it doesn't have to be that much. Let's make it a bit lower like this. There we go. And then we can just go ahead and go into our modeling tools, create a box this time, 100 here, and we make the depth, 25 centimeters. We can accept this. And like this, you can just map out your interiors. So I would make my interior. Let's see. This would be quite a large area. Of course, you can have also interior walls and stuff like that. Let me just go ahead and move it over here. So, of course, we are not going to do too much. I think only in one area will we actually make something of the interior. So I'm just going to start by just having some, like, a simple wall, go from here to here. Then I will have another area maybe from here. And this walls so to speak, it's not a lumen bearing wall instead of load bearing. So what I can do is I can make it actually 10 centimeters. Like, it's just like one of those in between walls. And that just gives me a little bit more area to play with where I go here. And then maybe like some of these lower areas, I might just not make citru. So let's say we have another wall here. So that creates here on the corner, like a nice area for like a little restaurant or something like that. I'm not going to do much more than this for now because I don't know yet if I will even make something. Then over here, it will just make another corner module. Then over here, let's just also make one that goes from let's see from Oops. Poly dis points. I can barely see my pivot points to move. Yeah, let's do that. And then there's, like, let's say, a warehouse or something like that. We have over here, but what I'm going to do with these ones is I'm going to make them see tru. And then over here, if you want, you can have maybe like a corner store. So just in case we are going to do something with it, even if we are going to later on, just make it not see true. It all depends on when I make my final screenshots, what I want the angles to look like. If it looks a little bit boring with having it just being C tru or being opaque, sorry, then I will go ahead and make it. See through with some stuff in there. It's going to push this beyond here, and I should be able to simply duplicate this. I on purpose, don't want to extrude this because I want to keep the shapes simple and easily editable. And like this, there we go. Just uses the same shape, but that also works. Awesome. So now you can see here. We have a little interior. For all of these boxes that we have over here, we can apply our material, which is display. There we go. Here we go. So now we just have that frames material in here, and I think that will work quite nicely. Awesome. We can exit and save everything. And now with some proper lighting, we can preview it. And I think that's a very solid base to get started with. There's some visually interesting shapes on all angles. Over here, we would have this piece, which I'm going to make probably 120 Oh, not 80. Sorry, on this angle, make it 80, no 40 Yeah, 40 looks quite nice. Let's do something like 40 for that. And then it's like floating a little bit, but we'll see. Okay, so in the next chapter, what we're going to do is we are just going to go ahead and focus on all of these top pieces, which is the less pieces, but they do have quite specific shapes and make it all fit together and stuff like that. And once that is done, we are just going to go ahead and again, set it up in the reel, make sure that everything is looking correct. And then we can finally turn to turning all of the models into final models, applying some materials, and, of course, creating the materials. And then we're going to work on shadow and all that kind of stuff. But that comes a few chapters down the line. So let's go ahead and continue with this in the next chapter. 7. Creating Our Blockout Building Part5: Okay, so with our ground floor done, we are now going to focus our attention to the top floors over here. So we already planned this out, of course, so there isn't really that many surprises. I'm gonna go ahead, I'm going to start with, like, a simple introduction, which is going to be like one of these windows. And after that, we'll do these two. Then also over here, we have this corner piece, but we are going to slightly alter that, but we'll see how in which way that's we're going to do that. So leave that to me. First of all, we need tres Max over here. Sorry, I had to adjust my screen because for some reason, it wasn't showing everything. So, okay, simple piece is going to be four by four. We are not having any interiors on here, so that makes it a little bit easier. They're all going to be just fake interiors. And we are just going to go ahead and just create like some simple window frames. So for this, let's just create a new layer MM 00252 dash. I often do F for first floor, but kind of you can do a Ts for trim. I'm just doing F for first floor. It's no problem. Dash Window score 01. I think that's already more than enough. There we go. Okay. As always, a box. It's gonna be 400 by 400 by 25, 400. Well, 425 by 400, in this case. There we go. That's that piece, and we need to go ahead and set this to 200 and this one to I'm just gonna snap it. I always like to snap it. It's a bit easier. Open this up. Snap by vertex. And then we can just snap Oh, make sure to turn off a fact pivot only. Then we can make sure. Come on, to snap to the pivot. There we go. Okay, cool. So we have this piece. Now, we don't really have to do much for the blockout for this and even later on for the final also, because all we need to do is just convert this tune at the poly over here. Actually, we could have done this step without converting, but well, I'm going to have Yeah, I guess three windows. No four. Three or four. They are quite large pieces, so I don't know if four becomes too thin. I'm going to try out four. I worst case, we just switch it over to three. So let's try out four. Then after that is done, we are going to go ahead and we are going to chamfer these edges. And when we chamfer it, you can see over here, because we are chamfering it on a flat surface, they will basically just split the bevel. Let's make that for now, probably like two. After that's done, I'm just going to go ahead and I'm going to select. This, and then I'm going to inset it to create like a corner around it, which you can also make two. Oh, two is a little bit. No way, two is actually probably fine because we are going to, of course, copy it over. So this will become double as tick. There we go. And now we just have these pieces over here, which we can push in for now, just to indicate. Say, I need to check to see if the chamfer is going to sorry, if the thickness is too thin or not and all that kind of stuff. I'm going to for now, just quickly add my material, so I need to load in. That's the only thing. Max is always so slow when it comes to loading in materials. I don't get why. But yeah, let's just go ahead and make it like this, and there we go. That's already number one. Let's go ahead and save sin. So that's that one. Now let's move on to where are you? These ones over here. These ones have quite a specific shape. And also, we had to figure out with, like, the top and bottom, like, how are we going to properly transition this in which way? I personally am tempted to make it like here. I'm personally tempted to, like, have it end here, but have it end here, basically. So this is going to be like one piece, and then also have it end here. So these are quite thin pieces like this, and then they just keep transitioning over. The only thing that I need to think about is that I want to stretch that out over a four by four meter instead of what over here. You can clearly see that this length over here is much longer than this height. So I'm going to alter the design a tiny bit to make sure that that works correctly, because else it just nothing is going to fit properly. And I don't like that. So let me just go ahead and create another box, and let's go and turn on my snapping on vertex, because then what I can do is I can just quickly snap from here to here to here, and then instantly have, like, the correct box already set up. So this one is going to be I'm just going to copy the name, Window 02. And then Window 03, we are basically going to make after its wreway also. So these pieces, they are sticking out. So I probably, the base will probably be these windows over here, and then this sticks out. So knowing that, the first thing I'm going to do is I need to define where our base layer is going to be, and I want to have that somewhat even. So let's convert this to added Poly. Let's go to our home grid, and let's set this to 50. Basically what I'm talking about is this line over here. I want to make sure that it is somewhat even so that it's just like a little bit cleaner. But if I look at this, that normally would be fine over here, like it's quite thin, but we are stretching this out. So my question is, do I want to go thicker? I think I want to go a little bit. Let's go 25. And let's see. So we have 25, 50, let's do 75. I think 75 is probably the best one. Sorry about that. Turning on my grid snapping. Yeah, let's snap it perfectly to 25. So that's probably going to be our baseline, and that's probably what we want to end up using for everything. So over here, we are going up, down. Technically, this one, down up. No way. We cannot just invert that. No, we cannot, but we'll look at that. So okay. Line here and then nothing in here, which means that at this point, all I need to do is I need to go back to 100 grid is I need to set how many windows I want on here. And as you can see, there should be like a line in the center. Now, basically, we have one, two, three, four, basically. Here, one, two, three, four, but we might alter these windows a little bit. So for now, just take it as a grain of salt. We're going to go ahead and select these. We're going to again cha for them, and we can set that again to two like this to keep it a little bit thin. And then I guess we can also select this entire piece. Inset also at two, again, keeping it thin. Turn off my snapping. So right now I'm talking a bit slower because there's always a little bit of thinking, and I want to already do the thinking before trying. So we have this. Now, this piece over here would basically be one module. But as you can see, that is a little bit longer. So that's what I'm thinking about that we need to figure out the nicest way to do that. For now, I'm going to go even though these have, of course, like angled shapes, I'm going to go, first of all, for flat shapes just so that I know what the hell I'm making. And these are going basically here if we just have a box somewhere here, I would argue it would go up until probably like the half point over here. No, I'm not in the right orientation. I'm going to make this perfect later on. Let me just first create a shape and then go from there. So we have this piece. Set this back to 25. Turn on snapping. So let's snap this to the grid here and this to the grid here. So that's probably like one piece Oh, no, I once made a joke that one piece like the anime, and now every time I have that in my mind, I never even watched one piece. I like anime. Don't get me wrong, but I just don't like the insanely long ones. I'm gonna go from my left to my right over here. And you know what? I also want to then for this one, snap it quite accurately to the top. Oh, over here. Okay, so we got this piece, and then all we need to do is move this up, and there will be like a line in between, although later on we will make it a bit cleaner. So we have this. And for now, I will snap this to the top over here. But what I'm thinking about is right now it does look too thick, actually. So I'm just gonna go in my addi pool Look it needs a little bit of space. Yeah, let's do this, but then let's set these ones. One lower, 25, um, Hmm. I'm just gonna increments of ten. Yeah, doesn't have to be too perfect right now. What does that look like? I feel that looks better. And then these ones, they are basically transitioning over up until this point. And then the next point would have this and then transitioning back into that end. Can all those notifications go away? That's annoying. I normally turn them off, but they seem to keep sneaking up. So basically, it would go like this. Yeah, and then we have a cut here and cut here. I do notice over here that my windows feel a little bit larger. But for the rest, logically speaking, this looks about fine. Only thing is that this joint, it definitely is sitting on the window frame. And right now we don't have that, which I don't like. So I am going to probably just go off grid a little bit for this. Or can I stay on grid? Let's see. I mean, technically, if I go to ten, I can stay on grid, but I'm just going to snap this probably somewhere here. There we go. I think that feels a bit better. And then we have these pieces. And for these ones, just because there is a gap, I'm going to go off gut a bit. So we have this. Now I'm going to just give it the shapes that we see, which is that this one is being snapped back over here. Then this one is being snapped back here, but then over here, this stays as a center line and this one is snapped back. So essentially, all we need to do is we need to, let me just convert it to Adi polish that I can select this one. Turn off snapping, I need to place a cut from here to here. And I'm just going to isolate this because it's easier if I already split this up. Another cut from here to here. Then select one side, and let's go ahead and detach it. There we go. So that we have two sides like this. And then this side over here, I need to very slightly move out just to give it that extra bit of space. And don't forget to just quickly bridge these pieces together. Here on the inside. Okay, so this one over here, it will this why I like grid snapping because with buildings, almost everything is often symmetric and highly accurate. So this one we need to snap here and that will transition over to this point. And at this point, it's the widest, and then this point over here just transitions back here, I need to probably do it on the side view, back to the grid like this. So that loose roughly like the shape. About the thickness, that's something that I want to check in in real if we want to make this stick out a little bit less or not, but we're going to go over that a bit later. So we have these shapes over here. Now, all we really need to do is, let's go ahead and duplicate it. For now, just of ease of use. 1 second. Let me make this window bigger. There we go. For ease of use, I'm just going to attach it. And I'm going to go up here to mirror, and I'm just going to flip it on the Y axis. And I always like to throw on a reset X form. The later versions of Max, do not flip around your faces anymore, but sometimes when you mirror it, it used to flip around the faces which causes issues. Now, we can just go ahead and we can once again do Snapdoggle this time, snap it to vertex, wiggle it around, and just snap this vertex. Over here to the end. And that should align perfectly. Yeah. Okay, cool. So that's basically our first window over here. Now, I'm just going to go ahead and I'm going to copy this. Throw this into Window two, or, sorry, Window number three, 03 over here, and snap to grid points. Let's just go ahead and select Window three. Let me just set this to 100. All I'm going to do for this is I'm going to It's a bit of a pain because of the meshes are separated and nothing is in the center. But let me just effect pivot only and just set it to zero, zero, zero. That basically resets all of the pivots of all of these models to zero, zero, zero. And now what we can do is we can go ahead and with snapping on, turn on Window two, I can just snap it four times over here. So now we have this window over here. So if I have a look at this, logically speaking, can I not just I'm actually going to attach these for trying this out. Can I not just grab this? Have it exactly in the center of the pivot. Or you can rotate, but literally just flip it on the Z axis. Ha ha. That's lucky. I can remember this was much more difficult when I made the previous building. So I probably, like, right now, handled it a bit better with the four by four than I did before. Should fixed it. So yeah, we have like this in between piece, so that should already fix that kind of stuff. Over here, this would not really work because as you can see over here, it's like a half window. So that is something I did not think about. So we are going to have this in the end, and then we're just going to have this chunk over here. It's like the end piece. So right now, that's already should kind of do the trick. So I can just go ahead and in Window three, I can set back to No, not there. 200, there we go back to zero, zero, zero. Save acne. The last thing I'm going to do is I'm just going to apply some materials to this. So we're going to have frames and our going to have white plastic. So these pieces can become white plastic. And these pieces are just your usual window frames like that. Here, because we didn't merge it together, that's a little bit easier. Is going to be frames and windows, there we go. Okay, so that fixes that. So that one is done. That one is done. The base one is done. Now for the corners. So for the corners, um it kind of depends how we are going if we are going to have any type of traditional corners or not. So in this specific building, I don't think we will have any type of traditional corners, which is like that literally goes around, and then you can just continue the building. But you can make this if you want, of course, just using the exact same technique. Instead, let's make a probably 1 meter by half a meter corner in a slightly different way. The only thing that's annoying is this area over here where it needs to met together in multiple ways. But let's first of all, go over here. So we have a box. Let's turn off my snapping. Oh, um, m00 252f. I am going to call it corner just because I need to give it some name, and I don't like name trim for this. So 1 meter What do we want 2 meters? Let's try 1 meter, and then if it doesn't stick out enough, then we just make it two metres. That shouldn't be a problem. So length, 1 meter, height, 400. The width, I think, 50 centimeters is quite white with fact Pivotoni let's go ahead and snap this over here and then just set it all back to zero, 00. Just to be able to see a little bit better what's going on, I am cooked already create this seam over here. But at this point, I actually don't really care how precise that is. So let me just create a quick swift loop like this. So swift loop. Not just gonna quickly chant for it. And these need to transition up and down. That's something to keep in mind. So let me set this to 0.5. And that means that I want to select this piece and this piece and only bevel or extrude these in. I'm just going to use the bevel modifier because that makes it a little bit easier for me to also give it some angle like this over here. And then over here, we kind of want to keep it straight. Now, I don't really want to keep it straight like this, so I'm just going to delete the top And then with this top, I can scale it flat and then just set it back to 400. And now it's perfectly straight, and I'm just going to cap the ply. Excuse me. I said, cap the ply. Thank you. And do the same over here because you want to really make sure it's like a flat edge, else, it just looks weird later on. Zero. And cap. Okay, so that's basically going to be our shape. Now, for the corner piece, normally we would do corner pieces around the corner here, but in this case, in this case, so I don't really want to do an end over here. In this case, it's going to be tricky. The reason it's going to be tricky is because as you can see over here, these are all perfectly 4 meters. But then around here, in this chunk, it all of a sudden moves along to this side, but I also don't know the length of this. Um, so I think the safest thing to actually do is that we have another corner piece that's an end piece over here, and then over here, we just attach another corner to it. So the way that that's going to work is I'm going to, let's see. I'm going to copy this move it into a new layer. The thing is that in the blockout, you will almost not see anything about this. And that's the annoying thing. Don't know why it didn't move. So basically, all it would be, technically, in this piece is that over here, there would be like a bevel. But not on this side, no. So only on this side, there would be like a bevel to indicate, like, Hey, this is the end. So I know I know that's a bit of a tricky one. So for now, let's leave it like this. We're just going to see how that's all going to work out. So at this point, I want to go ahead and save my scene, and I'm going to once again pass the video to quickly just export these pieces to Unreal Engine. Okay, so I went ahead and imported it into unreel already. So let's just go ahead and get started. Why the way, probably the most difficult part. So first of all, this building over here, as you can see, I hope you can see, it has also some windows in between here. So we first of all need to kind of figure out here, see what to do with that, because 4 meters would be a bit too high. Now, I had the idea of just kind of, like, cheating a bit and where we have, for example, a chunk like this where we have this window that two things, one thing I already see that we are not going to be able to do that, which is that we can scale it down. Works. No, wait, actually, we can do that. We can do that. The reason why we can do that is because we are going to use triplanar materials. The only thing is that we cannot have an interior shader on here, but I'm not at all worried about that because I wouldn't want to have a fake interior in these windows anyway. Another piece would be that you simply keep it at the same scale, but then later on you just place a cube all the way along here to mimic having, like, one of these pieces, or you could even literally do this. Where you don't duplicate it and just, like, hide it inside of your building, that all works also. So it's up to you how you want to do it. I'm going to wit with my snapping scale snapping turn on. I'm just going to go ahead and snap it like this. Is not too high? No. That looks good. Now the cool thing is, so cool thing, something that I remembered now is that over here, we might want to have a corner for this piece, just because else it's going to be a pain to properly move it. Oh, my God, so many notifications. Even though I lit whenever I start recording, I like to turn off everything, but somehow they always slip through. So I'm just going to go ahead and quickly grab this piece because creating corner for something this basic, it's not difficult at all. So let's go ahead and duplicate it. Call it corner 03 for now. And remember that these type of corners, I'm going to go along the other side. So I'm going to go ahead and effect pivot only, and I'm just going to set my pivot to what was it over here, 400. There we go. Snap it back. At the quick symmetry modifier. Don't know my max feels a bit slow today, but that might just be like some type of recording bug. Snap to grid points and make sure I'm inside of my mirror. I'm just going to move it 1 meter. Rotated 90. And then I'm just going to go ahead and smooth it. And yes, this is quite thin right now. I guess what we can do is we can add a quick added poly just to select this and I'm just Oh, turn off my snapping. I'm just going to make this a little bit thicker just to indicate for now or later on, like, Hey, we're going to make this sticker. There we go. Copy the name. Come on. Copy the name. Thank you. And let's just quickly export that. Sir, this is, again, one of the reasons why you always make a blockout first so that you can actually think about it. Like, for individual assets, making a blockout is less important, although I would argue, when you build an environment, you want to often build it in blockout stage. But outside of that, for buildings, I feel like blockouts are pretty much a must. Like, you need to be very experienced to do it without the blockout, and even then it requires a lot of planning upfront. Okay, so I'm going to duplicate my window and just attach this, and I'm going to set it. So first of all, what I want to do is I kind of want to make sure, if we go to a top view, if it's not broken, there we go. That this building is kind of like at the position I want it to be. So I'm going to probably move it a little bit further back so that it's in the center. So we have this. And then up here, I probably want to extend it out later on a little bit more so that we can have some of those pillars. For now, let me just go ahead. Switch back to our normal view. So having this view, we are going to have everything kind of stick out a little bit, which means that down here, we probably also want to create a corner. But for now, all we have to worry about is if we probably, let's say, move this over here to start with, and now I'm going to switch over to snapping. And we're first going to go ahead and create the most difficult piece which is the front so first of all, I want to just make sure that over here. Um, yeah, that's not an amazing fit. Let me see. But it's also not too bad. I think we can deal with having an overshoot like that. So let me just set this to roughly the center. It's a bit difficult to see, so that feels much like in the middle. There we go. Okay, so the most difficult part is going to be this corner over here. So I'm going to start. Let's see. So we have a corner to which would be moved like this. And for now, I'm going to still be off grid because everything is basically going to be aligned to this corner. So I want to make sure that this is somewhat correct. So let me start by just moving it here. And, of course, there is going to be some moving around and stuff like that. So we have this corner over here, but I also wanted to, that apply. So if I duplicate this, another corner. So now apply to another corner and then rotate this one. A, let me just rotate it this way, probably. I don't think I can, I cannot snap this. Well, I can snap it by degrees of ten most likely. There we go. But not by degrees of 100. Let me just hide this at this point. So this is going to basically be the corner. I can see over here that we would need to transition the corner, but that's fine for now. This is just in the blockout. So we got this piece. Then next to it, logically speaking, it would wide away. Oh, I can see that our window tree is flipped around. We'll go over there two. It would connect here, but then over here, I would not have a corner. Huh. But then over here, I would not have a corner. So how are we going to nicely fit that in? That's going to then be the question. Well, if I have this stuff, and honestly, I feel like it's also sticking out a little bit too much, so I would want to probably push this back in somewhere over here. So I'm just having a think about the corner because we have these metal frames down here, which could work. So technically, if we would, for example, copy this, no, wait, copy one, select corner 01. And then one time, it's a little bit annoying where we need to fit it exactly. But then if we just set the snapping to ten, snap snap. Oh, no. Because it's 25, so I need to set snapping to five. Move it up. Does that look that looks quite solid to me. I know that over here they have like an ending down here. However, if we would, it will be very annoying to make something like that. It will basically mean putting something over here, but I'm not even sure if that will look better. And then over here, we would again we will kind of switch it around and move it over here. But then over here, it just looks a lot less clean. So I don't think I want to make that trade off. So I think for now, and I believe I also did that in the previous building. We can technically even check how I did it in the previous one. But of course, I'm not making that one. We're making our own building. So let me just drag in the sample building. Yeah, here, see. Here they are also overshooting. And, of course, this one I made even quicker. So there is, like, even some bugs and stuff like that. So knowing that, I'm happy with just like even making it a cleaner version than it did in the sample building, where if I'm just going to go ahead and undo this if it's just there, it will properly transition along with our windows, so we can just here, see that we properly transition along. So we have those pieces over there, and this will later on become white. Then the inside is just going to be one of these. You set them back to one. Yeah, I cannot do this with snapping on. But then over here, as you can see, we might cast some issues, but those are issues that we can kind of fix with some scaling. I'm not too worried about that because this is, like, an isolated issue. And you see how far back I want to make it probably this far. So I guess, it looks a bit strange, but I guess this is going to be our corner. So knowing that, let me first of all, start, is this actually aligned? I think I would like this to be aligned over here. So let me just, um copy these values, paste them in here that it properly is aligned, one, two, three, four, on that axis. And now I can go off my or let's say, on the grid point, one, two, three, four, five, here, nice. Now we are somewhat on the grid. I don't know if it will be very useful later on, but at least now I can have these things and I can just go ahead and copy them. Snap, copy them, snap, copy them, snap. Ist, I can also see that my windows are probably too thin. Like, I want to have probably three windows. So I move this along to this point. Then over here, we would essentially have the same setup where we can select these pieces. And for these pieces, I don't think it's going to work, but if I set minus one in the scale, yeah, that just completely messes it up. Okay, in that case, I just need to do some manual work. So this one over here, because I just want to snap it along. I'm going to on the Yax sets to minus No, not YXs. On the X xs, set this to minus one, which will basically perfectly snap it or flip it around. These pieces over here, I rather avoid doing any type of YX or minus one scaling and instead just rotate them because scaling always feels unnatural to me. And then let's go ahead and set snapping to ten. There we go. That should have snapped correctly. Okay. And then down here, this piece will just become a ceiling. So I think that takes care of the most annoying part of our building. Now something I've also seen. Oh, we are quite over time already. I think I'm going to split this up into two chapters, everyone, just because I want to keep the chapters quite short. If we just switch this along, it was flipped. Here, see if I go over here, see, it flipped. So let me just go ahead and fix that and then leave it there. And the next chapter, we will just finish the actual blockout of the entire building. All you need to do is for window number tree over here. Remember how I said, sometimes it flips around where you do mirror. So I'm just going to reset the X form, convert this to add a ply, and export this again. Sometimes it can be a little bit more stubborn, but usually this fixes it. So let me just go ahead and save my scene also. Go in here, reimport. There we go. Okay, cool. So that fixes that. These ones are still aligned. With these buildings, which is important. We don't want them align with this. So let us at this point, pass the video, and the next chapter, we are going to finally finish off the entire blockout of our building, tweak some little things, and after that, we can probably get started with the final models. So let's go ahead and continue with this in the next chapter. 8. Creating Our Blockout Building Part6: Okay, so let's in this chapter, finish off finally our blockout building. So if we just go ahead and go over here to roughly or guess how high we want it to be. So if we just go I'm just going to grab, you know what? I'm going to grab these pieces over here. And let's see. So let's say one, two, three, four, one, two, three, four, one, two, three, pretty much four, like almost one, two, three, four. Actually, no, no, I'm just going to control H because I realized that we already checked roughly how high we want it to be, which nice. I pretty much all lines up in the end. So over here, I'm going to go ahead and also already duplicate this, swap it around. Oh, Wong selection. But I feel like that's already starting to fit quite nicely over here. The only thing that I do notice is that over here we have a double one. While over here, we do not have a double one. Huh? I guess because I flipped it around. It was actually slightly wrong. We can fix that. That's no problem, but something that I did not completely think of. So I was thinking a bit too easy when I just said, like, Oh, let's flip it around. Oh, that means that it's one of these pieces right here. We want to move this part. Um, yeah, we want to move these parts and these parts around. Shall we do that now? Yeah, you know what? Let's do that now. So let's go over here. So we have over here our two windows. Just hid. No. I like this window. And I'm just gonna go ahead. I'm going to set this to, was it 600? No. Not there. I messed up. Sorry about that. 600 over here. Yeah. So this would basically end up like this. So we need to swap those around. I'd say probably the easiest way to do that is we are going to select the back, detach it. And for the back, we're going to affect pivot only make sure it's in the center and just rotate that one. Oh, and let's also fix those materials over here. There we go. So that kind of takes care of that part. And then for these parts, I'm just checking my screen and how they flow over. Could I technically also rotate it, but then move it using vertices? They would need to be flipped around. So I'm going to detach this one over here. So essentially, having this and let me just effect biivot only, it would mean that this part goes here. This part goes here. Yeah, and that should properly transition it. In which case, I'm going to turn on my snapping at my vertex level, wiggle the YXs and then Why don't you work? We go the Y axis. There we go. And snap this over No, I think it needs X snap it over here. Yeah, over here. And then this one, again, we got the Y axis, and this needs to be snapped over here. There we go. That should make more sense. Okay, so let's go ahead and now with these pieces done. Let's just affect beef only. Oh, no, I'm not going to do that. I'm going to just attach it. I was going to, like, snap them all to zero, but because we are already outside of zero, that wouldn't make much sense. So I'm just going to go here, Satispector 200. Okay, so that should have fixed that issue. Let me just go Window 03. See, that was just a miscalculation on my part. I apologize. But it's not like we lost. Well, we barely lost any time because I had to do it anyway. There we go. So now we have, like, tin and it just keeps moving up the pieces. I would like to, of course, have some space between these pieces, but let's not focus on that right now. So that looks all correct right now. So that would be the end, which means that for these pieces, I'm not missing anything, white? No, because those transition properly. Then for these pieces, we would go in and at this point, using probably, like, a ten, flip it around like that. Does that look good? Yeah. And I think later on, if we have, like, a nice angle like that, this one is a little bit higher, to be honest. I feel like but I feel over here, one, two, three, four, five, six, seven, eight, nine, ten, 11 inch, one, two, three, four, five, six, seven, eight, nine, ten, to be honest, yeah, let's do one more because over here, you can also see that they end going, like, into a part, and I feel like that feels more logical. So I'm just going to Arts one more over here? Oh, God, that's 1,000. Do you mean to do that? One here, one here. Move these up. I think I'm going to leave it at this. And then we have this one case in which case, I'm going to snap by ten. There we go. Okay. I think that's going to be our final height. So another one is that over here, I just want to quickly go in, and I want to turn this into three instead of four seams. Now, it's a little bit annoying to do this, but I'm just going to quickly create a box. It's like the correct layer. Here we go. Create this box, and now I'm just going to go ahead and set the segments to have three over here, because that's why I can kind of, like, measure like, Hey, where does it need to be? And then for this one, I'm just going to go in and I'm going to delete this Bridge this this and this one. And actually, let's just double click it in this press control backspace then to get rid of it. And for now, although I'm not going to make it exactly precise, just move these on the lines of our sample cube, and there we go. We'll have switched that around. So you can go ahead and save that. Yeah, that feels quite a bit better. Okay. Nice. So let's just fill in this space, and after that, we can basically just push everything to the back. So these ones are still at the correct scaling, only at the top, and hopefully we it will reach out in quite a nice way. Now, it also feels like a giant glass wall, but when we have the different agerias that will kind of, like, break up the shape a little bit more with different curtains and stuff like that. Okay, so let's see how far do we stick out? That's not too bad. Um, for you to make it not noticeable, let's grab a few rows like this. Still off snapping. And I'm just going to go ahead and I'm going to first of all scale it by hand over here, then go up here and make this 0.9, five, no, seven, no, six. There we go. So we only need to really do that once. And as you can see, you will not be able to see the difference at all, so that should be fine. Okay. Awesome. So at this point, actually, let me first of all, just do these pieces over here. So we have one there and one there. And let's just go ahead and transition this all the way to the end. I go to speed things along by selecting a few more. And then near the end, what we will do is we will, of course, go ahead and close things off. So now let's select one. Ah. This is too far, so I guess we are forced to kind of, like, end it here. But I'm not too worried about that because we're going to make the structure with, like, the pillars, and that structure will kind of almost, like, indicate why the pillars are there if the windows don't go as far. So for now, let's just go ahead and select these pieces. Rotate them 180, move them. There we go. Okay? So that's the base foundation over there. Now at this point, I'm going to select these pieces and then I'm just going to group them for easy placement. So because this is all just going to repeat over and over and over again. And then what we do is we basically grab the front and then also move that to the end. So there's a lot of symmetry going on. Play some pillars, and then we are ready to go. Although we still do need to make the roof trim, but for that, we can use this trim also. Let's go over that in a bit. Contra G. And now let's just go ahead, then. Duplicate it all the way towards the back. And then we can also see what it looks like from a distance. Definitely, the window frames need to be thicker, but that's something that we're going to do in the final. So this one I'm going to probably push out, up until this point or one more. Now, I think I'm going to do up until this point, because then now we also have this piece over here that will stick out. So at this point, we can just carefully select this. And I believe, wait, because we use the corners at the bottom, we cannot just quickly select them in our outliner. So it's a little bit slower. Let me just pass this because this is going to take a while because none of these pieces I can properly select, since we already use them in many other places. So let me just pass the video. Here we go. Control G it. Duplicate move it over here. I also just realized that we are not working inside of the level instance, but that doesn't matter because we can just copy it over later on. So that's a perfect fit over there. Then let me just quickly create a base so that we know where the pillows need to be. Let's go to our modeling tools. As always, a box with a depth of 25. No with a height of 25, except I note over here that I feel like we have some collision issues, but we'll go over that later. For now, let's just um let's see. Do we have, like, a bottom side? I believe that we want to have this pretty much aligned. So I'm gonna do something like this. And just move it. You know what? Let me make it a bit thicker, just to make it fit a bit better. It's a bit annoying to move it all the way to the other side, but there we go. And move and accept tiframe material to them. There we go. That looks nice. Okay. So over here, what we'll have later on for now, we'll just use this one as a placeholder. It's gonna be like a cylinder, and let's see. Let's make the radius. Let's try 80. I don't know yet, but let's first of all, set the height. 600, 800. Oh, it's really high. 900? Okay, 900. That's kind of cool, also. I just did that by accident, but no, 80 is too much. Let's try just 60. What is 60, 70 maybe? Yeah. Yeah, let's do 70. So over here, we have the pillow, and basically what will happen is we'll place that one probably roughly somewhere here, 'cause like we need to scale down a little bit. Like that. Does that look nice? Maybe three. Feel like in the end, we had to scale them a little bit more after all, I think. Let's see. Do we have some reference? Here, here some good reference. Yeah, so the pillars are quite thin. It's three of them. It's quite close to the end. So I'm just going to use that as like a reference point. For now, I'll also let you drag in. You know what? Let's drag in a white material for now. Yeah, maybe give it a bit more space. Yeah, let's do that. Okay. Awesome. So all we need now is a ceiling or roof. Sorry, roof. No ceiling. Ceiling is on the inside. Um Yeah. That one is another one that we need to have a check at. So over here, it basically just has, like, it ends here already. Although it ends with, like, a final piece. I don't really like that, of course. I'm just going to chef cheese to ungroup this. Excuse me, Chef G. There we go. The question is, how will we properly set this up? So, this one over here would ironically just be another corner. So, oh, wait, we use corner two on every single one. That's a bit dumb of me. So these would be normal corners, actually. Wait, let me just get this all makes no sense. I'm just going to select every single corner, which by this point is a massive amount. I'll do that later. I first want to have a think about this, actually. I will just swap them later on all out for, like, normal corner and then only on here, switch them out for the rest. Um, so if we do a corner like this, but then it would all of a sudden become basically twice as thick in here. I don't know. I don't know. I don't know. Or what we can do is we can use our existing corner and maybe do something with that. Basically just having to think what would be nicest to do? Well, this one, to have it stick out, I don't think that would be nice. What if we rotate it maybe? That looks a bit better. But then our corners, I don't think they would work. Yeah, that wouldn't work with our corners in that case. But also, just rotating it is basically like what we do over here. Or what we can do is we can literally just leave it like this. That's another option. I think what I'm going to do is I think I'm going to add like a very thin roof trim on top and probably leave it at that. So if we go ahead and grab over here a cube, for example, let's try this idea where basically we maybe even at this point, I'm not sure how that will look, but let's just try. I'm going to, let's add a material. And let's see if when we add, like, a very thin, just rooftop strip that kind of like hits until the end over here. Because at the bottom, we also have this stuff sticking out. So it doesn't matter if over here, it's not or it's also sticking out at the top. Let's first have a look at this, see what that looks like. I have the urge at this point to stick it out up until here. And then probably also here at the end. Yeah, I feel like that reads a bit nicer. Let's do that. I think that is probably the best what we're going to get without a lot of additional work, which I'm not really in the mood. You can, of course, if you want, create your own type of trim, whatever you think will look nicest. But I feel in my case, I'm just going to go and go for, like, a flat roof like this. There we go. And I feel, if we now go, actually, I have Oh, no, wait, I don't have any cameras here. Just save my scene. I can go in and I can go to create camera here, cinematic camera. Let's select this camera, and I just because this is like a really intense Zoom, I'm going to set my Zoom to probably like 50 and my crop settings to 2.39 to give it like that cinematic look because here, or see for buildings, that cinematic look always looks quite nice. Maybe go 30 because Yeah, you can see that it also quite a lot changes the shape. Like right now on 50, it feels a bit longer. So yeah, I think 50 is probably the best. So let's do that. I think that's quite nice. So let's for now save our scene. And I think we have a pretty solid blockout of our building. And then what you can imagine is, of course, you can imagine all of the additional things. Where are you around it. Yeah, just drag this one. Here, you can imagine that we are just going to have a chapter where we'll just, like, place all of those additional little things around it, and then it will read quite nicely. Yeah, I think that's pretty good. That's also this building end up being a little bit higher here, one higher. And over here, I end up also doing something with, like, a trim. But I think what I like over here, it's a bit better. So let's go ahead and save our scene. So now, at this point, all of our blockout pieces are pretty much done. It might not look great because we don't have any materials or any high definition yet, but the basis is there. So what we're going to do in the next chapter is we are going to start by finalizing all of these pieces. Which most of it is quite basic because we are basically going to create one window frame, and we just need to place that all around. So there might be some small time lapses included in that process just because it's extremely repetitive, but all of the important stuff is now done. So let's go ahead and continue to the next few chapters, finalizing these models, creating our materials, then creating our shaders instead of in real, and then things start to come together quite quickly. So let's go ahead and continue with this in the next chapter. 9. Creating Our Final Assets Part1: Okay, so with our blockout done, we are now going to get started by creating our final pieces. For this, we are going to start with, like, a simple window. And the key thing that I want to do if we just go ahead and go to Max is focus on the frames because that's pretty much like 90% of this specific model. So I'm just going to go ahead. I'm going to grab our very first ground floor window. It's like a base. So my idea or my idea, what I often do whenever I'm creating any type of building is that usually I have, like, a template of frames, and these are the frames that we will use everywhere. By using them everywhere, exactly the same, we can ensure that the thickness is always correct, and we can ensure that just the general quality and everything is always also perfect. So for this, yeah, we need to create a frame. Now, the detail of these frames is up to you. You can go very detailed with having like a frame with like a rubber seal and all that kind of stuff, see if I happened to have some decent close ups, or you can go a little bit more simple, which is probably what we will be doing. Um, Ah. So here you can see, so here, these frames are slightly different where they have like this quite intense lip, and then there's something also on the inside. I am going to balance that out a little bit just because we cannot really have something on the inside when the inside T radically doesn't exist, if that makes sense. So I'm going to have them on the front. But having a frame going along here that's sticking out, we could do something like that. So here at the bottom, it seems to stick out, and here at the top. So for these frames, I first of all, just want to create something that holds the glass. It can be quite simplistic, but let's get started just with that. So if we go to our top view, right now, we are not going to do some type of weird extruding. We are literally just creating a single frame. Oh, let me just go to my correct layer and then reuse this frame over and over again. You know what? I'm going to put this into a new layer and call it frame so that we can have something highly reusable. So first of all, over here, we need to figure out the final thickness of our frames because that's what we're going to use everywhere. So over here with this thickness, if I go quite far into the distance, I want to just make sure how well it holds up. As you can see, when we move quite far, it does hold up, but it starts to flicker a little bit. So I probably want to make the thickness a little bit thicker than what we have now just to make everything match a bit better. So that's why it's always good to also just double check this inside of unreelEengine. So over here right now, the thickness is eight point here, let's make it eight, for example, because I feel like eight is a nice amount of slightly thicker than before. Then also, we need the thickness from this side, and I'm going to want to make these frames work on both sides. So I want to make them on this side and on this side. That's something to keep in mind. So we want to make the thickness probably a little bit thicker. So let's go for six. You can see that over here, we made them quite thick on this side, but, yeah, we need to figure out with the glass. Because over here, you can see that here, the meets the eight. You can see that over here, I probably want to have the glass from the same amount of distance away from the frames on this side as I wanted on that side. So eight is a bit too much. It's twice seven. And I also probably want to make the glass a little bit thinner. I feel something like that looks good, see? So these frames over here in the back of they just naturally will become a little bit thinner. So knowing that, the next thing that we need to do is we need to do something that actually holds the glass, which we're going to create on the side, and then what we're also going to do, sorry, is we are going to add some weight to normals. For now, you can just kind of, like, leave this at, like, a base height that isn't really an issue. I'm going to go ahead and going to convert this to add a ply. And first of all, let me just go ahead and select these corners over here and let's add a champ. So we are going to use weighted normals for this. If you guys don't know what weighted normals is, I do recommend that you look online, but I'm going to give you a very quick explanation. But, yeah, I recommend just looking online on the general concept behind it. Even on VASc toils, our YouTube channel, we have a video about it. But basically, what weight normals does is it manipulates baffles to make them seem hypol by manipulating the smoothing and creating some type of a buffer zone. So basically what we'll do is the smoothing, and this is just a modifier. It pushes a soft smoothing this side and this side, which creates a buffer zone exactly here in the center, which makes it appear as if it is very nice and round. So just to show you that, if I just go ahead and go to my weighted normals, one thing I cannot do is I need to quickly alter my smoothing group. So for now, ignore this. We are going to focus on this later, but I just want to show this is what I mean. See, right now, if I turn off my edge and faces, because we added this type of bevel, the smoothing makes it seem like it is a very nice and high poly model, even though we actually didn't add in that much geometry. So now, at this point, it's up to you how details you want this to be. For example, you are making this not for unreal engine, so you're not using Nanite, you would probably want to keep this, like, quite nice and simple, and you might even on these sites littered on these sites where we would have our glass, you might even just create a texture, for example, however, we are not going to do that, we are going to add a double connect here. I am going to make it a little bit thicker like this. And then what I'm going to do is I'm going to select the bases over here, and I'm probably going to just bevel it. Same as we've done it yesterday with a different with a trim. Sorry, yesterday for you guys, it might even be today. For me, it was yesterday. So I'm going to do something like this. I think that will work quite fine. Then I'm going to go ahead and I'm going to delete, actually, select this and press onto I, delete everything else, flatten this out. And this time, I am going to make the geometry a little bit cleaner. But before doing that. Actually, not before doing that. Let's do that now. Let's add bridges like this to make it a bit cleaner. And then I'm going to add some bevels, but it's actually easier if you do this now. There we go. So I want to add a bevel here, here, here, and here. They're going to be very, very small bevels, but I feel that we'll add a little bit more Interest. Now, another thing that you can do. So right now, as you can see, we have quite a bit of geometry. And the way that we control these smoothing groups is we manipulate it using our smoothing groups down here. Inside of blender, you cannot do this. Inside of blender, what you do is basically have heard shading and smooth shading and using those two or sometimes using literally separating the heard faces, you control this. But over here, we have smoothing groups. So basically, what we can say is in our polygon is we can set the smoothing group to one. That basically tells the model, Okay, everything is going to be very soft looking. However, we cannot use weight normals on a piece that has this really strong straight edge. However, we want to keep this strong straight edge because we are going to place it in many different ways. So what we would do is we would select the piece we want to keep soft, which are these ones, contra I, and then turn off the smoothing. So now we have no smoothing on the top and a lot of smoothing around the corner. If we now add the weight normals and press U smoothing groups, you can see that now, it gives me this really nice effect. So knowing that, you can probably guess that if you want depending on how it will look, you could get rid of, for example, these two phases. What you can see is that now we have a hard edge here. So we would want to go in and we're on turn off the smoothing here. Now you can see that the smoothing still happens, but you did save two little bevels, and now you can see that it looks a little bit harsh like here. Sometimes this harsh look is actually desirable, like in our case. So I wanted to give you the two. The other one pushes it out a little bit more, but it does make your geometry more complicated, which I didn't want to. And then over here, from a distance, it also reads that harsh line a little bit better. So we now have this second, T frame over here. Let me just make it a bit bigger because we're going to create a few frames. So we now have this frame. Now the next thing is that we also want to have a frame that kind of goes into the base. So having this completed, and also by the way, you can try to turn on snap to larger face. That's often for very large, long edges, we'll give you cleaner result as long as you do not have any cylinders inside of it. So we have this one, and glass can go inside here. Now, let me just rotate this. We also need one that kind of fits like this. But as you can imagine it's going to be very, very simple because all we will need to do is let's convert this to add a Poly. Let's go to our side view and simply place an edge or connect in the middle here. Delete the bottom, and now we have that one. So that's basically going to be the thickness for that. I'm one sec. I'm going to They probably want to make that a little bit thicker, but it just depends on how we use it later on. So I'm going to select this bottom piece, and let's move it down a little bit. And then let's just go ahead and bridge it. So these can also all be like harsh cuts. So I can go now in here, select this bottom phase, turn off any smoothing, weight the normals again, use smoothing groups, and also snap the largest phase. So we can now already with these one pieces, we can create all of our outer frames. We can create all of these center frames. And the last one that we wanted to do is we had this one over here, which had a it's not so much an L shape. It's more like it's a base frame that has, like, a piece sticking out of it on the side, and I think that is a cool detail to have. So I'm going to go ahead and I'm going to copy this because I still want to have that base frame to hold all of our actual glass. And I'm going to just go ahead and convert to add a poly I'm going to place a double connect. Yeah, I'm going to make a pretty tick, but let's do something like this. You know what? I can actually also to scale this flat to make it a bit cleaner. A nice thing if you want to just evenly scale it. Just go to Vertex mode and then you can even still scale it on whichever axis you want. Probably something like this. So at this point, we are going to push this piece out. And I think that already does it. Now what we need to do is we do need to create some bevels where we want them. So I'm going to go at them creating some bevels or chavls, whatever you want to call them here. Let's make it 25. No, I want to make them a little bit bigger just because it's a building. And in a building, those bevels kind of get lost sometimes. Let's do something like this. Once again, select the outer edge. Press clear to make sure that you don't have any weird smoothing groups, and then press one, contra I, clear, and we don't need to do anything else. Weighted normals, snap the largest face and smoothing groups. And I think that pretty much takes care of all of our frames already because it will also take care of the frames over here. So as you can see, that's a very quick way of already creating all of these pieces. Now, as you might have guessed, here at the back, we do have some thickness on these frames because they are technically fake, all of these pieces. But for those, we can literally just use cubes to basically compensate it. So we now have these frames over here. The last thing I'm going to do is I'm just going to for this one, snap the pivot to one of the corners and then just set this nicely to 000. Okay? So these frames for now, you can kind of place them somewhere over here. Then we basically decide like, Okay, I want to use them for this part, so I want to go ahead and start placing them. I, I was going to say you might sometimes want to already UV unwrap them, but we are going to do so much scaling that it doesn't really matter. And also, we are not going to use real UVs, but I'm going to show you just in general, how to do basic UV unwrapping for this kind of stuff, although it's very easy, but we'll go over that in a bit. So I'm duplicating my frames and throwing them into my correct layer. And now it's honestly just a matter of placing this together. So I'm going to start with setting this to 400. And then I'm going to start by setting all of these to like a baseline. So in this case, my baseline is quite important, actually, now that I remember, because it has to do with our snapping. So over here, you can see that I already placed this at the end, and all of these are properly aligned. So I'm just going to turn off my vertex snapping and literally snap these huh? Oh, sorry, grid snapping is not turn on. And literally snap these over here on the final end so that they are properly aligned because we want to make absolutely sure that we are not changing the outer outline of our modular pieces because remember, those are all being snapped. So if we change them, they need to be changed everywhere. So knowing that, now having this one done, let's convert this to add a Polly. Now I can move quite quickly. So I can now go in here, snap this all the way to zero. I can then go ahead and I can go rotate this 90 degrees. And then the movement, snap it to zero. Remember, because my pivot point is already here. I can go to this one and this one can go all, this one can go all the way to the top, which is going to become 600. So I'm still using all these even values. Now, at this point, I'm going to for this one, center my pivot. And the reason I want to do that is because I want to go ahead and rotate this, although I could have just mirrored it. Now I think about it, but okay. I want to rotate this exactly at the center. And then what I need to do is I just need to move my pivot again because I need to have my pivot on one of the corners and make it 400. Here we go. And then we have this one for which I can once again copy it. I'm just gonna send my pivot. Rotate it. In fact pivot only, move it over here and move this down. There we go. Okay, cool. So that's already the outer frames ready to go. Now, remember that over here we have this transition, but that should not really matter for the frames. The only thing is that this transition had this on the way it had it below it. So this one over here is a unique frame, but that just means that for these ones, I'm essentially just need to because we already had the most like the correct position and a tiny, tiny bit of offset where it's not perfectly symmetrical, does not really matter for these type of buildings. So I'm going to just place this. Sorry, my screen's a bit slow. You know what I'm going to do is I'm going to go I just turned off Unweel engine because I have this buck whenever I'm recording and I'm doing unweel along with three years, Max, it's causing some weird issues often, where the frame rate is dropping. But anyway, so I have now this frame. Now, our first issue. Our first issue is now that technically over here, we are having Z fighting. It's hard to see, but if I would, for example, can I I'm trying to select the actual frame, there we go. Here, you can see that they are exactly aligned, which can cast some Z fighting sometimes, which is not something I really want. So we have two options for this. Option one, which is a bit more time consuming. And personally, yeah, I only do it if I need to make something highly adequate is that we move this down, then we select this, and we like perfectly align it like this so that's only just centering and then in here, we need to push this one all the way down. You basically just go in and you align it properly. However, I want to show you the lazy method because often when you make buildings, you might need to make them at, like, very, very large volumes. Oh, wait, here you can see the Z fighting. And when you make them at such large volumes, you start to learn how to do stelf a little bit quicker. So all I'm going to do is I'm going to select this phase, and I'm just going to go over here and not that one and set the Zaxs No, sorry, not the Z axis. The X axis down like a tiny bit, like 0.04, for example. And just doing that, you can see that now we are just in front of the C fighting, but you will never even notice that tiny edge unless you are literally looking at it like this. In which case it's already difficult to see. So we can do the same on the inside because we need to remember that on the inside, we are able to have some interiors. So I'm going to make this -6.9 506 comma 95. I always forget that. Oh, so you will need to get used that. It's going to be a little bit sorry, I'm going to make it 96. It's going to be a little bit annoying to work with such large measures. That is something to get used to. Z fighting over here on this top does not matter because you will never ever see it. So let me just anhidal. So now this frame is also now kind of like fit together to avoid any type of fighting. And now I can go in. And what I like to do is often literally just align it with the here with, like, the grip point, as you can see, There we go. And that's just going to be my alignment. I know a bit lazy, but it's also quick. So that's the difference. Now, what we're going to do is we are going to go and also place these horizontally. But once again, then you will have some Z fighting going on. Oh, my screen is very slow. We'll probably do a restart in a bit because it's just behaving a little bit too slow for comfort whenever I copy or something or something like that. So I feel like somewhere that's just like a little memory leak or something like that. But anyway, so here we can rotate this 90 degrees. That should over here still give me, let me just move this on. There we go. Should still give me no Z fighting. But then, as you can see, well, you can't let me just hide this. There's going to be some Z fighting again here. In which case, I'm going to for this one select this, and also you can often choose to go the opposite way where you can actually push it out, but I don't like doing that. So I'm just going to go 0406. That's all. So I just need to keep it in mind a little bit. 69 or 96, sorry, 94. And that usually already fix it, especially because we are going to have some very simple materials on this kind of stuff. And worst case, if you see an issue, then you just go in and you fix it. That's about it. So I'm placing this nicely in the center, selecting this end, and I'm going to make these 400. And that fixes this frame. This frame up here is going to become this one. So I'm not going to do that for now. And the top one, and the stop one is going to become the other frames. So that's already it. So now we can just go ahead and grab this frame, rotate it, set it to zero. Move it over here. Now, this one is slightly different where there is always going to be a little bit of space. But what we can do is we can simply select this so I think I need to select one. What was it 004? Sorry, I forgot. Minus zero comma 06 and 694. So this one minus zero comma 06006 on both sides. And at this point, although you cannot see the back, I am still going to Add. That's six. Sorry, I'm just remembering the number 694. There we go. Okay, so that should fix that. What did I see here? Okay, never mind. I thought it was a baffle, but it's actually just the end of it. So let's go ahead and go on this side and set this one to Oh, Wong axis, 400. There we go. Okay, so that's that one. And I do like to keep these things over here closed, even though technically, you can remove them, and it would save some polygon count. But Nani does not really like open faces. So it can cause some issues. So it's just nicer to have it closed like this. We are then going to also place it here, there we go. And now, all we need to do is on the back side, we need to, like, define where we want to have the polygon count. I'm just going to double check how we end up how we end up doing the there we go. The insight over here. Oh, actually, you need to align this. Okay, so we are basically still keeping it quite thin. That's good to know. So I'm just going to go ahead and I'm going to then create a box that will kind of, like, follow those shapes. Just go in and create a box over here. I'm probably going I could use snapping, but I think for now, I'm just going to move it here, and it was going to be a width of 25, length of 400. And well, the height does not really matter because we're going to edit it. So let's start with this, convert to add a poly, affect pivot, internal snapping, snap it to this corner. You know what actually no, I'm going to snap it to this corner, but I need to be careful that I do actually snap it to the correct one because then I can just set this one to 600, which will automatically align it. And for this box, quite easy. So at this point, we're just going to go ahead and we are going to start by snapping this down. And then over here, we are basically going to push this back in front of the glass. So I'm going to For now, let's extrude this down. I'm going to extrude this down. Let me just hide this. Hide selection because I need to basically decide how far to extrude this down. But I think I want to do something I guess, and then over here this side, let me just wiggle it on the X axis, and I want to then move this to align with the outer frame which currently it does not do. Now it does. Okay, you know what? No, I think then I need to snap it until here, because else, we might get some Z fighting. I don't think that these frames over here is going to be an issue, but else we can always change that. So having that now if we select the front and turn off our snapping, we're just going to push it back behind. Oh, so it's it's the blockout below it, I believe. Oh no, I thought the blockout below it was causing some issues, but I guess it did not. So here's going to be like the glass, you can see. So we are just pushing this just behind the glass, and that should look correct from most sites, or at least from all the sites where we can see. So we're just going to save my scene. And then what we're going to have is we are going to just have a Well, you know what? Why not just use this as our fake glass panel? Yeah, we can do that. So I'm actually going to move this forward a bit. So this will just become a fake glass panel, and the backside is just going to well, you're not going to be able to see it. So it might just also be glass, but you won't be able to actually notice. Or what we're going to do is just switch it around for a different for, like, the frame material or something like that. So that fixes that. This frame over here, which is currently it's like a one sided glass panel. That should be fine. However, what we are going to do is we are not going to have this inside of our original model. And the reason for that is because transparency does not work with nanite. However, I am thinking about this panel over here, which is actually this one here at the top, for which we do want to have a different material. But speak, luckily, look at that. It already is perfectly cut. So we've done that. Now for our glass panel, I'm not going to go in and even art that because we are going to art that inside of Unreal engine, and I will show you in a bit how to do that. But I think at this point, this is a pretty decent looking setup. So we have all of our frames ready to go. So what I'm going to do is I'm going to export this, and I'm just going to show you, like, the general setup with glass on how we would approach something like this. The first thing that we need is we do now need to have our final proper materials. So I'm going to go ahead and going to add frames to everything. And then over here with this one, I'm going to have my glass opaque. And for this one, I wanted to have glass black, for example, make that. Of course, if we notice that are any issues with our materials being attached to this piece over here, we will detach these vases. And UV unwrapping comes a bit later. So that's already all the materials. We can go ahead and save At this point, we can also grab our blockout probably and just delete it. You can keep it if you want. I just I'm not going to. What I'm actually going to do is I'm going to do a saves for you guys. Normally, I don't do this, but, of course, maybe you want to have the blockout. I will call the old one blockout. I'm going to save building underscore final. There we go. So that's also clean. And then we can just do an easy export. Export building. This was G window 01 over here and just replace it. Okay, so let's go into reel. Show you how an actual blueprint setup works, and then we will finish this chapter of there. So here we have our building. Just move this. And if we just go into our not this one in here. We have our building assets, and I can find my g01, let's just re import that and let's press reset the FBX for now. So over here, if we just open this up, double check that it looks correct, which it does. And all I'm going to do is we have our frames, which is already attached. I'm going to just quickly duplicate this. All the glass on skblack and apply that to that new material that we placed. And I'm just going to make this a little bit darker, and I'm going to make the value to zero to make it like super, super shiny. There we go. So glass black, done, we have the fake glass and we have our frames. And you can also, of course, if you want, drag it in here so that you can see the difference. So here you can see that now we have some really nice looking frames that are working quite well are quite robust. And here you can also see the difference over here between like nice final frames versus the blockout. Of course, you could argue if your building is from a very far distance like over here, yeah, then don't bother. Then just keep it at the blockout stage because you will not be able to see any details. But I assume that we are literally going to be able to walk up close to it all. So, how are we handling these windows over here? Not too difficult. So in blueprints, we are going to just right click, create a blueprint class, Blueprint class, sorry, class and actor. And this is going to be A I forgot the name. M00 252g Dash Window clusive one. Sorry. Um, I just rename my model. I think I had it right. Yeah, pretty much a right. Okay, so just name it the same as your static mesh and open it up. So in here, all we need to do. And the reason we are doing this once again, is because Nanite does not support transparency. However, if you separate your static mesh from your glass or any transparent material and then combine those together in a blueprint, you are still able to just dragon drop them instantly. However, you can make one of them with Nani turned on and the glass with Nani turned off. So what I can do is I can now just go in here. I can drag in my static mesh, and it will just place it perfectly at the root. Then I need to go ahead and I need to grab just like a plane or something like this. But I can go up here to art and I can add a plane. Because again, transparent glass does not really use UVs, most of the time. It depends, of course, but in our case, it does not. And what I can do is I can just make sure that that is kind of like in the center. And all I need to do now, if you want, you can, of course, export the models from Tris Max, but I personally feel that's a bit overkill when all we need is just a simple plane. So I can just go in here and slightly clip it altogether. There we go. So we got that. And then if we just go into our materials, we have our glass see throw over here. We can save that. So now, let's say we find our model over here. To make it nice and optimized, we can now just enable Nante because there is no longer a transparent material in it. So how are we going to replace that? You might ask. All we need to do is we need to go into our level instance. We are going to grab this and select our blueprint. And then what you want to do is you want to press Shift E. What that will do is it will basically select every instance that has this specific mesh because a blueprint, you cannot just drag into your static mesh. That doesn't work. It's a different thing. But if you just press Shift E to select all of these pieces, you can right click Replace selected actors with your selection. Oh. Done. Now they are replaced with the actual blueprint, as you can see over here, we have a transparent glass, but more importantly, if we go ahead and go to our Nanite visualization and triangles, you can see that now our mesh has triangles, but the glass has not, which makes it nice and optimized. You can go ahead and exit this if want and save. So that's basically how we are going to go about creating all of these final pieces. So in next chapter, what we'll do is we'll basically just continue on with this in creating all of these final pieces. I will do that in real time. However, honestly, most of it, you can kind of just like, skip because there isn't really much going on except for when we create some special pieces here. So for just placing frames, I might time laps it, and then I will do in real time just these quick, like placements over here. So let's go ahead and continue with this in next chapter. 10. Creating Our Final Assets Part2: Okay, so we are going to continue with our pieces. And basically, at this point, let's go ahead and see what's next. Oh, sorry. This stuff needs to be in this folder into the I can't see it because of my microphone. And my microphones right in front of my face, and I cannot see part of my screen. But I wanted to just check. Okay, so we have window one, Window two. I think, let's just do Window two, and then we're just going to go upwards, basically. So Window two over here, it's basically like Window one only it has these frames over here. So all we need to do for this is let's just grab probably one of these frames and move them over here, and everything else can essentially be deleted. And then if we go to Window one, we can just do Ctravi to copy it. Oh, this is really annoying that I cannot see it. It's white below my microphone. There we go. Okay, cool. So we have this. We do not need this one, and we do not need those sites. Let me just triple check. Yeah, yeah. So nothing here. Just completely empty, stuff like that. So with these, you know what? You can pretty much just like all three of them. And then just move them up. The weight and normal should stay intact, so that should not be an issue. I'm just going to go ahead and I'm going to push it probably up until this point. There we go. Now, we do need to have some thickness over here, and right now we have these frames over here. It's up to you if you want to keep those frames or if you want to turn them into, like, flat pieces, for example. So for example, over here, a quick thing that you can do that you can do. It's a bit annoying to select them. Mane, let me just select them like this. There we go. And then she spreads control backspace. But I feel like no, something is wrong. What's wrong with you? Why aren't you selecting my etches? That looks like a bug, to be honest. Let me just know that. And try again. So isolated. Let me do it like this. Click, click, click Control Backspace. Thank you. That's all I wanted. So that creates like a flat panel over here. And we needed to, of course, also, push this all back in and stuff like that. So I'm going to do that, and I'm going to also for this one over here.'s turn this one also flat, but I'm just going to do it on this side. Because the top, but yeah, that creates that issue. Let me just do this. That should do the twick. If we just select those loops around it. There we go. And then these pieces over here, Oh, by the way, I press Alt X to sometimes go into this transparency mode, makes it a bit easier for me to see what I'm doing. So I'm just going to go ahead and just going to merge it and, like, collapse it and then just place it somewhere. That's all, just to keep it a little bit clean. So we have the top and the bottom. So the reason I wanted to do this is because I wanted to push these pieces probably, like, a bit further in because we need to be able to have them up until like this end. And then over here with these frames, because we basically have this frame go around here, which is a little bit annoying, I'm just going to keep the frames. Like, I don't think that's really going to be an issue. So what I'm going to do is I'm going to go in and select all these. I'm going to art and add the poly. And then the goal is that at the top, we want to select just like the back side over here, and it should have selected everything where I can now here see, I can basically just push this all the way in, and I'm going to push it just yeah, behind it. And I want to get a little bit further behind it just because I need to place a cube here in case that there's any type of piece that we can look through, at least we are then kind of like saved from it and covered it. So that basically creates the base frame. Now, next thing I want to do is I just want to have a look and see that it does read nice the way that we have this shape, even also from every angle, like the bottom angles, the top angles, does it read okay, which it seems like it does. So that's nice because that means that, itty just use blockout as our main mesh. So I'm just going to go ahead and reset this one to zero, but I'm going to push it further in over here. At this point, I can also just go ahead and cover it to add a Polly push this further in here. You guessed it. For this side, wait, let me just go to my side view. Here, actually, you know what select all of this and just push it a bit further back in. I'm going to move this one down over here. I think that already does the trick. I know that over here like this angle over here is a little bit thick. So you could if you want to make it a little bit thinner, but then you need to push it down to kind of balance it out. But I think that does the trick. So at this point, these sites over here, they are a little bit annoying, so I'm going to delete them. Normally, I would keep them, but just in this case, I want to just delete these phases because we're going to have some other stuff around it. Like I said before, Nani does not really like open ***, but if the shape is extremely simple, then it rarely causes any issues. So all I'm doing and just in case I'm also adding bevels here, and here is I'm going to add some Javas. And then we can later on, we can still, of course, close the phases. So I should mention that I am later on just going to close the phases. Um, you know what? I should not have needed to remove that one, these ones. So now what we can do is we can basically cool this, Caple this. You might be like, Oh, no, but Emil, it's like a giant gone. That's not good. It's like, Yes, techie and you can, if you want, go in and, like, do like cuts and other stuff. In some places, sometimes it's nice to have it in some places. But honestly, real, when you import it, it will automatically triangulate. No matter how clean your geometry is, it will triangulate. That's just how it works. And in many of these cases, it is totally fine. Like, you can triangulate it, and then when it becomes an issue, then you can fix it. Okay. So in my case, I have these pieces. I'm going to select this outside except for this end over here because we don't have bevels, and I'm going to add a smoothing of one, contraid and then clear it so that we can add the weighted normals, use largest faced and use smoothing groups. There we go. Now we have this nice round mesh ready to go. At this point, all we need to do is we just need to go ahead and go up here. Push it up, make it that it, kind of, like, touches the bottom. And for now, what I'm going to do is I'm just going to go ahead and I'm going to just copied a bunch of time. I know that you can use an array modifier if you want. It's up to you, but I'm just a bit lazy, so I'm just doing this. Up until this point over here. No, wait, sorry. Way lower. I forgot that that point. No, wait. Does that point become? No, it does not. Okay. Whoops. Let's go a bit lower. There we go. Okay, so we now have these frames over here, and this last one is it Uh I feel like it's not worth having that because we are going to have a cube behind it. So I'm just gonna remove it. And, technically, if you want, you can, of course, select all these pieces and you can just move them up a bit. I think, yeah, in our case, right now, the way that we constructed, because we have these frames next to it, we can do that. But I'm going to do it quick way. I'm just going to select this, Deselect the bottom. Go to modifier list and add an FFD two by two by two, which allows us to then select the top, and pop, there we go. Fixed. Convert EdPl. But, oh, no, wait. Sorry, I don't want to convert to Adipoli. I kind of want to keep it just in case I want to ever revert it, because we are going to have a bunch of other pieces. I'm now going to just create a very quick box. From here to here. It's going to be quite thin, but it's mostly here to just block any type of errors that might have gotten in here. So let's convert to Adipol. In a side view, let me just push this back. There we go. Double check over here that it is clipping inside of the tops, which it is. Perfect. Okay. Awesome. So we got that stuff done. Now all we need to do is just select pretty much But these pieces and just add the frames back. Here we go. And that should be enough. Like we can just make this frame color that is nice. If you want here at the bottom, you could add some bolts. I'm not going to do that just because it's a bit overkill, but with Nanite you are able to do that without any real performance hit. So for now, I'm just going to save it, and that should finish that one. Awesome. So that's another one down. So we have this one, the trims I will do later. So we have a plain wall over here, which that looks wong. It's a bit weird. Yeah, okay. I have no idea what's going on there. Was that in here also? Okay, weird issue, but it does not matter. So we have our plain wall, and basically we just need to move it up. So what we can do is we can hear that for now. Yeah, so just moves up, right? So we can delete this. We can grab Window two, copy it. Throw it into our plane wall. There we go. And then for this, so nice thing now also with all these individual window frames is that we can literally just delete them. And we don't have any, like, weird issues with them. We can just delete it. We can delete the bottom one also. And then for the top one, we need to move this all further back. Which point for this, I'm going to change design a bit because there's no way we are going to be able to see the back white. Yeah, we pretty much never see the back. So of course, in this context, all I'm going to do is I'm going to go ahead and select the back, turn on my snapping and just on the x axis, snap it to vertzs and then also snap it to the top. So that is going to be basically our back. That means that for this one, we can literally delete it. So we have now our back frame, and then all we need to do is for this top frame over here. Let's turn over snapping but Oh. Let's get rid of all of that stuff. Select the top, and this one can just be pushed a little bit further out into the abyss, where we cannot see it anymore. I do want to later on check to see if this, I worried that this does become an issue where it just doesn't feel logical to have it. So here it's a quick fix, but with the other one, it's a little bit more annoying to fix. So here all we need to do It's always the last one that messes up, is that we can just, like, get rid of it like this. Okay. And that would fix that. Let me just quickly first move to this one. And all I'm going to do here is I'm going to go ahead and probably push it beyond this point. This one also just push it here where it's like in a nice buffer zone, and then I'm going to simply copy them. I'm going to make the base at the ground floor level. I'm going to make the top snap to those other vertices that they are still aligned here, also. Yes I know that looks a bit like a jumbled mess inside of here, but we won't see that, so it does not matter in this case. You can work super super clean, but trust me, if you are working in production, you are not working this clean. You need to make content fast, and that's what I want to teach you. Like, I will teach you, of course, the right techniques to do it, but I will also teach you, a little bit of the cheaty ways, the cheating that you can do to just produce content faster while still having it look good, which sometimes are important because everyone is fighting over getting the best portfolio to get a job. So having that extra bit of time because you know these little techniques is always useful. So that one is now officially done. And while number two over here, all I need to do for this one. And here now you can see that we have that FOD, so that's actually good because I can now probably delete it. No, I cannot. I can delete it. I highly doubt that you will be able to see a transition, but just in case you are able to see it for some reason, I'm going to not delete it. Instead, I'm going to convert it to Adipo and I'm going to copy this. Let me check the side view. Here we go. And then for now, I'm just going to move it up like that. I can live with that. Like that's one at least it shows like as if that it's meant to be there. So that's that one. And as you can see, I'm someone that always likes to keep the model separate just because I find the editing bit easier. It does slow down your scene a bit, but that's about it. This plain will we never even used, but we'll just keep it in there because who knows? Maybe you might need to use it for something. So at this point, as long as you just have, I know, the frames material on there, yeah, that's about fine. We did not create anything new here, but just in case, let's just apply the frames on here. So, next one is we have door one and door two. I'm going to start with door one just because it's a bit easier and then move on to number two. The only thing is that with the doors, what we actually want to do is we want to make the doors as a separate model that we can open it. So that's something that we need to keep in mind that for now, this was a blockout. I will actually go ahead and I will place this into a new layer called doors and hide it. So those doors, they currently do not exist. We'll go to that later on. I need to find some reference, all that kind of stuff. So for this one, you guessed it. It's going to be very simple. We are going to for now, quickly just attach everything together. That becomes one piece that makes it just a bit easier for me for the blockout to see. And I'm going to grab Window 01, copy it. Drag it into door 01 was what we are going to work with. There we go. So now that we know this, all we need to do is we need to grab these frames, and we need to kind of place them in the right location. Why is that double? There's a double frame here. That does not make any sense. Give me 1 second. Let me just undo this because I'm a bit worried that there might be a double frame in here for some reason. No, there's not. 1 second. Let me just delete all of this. Let's try again. Maybe I just had Oh, wait I had, of course. Because I couldn't see it on my screen, I had Window one still attached. Does not matter. Right now, we have done this. We can push this one until it just hits the door frame over here. Same with this one. Push it in over here. The center one. Let me see what it looks like. So this is what it looks like. Do we need a center one? I feel like not. I feel it actually would feel more in place when we do not have a center one, especially because architecture wise, just having all of a sudden, like a beam in the center with nothing supporting it that feels even if it's a window that feels a bit off. So I'm going to actually delete that and I'm going to stick it like this. Let me just move this to the side so that I can see. And then for the back wall. So I like how that looks over here. And honestly, I'm fine how it also looks in the back. As long as we make it look nice and clean, that should be no issue. So knowing that I'm going to first of all, for this side over here, you can pretty much just go in and just place a swift loop in the center like this and just delete it. Oh, no, sorry, that does create over here an issue because we moved this a bit further back. So in that case, just for now, push these in. You might think, like that is weird, but it's such a tiny push that you won't actually notice any of that. And also, what is more important is that you're you are doing it in the center, so there isn't any type of snapping that needs to happen in the center over here. You see? You'll never notice. So we have done that. Now what we need to do is we need to push only this outside back Mmm. What would be the best way to do that? Because just splitting these up, I feel would not be the nicest way. But if I, for example, just place a cube that I have very perfectly aligned, then that can serve as some type of buffer. So let me just do that. Let me first of all, just select the layer, create a new box over here. Converts to add a pool. Let me just very quickly make the box roughly the size that it needs to be like this. And then what we can do is we can go into our box settings. Oh, I already converted that to addi ply. That's my bed, but it doesn't matter too much. I am going to start by selecting the back face, turning on my snapping, and I'm going to snap that the vertices over here. Select this phase, turn on my snapping, snap it to this one, and select this phase and snap it to this one. There we go. Select the top face. That one is a bit more difficult. Why are you not working? I know it's difficult, but you should still Oh, wait, there are no vertices here. That's why I need to at least place a single loop where I want the vertice to be, which is probably going to be a, somewhere along this line. Now, we can still not snap it because there no way, there is a verte. There is a erzi. It's just that I forgot to turn on snapping. Sorry, I'm quite forgetful today. So we got this partan. Then I'm going to go ahead. I'm going to place a loop here. And this loop itself, because I want to make this super super acrid, I'm also going to snap, which again, does not work because there's technically not a loop here. Just but I want to make it very accurately so that you don't really notice any issues. So let's snap this now over here, too, Versi. Okay, so I got this. Now we need to have another loop that is ending here. So that will snap to that end and probably also a loop that is ending on the other side. So now we can grab this cube. We can extrude this. And we can snap it over here. Then place another swift loop like that, snap it down here. And now the last thing that we need to do is we can simply extrude this down and reset this to zero, zero or just to zero, sorry. So that basically has a very, very accurate looking piece. Now, all that we need to do is we do need to create some bevels, and I do want to create some bels here at the end. So I'm going to let's see. Um create the bevel here, here, here, here, here, cause I want to not, of course, create it on every single side, but just like the sides where you can really see it. Oh, not there. No, none on the bottom. I think that should do the trick. Everything else can stay flat. So let me just add the quick chamfer. It's okay that over here we are adding a chamfer that does not really show or look weird or something like that. I'm going to do so comma five, make it a little bit bigger so that's a bit cleaner. And once that is done, let me just isolate this. We are going to, first of all, set smoothing to one on all of them. And then on these back faces, including this tiny little bevel piece over here. Let's just set that back weighted normals, use largest and smoothing groups, and there we go. Okay, so that creates the back door frame. Now over here with this one, we just need to add the weighted normals and make sure to also turn on smoothing groups and largest. It will adding edges might sometimes break your smoothening or your weighted normals, but it does not often break the position of your smoothing groups as long as you place the edge in an area that's 100% one smoothing group, if that makes sense. So basically, if you place an edge that crosses two smoothing groups, it will break the smoothing groups. But if it's only on one over here like the single smoothing, then it does not break it. Yeah, the kind of stuff that I sometimes forget that I need to mention because to me, it's very normal, but yeah, I get that not everyone. It's like that. Okay, so we have that. Now, over here with the glass, we are just going to have some multiple panels, so that should be fine. So this one is already ready to go. So we can delete it, save our scene, and continue on with door number two, most likely. So we have door number one. For door number two, I'm just going to delete those doors again. For now, I'm just going to go ahead and I'm going to attach this together. But honestly, I don't think I don't think I even need a reference. So let me just copy door number one and drag it in number two. Yeah, here. I don't really need a reference because all I need to do is I need to push this all further back in and then create some frame so let me just over here, delete this one, this one, this one, and this one. Oh, and it also does not have any frames anymore, but I will let me have a think about that. First of all, I'm just going to go to plain no to Window two. I'm going to select now this one, this one, and all of these. Make sure I select everything. Copy it. And throw this into door. Sorry, number throw this into door number two. Okay, so now we have door number two over here. Do I need those? Yeah, I think I think I want to keep those frames. So we're going I need to have a check and see how we are going to nicely represent that. Because over here it's one in. So over here, like you technically don't really see any issues except for the top over here, but I think we are going to just alter the design a tiny bit. I'm going to start by just selecting all of these frames over here, which takes a second. I'm just going to uh I'm going to do it over at this point. Convert to add a poly this one I want to probably remove. So let me just do this. Let me isolate these. Let me just attach them because I'm basically just looking for a more manageable way of using this, deleting this final one over here. And then for this one, we do want to later on art like an FFD. But for now, let's first also over here, convert to add a pool. They were already at the poly so I didn't technically have to do that, but force of habit. Okay, so we have these. Now, for these ones, I'm just going to now art FFD because I feel that you are not going to notice Oh, you might notice that. Yeah, you are going to notice that effect, which is a bit of a pain that just means that we need to add probably like some nicer sorting. Let me just delete the FFD. Because, first of all, what I wanted to do is I wanted to push this one, like, back in here somewhere. And then the center frames, we might want to also make those solid. Push that further back. That is that is a bit of a pain, you know? That positioning is a bit of a pain. Another thing that I could do is I could just, like, sneakily move this down a bit and make the door a little bit different. Probably here. Let's put it somewhere in the center. I feel because then at least you won't really notice as much. Let me just move this out of the way. Yeah, you won't really notice as much that there is, like, a scale difference going on. So if I place this in center and then move it also over here, Push this one a bit further in. And then we have that side door over here, which by the way, these frames in our original door, we need to clean that up also. So that's something that I also want to clean up, but I can do that for one door and then copy it. But for now, let's just, first of all, also move. No, you know what these ones are allowed to stay. These ones are allowed to stay completely like that. And our question is, do we want to keep the frames over here or not? But then we definitely do need to move them further back anyway. Let me just start by actually, first of all, over here, cleaning this part up, which I was pretty sure that we did that in the door. But I guess I made the original doorway a bit too bad. I think I was moving a bit too fast. There we go, so just the weighted normals with the usual settings. Okay. So we got that, and then we have, of course, over here. Let me just go to the front view, this panel for which I can just quickly cut a hole in and then also just, like, bridge these pieces together. For this one, I know that we don't really need to have any interior. So that's at least easy, although we do want to make it look somewhat clean like this, but that's probably as far as we go. Let's move this a bit up. So that's the base structure. Now, over here, what we want to do is we want to go ahead and again, just get rid of the frames up until, like, the top point. So for now, for this one, it's easy because this one does not need any thames on any side. The other one, it becomes a bit more difficult. Why do I have these loops for the measurements? Here, so we can do this. Let me just sent them my pivot, push these down and reset these bits to zero. And these go up until this point, probably. So let me just snap that. You don't really see that I'm snapping it, but trust me, I am. There we go. And all we need to do for this is we just need to get rid of these etches over here. So we can just control backspace this. And here also. So that now looks clean, I hope. No, not yet. These ones over here need also just a complete stripping of these and then also need to push the back further in. We have this and then we go to our side view, select one side, and then this needs to be pushed inside of that cube or whatever we have in the back. Actually for these ones, we need to do the same. These two over here, let me just add a pulley The only thing I want to do is I want to make sure that they are not clipping in any strange way because, of course, there is a doorway over here, so we still have always like this little trim around the door. And in this case, because we moved it down, the door could actually lower a little bit. Like that. But having like a thin strip like that, it's actually normal. That happens more often in real life. So I'm not too worried about that. So I think that pretty much does it for this piece. And then all we need to do is we just need to go into our original piece, but I'm a bit worried to just copy the pieces that we just used because we are only stripping away some of these bases over here. So what I'm going to do is we need to strip out these sides and this bottom side. Let me just add a poly. And let me just push this. 1 second. I need to get rid of the measurements. Let's push this one up until probably like this point over here. Center pivot. And now let's push this down, and I'm just going to set these to zero. Yeah, you can see, I'm just adding a very quick added poly just because it's faster right now to do that. Snapping them. There we go. Okay, so those are the pieces that we are going to then convert, which I guess we can also already do within this added poly. But I only want to convert them on one side. That's something that always makes it a little bit more annoying. I'm 1 second. Let me just edit them individually. Go to place a swift loop in the center, in that case. Yeah, you can, of course, do one and then copy it and stuff like that, but just because I'm very, very careful about the position, this is why I'm doing them separately, also, because if it is very minimal work to do two, but at least I can be sure that the position is completely accurate in the long run that will save you accidental issues that you need to fix. I cannot merge them like this because then they are collapsing too much, so I'm just going to do this, and I'm just going to give it a quick cut like that. Once again, don't forget I just use AldX to turn on X ray mode so that I can see that when I'm drag selecting, I don't extant need drag any vertices behind it. So we have that. And I'm just replicating this on the other side. Sorry, I was silent for so long, taking a breath because it's actually quite exhausting to speak nonstop, especially when it's just doing the same thing over and over again. But, so we now have those panels ready to go. So the last one would be that in here, we do have this one panel, which is a little bit of pain. But I assume that we can use the same technique to get rid of those measurement loops that we had before. Here, if I push this in here, you should not be able to really notice anything. So I can push this in here. I can go move it. This one can go to 400. This one can go to the center. And I know I said before that I would not use this, but just to show you how you could do it just because I'm interested, is I could just move this up like this, then set my pivot point to, like, a very, very specific point, which is going to be in this case, the most like the end I don't know how to say it. English. This point. Left side of Bev Point, don't judge me. I don't It's not my first language. So I can go ahead and I can then push this and move it up here, which should align. And in this case, also because we don't have any alignments going towards other modular pieces. That did save us a little bit of time and then push this back in here. So we now have a flat end and a place for our glass at the top, which means that this one is now also completed. Okay, cool. So we have our window. For this chapter, Window two is done, Window one is down, plain wall, plain wall, one and two, door one and door two are also done. So what we're going to do next chapter is we're going to focus on our corners, and then we're going to also focus on the top floors and the trims. So let's go ahead and continue with this in our next chapter. 11. Creating Our Final Assets Part3: Okay, it is time to continue on with our corners over here. And for these corners, honestly, I think I can let you just remove it because all I need to do so this one was Window two. The Window two, this was. I can just go ahead and copy this. Oh, move this out of the way and send this to Corner, too, because corners, they are mathematically sound so over the top, but they are just, like, quite straightforward on how to create them. So we got these pieces over here. Now I'm going to go ahead and normally, I do like to keep it all in one place. Technically, I can still do that because over here, these are just grid points, so I can move it down here. So what I can do is I can add a symmetry modifier on the Y axis, click once, do the usual rotation like this. And this time set vertex points, and just on the Yaxs here, push it like that. I know. Okay, fair enough. I guess we do need to snap it together. That's strange. I thought that should work, to be honest. Oh, there we go. Oh, of course, because I didn't place the pivot at the very end. I placed it in the center. But this should be correct, because all I want to look for is that it ends exactly on this edge over here. So this should be correct. Okay. And this way, everything still stays separately, which personally I like. I can then go in and I can everything has weighted normals. No, I need to clean up this piece. So I'm going to start by just doing a quick convert to add a poly. Let's get rid of that one. And yeah, I basically just need to make a corner, and that's about it, right? Let me just check. Yeah, I need to make a corner. And I do not want to make a corner over here. It feels very natural to have them like this. All I need to do is create some bevels. So corner bevels. I'm going to get started with grabbing like one of these, and they should have and seem in between, they do. Perfect. Let me just know that. Let me just go ahead and copy it over here, and I'm going to get rid of. There we go one of them. Sent on my pivot. So basically, for this corner that I want, it's a bit annoying because, of course, we have a different thickness. But logically speaking, 1 second. Let me just go make the thickness a bit thinner for now. That helps me think a bit better. There we go. So if we rotate this 180, that will push over here. If I make this a bit longer, I can then just again do a symmetry to also push it over to the other side. So if I do now a symmetry, I think on the x axis is fine, but we are going to flip it. Now you can see that we have over here. And now if I rotate this, there we go. That's basically what I was going for. Then I need to first of all, move this into a location that fits like this. And I want to Oh, I was expecting that it should that I should move stuff around, but to be honest, that's already quite accurate. So we kind of just like, leave it like this. There we go. So now we have, like, a proper ticker corner. I guess the only thing that you want to do is if you want, you can change the thickness of it by going into the symmetry. There you go see and you can change the thickness, but I need to isolate it because I cannot really she here, so let's make it like this, that it's like a second. Let me push it back a little bit more like that so that it's really like a thin corner because I don't want to just make it super thick. Think something like that should work. And then we can add and added poly. Then over here, I'm going to get rid of this line. Yeah, you won't be able to see it anyway, because I want to just create a quick bevel all the way around it. Here we go. Chamfer. Bevel chamfer, doesn't matter. It's all the same. 0.3. Let me see how that looks. Can I go 0.5. Because 0.5 does feel a little bit better. Let's do 0.5, and then we can just arterwight normals and snap the largest phase. And I need to S added poli, I need to select all of these. Why are you not selecting? Okay, let me just convert to added bool. Maybe that works. There we go. Selecting it, smoothing group one, ta I, and clear the smoothing groups. Weighted normals, snap largest, use smoothing. There we go. So that one is now done. We can, for example, hide it. Now, for these pieces, all we need to do is we need to add some quick chmvos. So here again, zero comma five. It's often fine. And then again, weighted normals and I guess that we do need to add again new smoothing to this. So I can just go ahead and I can sit, here, see. So the smoothing kind of messed up because of the bevel. So let's just add new smoothing, smoothening. Sorry. There we go. Height selection. Zero comma five. Once again, let's select this. One smoothening clear weight at normals and snap theice face a smoothing. Excuse me. Did I miss something? 1 second it cons to I looks correct. Normally, when that happens, it means that I missed like a loop, but it seems all fine. Oh, wait, because the top is not it looks like a bevel because of the seams, that's so annoying. This top over here, it's flat, but because we still have the edges there, they just feel like they have seams. But I'm not to worry about those extra edges. Like, it's got to be such a minimal polygon count. I'm not going to work and clean those up and stuff like that. Not for now. So this is glass. For this one, I just want to have some very, very thin bevel just to kind of like, not even that. No, this is class. I'm nitty going to just add a smooth modifier. I will keep it hard because we are going to hide all of this stuff. So we should not need anything. And later on, what we can do is we can also use that corner module for all of the other pieces. So that's also quite nice. We made it once, and then we can again just reuse it. One contra clear, weighted normals. There we go. Okay. So we can just move on to this one over here. Circle five. Move it down, select all of these faces, smoothing group one, contra I to invert it. And no smoothing groups, and there we go. Okay. Now for these ones over here, that's going to be very long if I need to do them one by one. So I'm just going to first of all, finish off with this one. And then I'm just going to merge those together and then do them. But, let me just first quickly finish this. Oh, made the same mistake again, where the bottom side over here, there we go, needs to be flat. Hide selection. And then all that we have left is these pieces. This back panel over here, you can just press one smooth and then hide it. And honestly, for these pieces, we can also just weight at normals and just set the same settings. It should still even with symmetry, it does not break any of those type of smoothing groups, so you can often just re add it. It's just that it breaks the weighted normals itself. For this one, convert added ply just in case isolated, and I'm going to then attach them all together. Like this. And then all I need to do? Oh, that's handy. Looks like it's already selected everything. And then if I just deselect the sites. Okay, well, I need to do that. But if you want to do differently, you would just do this and then deselect it like this. Does the exa exact same thing, so cannot speak English because it's morning, and then I always need to, like, warm up a little bit. Although, funny enough, my job is literally speaking. But yeah, let me just go ahead and set the smoothing groups correctly. There we go. No, not there we go. I forgot, which is quite an annoying one that over here, technically, you cannot see it, so you can just leave it, but I know when I look at this, it just hurts my eye, so I prefer to just at least on the flat areas, give it some proper smoothening. And then we're also done with it. So we have done, this one, there we go. And now we can add our weighted normals. Right click HDL, No, and there we go. So there is our piece. At this point, we can just go in and we can here, let me just quickly set the pivot point. Well, basically there, maybe I can get away with already snapping it. Nice, instead of needing to reset all the pivot points to that position. So, there we go. That's now done. If you want, you can also just quickly, like, center your pivot points that they are looking a little bit cleaner. But that is our corner. And now we would also need to create an invert corner. But what I'm going to do is I'm just going to go ahead and do yeah, honestly, I think you guys won't mind if I time naps this because it's the exact same process, just the opposite way around with all of these corners. So it's a little bit time consuming. So I'm going to just time nlap this. What I'm going to do is I'm literally just going to steal, of course, the corner that we created from here. And for the rest, there's nothing different. We are literally just going to symmetry it. This one is a lot easier because there's a few less pieces. This one is just a bit more annoying because it's like the opposite way. But once again, we can also use that corner here. So there's going to be no difference. Let me just kick in the quick time laps just to move things along. And then after that, we will continue with the windows. And then, yeah, we also need to do these corners, but those ones are so specific that I will just do those in real time. So let's go ahead and continue with the time labs. I I three times time. 12. Creating Our Final Assets Part4: Okay, so with our corners done, we are now going to focus on the top floor windows. So let's just start with, like, an easy one, which is this one. And honestly, for most of that, we are actually going to just steal. Here, we are going to steal this one, this one, this one, this one, and Well, I think, let's for now just grab one because we need to move it around anyway. That's all, if it thinks so. Yeah. So Scontrav copy. This needs to go to Window one. Drag it in there. There we go. And then all we need to do is for this top one over here, which the BV point is still at the top, you are going to be at 400. Yeah. For these ones, again, just select them 400. 400. There we go. Sternal snapping. I'm just gonna place this one pretty much in the center over here. And over here. There we go. Very easy. So yeah, we do have some thickness over here. Oh. Excuse me. Not sure where what happened with that last one. Okay. Okay, I guess I'm deselected accidentally. Let me just move that over here. You know what's weird? I actually feel like I'm not energetic enough, but to be honest, validity just moving out some word Cs. I cannot be super energetic about that. So okay, we have this. We wanted to have some thickness. So what I'm going to do is I'm just going to reuse this bat, and I'm going to select bi angle this, grow one, contra I and delete everything else. There we go. Get rid of this, and then we'll just use this as a box. And we're going to bridge it. And the nice thing about this is that we can already use this phase as our fake window. There you go. So that should work nicely. So that's already that one done. Very easy, as you can see. Now we are going to go over to the next windows, which are slightly different, but we pretty much want to copy these ones over here. Window 02, and Window 02 seems to have one center and one on the end. But it's a little bit abstract where the center is. This one is in my center point I'm sorry, the pivot point is in the center of my frame. So I should be able to for this, let me move them. There we go. And then just copy and also move one here. So that fixes those. Now we also need one sideways, but we can for that just use one of these. So let me just copy that over here. Place them somewhat in the center. And remember that for this one, I'm just going to give the tiniest movement. And then on this angle, I can set this to 400, which should align them correctly on both sides over here. Okay. Awesome. That already takes care of that blockout pretty much, if I just double check. Yeah, so we can delete that. And now what we have is we have these pieces. So these pieces right now, where is my reference? Here it is. So if we have a look at this, you can see that we have some really nice soft bevels, and these bevels are actually looking exactly how you would want weight normals look. So the shapes are already correct because I replace those very, very specifically, although we do need to make sure that we keep space between every single piece. Like, over here, there might be a case where we don't have enough space. So what we're going to do is, first of all, just go to add some bevels, and then what we will do is we will add some additional spaces. I'm going to we are going to mirror this white. In that case, I'm going to only work on this one. I want to start by just resetting the X form. The reason I want to do that is because whenever I add JM fos to a model that I moved the vertices along a lot, then what happens is that you can sometimes get some errors. So if you start from a blockout and you want to add weeightenmoc it and it's not an extremely simple shape, it's just good practice to just resetting your X form. In blender, it is called applied transforms. And in Maya, it is delete history, just to, like, clean everything up. I basically need everything except for the back, I need to have bevels. And I believe I can literally just select all of this at the same time at the top view. Art and at the poly over here. The only one I want to really keep in mind is this one over here because it's whenever you have something that comes into such a sharp corner, the bevels don't always look great. But I'm going to cham for them. And I want to make this quite large. Maybe I can even go all the way to 1 centimeter over here. And here, this is what I mean, see. So it doesn't work great on this side, but then we just manually alter it a little bit, just to clean it up a little bit more. But for the rest, that looks quite good. So we will do this. And to alter this one, let me just go to my side view. I guess what I want to do is just artificial What second? For some reason my Okay, that's weird. For some reason, I cannot completely move. You see, I can only move the one axis. I have no idea why it does that? That's very strange. But this one we should not need to move, so I guess for now, I will just ignore the bug We, that's right. This most of the time, it's a weird bug, but it often happens with the added pole. If you just convert the added pool and just individually edit it, then it should normally be fine. So don't be too stressed about if you have a weird issue like that. So we have this. I think at this point, I can just go ahead and start by adding my smoothing groups for which I just need to select the back, clear it, select the front, add one, weight normals, and there we go. Okay? So, the only thing that I'm a little bit worried about is maybe this pinching over here, as you can see the smoothening becomes quite strong in here. Now, because it's such a strong angle, that is quite difficult to be honest to fix. Basically, because we're also going into a triangle, which smoothening does not usually like. Now, what we can do is we can try to, for example, create Oh, not like that. Let me just isolate this. Two more loops to create some type of, like, a buffer zone. But also, I'm not too worried that it will cause any issues. But I'm just going to see if you can create a little buffer zone if you want, you can even Oh, turn off snapping. You can even move it around a bit. Like the only thing I'm worried about is that over here, I don't really want to select any type of, like, create any type of edges. Maybe create one edge like this, but as you can see how strong the smoothing starts there. If I now art where weight normals, you can already see that smoothing. Here, it's a bit hard to see, but it stays quite strong. So what I want to do for this here, if I remove it. I guess adding it back is better. Anyway, what I want to do for now is I just want to see how it actually looks in unreal, because it's hard to judge from Tres Max because Tres Max shows smoothening as really dark angles, but in unreel that does not happen as much. So I'm going to go ahead and sorry, my voice broke up for a moment. I'm gonna go ahead. I'm going to place also a loop here. And once again, I need to isolate it because I'm unable to properly place a loop. Come on. There we go. I'm going to move this one up a bit and place a loop here, and then add some weight normals back. There we go, let's just see if that will work. So we got those done. Now if we go ahead and have a look at the reference, we need to make sure that at pretty much every intersection, it has some space between it. Now, over here, I don't think we have that. I think this one perfectly aligns with the side. So I'm going to go ahead and I'm going to for now, yeah, I'm going to select all three of them. Go to my added pool. Maybe just do it from the side view. I'm just going to give it a little bit of additional space here. We don't need space in these areas because we already have it, but we do need to also move a little bit of space by Oh, we have that bug again, that it does not allow me to move it down from the side view. Here we go. Like a little bit of space here, and that should be enough to make everything show up nicely. So let me just save my scene. And then what I'm going to do is, so for this one, I want to copy this. But because we now created some space, I cannot use vertex snapping anymore, so I'm going to do it quite specific. I'm going to with a copy, oh, covered added poly because you cannot really attach often on an added poly. With this copy, I'm going to then snap my pivot to 000. Like this. Then I'm going to mirror the guy on the Y axis, and it will keep the pivot at zero. Well, now it's right. Now it's not zero, zero, zero, but you get what I mean. I'm going to reset the X forms to make sure that we do not have any flip faces. Set this one now to 400, which means that now there should still be some tiny bit of space, perfect, and then just add my weighted normals back. Yeah. Okay, that looks correct. So I was just double checking in silence. So that should do the trick for this one. We can go ahead and we can save it. And now for Window number three, it was just basically the same, but we are inverting it. Looks like that Window three is already how you say it, one piece. So I can for now move that over here. And if we just grab Window two, copy it. And there we go. So now that becomes Window three. And I believe the only thing that I did here is I'm going to convert that pool is I switched these two around. So let me just attach this and no, wait. I did not just switch them around. Yeah, yeah, yeah, I did. Sorry. I did switch them around. The only thing is that my pivot point. No, I should be able to just easily do that. Let's just effect pivot on is set these to zero, and this one is already to 400. So that means that this one should become 200. And this one should also become 200 and that swaps it around correctly. Yeah. Okay, easier than a out. I forgot that that's all we did, but that also works great. I hope that the space in between here is not too thick, but we'll see how that looks in real. So, that's it. Yeah, easy. So we have that one also done. There we go. So now, all of our windows are done, so we are going to move on to the corner. Let's just quickly finish off this corner just because it's very easy. All we need to do is just save our scene and steal window one. Let me just do quick copy, throw it into corner three. Yeah, corner three. For now, let's just move this out of the way. And I'm just going to go ahead and just do a quick symmetry on the Y axis. Turn on my snapping and make sure it's only snapping to grid points. There we go. And we are going to snap it like this. Double check. Yes, that looks correct. Okay. We can go ahead and convert this to add apol. Then we have these two pieces for which we just need to add our weighted normals. This one, which is going to just be our window, so we can just keep it hard. And then we have this one for which I'm just going to go ahead and add a quick bevel or chamfer. Seal goomaFV has been our usual go to. So let me just keep that. And over here, I want to I cannot select it for some reason. Okay, does not matter. Then I'm just going to go ahead and press smoothening one. Clear. Convert the added pool. It's just the bug. Sometimes it just really does not like you selecting inside of an added pole. It's a bit annoying, but then we just quickly convert it and move it like this. And then same over here. We just want to go ahead and it's like the base. It's really an optical illusion. Like you keep thinking that there is actual geometry there, but it's just flat. But okay, we are going to unhide, and there we go. So that is our corner. All we need to do now is we need to quickly steal. I cannot really just move this to zero, probably. So let's just move this to sorry, not zero, zero, zero, but we're going to move it on the other side. So technically it's like from zero to minus one. Cracked. So let's grab corner, this one, control to copy, move this into our sorry, not window one, into corner three. There we go, and it's already in the perfect place, luckily. So all you need to do is just set this one to 400. And that should do the trick. I do notice that over here, it's a little tiny, tiny bit offset. Let me just see if I can very quickly fix this. Let's go to top view. And all I'm going to do is oh, turn off snapping, move it a little bit forward. There we go. Okay. Awesome. So that corner is also done. We can delete it. And now, let me just quickly stop the chapter here because then we can do these corners and these trims together because they feel like they kind of fit together. And then in next chapter, we will also just end the chapter with having everything imported into unreal and setting it up so that we can then move on to the materials. So let's go ahead and stop chapter here and continue with that. 13. Creating Our Final Assets Part5: Okay, so we are now going to focus on our corners and also our trims. And what you can see with this is that there are a lot of construction lines both horizontal and vertical. So I do want to get these into the actual jom tree. So this one over here, that is basically these pieces. And I want to crap the one before we turn to corner, which is this. Now, what I'm going to do for now is I'm just going to go ahead and get rid of that little segment that we made, I should say, because I want to place all of these etges at the same time. So let me just go to our side view. And let's set our grid spacing probably to like ten. And I want to put one edge probably like nicely on the grid like this. We can go ahead and we can snap it. There we. That's already you start. That's no way, that's not correct. I forgot from which side that we were doing this. Um That side. Okay. Sorry about that. So I need to go to the font view. Yeah, yeah. That feels a bit more logical. Okay, I'm going to then place it basically at 20. That's still like a little bit of a width away from it. And then the next thing that we need to do is we need to just create some horizontal segments. The only thing is I need to, of course, make sure that when we transition over, they are still correct. So let me just go in. Yeah. So what you can see over here is that if we would make this modular on top of each other, there would also need to be something here at the base. So that's basically what I wanted to mention. So first of all, we're going to go and choose how much width there is in there. I would probably say something like this. And then we just need to keep in mind that here at the top. We need to also create one. But usually, I actually don't like doing that. The reason I don't like doing it is because then the transitions become sometimes a little bit messy. Another thing is that we can basically move this down and then place an additional segment here so that they go in between. And to do that, I just want to create some very quick measurement because we are off grid right now. Oh, let me just set the right plane. Yeah, since we're off grid right now, that's a little bit annoying. But if I just go in here, create a cube, convert at a poly, place a single connect in here. Like this. Then if we also place this cube or box at the top, doesn't need to be extremely accurate, but let's start with just placing it here. And then if I go in and I'm going to just select these segments, and I'm going to move them down over here. Do I have it correctly selected? I do. And then all I need to do is just place an extra Supoch loop in the center here. There we go. That should fix it, Rick. So that's just like sometimes there are so many ways that you can do this. And I'm someone that often just uses different models to measure things. So I use cubes and stuff like that. That's just how I work. Other people work by calculating it with actual numbers, but I'm not a MT person. So this is basically the way I do it. And at this point, what we can do is we can just go ahead and turn these into our ChEVAS and then bevels. So for this 1.5, uh, yeah, that works well. So let's do 1.5. And then what we can do is we can pass four. And the only thing that I'm thinking about now is where to place all the bevels. So first of all, we can sorry, I say bevel, I mean haves. So first of all, let me just select this because then I can invert the selection, and I can at least already Make sure you have everything slack. There we go. I can at least already go in and I can create a bevel over here. And I'm going to make it not that deep. I also by the way over here, you can see that right now the bevels are not correctly placing. You want to set this to local normal so that they extrude inwards based upon the phase direction -0.9. Like, Okay, so that will probably work. Then I need to before I place my bevels, I need to see, so the top and the bottom need to transition. I need to open up in Reel. Sorry. Here we go. Yeah, I closed in reel for a bit, but I basically need to just have a think about where the transitions happen exactly. So this is just a big cube. So this is what I mean, because over here, we have these really sharp transitions, so I want to make sure that the back over here is sharp. Yeah, so the back needs to be sharp, and then we can go around here and the top needs to be sharp. That's good information. Then I know what to do. Which is basically over here. If I just select that, contro double click, delete the back. Here, Control double click, delete the top. Control double click, delete the bottom. Now what we can do is we can go ahead and we can select this bottom edge, skated flat, set it to zero. So now we are just going to use the same techniques that we used already multiple times before doing the blockout. We're just going to snap all of this together. And then also here here on the side, we are also going to flatten that. And then for this one, Oh, I guess because I can only select one edge at time zero. So for this one, because, of course, we do have these edges over here, and having these edges over here, when we do a transition, there will be a gap, basically, because we are perfectly transitioning it into a frame. So basically what you will get is you will basically get this. It's up to you if you want that. If you don't want that, another technique. Is that what we do is we simply flatten them out. So let me just I will do that just because I want to show you two techniques. I don't really care about which one we use. So, of course, the first one is just leave it. Basically, you make it flat on the side and that should kind of filter out. The second one is that you place an edge over here, and you basically then flatten this out to its correct position, which would be I just turn on my snapping on vertex. You would flatten it out like this. And these edges over here, you can control how you want to place them here or see. Like this, by placing an edge, you can control if you want to have them like this or if you want to have them the way Trias Max thought about it. Again, that's up to you. I think this probably looks a bit nicer to me. There we go. So you can also do something like this. It's a bit more time consuming, of course. So it's basically a matter of selecting these edges, and I will only do like these ones, and then the other one, I will just pass the video for a moment. Yeah, so this, you snap it to the side and then you just keep cutting them like this. The only thing is also that when we place our bevels, then it becomes something that we need to be a little bit more careful about because, of course, whenever you have triangles, bevels and stuff, especially in small areas can sometimes break things a little bit. It's something to be aware of. Like that. Let me just quickly pass the video and do this also to the other side. There we go. So both sides are now ready. And then what we can do is now we can focus on the bevels. So first of all, let's just go ahead and bridge these ends over here. And down here, you can see that I place a quick single bridge here because then I can do a border select around it. These select the ends and then do a bridge. Over here, there we go. So o, that does not triangulate the way I had hoped, to be honest. In that case, just because I'm quite picky with how I want to force this, I'm going to just bridge these pieces individually. And that's why we can be sure that it is all correctly placed. There we go. And now here, we can just, like, do a board of select on all of these, and then we can just deselect All of these ends, and then we can bridge them. I said, Bridge them? No. Do we not want to work for some reason? Let's do one by one. Okay. I'm not sure why it is complaining so much. We can, of course, like, manually change this. However, I don't want to spend too much time. I was just hoping to make it quickly clean, but it's not really worth the effort if it means needing to spend an additional 10 minutes just doing it, because we are not going to really see much of this anyway. So, okay, we have these pieces now. Last thing, as I said before, is going to be bevels. So we want to have definitely bevels on the ends over here and on all of these insides. So the end bevels, So what I probably want to do is I probably want to have these inside bevels, a little bit bigger than the ones over here. Or what we can do is actually know we can also just keep that a hard face. Let's do that. Let's keep that a hard face. Now, let's think about how we can do some smart selecting over here. If we would select faces instead of, meaning to select all of those individual bevels, we can select faces we can hold Shift and then click on Edge and then it will convert to edges. But then it seems like I do miss these corners. So that's a little bit of a pain. So there might, these ones we can, double click. It's just that because we now have triangles, I cannot do the best selection. And also here above these, we don't want to have any bevels along this point. Or this? Okay, yeah, that's got to be a little bit annoying. I guess all I I will just need to go ahead and then we'll need to quickly select all of this stuff. And I guess what I will do is I will do quickly selecting by hand. If I think about it more, there will probably be another way, but by the time I finish thinking about what would be the fastest way to select it, I have already selected everything. So let me just quickly pass and do, like, a selection like this. Okay. I did a selection. I mostly was able to speed up a little bit just by double clicking. But yeah, for rest, it was a bit of an awkward position to do any proper bevels. Let me just turn them off here. And it should do the trick. So now if we just add some chenvs maybe zero point, let's try 0.3. I want to make them not too small. 0.4, but also not too big. Both of them, not too small, not too big. So over here, you can see that that creates a tiny bit of messiness, but it's something that we can fix with just some target select, and the rest will all be in the inside. So the rest should be pretty much fine. Yeah, I think we got it. Okay, so let's just press Okay. And then for these ones, because we need to make sure that this is flat, you can use a target weld. Like this, to very quickly merge them together. And any program has this type of welding, so that should not be an issue. I think the only thing really, that the techniques that we are using different in Max compared to any other program is going to be the UVNapping because Max has just such powerful automatic UVN wrapping tools, at least for buildings that, yeah, we already got use out of those or we are going to make use out of those. Once I saw something, this one. Actually, let's merge it like that. Again, you might learn that it all needs to be perfect, but in the end, it technically does not need to be dead perfect because Unreal can fix a lot of stuff. And the way that I often work is worst case, I just, like, sorry, I don't like this. Worst case is that we fix it after. That's what I was going to say. Okay, so we got that stuff done. Now, basically, we just need to go to our side view, select all of this. Let's start by just creating one smoothing group for this contra I, clear smoothing groups, and then I just need to go in and select my angle. Oh, set the angle much lower like ten or 15. There we go. Ooh, yikes. 1 second. This is Geez, this is broken on Okay, luckily, not everywhere. It seems that here. This is something that can happen when you forget to do a reset x form. As you can see, I forgot to do it. And now I need to kind of, like, clean up the mess. Or I just mis selected etches that is also possible. This one is a bit tricky, so let me just see. I guess I can just merge it and then flatten it. So that now looks somewhat. There we go. That looks somewhat like how it was supposed to be. Just merge this also or not. Merge it here. Okay, so that fixes that one, and then up here, probably the same like this. And then this one needs to be cut Because luckily, in the end, these are all just rt ses. As long as you know where to place them, there shouldn't be anything special happening. I'm going to move this bit to the side. There we go. Okay, that should not be any weird visual arrows at this point. Let me now just go in, select these inner sides over here and over here. And this one I might want to, I might select this or I might want to select a single one. I think I'm going to do a single one. So I guess at this point, we can just select by angle or turn off select by angle. I will do those. Wait, I can do them. No, I will do those separately. I was going to say, Oh, I can select this by the side, but then it will just select all of those pass on the back also. And you can, of course, then deselect those, but honestly, it's not going to be that long to select these few phases. And now, if we go to the site, we can just drag select these final view. See, this one definitely requires a little bit more work to turn on the weighted normals just because it has all of these supporting loops. But then it is also done. So now if I go ahead and clear this one, weighted normals, snapped largest and smoothing. Let me now just check. So over here, it is still causing some issues, but it's actually almost it makes it seem like there is here, let me just check. There's no smoothing group here. There should be smoothing groups here. These all have smoothing groups. So I guess they somehow after we made the bevel or something like that, I don't know they slipped through the cracks. Over here, you can see what happened is that it is not properly aligned, and it just caused some issues. Now, in this case, I'm just going to merge them together. Yeah, and that's the only one where it happened. That's a little bit of a pain. I'm going to merge them together, and I'm going to place another cut here because what I want to do is I kind of want to mimic the way it looks at the top, which is essentially no wait, that's essentially like this. There we go. Okay, let's try it again. So we had all these pieces. Let's just make sure that we add a single smoothing group to that. But here also. And here, let me just quickly check by going out of the edge and faces. Yeah. And then what you can also do is while you have your Alipoli selected, if you just press this button to show the end result, we can now always go in and we can just very quickly add the smoothing group just to see how that looks. And definitely, it does not look better if we have a smoothing group there, so we're just going to nicely leave it like this, which from a distance should blend in totally fine. Like, I don't expect any issues in unreal. So the only thing I want to do is I'm going to select all of these, and maybe there's also now an issue on this side. Like over here, it's slightly different but still good enough. So let me just double check to make sure that it does have correct smoothing groups. Yeah, that's interesting how much it changed, even though we didn't do much. Worst case, you can always always you can also always symmetry it. But in my case, almost almost there. I forgot to place two small bevels, it seems here. So let me just add those select this entire area. And just for now, we want to make sure because the smoothing broke that we select this and now by angle, select the inside and clear it. There we go. Let's turn off our edge and faces and double check our work. Okay. That looks good, and that will also read really nicely with these bevels, so it will be a really strong reading of seeing all of these effects over here. So with this one done, we can, first of all, save sin after all of that messy work. We can copy it, move it down. And for this one, let me just first of all, this is the block out wt. Yeah, let's just get rid of that. Let's have a look in reel and just see how we handle it here. Okay, so over here, we need to keep transitioning that line on the corner, essentially, and give it a nice soft corner. So over here, to keep transitioning that line, we do have the edges, but we need to be extremely precise with the movement of this. Another thing that we could try to do. For that, I need to first make sure how large or how thick this piece is, one, two, three, four. Okay, so it's exactly 50 centimeters. Then what I can do is I can go ahead and try a symmetry modifier on the Z axis, it seems. Rotate that like this, and then just push it back until we are okay. Yeah, that actually makes sense. We move it like that. Then let's try the Y axis 1 second. No, that wouldn't make a difference. So this does transition it around. So that's correct. It's just that the end would need to be like that end, so I guess we can just cut it away. Yes, we can cut it away, but I just need to be very careful about this corner. That's all I really want to say so that we have a clean cut. But I think that's still worth the effort. And also, this is actually quite a cool design over here. If you don't like this design, you can try to play around with your symmetry. Until your design is gone, but then, yeah, you lose some issues, but I'm just going to leave design because I think it's quite cool. So what I'm going to do is I'm going to grab this. I'm going to convert to dipole, and I'm going to delete everything but this. And then the only issue with these pieces, because this will still be a 1 second. Let me just get rid of this. This will still B, I cannot speak a correct piece that should fit exactly on this end. However, because we are at 50 centimeters, we need to make sure that it's exactly at 50. And for that, we will need to probably also clean up and merge some stuff together. So I'm going to go ahead and I'm going to snap to grid points ten, 20, 30, 40, 50, there we go. So now it is exactly at 50, and as you can see over here, it does create some small issues, but these issues should be fixable. So first of all, over here, yes, it has a bevel, but over here, we will transition it over into a top piece. So the bevels should transition over. So if we just leave it here, that should technically be correct. All I want to do is I just want to select these edges. And if you want to see how many edges you have selected, can believe I only now show you this, you can go to the plus, configure view bots, statistics, and turn on polygon count, triangle count, vertex count, total plus selection, and show statistics in active view. And then press okay. So now we can see over here we selected one Vertic and here two. I know that I need to collapse this for it to look clean. Over here, it's also to collapse this. And with these pieces over here, you would feel urged to actually get rid of these few phases, but I don't think that will make much sense. I'm just going to select all of this. I'm going to go to my weld and my weld settings, and I'm going to weld it at quite a low level. This will just basically weld anything that is overlapping. I think we are already correct at this point, actually. I think all we need to do is we just need to do like a cap poly, and I guess this caple could use some support. So I'm going to just place, let's say, two cuts here. Oh, I cannot loop around there because of the way that this is constructed. There we go. Now it works. It does mean that we have some extra rz, so let me just collapse that. There we go. That should already be enough. You can connect more if you want. Like, if you're worried about this edge over here, you can, for example, go in, turn off my stabbing and connect an edge there. Well, this edge over here, you can just kind of like merge it in there if you want. I'm personally not that worried here. I'll do this one just for the sake of it, but this should already be correct. So at this point, we are going to select this etche and we are going to stop it before we go to the straight area just because that will be a pain to then else clean up. And we can go in here and we are going to make it, what was it? 0.5. There we go, so that creates a bevel. And then over here, it's up to you if you want to how you want to merge this. I can, for example, just merge it down there, and it should be fine. And now my hope is that we did not change too many of the smoothing groups. That's my hope. So I'm going to go in here. And I guess we need also smoothing groups down here. Yeah, let's select this stuff for now. Let's go and grow our selection. I I didn't do exactly what I wanted, but it's close enough. So we can grow our section. Don't worry, we are going to deselect the rest later. Is all of this broken? 1 second? I'm just worried that, all of it is broken. That is. That is unfortunate. Okay, in that case, just clear everything. I was hoping that it wouldn't all be broken, but it seems like it is. Then we are just going to select by angle, and now we are just going to clear them once again one by one. So we have this one, this one. This one is going to be a little bit stranger.'s turn off by angle. I guess logically speaking, this is the part that we need to unsmooth. And then I can go in here, and I guess I need to again select by angle to select these and then the end this has somehow become such a complex piece that is kind of ironic because I expect it to be like a very simple piece, but just with all the smoothing, it just becomes a little bit more complex than expected. Let me just move down here. I hope that this is not making you guys too dizzy. The guns are zooming in and out. But we have this. Now let's turn off bi angle, and then we're just going to quickly select these ends, and that should be it. So yeah, sometimes stories are a bit boring because the tutor just needs to go through the process of selecting stuff. But it will all help towards the end result. Although I'm sure there are better ways of selecting it, but I'm old school. I just select, and that's it. So let me just quickly thewight normals and see if that did the trick for all of them. So that looks correct over here, it seems like we have some etches, but we will see if that impacts anything. I do not think it will, because it will be invisible. And then here we have the end again. Okay. Yeah, so that corner is done, although it costs a little bit more effort than expected. We can go ahead and we can save sin. I'm now going to go back to 100 in my grid. And having those done, we are now going to start with our trims, which are going to be quite simple, one trim, and then traditional corners. So for these trims, let's go here. So yeah, you can see that there is definitely there's like a trim on the bottom side. There's a trim here on the side, and then there's some construction lines and also over here. This almost looks like it's kind of like a lip that's sticking over a little bit. So we might want to also play around to that to make that all work. And then here at the top, it's also sticking out. So let's start with this. Yeah, so we already have the base cube that's fine. I'm going to go for my loops, and I'm going to place, let's see, one loop quite close. Somewhere here, a loop. Actually, you know what I'm also going to do just to make things a bit easier this time. I'm going to delete any type of faces that we do not need bevels on. So we have one loop here. This one over here can already go away. We will have one loop probably somewhere along here. We will have another loop somewhere along this point. And then we would have some construction loops. 1 second. I'm going to move this one a bit further down. Yeah, let's now work on some construction loops for which I'm going to make them quite large. Yeah, so these should be like quite big panels. So one, two, three. So I'm just going to go ahead and go and make it. Honestly, I think like one. Fine, but then we do need to have something at the end because else that would not work well, just like we had last time. But since this is 4 meters, all I really need to do is I just need to grab this edge, turn on my snapping to grid points and just kind of move it over here. And then, oh, yeah, sorry, need another edge and just kind of move it over here. That already splits it up evenly because we only have one edge this time. So we have one, this one, this one, this one, and this one. Let's just do the usual hAMFos on them. And then later on we're also going to do some extrusions so I'm just sometimes navigating my reference. These look quite thick, so I'm going to probably start by 0.5. 0.6 maybe, or seven. I'm going to go at 0.7, but what I need to do is I need to go to my side view here. And over here, this one, I need to, turn off snapping. I need to move it down a bit because I want to have some space for this top one, which I'm going to extrude out a little bit. And maybe also at the bottom side. Here, let's also move it a bit there. Okay, so we got those. Now what we can do is we can just select all of these pieces Seriously? Okay, Max, fine. I'm just going to select it like this because it is causing me some selection issues, because you cannot really double click when your selection gets interrupted. I don't get why it did that. I believe you can use old double click, but honestly, I forgot. Which is funny because I've been using Max for more than ten years. But after a while, you just get so used to your usual workflows that you just forget about like, all that tiny stuff, it's honesty, it's not that important in the end. Yeah, so I'm going to bevel it again. Oh, on Local normal. Make sure to do that. Here we go, push it in. That's actually quite a nice level, -1.5. That looks good. Here on the side, just delete all of those tiny extra pass it sometimes creates, and then you can just select it scaled flat. And this one is going to be at 400. And again, here selected, scaled flat, and this time it can just be at zero. There we go. So that they are properly placed together. Now we are going to go ahead and we are going to extrude some of these panels up here. And I think I just want to make that like a simple extrusion like this. Delete the site. And if we just go to our site view, we do want to create bevels going. Let's see, where do they go? So over here on the sites, we don't need them, but I just want to make sure that this one continues to the end because I'm worried that else it will give me some issues. And I later on also need to place some bevels on these panels over here. But I guess that one can wait because the panels that we are now giving bevels are not connected in any way. Like this. Quick chamfer. And this time we're going to go for 0.03, probably of four. 0.04. Yeah, let's do four. I think that will be fine. Okay, cool. So we got that one. And then over here, we also have this panel. But for this panel, I was hoping if I could kind of just cheat and just actually, mostly for this one, I was hoping that I could cheat and just push it out a bit. Like this and maybe here, also push this one out. And this one just to kind of, like, make it stick out a bit more. Because this is here you can see over here also, it's such a thin edge. If I need to go and do an ctire extrusion on it, I feel like that's just a bit overkill. So let's try this for now. I think that is already fine. I'm going to place quite a large bevel on my main corners. So that's why I want to kind of, like, keep those separate, including the back corners, by the way. Let's also do those. Like this is really like a stand alone mesh. So that should be fine. 0.7. So that's going to be quite a large. Okay, that's maybe a bit too large. 0.6, soft bevel. There we go. And then next to that, we need to also again, do the annoying selection over here, for which I sadly don't think I have a quick solution still except for just selecting it. You can see some messiness over here, but we will just go in and fix that later on. Let me just quickly select this. And again, we are just not going to select the outsides. Or the insides, I should say. Just to make that all stand out a bit more. Trying to properly select, but it's being a I was going to say a word, I'm not allowed to say. It's being a pain. That's what I was going to say. It's being a pain. Okay. Those are already up there. We don't need. I don't think I'm just double checking that I got all of those little corner pieces. Because if I forget those last time I forgot one and it's such an annoying thing to need to clean up. But that all looks to be correct. So for this one, we're just going to go for quite a small barrel at 0.3, probably. Actually, you know what 0.2 maybe even. It's 0.25. There we go. Okay, that places bevels there. This one over here just collapse it and that fixes that. Then it's probably also in this point collapse. And this one. There we go. Okay, let's just go ahead and select everything. And I'm going to set one smoothing group to get started. I know that we don't have a face yet, but I will do that later on. So one smoothing group to get started, and then all we need to do is we said this to ten. This time, the selection should be a little bit easier just because it goes all the way around. So really all we need to do is just select these pebbles. And move it along here. There we go. I think that's already it. So let's turn off the smoothing for that and everything else should be fine. I'm just going to cap my poly here and here, ensure that these ones have no smoothening also. Then I'm first going to just quickly add some weighted normals to double check to make sure I didn't forget anything. Nice. See that looks really nice and clean. I like that. The only thing is that sometimes what you want to do is you want to give it a tiny bit of variation. So if I, for example, go probably only at the top view like this, you sometimes want to just give it like a tiny bit of, like, variation like this to make it feel a bit more organic because nothing in real life is perfectly straight. However, of course, things like metal are able to look almost perfectly straight. So take it with a grain of salt, but, like, this is really large meshes. So I'm just going to move it down a little bit, move it and just this one I already moved, but maybe a little bit more, just to give it a little bit more of an organic shape. But don't overdo it because we are using this mesh over and over and over again so many times in a row that if you make it too strong, you will very clearly see that there are repeating issues. And that's not what I want. So over here, I'm just going to place a cut here and here. And I'm going to place a card here and here. I'm doing this quite specifically. As you can see, I'm basically trying to support the most fragile areas so that they do not run into any errors. And all of the other pieces in between, they will just be triangulated by unreal engine when we import. So my hope is by doing this, that you don't really see any drastic issues. But also, these are faces that we literally won't be able to see. So in that sense, they are just really not important. They are just blocked off for the sake of Nant, basically. That's why they are there. So our math is now done. Before we turn to corners, let's just do one last check. Yeah, that seems to be totally fine. No, almost almost totally fine. See? That's why we check. Although I don't think this is so much an error. Yeah, it's not an arrow. It's just like it's just three years MX being three years Max with their extremely strong smoothening look. So we can go ahead and save this. And now we have our corners, so all we will need to do is just make a quick copy of this. Trow it in here. Let's create a corner. I'm going to start by just affecting my pivot only and setting it to 400, then setting it back to zero. And for this one, the annoying thing is that the symmetry will most likely break our normals. So that's always a bit painful when you are working on a mesh that has some really strong normals. And also, why is it not there we go, snapping. Uh, that's not correct. Let me just hide the previous one. Oh, because I have it also on the X. I was already thinking, Geez, what did I do wrong this time? Nah, never mind. I did not do anything wrong. It was just in a weird position. Okay, so it looks like that we can get rid of the blockout at this point. So this is our mesh that looks fine. I like that it has, like, this extra detail over here. That's like a lucky benefit of doing these type of meshes. The only thing that we need to do as always is we just need to place a nice, large bevel. I'm going to make this probably even one. Here we go nice large bevel on the corners like that. And yeah, at this point, everything is probably again a bit messed up. So what I'm going to do is I'm just going to set smoothing to one. And I'm just going to quickly again by angle, set the angle to something like 15, just something low. And you want to once again go in here and just loop it around where you don't want to have any smoothening. And for the experienced artists, you guys must be so boring in seeing me do this, but I'm mostly doing this or keeping this in real time, just for the people that really want to follow with every tiny little step. But, of course, you can literally just pass the video if you don't like it. Oh, pass the video. You can move along. Sorry, with the video. I mean, here we go. I think that already does it. Nice and quick, at least this time, wait at normals, turn off my snapping and just double checking, yeah, over here. Well, it looks logically correct, so we'll see how it looks inside of in Okay. Cool. Yeah, that works for me. Let me go ahead and save it. And finally, drum roll please. The very last piece. We can go ahead and copy it. Throw it in here. Once again, oh, I have a random camera that I don't want. Once again, I'm going to affect BivdOly, set it to 400, switch it back. Let's convert to adipol and let's go ahead and symmetrize it on the y axis. Let's go ahead and set it to 100 and flip. There we go. Blockout can go away. We have this piece. Let me just turn on my edge and faces. Let's go ahead and convert this to add a pool. And once again, we now have this chunk and we can go in and over here, honestly, for this one, if you want, you can get rid of it. I don't think that one really adds much. So if you want to save some time in selecting, depending, of course, on how cleanly, this is beveled. There we go. Control Backspace. Yeah, there we go. So we can get rid of that. There we go. That just saves a little bit of time, at least. And then double click. Make sure that you loop nicely around it. Again, HEV at one, it was. There we go. Great. Okay, cool. Let's just go ahead and select all of it. Finalize things by adding our smoothing, which is going to be let me just still select my angle. This one, this one, and this one, along with the sides. I think that's actually already it. Yeah, so this one is quite simple. Weighted normals. Turn off edging faces to double check your work. And I think we got a people. I think that's about it for all of our pieces. So those are now all done. Now this chapter end up being quite a bit longer than expected. So we're going to divide it a little bit different. We are going to in the next chapter, show you how to do some automatic UVs just in three years, Max. Although we are not going to use it, I want to show you in the beginning of chapter, and then we are going to export everything to Unreel in Unreal, set it all up. And then what we can do is we can move on to the next chapter, which is going to be about materials. So make sure to save your scene and let's continue w 14. Creating Our Final Assets Part6: Okay, so with all of our assets now finally done, what we're going to go over now is we are going to go over some UVNmpping. Now, what we will be doing for this building and what often is done for buildings, except if they have very specific textures like trim sheets, or, for example, brick walls that need to end at specific places is we are going to use something called triplanar or worldpace mapping inside of nw engine, which basically means that it doesn't look at your actual model UVs, but I still, of course, want to show you that if you do use these techniques, how we would go about this. The first thing, let me just go ahead and create the box. So why do we need this? I'm sure that you know, but if I just create a box that is 400 by 25 by 400 like this. And I will just go ahead and I will quickly snap it into, like, a logical place. There we go. Okay, cool. So funny enough, a square box like this is already correctly UV unwrapped just because it's a plane. So if we go ahead and apply because we need something to see, I'm going to apply a checker texture. Just give me a second. Here we go. And let's set the tiling to like ten by ten. There we go. Perfect. Okay, so here we have a checker texture. So our general goal is that if we would go ahead and later on, use this in a modular fashion, the textures need to transition so perfectly, like, really, perfectly. If you have a model that has, like, a bunch of stuff going on, not like a simple cube like this, and your texture is slightly offset or it's not properly placed, then of course, what you will get is that when you use this in a modular fashion, it does not nicely transition over, see? So if I just turn off like this, Okay, it's really hard to see, but the cube is a little bit larger. It's just that I made such a small change, you don't really notice. So let me just go ahead and do this. There we go. So you can clearly see that you have some UVN wrapping issues. So the rules are quite simple for this. Your textures, if we open it up, they are always in a square box over here. Your goal is to make sure that at least the pieces that hit these ends over here, so they're ends that need to become modular. Often, those are the left and right, and if they are, um, like top floor walls, it would also be the bottom top. Those pieces need to exactly hit the end over here, as you can see. So, of course, whenever you have a piece like this, what you could do is you could just make sure that it is placed correctly, and you can also use some snapping tools, for example, to just make sure that everything is, like, snapped correctly in here. Now, I'm not going to go too much over the UV unwrapping for this, but if you go ahead and let's say that here, let me just select this phase. Let's say that this is the phase that we want the URNap. Then usually what you can do is you can go in and you can do a where are you? So I usually use a different tool for Unwrapping, but I just want to show you the base Oh, wait. Sorry, it's on this side. So over here, we can do a planar mapping. And then with the planar mapping, what you want to do is you want to go ahead and you want to make sure that it is aligned on the x axis over here. And then what it usually does is it perfectly maps it into the cube. Once again, if you want to use other techniques, and also these sites over here, they don't so much need to have any type of why can I not select you Dg? These sites, because they are often hidden, you don't need to spend too much time on your UVs. You can just do something very quick, like, for example, a box unwrap or something like that, that is just like set in center. And if I just go in and Geez, why are my tools not working at all? That is strange. Okay, that's awkward. For some reason, my tools are not working. Come on. There we go. Okay, weird. Yeah, so what you can do is you can just, for example, quickly scale them. It's okay that these don't transition perfectly unless you are able to see it. So on corners, we would want to transition this perfectly. And next to this, I would say that the technique that we are going to use. Yeah, so, yeah, you can snap, of course, also the corners of your vertices, whatever you want to do. In Tres Max, you really don't need to do this. I'm just showing this for Blender and Myer users. But even you guys can often do automatic unwrapping. So instead, what we do is we use this beautiful amazing tool, one of my most favorite modifiers. And if I go down over here, it's called the UVW Map. Basically what the UVW map though does is it unwraps here just set it to box. It basically unwraps based upon the world location. So you can see here a box, and you can see that it has a length width and height, and it just takes the length width and height from your model. Now, if I go ahead and just set this also to 400, you can see that over here it even around the corners really nicely transitions because it just basically takes an image from this side, this side, this side, up, down left, right, all those sides and then unwraps your model. So it's really, really powerful also for other pieces. So using this technique, the transitions are also very easy as long as you keep the length exactly the same. So what I mean with that is, let's say that we grab over here, I'm just going to use my floor window just because it's a little bit easier. So I can go in here. Let's say that I select all of these. Now you can see we have all these messy UVs and everything like that, but we can literally select all of these models. Then we can just add a very quick UVW wrap. I have no idea why it's not in my Let me just configure my modifier set and just add it in here. Oh, it should be in here. Hey, there it is. I'm blind. Sorry. So I grab my UVW modifier. I go to a box, and then I always like to set it exactly to like even numbers. And now you can see that it unwraps perfectly like this. And this unwrap should take precedence. So what we are going to do in terms of tiling is we are going to tie it inside of unreal engine. We wouldn't want to tie it in here. Uh, even though over here, you can set this to two by two, but it can just create unneed difficulty or introduce bugs or like weirdness with taxa density. So it's better if we handle that inside of Unwel engine. So you can imagine this is literally all that we need to do. So because all of our pieces are exactly 400 by 400, we have such a nice way of just very quickly altering this. You might be wondering, like, Okay, so what about our corners? How do we handle that? So with those pieces, what I usually like to do whenever I have this UVW map is I like to actually set the gizmo over here, and I like to snap it to the center over here. And at that point, we can literally copy this modifier. We can, for example, go to, that's not the best corner to show you to this corner over here. And usually, if you select multiple assets, you cannot paste it. Quick trick if you just quickly art and add poly, then you can right click and you can press Paste. And now what it will do is it will basically paste these UVW maps also at 000. So having that done now if we, for example, select Window one because everything is at 000, and the calculations happen based upon the actual world inside of TS MAX. So it's not based upon the location of this model, but on the location of our selection, you can see that now it perfectly transitions over like this. It's a very quick way that we can just quickly add some UVs, all that kind of stuff. And that's basically how we handle corners and these pieces. So this goes very, very quick. So at this point, all you really need to do is you just need to select your meshes, in this case, you can just press paste. And that already handles the UV. So as you can see, it's extremely powerful, extremely quick to just UV unwrap all of these pieces. I'm not going to apply materials to it or anything like that. Reason for that is because some of these should already have materials, although it doesn't look like it, but we'll see. This looks quite messy over here. That is just because we have multiple models. They all have their UV space, but it should still properly transition. So you shouldn't need to worry about that. Sometimes, depending on if the model has a broken X form, it has some bugs, but that rarely happens. So I'm going to even over here, set it to zero, and you can see that over here, if I go to my actual UVW map, the main one is set to zero, and that's what we want. So I can simply go in here, apply this to all of them, and that should do the trick. In worst case, if this doesn't work, what you can do is you can just merge your model together, and then you can apply your UV map. That's another way of just quickly doing it. So there are a few ways that you can handle this, but in my case, I'm just using this technique. And also, it's even so easy that internally, we have automated scripts to do this. So the scripts literally just do outer UVNmppingV easy. Yeah, the poly. This one has a lot of models, as you can see. So in those cases, sometimes it's easier to just merge it together just because it does slow down your scene a little bit when you have a lot of models. But in my case, MPC should be able to handle it, so I'm not too worried. Oh. There we go. And even on these corners, it will work totally fine. There we go. Oh, wait. This could be the issue with the reset forms that I was talking about. It seems that over here, this specific one has messed up a little bit. Oh, yeah. Here they seem to be It should still be fine, to be honest. Like even if you have it in a wrong location, it should still look correct. So I'm going to for now just leave it like this because since it's worldspace, I'm just placing it at zero, 00 just to be extra sure that everything transitions over. But often you don't even need to do that. Often, you can literally just place it into location like just on here. So, honestly, it's a very robust system, and I'm generally not too worried about that. So I'm going to save this. Now, what I will do is at this point is I'm going to export it to un reel. I know that we still need to make some doors. We will go ahead and work on that after this. But for now, let's just go ahead and actually get this all into reel, make sure that it's all working before we do any more work. Of course, because this is very time consuming to export manually, I'm just going to go ahead and I'm going to pass the video and just export everything into our Expos folder. Sorry, one last thing that I almost forgot before exporting is that we do need to go ahead and make sure all of the correct materials are applied, but it shouldn't be too difficult. So for this one, it mostly just meant, I'm just going to go ahead and converts to oh, not copy. Converts to add a ply. It meant that this needs to be class opaque. Yes. I can hide selection, and these can all be frames unhide. Okay, so yeah, that fixes that. Over here, apply this one. Height selection, select all of these, frames unhide all Sorry, I just basically means applying the correct stuff. Because I don't like those boxes, I'm just going to also convert this to addi poly. So we have these ones, and then for these ones, we want to have these panels to be our glass or white plastic, sorry, white plastic. Let me just make that a bit whiter just to indicate. Height selection, frames. But the frames already technically should be fine. It's just that in case I somehow added something extra. I just want to be extra sure that it's all correct. So I'm just quite quickly. Apply all of these materials. And at this point, I'm quite confident that everything is correct, because we did not make any specific changes to these pieces. And we already applied the materials when we did some testing. So just double checking my work. Yeah, I don't foresee any problems in worst case, maybe these ones. Worst case, we just simply go back and we just fix it. So that's not really that difficult. Okay, there we go. So now let me just go ahead and pass and export this. Okay. So now we are going to go to our unreal scene. And we have our assets, and what you can do is, well, actually, you can just select all of them. Right click and reimport. Ya, our final models are finally done. And I'm just going to reset the FBX because we're just going to have a clean slate for this. So let me just press that a bunch of times. And then that's the cool thing about this that we made this blockout, but instantly, it will just all be transformed into final models just with the simple reimport. See? Now we have all of these nice construction lines. Everything is looking nice and clean, and we are ready to move on to the next stages. The only thing is that of course, we need to apply some glass in our blueprints. We need to set up some blueprints. So we are going to do that now. I'm just double checking everything. Yeah, so we're going to do that now, and after that, we are going to work on our doors. Over here, tiny issue, I guess, which is that this one over here is clipping with the bottom. But that is something that we can fix in the actual level. So I'm not too worried about that right now. We can fix that a little bit later on. So having that done, let's start by setting up our blueprints. So over here we already did one blueprint. Now I need to go ahead and I need to select a few more. A cool thing that you can do is. So this is Do you can also right click on here. And then what you can do is you can go to Asset Actions and press Create Blueprint using this and just place it into your blueprints folder, and then it will also by the way, just create a blueprint and open it up and already place your model in there. So that can sometimes save a bit of time. So I'm going to go ahead and do that for each one that needs some glass or that needs a door. Because doors we also want to have a blueprint so that we can easily open and close things. This one we already did. So I guess that's already all of it. Nice, not too much work. So, that's done. I'm going to go my blueprints, and I'm going to open up our previous window that we already did. I'm just going to copy that plane that will hopefully save some time. Well, here, I have a corner. I can paste the plane. Yeah, let me make that a bit bigger for you guys that you can easily see. And then it's just a matter of placing gane. Again, you can also do this in Max if you want. But I feel like this is also even more optimized to just use the default engine plane. It just takes a second. And I can imagine that if you have at one point, we had, I believe it was like 80 pieces in a single building, and then it becomes a bit tedious if you need to set it up for every single one. 1 second. Let me just recopy that plane. Oh, no, wait. For these ones, I can actually just copy these pieces. Space them in here. Because all I need to do is just move this one. Forward. Scaled a bit so that it falls within the ranges. This one I need to rotate because we were looking at the back. You can notice that in this class because it looks a little bit more citr from the back than the front. And now we can just go ahead and copy the window, paste it in here, and you might have guessed it. In this case, we need to also slightly alter it because it's a door. So we can grab one here, one here. There we go. Save, compile. We can just close and we don't need to compile all of them because we can just press Save. And next, you might have guessed it. We just need to go ahead and edit this level. We have here this is corner 01, so we basically go Shift E to select all of the corner zero ones. It accidentally placed it into not the blueprint folder I wanted, so let me just quickly move them before we change this. And then here we have corner 01, right click Replace with corner 01. Same over here, doors. So Shift E, the door is easy to find. So right click replace with doors. Then over here we have Shift E, the invert corner, right click replace. And finally, we also have a door over here. Although we didn't make any changes yet, we can already just replace that Perfect. So those are now all replaced and ready to go. I can see over here also, by the way, a bug but that's just floors. Let me just go into my modeling tools. Yeah. So now, when you get materials, you also start to see a few other bugs that you might want to fix. But in general, that looks pretty good and straightforward. So we start to get quite a nice looking building out of this. So what is next? You probably guessed it, we are going to work on our door. So let me just save this, and we're going to switch to three years, Max. We have saved a door over here, as you can see. But let's go ahead and first of all, collect some proper references of a good door. Okay, so in the same location where we were, so there is our building, I went ahead and I found a pretty decent door that we can use as reference, you can see over here. So nothing too special. But yeah, let's go with this. The only thing that over here that's interesting is you have this, like, system over here to open the doors, but we might also want to just add that. I think it looks visually quite interesting. So what we can do is knowing that and we know roughly the width of a door that we need. Let's get started with the base shape. So for the base shape, We are basically having over here like this additional cube that we're going to add, and then we just have like our normal shape. And over here for this, we are actually just going to use our existing frames. And then we're just going to, like, slightly alter them to push it all out and make it a little bit more logical because even over here, you can see some construction lines, see? So basically, these side frames over here are a little bit larger than these inner frames. So we can just do that and then go from there. So let me start by creating a very simple bot Object section, which start by creating a very simple box. There we go. Let's make it four by four. Let's turn off snapping. I don't need snapping for this. Something like that. And for the height, we are going to make it, what was it 220? Oh, no, wait. We made it a little bit smaller. I forgot 197. I'm just going to make it 200. No, that's not going to work with the frames. Fine. I'm going to go a bit lower. There we go. 198. That's the one that we're going to go for. Okay. Let me just turn on my edges and faces. So having this one done, all I need to do is let me just isolate this, convert to an adipol and I want to have on this side, quite a strong rounge chamfer. So I'm going to increase the amount of segments I want to have in between. I'm just going to push this out maybe to like 2.5. Now let's do two because we need to have a little bit of more space on this end. There we go. And then all we need to do is on these ends, just create a very quick chamfer, but this time, just a normal bevel, basically. Like that. That's already it for this piece. If you want, what you can do is you can add a few segments, but I would be very careful about it to give it that little bit of imperfection where you can, like, I'm not going to go in this direction because we need to have a door against it. But if you want, you can just, like, kind of make it a little bit less perfect like that. And then it's just a matter of selecting the top and the bottom. Clearing the smoothing groups, and everything else is just going to become smoothing group one, and then we can just do weight to normals. As you might see, I'm not going to turn on snap to largest face because when we have something round, I don't know if you can see it here, it doesn't look as good, like it looks a little bit less smooth, which I in this case, do not want to happen. Smooth over here. So we got that piece done. Here we go. Now what we need to do is we just need to grab some frames. So if we just go ahead and look up our frames, we basically just need this one. Yeah, that's all we need. So I'm just going to go ahead and copy this frame. And throw it into my doors layer. Here we go. So at this point, what I'm actually going to do is I'm going to set this to a correct position. So first of all, let me just quickly snap this to vertex, and I want to snap it down over here. That should be good enough. And then I'm going to go ahead and I'm going to just snap this to 000 because that makes it a bit easier for me to then alter this frame also. So for this frame, as you can see, that is a little quite a bit too thick. So I'm going to first of all, change that a bit. Let me just go to my front view. Something like this. Let me just convert to add a poly. I'm going to push this in. And also, I'm going to make this like a little bit thinner because it wouldn't make sense to have it so strong. Let me just go ahead and let me center my pivot. And I then wanted to go in and I wanted to just quickly move. This door doesn't have to be absolutely perfect, but just move it roughly so that I know if I just affect pivot only, go to snap this one also to grid that I know exactly the position I wanted to have. There we go. And in this area, I'm also going to just snap this one. See? So now we know exactly, Okay, let's not go further than that, and at this point, we can kind of move this piece out of the way. We don't need it. So now we know roughly where our door needs to be. And we also for this one, need to place it in front of it like this. If you want, you can also do like a cheeky bevel like that just because it looks a bit nicer. But I'm going to do that after I finish placing everything else. So we have a bottom piece. Now, of course, we need a top one good to miss my side view. Here we go. Top piece. And all we need now is also just some side pieces. And don't worry. We are, of course, going to properly scale them later on. And we also going to add some additional befels to them and stuff like that. But for now, Sorry, my goal is that on the height, it's correct and on the side, it's correct. I'm going to push this one all the way down. There we go. Send the pivot. Rotate. And move it somewhere over here. Okay. Awesome. So we know that these pieces over here are going to become the thickest ones. So with these two pieces, we can go ahead and we can add and add a pole. And mostly on like the side view, we are just going to give them a see let's do for the N, let's do it without the bevel. Let's give them a little push. Let's see. Okay. That works. Now the next thing is that this one, in real life, as you can see, I'm just now going to work on the thickness of a DML. So this one becomes Oh, we have to back again that it doesn't want to move. Let me just convert to adipol and try again. There we go. So this one becomes little bit thicker. I guess up until this point. And then these frames are essentially all the same thickness. But to be honest, I feel like the current thickness is a little bit too thin. I feel it should be probably roughly around that side. Maybe I should have done that before copying. And it's up to you, you can measure all of this if you want. I'm just going to eyeball it. Because if I cannot see it, then I doubt anyone else can. Well, that sounded arrogant. I mean, if I cannot see it, then it's probably fine for, like, most people to also look at it. That's what I mean. We can now save this, and all that we need to do is we just need to go out and create the handle over here and also the keyhole. And I think that we already have a pretty decent thing going, and we need to just add some quick bevels, but that's about it. Okay, so for the door frame, also, what we need to think about is if we want to give the different material, but that can come a bit later. First of all, we have over here this detail, looks like just like two cylinders and like a side cylinder. Sure. That isn't really a big issue. Let me just go ahead and start by placing a simple line. Looks like the line is a little bit more at the top. And it goes down. I'm mostly eyeballing this, of course. Like, these can be in so many different shapes. It does not really matter too much. I'm going to then have the line, and I'm going to add the sweep modifier to turn it into a cylinder. And I can go ahead and I can set the parameters to lower down the radius. Let's move this a bit. Maybe 0.8. Oh. Zero comma eight, fine. Also hood. Let me check. Also, what I'm going to do just because it has quite a few segments in the interpolation, you can just lower it down because we don't need that many. A bit overkill. Let's make a bit ticker. Let's try one. No, even in real life, it's a little bit ticker. So let's do 1.3. I think 1.2 is the sweet spot. Two. There we go. Okay. And then in real life, it is basically, first of all, pushing out a bit. Yeah, I gets like that. And then it is also hovering over the glass a little bit, basically like this. And then all we need to do maybe move down a little bit more is we need to grab another line that goes from the center point over here to pretty much like the center over here. There we go. You can copy this sweep modifier. Paste it in here because they do look about the same thickness. No, they look slightly thinner. These ones. So I'm going to make them like 0.1 over here. And also, if we just go into line and press show end results so that we can see the cylinder, I'm also just going to push this out. And now it's up to you, like, how detail do you want to make this? Even here, I cannot really see much happening between the door, so I'm not going to bother with that. But in here, you might want to, for example, make a cut and then like a nice bevel around it. I do think that that would be something that's quite nice if we just create it. So I'm going to start by, first of all, making sure it's roughly at the same space. And for this, I guess I do want to make the spacing quite accurate. So I'm going to move this one down. Then I'm just going to use a quick line and just click Hold Shift to straighten it and then move this up. This way, I have a very quick measurement tool, as you can see, and now we can delete it. So we have these two pieces. Although, honestly, now I think about it, we might even want to symmetrize it. But for now, I'm going to go ahead and select these two Contra V to copy them, and then I'm going to also select now with the copy still selected our main bar, and then I'm just going to isolate this. Because all I want to do now is I want to use a Boolean function, so I can go to my compound objects, pro Boolean, remove only invisible, and then we can just start picking. There we go to create a very quick Boolean function in here. We can go ahead and convert the stone and add a pool. And then mostly what we want to do at this point is we want to go ahead and we want to just kind of, like, clean things up by using a target weld just to make sure that everything kind of fits. So if you have vertices that are very close together, you can also just already weld those, and the rest we just need to cleanly move. So at this point, I am going to probably use a symmetry modifier in a bit. First of all, I'd like to always weld it at, like, a low level because then what you see is that all of a sudden, we are, Oh, I missed one. It is also welding together vertices that we were not able to see because they were so close to another vertice, it felt like one. Then over here, I'm going to just go ahead and I want to be very careful because this is a cylinder. So we want to make this super, super straight. We cannot do any triangles. Oops. We cannot really do any triangles on the cylinder because when we convert this to weight normals, it will very quickly show that. But as you can see, that already does trick. Over here, this one, I'm going to delete it because you are just not going to be able to see it. And then we have this shape, and all I'm worried about is that over here, it might cause some issues with the chamfer that we're going to place next. But that's just a matter of seeing. So let's create a chamfer and probably make it about this stick. So over here, it was not too bad. I guess what I'm going to do is I'm going to probably make it a bit wider at this point. And also just carefully move it a little bit because I want to just be able to really show that bevel. You can see that this one is also double verts, but that's okay. It shouldn't cause any issues. And if it does, we will just merge it down. And also be careful because I am, of course, only moving it on one axis, so I do double check to make sure that it's not broken on any other axis. At this point, I can just send on my pivot, and I can just add a quick symmetry, and I want to add asymmetry on the Y axis over here. And after that, just add the weight normals. Oh, forgot to add one thing. Sorry about that. Quickly converts back to adipolium. I'm going to select the top and bottom, hold shift, and convert to etches. A quick hem fdlsa Not too big because this is quite solid metal, so we want to not make it too soft. There we go. Now, over here, we can see some issues that is most likely because of some double ertzes. Let me just first of all, do a very quick weld like this, and let's see if that works again. It works better, but it's not quite there yet. So I'm going to just go ahead and preview final. And I'm going to start by just merging here, see, this one, and merging this one. That already looks a little bit cleaner. And we can probably also do the same up here. Then of course, because technically, I already removed technique, I did already remove the symmetry, so I can do this. But that should kind of do the trick. There we go. And then as you can see over here, you can just basically see, like, a small bevel happening. We might want to just double check and make sure that over here, we move it really into place that it is visible like this. There we go. And that just adds a little bit extra. But over here on this side, I'm not really gonna do much. Um, Should I. I can show you guys. Like, it's not gonna take that long. Normally with doors and stuff like that, yeah, you do not want to push in too many details because it's a building. You want to just kind of, like, move along quite fast. But just for the sake of the tutorial, just to show you because booleans are quite easy. If you just create a cube, again, pro boolean it. Start picking and just pick the cube that was scared. You convert to adipol, you grab the end, hold shift, and convert the edges, and you add a quick chav to it. The only thing that I would say is that what I did not check I did not check if there were any leftover vertices, but there are not. So as you can see, that that's the trick. I'm going to delete the back and then do weighted normals, because whenever you don't have a face, you also cannot mess up with weighted normals. Then let's just go ahead and just drop this one. In here, there we go. Easy, does it? Perfect. Okay, so that's the door handle. Then the last little detail we need is going to be like this tiny little keyhole, but that's not going to be too difficult. And we're also not going to, like, make it too complex with, like, actually having little the key thing in there. Like, you can make a unique texture for that if you want, but it's not for tutorial. It's just not really worth it to do that. So keyhole, it's somewhere in the center, so I guess somewhere here. We start with a very simple cube. Convert to at the poly, delete the backside because this is such a smart model, I don't think Nanite is going to complain. I'm just going to select one edge and just quickly ring it. And I'm going to add a quick chamfer. Maybe make it a little bit rounder. There we go. Select the front. Convert this to an edge. Another quick chamfer, but this time, it's just a normal bevel. There we go. And I guess if you want, you can also clean it up a little bit. Over here, just to make sure that the triangulation is not going to go too crazy. When we export this to Unreel although I don't expect too much because also so unreal triangulates it, and then nanite completely changes geometry on top of that also. So that's that one. That's not very difficult. Now, all we need to do is create the key extrusion which is going to be, probably like a cylinder somewhere along this size. Just make sure that the cylinder is in even value of the size that we have one edge Oh, sorry, one vertice on both sides over here. We're going to move this forward, convert pool, delete the back side, and we probably also want to delete the front side for now, but let me just first move it a bit. There we go. And then all we need to do is we have this end over here, and we simply extrude this probably this far, delete any back faces. Here, I'm basically just trying to replicate that area. I'm going to make this a little bit rounder. I'm going to like a tiny little bevel here, just to smooth it out and maybe also create like a little bevel here. There we go. And if you want, you can also play some bevels here if you want to make it a bit smoother. But for now, let me just do a quick capli. First of all, I feel like it's a little bit too large. I'm just going to scale it down a bit. See, it's going to be such a small detail. That's why you don't want to go too crazy with the details. So I have this. Now, what I'm going to do first is, give it the bevel. What chamfer. Nothing too large like this. Then we're going to inset this at quite a small level somewhere over here. And then I'm going to select these bottom ones, and I'm going to move those back up. Let me just quick Target Weld, this because we're gonna turn it back into a cylinder. Alright, I forgot that I did some scaling on it. So I might need, like, a few tries to get it. Alright? There we go. And now what you can do is you can kind of, like, do another inset. That should be fine. And if you really want to turn this into a perfect cylinder, because right now it's not completely perfect, you can go into your modifier list, type S, and grab a Sparify which will basically turn it into just like a perfect cylinder. Just nice little modifier. I'm just going to go and push this in, hold shift, push it in again, and push it in like this. I'm basically just creating some type of shape here and adding a quick chamfer. There we go. And just some weighted normals and that should do the twig. So that you just have type S, some type of shape, doesn't have to be a keyhole, but at least now there's something there. Awesome. So we are pretty much done with the door at this point. We want to add some glass, but that's something that we once again are going to do in reel. The only thing with this door, which will be easier is if I just merge it together. So I'm just going to go ahead and isolate my door, select the back panel. I'm going to go ahead and attach everything and make sure that the pivot is at 000 because we want to do that so that we can basically open and close the door over here. So that is our door. We can go ahead and we can export this. The only thing is that for the pivot, no, we should be able to mirror it. So let me just go ahead and call this 52 door underscore 01. There we go. That should be a good enough name. I completely forgot something. I forgot to add some materials. Let me just quickly add a material here, and let's add a different material just for these bits over here. So I'm going to make that Like bare metal or chrome or whatever, it's going to be called. And just quickly apply that and now export it again. Door 01. Okay. Perfect. And all we need to do is we just need to set it up in here, for which I have my folder. So I'm just trying to find door 01. There we go. That should all be fine. So door 01 over here. Right now, we just have s 15. Creating Our Materials: Okay, so we're now going to focus on our materials. And for this, we're actually just going to make one material, but we're going to use some smart material tricks or shaded tricks inside of unreal to turn it into all of the materials that we need. So just to keep this easy, because I assume that most of you will use substance painter more than substance designer. So we're actually going to make it in substance painter, just to include more people. Now, for this, we need one simple thing, a plane because we need something to have material on. And just one note that in the plane, make sure it's a default plane and that it is tilable. So basically, that the corners are exactly on the end so that we just have one square. I already went ahead and export this because we don't really need it. And then inside of subs painter, we're going to go ahead and create a new file. PBR metagraph is totally fine. We're going to go in and select our ports, and in here, I just have our plane. We're going to make the resolution nice for K. Why not? OpenGL? Because I'm used to working on OpenGL. I know that in unreal, it's direct X, but it will automatically convert. So at this point, that's about it. We can just press Okay. So I just need to move my microphone down a bit. And one thing is in my texture set list over here, this is going to be our material name. So this is going to become plane plastic. No, I will do metal. Metal, plain metal. And from here we are basically going to go ahead and create everything. So the creation of materials is quite simple. In designer, it's even simpler. But basically, what we want to do is we start with the height map, which is very minimal in this case. And then what we're going to do is with the base color roughness map, and most of the stuff that we're working on happens in the actual roughness map. So that's where we want to focus on. And then later on, inside of unhel we're also going to add a bit more roughness variation on top of everything. I can just go ahead and I can delete this. And honestly, you can do folder structures if you want. You can add a folder and call it I know material, but we need so little stuff, it's just really not needed because it's almost a plain material. I'm just going to go ahead and go in here and add a sorry, in here, go in here and add a fill. And this is basically going to be our base, and we are going to stack different height map variations on top of each other because yeah, most of it really happens in the roughness with these type of materials. So I'm just going to go ahead and call these ones a let's start with scratches. Then I'm just going to alt and click once on my height, and then it will deactivate everything except from height, I'm just going to move it down. One thing I am going to actually do is at the very base, it's call this base, I'm going to just go ahead and I'm going to set my base color a bit darker and my roughness a bit shiner because s is very difficult for me to see what I'm doing. So we have our scratches. We go up here and we add a black mask. And then all that we need to do is we need to go in here and find some initial scratches, which I want to have very, very minimal. So here, how about this? Now, that's too much dust. Let's scroll down. So here we have a few, so we have some shavings, which is nice because we can use that also, those. But I'm just looking for, like, very, very tiny scratches. That's some marble. It is here, but I'm probably just a bit blind. Where are you? You can also type in scratch. Mmm. Yeah, you know what? I'm going to use this one, which is too over the top right now. But what I'm going to do is you can go down here and we can, first of all, turn off the dust. There we go. Then we can go ahead and we have also spots. Yeah, let's get rid of those two so that we really only have the scratches. I'm going to set the tiling a bit higher. And then I'm going to set the quantity. Mm. Like, the thing is that this is, of course, procedurally generated. So if I set the quantity lower, you can see very clearly that there is some repetition. So we're actually going to set the quantity higher. I'm going to make my scratch length a little bit less and maybe also make the width a little bit less over here. And then what we're going to do is we're just going to blend this out. So I'm going to now go up here in Mfax and I'm going to add another fill layer. And I just want to grab some general grunge map. Maybe go from one of the classics like crunch map 001. Let's drag that one in. And what I'm going to do with this one is I'm going to set this two. I guess, multiply is fine. And then let's go ahead and play. Now, you know what I'm gonna do, subtract. Oh, that's art. Sorry, I always use my scroll wheel because I forget which one I should use. Subtract. There we go. Right? Yeah, so it was just subtract. Okay, fair enough. And then over here, now I can kind of, like, just control a little bit more. I was scratches. Maybe set the tiling to two. There we go. That feels a little bit more random. So even though we have these scratches, it feels random and now what you can also do is you can go in and maybe lower down your scratch quantity. I'm gonna atually set my length a bit longer, and at this point, all I want to do is I want to go in and set my height to be very subtle. Like, I want these scratches to only just show up when we are a little bit more up close. Somewhere like this looks quite nice. Cool. So now what we can do is we can just duplicate this layer. I call these bumps. Yes, I'm making this material out of my head. Feel free to, of course, Luca line for reference if you want to make a material, but this one is so extremely simple. There isn't much reference, but definitely go and scans metal.com. We have a bunch of references. So I'm going to get rid of these bumps of these materials, and I want to just get like some specs. So these are shavings. These are spots. So there are two ways that we can do. We use these shavings over here. Or what you can do is you can use, like, one of the dirt ones. But since the dirt ones are so basic, let me just go for shavings. Funny enough, most of these that you see over here are actually created by me. I worked together with Adobe to bring those to you guys. And also another cool trick is that if you hold Alt and you click all your black mask, it will just show your black mask. So I can now go in here and I can get rid of the dust. And here we just have, like, some specs. You set the tiling to, like, two and I can play around with this. And now if I just press M to go back to my material, look at that. We now also have some specs. So I think that's already enough for the general surface because we didn't really want to do too much on it. You sometimes feel tempted to add some large scale like warping or something like that to make it feel more organic, but this actually doesn't translate well into games. So we're not going to add some soft warping. Instead, everything is now going to focus more on, like, the on the roughness. So first of all, we have our base. Right now, I'm working on just like a dark base, but later on, we are going to switch this to a more lighter one. So that's why I'm not really going to do much yet on my collar, but I am going to now go ahead and call this. Roughness variation 01. We just set it to roughness for now we can just set it all the way to Dull. Again, a black mask, and we are basically just layering on different roughnes effect. So I'm going to start with like an overall dirt as you can see over here, here, see. That already starts to feel quite nice. And if we just go in and set the balance down a bit because I don't want to have this dirt everywhere. I also sometimes like to double check if a tiling of two looks better. It does not. So let's do one. And now in here, I'm just going to play around with my roughness. To make it quite subtle. And I'm going to balance up a little bit. There we go. So that's layer number one. Then we're going to go ahead and duplicate this, and now we are going to go for some let's go for, like, some general I don't want to have too much direction because I don't know in which context we're going to use this. So maybe some smudges work well. Like these fingerprints one, yes, they are fingerprints, but often at, like, a very large scale, they just look like giant smudges, maybe two. No, you know what? I'm going to go for one over here. Let's see if I can just play around with it. For now, let me just say it to lower. And I can see over here that I want to invert it. So let me just click on it and go to invert. There we go. Because I want to have them mostly focused around those areas. But no way, so I should not invert them. Sorry. Or should I. That's confusing. I am, I'm going to invert it. Sorry about that. No, I changed my mind. I'm not going to. There we go. Sorry, I was just removing too many details. So let me just lower this down and also play around a little bit more with my balance. So I'm just really going to go for subtlety here. So we have these. Let's go ahead and duplicate that again. By the way, we can call this 12. And now the next one, we can go ahead and call variation three. And for this one, I'm going to go and see if I can do a slight horizontal leaks, but I need to be careful with it. It really depends if we are only using it from up to down. But I feel like just having some of these leaks, this is one of my favorite ones to use, also made by yours truly, just saying, Here, let's do something like this. And after that, let's see if we can now just also, so I mean, that is pretty good, but I think I want to make everything a little bit duller. We are also going to be able to control all of this later on inside of the engine. But for now, I want to make a base a little bit duller. And you might think like, Okay, why not just lower down the base? Because often it looks nicer if we make a duller by just throwing a bunch of stuff on top. Well, I know that doesn't make sense in order, but I'm just going to call this Servo. So by throwing a bunch of stuff on top, basically, what we're doing is we have the natural glossiness that you might get from the very original clean version, and then we are just like introducing some general variation. So I'm just going to, let's see if this one works. And that just makes it feel a little bit more natural by pushing that stuff in. Maybe I might actually have that one on the top. No, I don't like this grunge map. I'm just gonna go for something a little bit different. Maybe some that's too strong. Maybe these ones. Mm. No, we need something that's a little bit more like overall, just one that's like, will, like an overall dirt effect. Maybe one of these that are a little bit more grayish. Grayish often works well for like an overall effect. Yeah, there we go. That works better. There we go. Now you can see that we already get quite a lot of information. I am going to go to my base and just make it a tiny bit less. Here we go. Awesome. So we have our roughness. We have our bumps, which at this point, you can still see, but we, of course, want to balance this inside of Unreal engine to see if it really works well. We don't need a metallic for this one, per se. In Unreal, we can talk on that if we need it. So what I'm going to do now is I'm just going to go ahead and make this a pretty basic white like this. And then what I like to do is I'm just going to go ahead and I'm going to art a anchor point because I don't know if I ever want to change this color. So I'm going to now have a layer on top. Called base variation. And in here, I'm just going to reference my anchor point. So the anchor point basically makes a copy of this texture, and it will paste it in here. But the nice thing is, if I change this one, it will also change in here. So logically speaking, if I now go in here and add a I don't even need to add a filter, add a levels. And in my base color, if I just turn this to luminance or luminosity to make it darker, I can now make this darker. And then even if I have this one changed, it will still stay dark. So logically speaking, if we go ahead and add a black mask and now add something to give it some variation in there. Let's say here the charcoal one. Here, you can see that now if I would make this red, we still keep that variation in there. So I have this one. I think that works quite well. But I'm going to make this extremely subtle so I'm going to start by just, like, just pushing it out, and then you can even on top of that set your make sure that you're on base color, set your excuse me, had to cough for a moment. Set your opacity over here down a bit. See? So it's just gonna be like quite subtle. And that's already it, honestly. So, for now, this is fine. We're going to go ahead and create a folder called textures. Here we go. So we have a text folder. And what we're going to do is we are going to, first of all, let's save sin always useful. I'm going to just call this plain metal. And the reason I say plain metal because look at this, metallic, tick, now it's metal. So that's the beauty of it PBR textures. So we can do that also in doing reel to very quickly swap it around. That's why we literally need one material for an entire building, and it's also very optimized doing that. So I have over here if we go to our export textures, we can set our output directory to our text folder. Now, you can go for PBR metallic roughness. It will basically export every material individually. Or what you can do to keep it more optimized for your game, even more, is you can go to output templates, and I'm just going to call this building tutorial just because I already have so many of these type of materials. And then what you want to do is you want to have a base color, normal map, and then you want to have a special map that combines roughness, metallic and ambient clusion. So the first one, which is base color is just RGB. A norm map is also RGB, and then we want to have an RGB, and you can even have an RGB A if you want to have something else. All we need to do is just get rid of these names. And in here, the dollar sign, you want to go ahead and grab texture set. And then you want to say underscore base color. So what will happen? The texture set, remember how we set that texture set? It will be grabbing that name and then saying underscore Base Color. So I can go in here. Normal and in here, and this one is dependent on what you want. So I want to have a ORM map, occlusion roughness metallic, red occlusion, green roughness and blue metallic it helps you remind which maps you used. We can just drag in the base color and set RGB channels. We can drag in the a normal map or you can grab this one here. Norm map direct X should also work. Normally, you want to have some baking, but it should still grab everything. And then we want to have occlusion. So that is our ambient oclusion, which technically right now has nothing, so it will just be white. But it's just there. Then we want to have our roughness map. And then we want to have our metallic map. There we go. That's all. So we can now go in settings and in here, select your building tooth out template, sorry. And I personally am a fan of TagaFles except for height map files because for height Map you need 16 bits, but often for the rest, TGA files, they are a little bit more optimized. So often working with those is a bit easier for your PC. And now you can see that it has exported a base color, normal, and an ORM map. So with that done, we can go into Unreal Engine and in our textures, just for the sake of it, let's make one called plain underscore metal. There we go. And now, if we just go ahead and drag in these textures, that's all we need to do. Drag in, it should detect the nome map automatically. You can see very simple, but you can at least, double check and make sure. So here you can see in the no map, it's really hard to see, but you can see, like little dots. And the important thing is that you can see that they look like they are standing up, which is what we want because remember that we are exporting using direct XTS Max or sorry, threes Max. UnwelEengine uses direct X. The only difference between open GL and direct X is that the green channel is flipped. If you for some reason feel like your norm map is flipped, you can always go to textures advanced and in here, you can go ahead and press flip Green channel. Just go ahead and save my scene. And I feel like I have a memory leak because my PC is extremely slow, so let me just quickly close. Max, maybe that's causing some issues. That's fair, so. 1 second. Okay, we are back. I had to quickly restart some programs. Don't know what that was. Anyway, so in materials, what we're now going to do is we're going to work on our master materials that we can properly apply it to our textures. For this, we're just going to go ahead and right click and create the material. And I'm just going to call it building master, for example. And then what I also want to do is also I want to double click it and I want to already import my textures over here. So this material is not going to be too difficult, but we need a few things. First of all, what we need is we need control over our tiling. For this, we just right click and we can add something if we type it in called the texture coordinate, and this basically controls the coordinates of our UVs. We then also need to do something which we will be doing quite a bit, that's if you hold S, click once, and then you will create a scalar parameter. Which I will call tailing. A scalar perimeter basically allows us that when we expose this material, we can control these controls. So because we would not make a new material for every single material type, like dark plastic, white plastic, no, we make one master material, and then we just control some values in it to turn it into the material that we want. So I can now go ahead and add a multiply and basically, I'm multiplying my texture coordinates with my tiling value, which by the way needs to be set to one. And basically, the higher I set this, the more tiling will happen. So I just plug these into my UVs like this. Next stop is that I need to have control over my base color because right now we only have white. This we again, multiply, and we just plug in the RGB into our base color with something called a constant t vector. A constr vector is just a very fancy way of saying a plain color. We do need to right click and convert this to a parameter to expose it, as I said before. So this one we call color Olay, for example. And you want to set the default to white because remember, this world multiply white often means that nothing happens while darker means that something gets overlaid. There we go. So daredy controls our color. Honestly, we don't need much more for our base color. For a norm map, we really don't need a lot, so we can just plug it into our norm map. If you want, you can create the scale parameter. Call it normal strength and set the default to one, and then add a note that's called flatten normal. If you plug in your normal in here, with your normal strength, it allows you to control the strength of your normal just in case you guys want it. Now, we have our ORM map. This is the most important one. So occlusion, we don't have any occlusion on this because there is no depth, so we don't need that one. But we definitely want to have control over our roughness. So first of all, we create a scale parameter called roughness amount, and then we create a power note. You can also use a multiply note, but often I find that power power nodes are a bit nicer. They just pack a punch. Let me say it like that. So we have a power node over here, and I guess, in this case, maybe multiply is better, actually. We'll see. So we start with the power node. Sometimes what I do is I literally have a power and then multiply node. But I didn't, it's not too complicated for you guys, White. So now multiply it in here, and we call this let's call this one roughness. Punch. Basically this is like controlling the contrast the power node. But if I now have also a roughness amount, set this one to one. This one will control the actual intensity. Just set both to one. So basically, we can give it a pack of a punch, and then what we can also do is we can set the roughness amount. Well, I need to check. Ah. We're going to play around with these values. I'm not sure. I think 0.5 was the default. Looks like it. But I'm not completely sure. I forgot for a moment. Sorry. So anyway, that's the roughness. Now, we also don't really have a metallic, but what we can do is we can set a scale peimeter we call metallic in here with the default to zero, and just make it easy, set the slider max to one. The reason you want to do this is because metallic can only be zero or one. It cannot be Well, in between, we'll make it PBR inaccurate, and going above it, we'll just invalidate it and it will blow out your material. So now what we want to do is we might want to just add a little bit more roughness variation on top of this because, of course, if we're going to repeat this texture over and over again, just having the same roughness variation might feel a little bit boring. So what we need for that is we need a grunge map. Now, I will, of course, go ahead and just import a bunch of them because I already got them. But just to show you how we actually got them is very simple. We literally got painter, and here we have our texture. We just add a very quick fill layer. Don't need to change anything, add a black mass to it, and call this one grunge under score 01, for example. Then you grab a grunch. Let's do this one, the cop web. You Alt click, make sure that the grunch cracked. And then all you need to do is you just need to go ahead, you need to right click and you want to then go in and export this mask as a file. So we can export mask as file. Set our texture, and then we can call this Grunge underscore 01. And for the image format, we can just go ahead and we can set this to also Taga save, and that's all. So now it should in a second, there we go. Show up grunge 01. And then if we go into our building, textures grunge. We can now drag this in. And there is your grunge map over here. This one does seem to have some weird issues with the compression that could just become that over here, Oh, no, wait, let's not do that. The settings are not great. Um, you shouldn't be able to see it, so it might just be this one, but let me just have a quick check. So here it doesn't make too much sense. So it might just be that TGA, for some reason, is breaking in this instance. So let me just delete that, and you can just go in and let's try that again. Let's this time EpotmsterFle, and then you can try, for example, a PNG file over here. I'm just going to call this T underscore. We need to do this later on anyway. But the reason I do it now is because sometimes, UnwelEengine gets confused where we remove the file, but because the file name is identical, it doesn't properly update. So let me just import it now. No, that's quite strange. Then it might just be it shouldn't be a limitation of the compression, but no, none of the compression seems to work. In that case, what we're going to do just because I haven't had this before or maybe I have had it and just never noticed it is we'll use it. And if we notice any issues, then we will go ahead and fix it. Okay, so fine enough, yeah. So, it turns out because these crunch maps over here, I inputed before. And yeah, it seems that we have the problems. So these problems just don't show up. It's just that in this specific one, I pushed the limits a little bit different. But these are basically just a bunch of crunch maps that I will give to you guys. Yeah, let me just go ahead and crunch. For now, just move them in here. There we go. So I guess we can just for now ignore the issue. But anyway, we are going to go ahead and open up my material again, and we're going to grab one crunch, but we can always just change it around. So let's grab this one. Then what you want to do is we are going to create a note, and basically this note is the WorldSpace nose note which we're going to use. And this note allows us to basically UV unwrap this across the world. We are actually also going to use over here. In which case, this section over here will change, but I sort of don't judge me forgot that we were going to do that. But still still good that I showed you. So that's why I'm going to leave it in. So this note is called world Aligned texture over here. And all this no needs is it needs a texture object. Now for this, you need to do something quite specific. So we have our texture sample. We now first need to convert it to a texture object, and then to a parameter and call this crunch. If you do a parameter first, you cannot convert it to a texture object, and then you need to drag it in again. So what we can do is we can do this. Then the scale peimeter that's what calls grunge scaling. And because this is laid out over the entire world, you often need to set the tiling quite large to like 200. So we now have this grunge map, and all we need to do is we need to, for example, multiply this, and we need to then also add a start with a power node where we are grabbing this texture to scale parameter called grunge power. Set the amount to one. So that we basically have control over our grunge, and this is what we drag into our roughness. Now, over here, nothing too special. All we need to do is we just need to quickly convert these two text shore objects. Text Shojet and text Shobject and I crashed. Okay, that never happened before. Let me just restart. Okay, we're back. So this the one I'm going to twice. I'm going to try and break this link over here. Now, I feel a bit bad because I forgot one thing, and now my question is, should I leave it in? And I think I do. Because I showed you how to do this Oh, sorry, I bumped into my mic. I showed you how to do this optimization over here. I feel it's important for you to know, but one thing I forgot is that a texture object can only handle a single channel, which means that we just very quickly need to export the roughness. So bit awkward, I'm sorry, but I'm still going to leave it in just because I want to show you that optimization part. So what I'm going to do over here, honestly, at this point, you can just grab, for example, just like the PBR metallic roughness method and just delete everything else. It's swine. Or what you can do, just because I want to do it very quickly is I'm going to go into my output. And because we only have a roughness in my building, oh, God, where are you? Building tutorial. We have over here the ORM map, and I'm just going to go ahead and I'm going to convert this to a simple RGB called Roughness, just because we don't really have any other map anyway, so that makes it a little bit easier. And then I'm just going to select my roughness. There we go. And we can quickly export it. There we go. So sorry about that, but not very quick to swap it around. We can just go at the reimport this. Actually, sorry, not reimport. We can drag it in here. There we go. And now we have our roughness. Easy does it. So with our roughness now done, what we're going to do and technically, doesn't it can be gray scale and then turn off SRGB. Sorry, default. Not sure what that is. That has nothing to do with this. Yeah. I thought I pressed something wrong, but yeah, so gray scale, turn off SRGB, and we can just drag this one in here. Okay, so basically, me save my seam because last time I crashed. Yeah, yeah, I don't care about arrows right now. I can right click, and now I want to convert to a text sho object, and then perimeter. Call it base color, and that's that one. Here again, convert a text sho object, parameter. Base color. Normal. And I think this is why we crashed last time because we had one channel selected. So texture object and perimeter roughness. So nothing else changes about this. The only thing that changes that we don't need the texture coordinates, but we still need the tiling one, and we set this to like 200. So now what we need to do is we need to, first of all, create a create duplicate a world aligned texture over here, plugging our base color and plugging the XYZ back into the multiply and the tiling into texture size. Want to do this also for our roughness. Plug it all in here. There we go. And for our normal map, we need a slightly different one. World aligned normal is the one that we need. Give it some space. There we go. But for the rest, it's exactly the same type of note. And now, basically, we don't need to worry anymore about any type of UVs. And over here, I on purpose, make the tiling different for my grunge map because I want to tile it over a larger area and just, like, play around with it all. So this is already our base material. We can now go ahead and we can save this close it all down, maybe just save the entire scene. Here we go. And now in our materials, we can right click. We can create a material instance, and we can call this. Um, for example, black frames. And then what we can do. And technically, you need to call it here. I will try to do that now, but I always do it at the end. MI for material instance. That is technically the correct naming. Like here we did it MI MI let me just It's just that I do this always later on because I have an automatic script for it. But yeah, it is technically good practice to do it right away. So we have our black frames here. Now, let's go in and in our assets, see everything that needs to become black frames. These ones do not need to become black frames. These ones all do. So we can go in and plug in all of these. Look how much we are actually using the black frames. I'm going to have a slightly different one probably for these corners over here. So at this point, I grab my black frames and I just replace them on all of my models. Takes a second. But then what we can do is we can just control all of this and go from there. Great. Save our scene. Here we go. So with that done, we can go ahead and open up our black frames. And here we can see all of the controls that we have. So let me just go ahead and mostly just turn all of this stuff on and also turn on the grunge map. So first things first is we have, of course, our color control. You can see that if we set this dark, we can really see the grunge map strong. So I'm going to go ahead and going to probably set this, I think that is quite a nice level. So you don't want to go all the way to 100% black because that is also not PBR valid. You want to make sure that you're always sitting a bit above it, something like this. Then over here we have our tiling. So our tiling, right now, it doesn't do too much because most of our grunch is being overpowered by the grinch power over here. If I set this to zero, here, now you can see the tiling, and the larger we set this, the larger our tiling will be. So for this, I'm going to probably just leave it at 200 and all you want to do is you want to see if you can see a little bit of norm map details. Yeah. Let me just set this a little bit smaller. Let's go for wow, maybe all the way 50. And then we can also over here set our norm map strength. You see now you can really push this if you want to bring it out. It's a bit hard to see, but I'm probably going to set it to two. It takes the annoying thing is it takes some time to fade in and out here. Let me just make this a bit larger because it was really difficult to see it. There we go. So norm map strength two or minus two. It's a bit difficult to see. I think minus two, that we need to do to set this because it also flips the channels around if we set this in the wong one. But knowing this, Oh sorry, here, this is minus two. Minus two seems to be correct, but I'm actually going to go -1.5 probably. Anyway, that just adds a little bit of sketches, maybe minus one. Let's start with minus one. So now we have our grunge power over here. And this one, you can see, we can willy if we up the tiling, it becomes quite large. And we want to make this like quite large overall tiling. And then also for our grunge map, I want to try and go for something like a little bit softer, probably. Maybe something here, like this one or something like that. Like, it needs to just be like an overall softness that I want to capture. Oh, won one and set the crunchie bit larger. Okay, that's a bit too large. It went a bit faster. Let's start with 1,000. Something like this. Now, you can see that crunch we now it's too strong, and all we need to do is the trick that I showed you before is in our roughness and because we have a grunge power. A roughness punch over here, we actually don't really set that to anything. But if I set that one to one, it seems actually to mellow out our grunge. Yeah, you know what that might already do the trick. Else you want to just like out to multiply to have roughness, sorry, a grunge power and a grunge amount. But let me just see. So roughness punch, let's try. Yeah, if I set that to. And I'm also sometimes looking at the sphere over here. 0.5, let's go for like 0.8, I think. I feel like that looks quite nice. So let's go for something like this. I think this is like some nice base values to get started with. Here, you got to see her on the sphere like that has an interesting look to it. So I'm quite happy with that. So just like that, we have created our master material. Now what we can do is we can go ahead and we have our black frames. Maybe call one black trims. Go to our assets. And like this, we basically just go in and we are starting to set up every single material. I know that this chapter has been going on for quite a long time, but I think it will be nice if we just finish it all in one chapter. So we have over here black trims. As you can see these ones in the frames because they're small, it's nice to have them a bit reflective, but here they are a bit too much. So the first thing I'm going to do is I'm going to go in, and I'm going to make it even, like, a slightly darker value, even. And then I'm going to go in and I'm going to set my roughness to one, but it's mostly my roughness amount over here that I want to set A bit higher. And I'm just going to see. So let's start with 1.5. And these often go hand in hand with also our grunges over here. Although if I see my grunges now, I can see that maybe make them a little bit after. So I'm basically just like seeing to just like reel or sorry in pain that we kind of balance it all out. What I notice here is also that this is my overall roughness. And when we set it a bit duller, it does not seem to look as nice. And often if we set our roughness punch a little bit lower and then push our roughness amount back and then the power over here, I'm going to I am going to art just in case a value, where over here we have our grind with the power, and I'm just going to add another multiply, and I'm going to scale a perimeter it grunge amount. Here. And let's just go ahead and set the grunge amount to one by default. And let's see if that hopefully gives me a little bit more control to balance things out. So the first thing I see over here is that my grunge tiling, it's a little bit too large, which actually causes a low resolution look. So I now have this. So now if I go in and maybe for my roughness, power, sorry grunge power, I set it quite high, and then I'm going to set the amount to 0.1. That already lows down. And then if I now go in here, let's keep the roughness punch 0.1. But I should be able to now let's push this out. Um, I think that's a tricky one. That is a tricky one. Ah, let's see. It's mostly 16. Creating Our Fake Interior Shader Part1: Okay, so in this chapter, what we're going to do is we are going to go over how to create fake interiors, which will add quite a bit to this scene here, specifically, especially with these fonts over here because this, of course, it looks very boring, very plain. Now, don't worry. We're not going to go too complex because literally, the amount of complexity you can get in this, you can make an entire tutorial course just about fake interiors. What we want to do is we basically have if we just go over here, not that one, um, there we go. This is basically what we have. So we have this four by four grid that has various different interiors. And I just use AI generation for them just because it's nowadays, much simpler. And this Baski will be shuffled along every single window using some smart shaded tricks. So first of all, what I'm going to do is, I will be using this one just because it takes quite a while to generate this kind of stuff. But, of course, I'm not gonna leave you into the dark. I'm going to show you how to generate it. And for that, we have this funny thing. So basically, these are just a few colors, and I use it because we are going to use Google nano banana Gemini, Googen nano banana for image generation. However, this will also work on Chachi CP. It will work on almost any image generator that is a little bit more advanced. We basically have this to give it a sense of perspective, because as you can see over here, we want to really have the window, and we want to look from the window and look inwards into the room. And often by giving it a little bit more depth, you get that feeling of, like, that there is actual depth going on. Now, we are not going to do any type of parallax for this specific interior, so we're going to keep it quite flat, but we are going to have some overlays on top to make it feel quite glassy. So how would we go about generating this? Now, that is not too difficult. And also, we are going to add some curtains to this, but bear with me. So first of all, if we go ahead and let's go to Gemini over here, then what you can do is you can go ahead and press Create Image. Now, we're going to drag in this perspective. So I already got it for you. If you want, you can make it yourself. Doesn't really matter. And, create image again. And then we need to give the description. So for the description, I'm going to go ahead and I cannot really do this while talking, but we're going to go for as an explanation attached is an image that uses colors to indicate perspective, I need you to generate a hyper realistic image of an interior matching a strong a long perspective FOV that sometimes also works. Make sure to not use the colors of the attached image. This is, again, because else what it will do is it will think that it needs to take the colors into there, make the interior populate it with furniture and have the perspective as if looking from the outside. I I'm a bit worried that it will add some window frames, but without any window frames or glass, something like that. And we're just going to go start with this to see if it even captures it, and then we can refine based on that. So we give the second, and it should generate us something Okay, that actually takes longer than normal, which kind of sucks because I have ultra, so I'm supposed to have it like a very, very fast. Let me just pass the video. Okay, so although it's still loading, it's finished, but that is, of course, not exactly what we need. So we are going to change it a bit. Attaching color indicate perspective, I need to generate a hyperlistic image of an interior room matching the long perspective field view. So the perspective is there. It's just like, Yeah. O maybe I'm just going to get rid of that, and I'm just going to go ahead and make the room look now, you know what? I'm going to do this. Let's have AI figure it out. I was going to say, you can be like, Oh, make it look modern, make it look homey, make it look like classical. You can do all of that stuff. But I'm a bit worried. So for now, I'm just going to go ahead and passe again and leave it as little information as possible because after this, what you want to do yikes. Okay, that definitely did not work. Then having the windows and stuff end up quite well. So I'm just going to do this. Indicates we need a hybrid of an interior. Room. And also, because I'm worried that it might get a bit confused, I'm just going to drag on my reference image again and try again. Yeah, as I was saying, so what we want to do later on is we want to just say like, Okay, create the variation, create the variation. Just keep saying that to get all those different room variations. Yeah, that's the tricky thing with AI and tutorials that I always need to, like, play around with it for a bit. Attaches an image that uses colors to indicate perspective. I need to create a hyp realistic image of an interior living room matching the matching the perspective feels a view of the attached image. Make sure to not use calls in the attached image. It's not Well, it might sort of do that, but it doesn't do it a lot. Make the interior here, let's change this. Plenty of furniture and have the perspective as if looking from the outside in, but without the glass window frames and glass, make it a single room without any let's make it a single room. Let's just see because once we have one, we can use that as a base reference. So we just need to get it to generate one that's a bit decent. Or, technically, of course, I could cheat, and I could literally just, like, drag in one of these images and say, like, Oh, here is another reference image, but I don't want to do that because you guys might not have that. So of course, I will include this, but still, so let me just pass and try again. That's still not quite working. So at this point, just because, like I said, AI is still unpredictable and getting exactly what you want is I'm going to go ahead and I'm going to keep playing around with this prompt for a little bit, and I'm going to get back to you when I have, like, right prompt. Another thing that you could do is we could, for example, here, let me just try this. Just to kind of, like, fake it. Take a screenshot of that, and then let me just find it. Drag this. Oh, no, sorry, let's first drag in the perspective one. And then the screenshot. The perspective is very long, a very deep room. Like, I'm really trying to push back, No, we need a perspective. Uh To give an example to give an example. Let's try this. And else, what I will do is I will lit it just off cama chi playing round with it a bit until I figure out which prompt is correct. It is sadly still not quite getting there. So I'm going to pass the video, and I'm just going to play around with this prompt until I get exactly what I want. Okay, finally, I got it. So basically what I did is I started the new chat because the previous chat, it was just so stuck in that one design. So over here, I basically did the same thing. This time, I went for the text. Please generate for me a detailed interior room full with furniture using the perspective image attach. So that one is quite simple. Do not use the colors of the image. Again, same thing. They are just there to show perspective. And then I just changed the goal a bit. The goal is to generate a detailed interior room of a home. The room is very long in a pinched perspective. And that seemed to do the trick because it gave me this. But of course, it's not very nice. So then what I did is, Okay, make it modern. It made it modern. I said, Remove the window in the back wall, make the room without windows. At this point, it kind of is fine, like this would be good enough already, although technically having two sofas doesn't really make much sense. So then was like, Okay, add a doorway to the back wall. I didn't do well. And then I was like, Make the back wall a square arch that shows the kitchen behind it. And over here, now we are getting quite close. Now it can be, for example, on the right side place a TV instead of a sofa like this, and you can kind of edit. And once we have one, then it's literally just a matter of, create a variation. So we just need to get that one version ready, and then we can go from there. Okay, did not understand that. Then what we can do is we can just quickly download this image over here. And what I'm going to do is I'm just going to go in and I'm going to just Do something like this. Create another image of it. Drag that in and be like, the sofa that is marked with red lines and replace it with a TV and some cabinets. Because even in my original one, you can see that it is very similar. See? The rooms are quite similar. It's just like these ones are actually pretty much identical. Yeah, pretty much are identical. It's just like the lighting is slightly different, stuff like that. So we do not need too much for that. I don't know if this is the generation or if it's really it really likes to keep the symmetry in it. That's quite strange. So it's like it's twining over here, like it is twining to create the TV. But remove the sofa on the right. Let me just see if that works. Wow, it really does not like that. Okay, fine. Then we're going to take out the big guns. Let's drag it into Photoshop. And everyone should have this automatically with their Photoshop subscription unless you pirated it, but I cannot help you with that. Let's just go ahead and generate and say, remove sofa and replace with cabinets. Let's just see if we can literally just force it using Photoshop to just get rid of that sofa. And also like that over here, the painting is a bit weird. So let's just see. But I find that the Google AI, it's very often not easy. Like, they really just don't want to get rid of the sofa. That is interesting. I've never had that before. It's quite unpredictable. Then let's just do this. Remove and click. Let's see if that works. Like, let's literally just completely remove it. Oh, my God. Wow. It really, really hates to remove a sofa. That is so weird. Okay, um, Okay, finally. So I did some testing, and it so right after this, I said, Do not make the room asymmetry, make the left side and right side completely different and no more than one sofa. And it finally did the trick. No idea why it was so difficult and also for the other AI. So AI just sometimes is a little bit unpredictable, I would say. So at this point, we can go ahead and we can, for example, save this one, and I will just do one row. Yeah. So we are going to just drag it into the folder. And now you can say, um need different variations from this change furniture, colors, but keep perspective. Something like that. And like this, we can just hopefully, if it doesn't, again, do any weirdness, add more variations. So as you can see, yeah, we need to do some, I guess it's called prompt engineering or whatever you want to call it to basically get it to a point where we want, but it's just that initial point that is tricky. And hopefully after that, it's going to give us a break and give us something much more logical. So let me just again pass and see how it looks. There we go. So that's already good enough, see? So now we can go ahead and we can download this one. Now, I hope that we can just say again, and maybe it will again do that. And else, you can just copy this. So at this point, you can just keep repeating it over and over again. So I will go ahead and I will probably do, like, four of these. But, yeah, you will need to spend some time because you need 48. You need 16 of them. But here, so small variations is fine. Like it's more about having these different calls because they are going to be quite difficult to see. 1 second. So now I'm just like, make a completely different variation this time with chairs instead of sofa or except of a sofa, just to see if it also gives me one with a little bit of chairs. And after that, we are pretty much at least done for this one. There we go. Cool. So what I'm actually going to do at this point is just because I feel like these generations, they do not fall in line with my original living rooms over here. I'm actually just going to go ahead and I'm going to also create 16 of these. So we have four, so I'm just going to basically keep asking it for more. I'm not going to record that because it's literally just me saying again, again, again, again. So yeah, I don't feel like that is needed. So let me just go ahead and at this point, pass the video until we have all of them, and then I will show you how to set them all up. Okay, so that took about a few minutes, but it is now done. So I now have a bunch. Here we go of images, 16, to be precise. So these images, they are all perfectly square, so it's quite easy as you can see over here, we just want the four by four grid. I'm just going to use this one just to show you. But you can drag in the image, and often it's already fit because it needs to be 512 by 512. Else, you simply can go up here and you can scale it and mess it up, but you can scale it to 512 by 512, and then you can just press okay. And then you basically just put it into one of the corners. Okay. And now, at this point, I can, for example, go in and I can drag every single one of them. And I can simply dig them in here because our texture is four K. So we are simply dividing four K into four, which is five self. And you then just want to place them nice on here. It is very, very important that you do place them exactly perfectly divided in, for example, 512, 1024, 2048, whatever you are going to do, but I recommend doing this one just because you want to have a lot of interiors. So that's quite important because else, the actual shader will not work. So if you are off by, like, a couple pixels over here, you might be able to see those lines into the other interior. So that's why you want to make sure it's accurate because we are going to do some mat to divide it. And when I say we, I mean, the computer, we are just going to play some notes together, but still so I can go up here. There we go. And then another thing that I want to do is right now, all of these rooms, like, it's as if they have nothing covered in front of it. But often what you would get is you would get like window blinds and stuff like that in front of this room. Okay, so now what we're going to do is to add our window blinds. We first need a quick texture just to generate something. So I'm just going to go in here, and I already went ahead and create the prompt because it was giving me a bunch of strange results. And I basically said, create a flat, sorry, that should not be white. Create a flat fabric texture that you would see on curtains, but completely flat without any waves. I know it's very specific, but for some reason, it just couldn't work whenever I used the word window blinds and stuff like that. And our goal is that we are basically going to have those overlaying over here. And then what we're going to is we're just going to cut out in the areas where we want them. So first of all, let me just see here, something like this, this is already fine. So I can go ahead and let me just download this, throw it in here. And then if we go to our Photoshop, we have this little texture over here. I'm just going to go ahead and I'm going to go to my image adjustments, and let's go to my levels and see if I can make it generally, a little bit more whiter. And don't worry later on whats going to so we're going to have control over the lightness inside of unreal engine. So we have this one, and for this one, what you can do is you can kind of just, like, copy it over the entire time. It doesn't even need to be til, to be honest. I'm just going to right click and I'm going to merge these layers. Copy them like this. There we go, right click and also merge layers. So the way that we're going to do it, you can do this in multiple ways. So one of them is you can have it more like curtains where, for example, you place them over here. Another one is where you can make them longer window blinds as if they are in an office building. Another one is that you can just make them halfway. So what we're going to do is basically we are just going to kind of play around with it and get a bunch of different variations in here like this. Let me just make this I do try to make it somewhat even. But you guess it. Once we've done this, what we can do is we can go in here, and basically we end up creating this materials so that we have something like this where we have, all these different window blinds that are just kind of, like, covering over. I just want to be quite precise with what I have. So over here, I'm going to You know, for example, this one, then you can go ahead and press the lead to add it to our mask. If you are not adding anything, then just make sure that you have that you press X to flip the colors. And of course, yeah, I'm doing this quite quickly. You can make this much nicer. Yeah, because here, my scaling is a bit off, that kind of stuff, but that's okay. For now, And this also adds just, like, again, some additional variation into everything. So yeah, you know what? I'm just gonna do this in real time. It's a bit boring. I know. I'm sorry. But then, uh, at least it's done. And then what we can do is we are finally ready. We have done all the preparation, although we do need to generate a mask from these window blinds, but that's no issue at all. Let me just go make this a bit better. There we go. And then what we can do is we can finally go into reel and actually create our material. So it really depends also what type of building are you making. If you're making an office building, you often see these type of things where they are basically like dring down. And also, you can make this as nice as you want. I'm going to make this very, very quick. But you can make this like you can make this look very nice and pristine, even just like properly generate like interesting textures for it and stuff like that. But in my case, again, it's a tutorial. If this would be for a client project, yeah, we would spend much more time making sure that this is correct. But I don't want to have the runtime for this tutorial be 50 hours just because I want some perfect window blinds. So that's the general logic behind it. There we go. Awesome. So we now have these. All I'm going to do is I'm just going to go ahead and I'm going to set my opacity down a bit so that it's still like you can see through it like a little bit, for example, over here. And what I'm going to do is I'm going to make the initial one. Let me just see if I can just do some brightness. Actually, yeah, let's also get rid of the contrast. The initial one, I want to just make it not too strong. Let's do something like this. Okay. Awesome. So we have these pieces over here. Now, what we're going to do is we are going to go ahead and save this as our first interior. If you want, you can also make a tilabletex of your window blinds, but you would still need to make this mask, so it doesn't make too big of a difference. T underscore living underscore, Rooms underscore zero, one, for example. There we go. And then I saving. Okay. And now what we can do? And I did it as PNG. You can, of course, also do it as TGA. I kind of forgot about that, but it does not really make a difference. I'm going to make a black mask. So for some reason, saving is extremely slow. There we go. Now it's done. And I'm going to go ahead and I'm going to select that mask, and then I'm going to place a white mask on top and just turn off my window blind. So that we have this mask over here, which we can then save again, living room 01, underscore mask. There we go. Okay. Awesome. So we have those pieces. Now, all we need to do is just go into reel. And if we go into our textures, we can go and make a folder called interior, and I'm going to go ahead and I'm going to drag in these two textures over here. So, what we're going to do now is we are going to get started by actually creating our material, which is most of it happens with UVs. So let me first of all, save my scene to make sure. And in next chapter, we will focus on creating this final material. 17. Creating Our Fake Interior Shader Part2: Okay, so in the second part, we are going to work on our actual material. So we now already have, of course, imported our interior textures. So in here, I'm going to go ahead and in my materials, I'm going to make a folder called interior underscore master. Another thing that I'm going to do is I'm just going to quickly create a new folder. Called instances, and I'm just going to move my stuff in there. So you want to make sure that if it says material, do not move it, and if it says instance, do move it. There we go, just to make it a bit more organized. And later on, we will also go over, like proper naming conventions and all that kind of stuff, but that comes in a bit. So okay, we have our interior master over here. Let me just it open up on the one screen. Here we go. So first of all, what I'm going to do is, of course, I'm going to import my textures. Where are you guys? Interior over here and our interior map. Like this. Okay, there we go. Then I realize that I want to export one more map just in case we need it, and that's the one just without a curtain. So let me just quickly also save a copy on this one, and this one will be T living rooms 02 and safe. Then we can go to reel. And we can import. And we can also drag that in. Okay, awesome. So we have these three. We don't really need to expose them because we, of course, already have or we already know that this is all we're going to make, but if you want, you can write, click and convert to Peremptor. So at this point, I need to make a small confession, and that is the following thing that we're going to do. It's a lot of quite complicated marched logic. I simply would not be able to explain it to you. The reason for this is because I know how to do it just because I myself also sometimes follow tutorial courses, and I maybe like alter them a little bit to make my own but the extra mat of splitting this up, it's always the same, but it's something that I'm not at that technical point that I would be able to properly tell you. So I just wanted to be upfront on that. So first of all, what we're going to do is we need to right click and we need to add something called object position. And we want to have this over here worldspace. So, of course, yeah, this basically just controls the object position. I can tell you that so that basically it will randomize based upon each object position AUV map. So that one, so is quite easy. So now we're mostly just working on the randomization factor. So in here, at a component mask, and a component mask basically allows us to select a specific channel. So we are just going to bring this in. And the reason we are doing this is because I believe that this notes, the input data, it needs to be converted into a float, and a float basically is a value because else we cannot use some of the other nodes. And we need two values for this. So now we're going to multiply. So I'm trying to explain this best I can, but it's quite complex. We're going to multiply it over here. And we want to multiply it using a constant two vector. That's quite a new one that are both set to 0.01 and 0.01 and plug it in here. Sadly, I am not completely sure why we are doing this function. And then the next function is mostly just coordinates. So we are having a dot product, and this note I'm also not super familiar with. But then we have, again, a constant two vector, and we need some very specific coordinates for this. So the first one is 12 command 9898. The second one is 78 comma 233002. I'm not a MT person, so I would not know what to do with it. Then we need a sinner, scene, whatever it is called, note behind it. And then another multiply. So, these are all these are really weird values, so I'm quite curious about it. And this value, I often just put it in here, but you can also do scale parameter and call it a value. So this value, just because scale parameter is easier to see is four, three, seven, five, eight comma five, four, six, 875. That's quite specific, don't you think? Fractional frac in between there and then we are multiplying this. So now I know again what we need to do. So this is just generally to calculate the different object positions and then give it a different UV map based on position. So we are going to multiply this using a scale perimeter. That's what we call interior amount. And that one is quite easy because we have 16 interiors. And then a floor and a floor caps the values, I believe, to like full values, like one, two, three, instead of 1.005, something like that. Okay, now something I do know a texture coordinate. And then we're going to multiply it using a scale parameter that we'll just call scaled unscore UV, for example. And for this one, we want to have it at 0.25 because this is the multiple. Remember that we have rows of four. So this is just like one point of that force that we are scaling up our UV to basically only grab one square over here. We then need to divide that yeah, we post divide in No, sorry, divide needs to go into the floor, I remember. So we need to divide the floor into a constant that is four to once again indicate that it's rows of four over here. And then again, cap it by adding another floor in between here. There we go. And then another note that I'm not completely sure what it does is an FMT node. But I believe that it once again just switches stuff into a floor because we would need another constant over here. And now we are appending these and appending just means do I need a pen I think I need append factor, not many. We are appending these, which means that we are basically just like merging these together. Or the calculations of these values. And then we multiply, and we are multiplying this in A and B becomes 0.25, which just references back to this one over here. With an art and art, and we are now adding this one, actually the bottom one together with our texture coordinate. And I believe at that point, that's the UV calculation. Now if I drag it in, it should give us one node. It's easier to see here. See? So now it's split it up into one node. And so basically this area over here, it's mostly just calculates the random position in the world. And this area over here basically splits up our large UVs into a single UV and then also places it into the center based upon the values dded here. And then, of course, we have our UVs. Now, at this point, it's going to be quite easy because now what we're going to do is just the logic of making these interiors actually look like glass. And for this, what we're going to do is we have our let's see, we have our curtains and our mask. I still feel like my curtains should be a bit darker, but we can work with that later. We add to larp, and this is basically like a blend note, like a mask. So we are lurping our before curtains with our after curtains. But actually, let me add the power node because with the Power node, at least I can control the curtains strength or the curtains brightness a little bit more. So scale peimeter I know you said curtain. I mean blinds, but let me just stick with curtain at this point. So we lurp A and B using our mask. Right now, I need to just add a one minus note. One minus litty, just inverse the mask. That's all it does, because I need to invert it for the larp to work like this. And having that done, we are now going to lurp on top of this another linear interpolate, fancy word, with a glass color. So we do a constant vector, and we convert to Brampton call this glass color. And I have a specific color that I always use. Let me just find it, which is like a bluish tone color. There we go. This one. So hex 3948 48ff, or you can just, of course, copy. It just creates like this slight blue stone, and you might see it often if you look at thick glass from the side, like you can see, like this refraction happening. So I'm lurping this at the top. And then finally a scale perimeter. A glass blend node. Set it quite low at like 0.2. And what this one does is basically it will push this color, this flat color on top. So we are basically using this node. We have control in how strong the interiors are shining through our glass. That's basically all we're doing here. So we throw it into a base color. And then for the roughness, just a scale pemter roughness amount because glass is quite clean. So I'm going to actually set this quite low to like 0.1 or something like that. Yeah, glass is quite clean, but you can, if you want, throw in, again, like, you know, one of those world space crunches if it is very subtle, but that's up to you. So that is our logic over here. So now what we can do is we can save this. And now what you should be able to see if we go to, uh I always forget where to. Oh, right, here we go. Down here. Now you can see that basically on just one piece, it clearly shows just like a single interior. So, done. Wasn't too difficult. It's just that I feel a bit awkward because I just cannot explain most of it, but that's just how it is sometimes. So I still know how to do it. I'm now going to go ahead and in my interior master, I'm going to create a material instance. Call this interior glass 01 and just move this into instances. And this is a good one to just start with. So let me just open up this glass over here, and we had our original glass opaqe and we can swap it out for our interior glass Serra one. There we go. And then what we need to do is we need to open. Let me just save it. We need to open this. And the first thing that I notice is over here that our UVs are not correct. So remember, our UVs for this do need to be exactly like within the square. And I think that over here, we did some stuff because it is from the blockout that is broken. So that's probably going to be the next thing that we're going to do. I will first just fix this one. So let's open up Max Okay, here we go. So all we need to do for this is we just need to go ahead and we need to add a Honestly, for these ones, just add the UVW map and set it to a box and just leave it like that, or you can make this 1400. But the key goal is to make the front 400. All these backs over here, you cannot see. It will show the interior, but you cannot see that. Basically all you need to do. So over here, I guess the reason for this is because remember that this one we put at the center to make everything transition correctly. However, Windows, they should be exactly within the cube for this to work because else we are technically shifting around the UV, which doesn't matter for tiilable textures, but it does matter for our windows. So I can now for now will do this one, and then I will do probably like a quick time maps where we just fix all of them. But here we go Window one. Why, that was a really loud sound for my PC. Let me just lower that volume a bit. There we go. And I need to find it. Here we go. Right click and reimport. And there we go. So now what you can see is that every interior is different. See? And then what we also, of course, have is, we have these interior pieces here. But what I'm going to do now is work with my values. Although don't touch the scaled UV and this value over here. I'm going to get started by just setting my curtain brightness. A bit down. And I want to set my glass blend quite high. So let's do 0.15 so that, because we don't have the most amazing interiors, I don't want to make the key focus point. But you can see over here, that already starts looking quite interesting. It's just that the curtains over here, it's not really working with these long curtains. In the end, it just feels off to have those combined with the rest. So I think what we want to do is we want to kind of go with like a single one. Let me also just make my roughness, 0.05, like something really shiny over here. I think that will be quite nice. And, of course, you can change your glass color if you want to go for more bluish tones, for example, you can do that. I'm just going to stick with this. And my glass blend, let's do 0.03, probably. And you can still play around with the curtain brightness and stuff like that. To make them stand out more or less. But I think something like this will be quite nice. Yeah. So what I'm going to do at this point is in a time laps, I'm going to one in here on my curtains, the ones that are super long like this, I'm just going to turn them into basically these versions over here, just to add some more visual interest. I just want to check if that this one over here, if that feels correct. I think it does. I think that is fine. So we can go ahead and we can play around with that a bit more. The only thing is that, of course, we have these window frames. So you might want to have a think about like over here, you can see that we are slightly overlaying over the window frame. Now, it's not the worst thing in the world. Like, you won't really notice it too much, but if you want, you can fit this exactly to the window frames just to make it a bit nicer. And I believe that these window frames are quite even across the board. Although over here we have one, two, three, four, while here, we have one to three. So yeah, play around with it. It kind of depends. So for now, let me just go ahead and kick in the time laps to do those few elements. Oh 18. Creating Our Fake Interior Shader Part3: Okay, so as you saw in the time laps of the previous chapter, I went ahead and I set up the UVs for everything, and I also export it. And on my corners, I set the UVs still to 400 by 400. Usually, what I actually do with corners is I actually don't show interiors because that doesn't look very good. Instead, what I like to do is a cheeky way is we go to our instances. We have interior glass one, and then we can go ahead and we can duplicate this and call this interior glass 01 score. Opaque. And all I'm going to do is here, let me just use that one as a good example here, corner. We have our glass. Let's just go ahead and apply that. So here you can see, like this the interior does not look very good. So instead, what we're going to do is we're just going to go ahead and set my glass blending really, really high, like this. And my curtain brightness I can also see. No, you know what? I'm not going to change that. Set the glass blading even higher. 0.0, like three or something like that. It's almost impossible to really look through it. And from a distance, you don't really notice that. Like, yes, you notice the interior. But here, maybe like 0.05. Oh, sorry, 005. But for the rest, you don't really notice that anything is wrong. So that's basically what we want to go for. Now, there's a few more things like for example, these ones down here. I actually want all of them to be opaque. But because we are also using them up here, we need to select them and then set them. But that can come as part of the level art. For now, let's go ahead and grab our let's see, we've done those two all of these pieces over here, and finally apply our final class, and then we can go from there to see how do we want it to look? The one that is always a little bit risky is the ones up here if they look good or not, but let you start by just doing the normal glass on all of them, except for the corners. Here we go and then opaque for the corners. And once you made this, you can use it for all of your buildings, of course. Or you can also go on YouTube and you can go for, like, a little bit more advanced that has parallax, it's called Edit. What that one does is what you see in games, is that when you look at it from the side, it feels like that everything is moving a little bit. But for now, we can go ahead and we can save this, and that is our windows. You can see that here, especially over here, that already feels quite a bit better, just having these different windows going on and all that kind of stuff that feels a bit nicer. So that is it for these areas. Now the next thing that we need to do is we just need to quickly go into our actual interiors and actually, only interior one and the mask, we can re import that. There we go. That also fits that a little bit better. So now if we go over here. Now, it's also up to us if we want to, for example, play around also with the glass here, something that sometimes works, but it highly depends is to also add some more opaque glass in here so that you can see that some of them are a little bit strong or not. The reason is because this front, of course, it's a tricky one because there's so much stuff going on that you don't always it doesn't always look very good, but that's something that we can do in our polishing phases. So I would say that at this point, I'm pretty much considering our interior shade done. Now in the next chapter, what we're going to do is we are going to get started by doing some additional level art. It's something that I already showed you in the example building that we have. But I just wanted to include that instead of just like copying over the stuff that I already did, although would be way less work for me to do that, but still. So here we have our example building, if you go over here, end up being a bit bigger. You can also see that interiors and here can you see that over here that I made it actually opaque completely from the font. But, yeah. So with these buildings, especially because we're in a giant white void, yes, it looks nice, but it's always missing something. So here in this example building, especially also that we don't have an interior yet. I want to just go in and I want to just place down some assets. So we're going to focus on that just like we are going to use these existing assets. I'm not going to go over on how to make them. That's not what this tutorial is about, but we are going to nicely place them around, maybe create an interesting accent like you see over here and just in general, make it all look a little bit nicer. All of that is going to become a bonus chapter. So there's a few things that I will do in real time, but most of it will be time lapsed, and I might just narrate over it or there will be parts of music in it. It just depends because it's technically not really part of creating a building, but I still feel like it also is part of creating a building. So, awesome. Like, so far, we already have a really interesting look. I can see over here, That's actually a bug. Never noticed that. Okay, so that looks a bit weird. But anyway, ignore that one. This is our shining presentation, and it's starting to look quite cool. Like, it has, like, nice, beefy, good silhouetO everything is kind of, like, fitting together. So in next chapter, what we're going to do is we're going to level art. I'm going to replace some of these window materials. I'm going to also over here, fix some of these issues down here, and then on the side maybe work, like, make this maybe white, stuff like that. So we're going to do a bunch, stuff like that. We have, after that, one more real time chapter in which I'm going to clean up the project, show you how to properly set up Nant, how to make everything nice and optimized and with correct name and conventions, just to really close things off and create a few cool screenshots. So let's go ahead and continue with this in the next chapter. 19. Final Polish And Setup: Okay. So we have finished our bonus chapters in which we did a lot of level art and stuff like that, and I think it is looking pretty cool, you can see over here. And I also did some environments on the inside, like interiors. But, of course, my goal was more to be able to see something from the exterior. In the sad reality is that, to be honest, I cannot give you too many models because it wouldn't make sense to give you $100 worth of models for a $30 tutorial, which technically, I already did. But anyway, I just created a few basic interior assets, something like that. That the windows don't look too empty. And over here, you can see that I just turned this into a solid window, and for the rest, there's not too much going on. But yeah, there is some quite nice looking level art already. So what I'm going to do now at this point is I'm going to, first of all, play around a little bit more with the quality settings. The issue that often happens with heel is that when you go very, very far away from an asset, things like reflections and shadows and everything, they kind of, like, reduce. And that's what you can also notice over here that if I go out of my camera, look how far away we are. Even though we are technically zoomed in. So first thing I'm going to do is I'm just going to go to my post effects over here. And then here we have our lumen global elimation and then you can over here set a few distances. I'm just going to add an extra zero to that just because this should be nice render. Here you can see, see, that makes quite a big difference. The final gather quality doesn't often do much. Yeah, it doesn't really do much, so I'm just going to leave that because it does add less good performance. One thing I just want to do is I feel like I almost feel like it's too much right now. Let me just see. So we have this one Let's do three. Let's do 5,000. It has to do with like the floor. Because right now, the thing that I'm trying to also avoid a bit is over here, the interior. It doesn't look quite as nice. So let me just go with my lumen GI, and let's have the scene a bit larger. That seems to work, but it might be a bit too much because you cannot see the background changing, and that's not what I want to do. Um, let me try. 1 second. If we go nine, there we go. Nine seems to do the trick. And trace distance, we can just set very, very high. Because over here, of course, my goal is to just get like a really nice screenshot of this. I'm not as worried about performance for this single scene, because, of course, if you make a larger scene, you would not push it as much, but then you probably also not have the same type of rendering. So I feel that our settings are now pretty much correct. We have our reflections. Yeah, it looks like setting the quality higher doesn't do much. Max roughness to trace. Let me just see if that, that does make some changes, but 10. Okay, yeah, hear. So that makes actually quite some changes. But let's just set to 0.5. I sometimes literally just like to see what looks best. But I think 0.5 is actually like a pretty nice in between balance. So for now, let's just leave it at this. I think that's fine. We're just going to go ahead and stop. One more thing, I have to film grain over here. If you want, you can turn it on to give it a little bit more like a cinematic grain effect. But I personally, I'm going to keep this super, super clean. Awesome. So okay, we have done that. Now, one smart thing that I just very quickly want to do is we, of course, have our level instance over here, but I want to go ahead and I want to actually, this one, I want to place into the level instance, but all of the assets, I'm just going to make a new level instance out of just that. So let me just very quickly cut this one, edit this level instance, and paste it in here and save. And then we are going to select all of our meshes that we placed. There we go. Right click Level create level Instance. New level instance in the correct scene? Yes. And I will give the same name underscore props, for example. There we go. That's just easier later on for some moving around and all that kind of stuff. So having that done, now let's just go ahead and go a little bit more over the general optimization and organization. This is basically a checklist that I like to do before I ship any type of product. One of the most obvious ones, which we haven't actually touched upon yet, is if we go to it lumen and for example, the triangles, you can see that we have almost no lumen basically activated. That's not so good. That's also bad for performance, but also um sorry, anite. It's also bad for performance, but it also makes the lumen inadequate. That's why I was talking about lumen. So that's quite an easy one. All you need to do is, first of all, these materials here. I don't think we need them anymore. Let me just quickly go into my content folder. Right click and update redirects. The reason I do that is so that these materials, although I think, yeah, they are still giving me some references. It's mostly the frames. Updating redirects basically means that if you moved around assets within your folder, but they are not set to the correct location, it will basically allow you to update that so that you avoid any errors. But anyway, I have all of these measures. I can simply select them because none of them have transparent glass in them now. I can right click Nant and just press Enable Nante. And that already fixed it. If you just save your scene and now you would go to your Nanite visualization, you can see over here, we can see that now Nanite is nicely visualized. Only thing is that over here on our, if you just go into our assets, I noticed that also for some reason, all my pavements are not with nanite on, so I can just go ahead and enable Nanite there. And just like that, you can go in and also do it for, like, these assets, for example. However, that's kind of like my fault for not yeah, let me just sort by setting measures. That's kind of my fault for not having all of these assets. So I can go ahead and I can select all of them. But then I want to double check because I feel like some of these assets had glass in them. This one had glass, which is just not set up for it, but that's okay if one of them. And this one had some glass. So I can turn on Nani for these, but for everything else, I'm just going to kind of, like, leave it. And also, although I need to move it later on, these assets have clearly glass but these do not. So I can also go in here. But I don't, of course, want to spend too much time on these type of assets because that's not what this tutorial is about. So we got that stuff done. I can go ahead and I can exit. And I can also now go in, let me just go back to the lip mode. And for this panel, yeah, it's attached to here. I can also find this box. And actually, you can find all of these boxes over here. Right click, Nanite and also Enable. A, what you can also see over here, especially when we're close, see the lighting looks very nice and clean at this point. Another thing that I'm going to do is I want to make my interiors a little bit brighter. So let me just go to my main view. Oh, one button. And that's the view from which I'm going to work. We can go into our materials and we have our instances, and let's open up these two. So first of all, we have our glass. I'm going to set my glass blend. Here a little bit higher, maybe 0.05, that I can see those interiors a bit better. And in my opaque one, let me just see if I can also. Yeah, that still does not look quite as good. Let me see if I can set my roughness amount. If I set it to zero, that's a bit too shiny. 0.5 0.1, 0.03 maybe Okay, fair enough. I guess we were already at the right value for those. Let me just save that. Okay, cool. I also like the little roughness on here. I first started, it was a little bit too strong, but it's actually looking quite nice. So we have done those also. Yeah, this is, of course, a far shot, but we're going to go ahead and go for also some different shots. I want to just check something. If I go, that's a tricky thing with the field of view looks really nice in here. But if I set this a little bit less, I on purpose duplicate my Gamma and move forward. I know it doesn't look the same, but I want to see if it improves the shadows and reflections enough because we are so far away with the other one that it's worth it. No, that's not worth it. See? Like, it just doesn't have that nice feeling to it. So I'm actually not gonna do that. I'm gonna leave it at the same camera actor over here. Okay, a few more general things. And that is that over here, often, let's say that you have your mesh, what I like to do is I like to go in my textures and make sure that the textures have a T underscore in them. I usually have this plugin. Let me just check what it's called. You can get it on the fab marketplace. It's called Simple Asset Naming tool. And with this plug in, I'm just going to use it, but you can literally just do a manual renaming. Here we go. So now restart it. So I'm just going to show you this plug in, but you can, of course, just right click and you can press rename over here. But you will love this plug in if you make a lot of tools or a lot of environments. So if you go to Window and you grab it as simple as that naming tool, all I need to do is I basically select all of my textures that don't underscore and then press Pi. Then for new name, I do And then over here in the Pat one I do new name, which is T underscore, source name, then you can preview, and you just need to make sure that it has T underscore. You can even in here, change it if you want, and you just press rename. That's all. So it's really nice to just very quickly and properly rename all of your assets and that kind of stuff. And that's why I never really do this in the very beginning because I'm just so focused on other stuff. I always in the end just quickly go in here. And this is going to be SM all of them, yeah. So you can go pick SM for Static Mesh, preview. Then over here, you can also, for example, if you want, you can change these names if you want them more descriptive. I personally don't really care about it for now, but there we go. We can just rename it, and it will also save everything. So that's really nice. And then over here, well, these are two. So here I can just, like, MI underscore. And again, rename MI underscore because it's only two materials. This one needs to be M underscore. Changing materials sometimes takes a bit longer and the frames. So it is showing in references, but yeah, it's showing in a level instance reference. That makes me a bit worried that it's probably somewhere in there. It's still referenced. And if I delete it, it might cause some errors, but of course, it might just be totally fine. So it's up to you like we are pretty sure that this all works. So I could delete it just to show you guys. So let me say that I delete it. And just in case in my replace references to make sure that it's all correct, I can call it Black what was it? Sorry, I forgot the name of our own material. This is called Black Trim. Okay. So I can go to my material instances. No, sorry, material. The let. It's probably because it's a material, it doesn't like it. Hm, that's annoying. Then I'm just going to grab the building master one. Over here, just to give it something and replace references and press okay. There we go. But see, nothing has changed. So now, at least we have also cleaned up that material. And I guess at that point, yeah, Blueprints. You can also go in here. Oh. And these would be called you pick BP for blueprint on the score. Source name, preview, blueprint, okay, name. And there we go. Okay, that's the next stop. So we have done now our Nant, and we have done our renaming properly. We have already done any of our issues with, like, transparency, so that's already covered because we did that in the beginning. The last thing that you would probably want to check is you want to check your collision. So you can go over here to it and play a collision. I want to make sure that your collision is somewhat acrod. Now, the cool thing is that because we are pretty much only creating square shapes, we don't really have issues when it comes to collision. Maybe maybe over here, you can see that you technically have an issue. But basically, all you would do if you feel like you have an issue with an asset, here, so we can go to our player collision. And let's say that this is the invert. For example, over here, you can go in here and you can check your simple collision. So this is what it is like. I'm just going to show you this one as example. I'm not too worried about the other ones because Turkey, even this, I don't care too much about, it's just if you want to be very accurate. So two ways that you can fix it. Way number one, first of all, remove your collision is that you go down here to autocvex collision, Apres apply. And then what it will do is it will try to make a more acud collision based upon your shape, which as you can see, oh, wait, it's not this one, so it's probably somewhere over here. I assume we used it. Huh. Well, I'm just going to drag it in. See? So that's often fine. But if you want to go even cleaner, you can, of course, in three years, Max, make a custom collision or what you can do if you remove this collision is you can go up here to box simplified collision, click it, and you can actually scale this. Move it over here or wherever you want it. Like if you want your focus to be on this front piece, actually. So this is fine. Contras Contrave and you can just duplicate it and also move it over here. And that's even cleaner. The only annoying thing is that as far as I know, you cannot copy collisions and throw them into a new one. So if I go in here, press paste, Oh, wait. Huh? I forgot. Oh, yeah, yeah, you can do that. I'm thinking about something else. Well, anyway, good. Fixed. So the reason that this Oh, yeah, this is now updated, that it didn't look like it was updated was because of this corner over here. These ones. But honestly, for these ones also here, if we just go to our simple collision, it's so basic. Like, often what I do is I just remove it out of convex and just apply a quick convex unless I need to do it for a client, and then I need to make it much more cleaner, of course. In general, this is fine. Then over here, we also have these. Let me just add it, which seem to not have any collision. So let me just here, see. So you can go ahead and even though it is a cylinder, doing a capsule, I mean, it works, but you need to keep track of, like, the bottom and top parts, and else you can also just do a box. And often when the player walks against it, you won't really notice that kind of stuff. Okay, so that's basically just like a quick breakdown for our collision. Here we go. I guess the last thing that I sometimes like to check is if you go to your buffer, not buffer of visualization. Wait, I think it show I have a shortcut for it. That's the annoying thing. So I'm trying to find it without shortcut. Visualize a mesh distance field. C, it's set to contra F. So mesh distance fields, basically what they are is they are a way for Lumen to calculate what your mesh looks like so that it properly bounces off. So as you can see, this is looking very clean, but sometimes you might have issues where the mesh like over here has a lot of holes, although even this is not that bad yet. In those events, what you want to do is you want to go, for example, to your mesh. And although it's more expensive, so take it with a grain of salt. Like, you don't have to do this unless it's causing issues. But you can go to LLD zero, build settings, and then here you can increase your mesh distance wheels to, for example three. If you press apply, you can see that that increases the calculations for lumen and make it a little bit more accurate so that the light bounces off it correctly. Again, it rarely actually causes you any issues. I'm just going to control F again, so it should be fine. Now, in here, we also over here, these walls. Ah, these walls are probably the frames. So those have now become white. That was the one that was the reference. Yeah, see? That was the reference. Okay, fair enough. I forgot that we even applied it to these baseballs. Anyway, so for these walls, although this is already, like, quite interesting, you can go ahead and you can input, of course, a plaster material. I'm not going to do that because we're not going to walk inside of here. So I'm just going to go ahead and I'm going to duplicate this and call this MI. Um, plaster, for example. Let me just apply it. And all I'm going to do is I'm going to make my color not too white, and I'm going to make my roughness. Let me just go into the Oh, wait, that's the wrong one, contra D. My roughness. I'm going to make it quite a White. Yeah, like that. That should be fine. So we have that. And then what we can do is we can for it looks like these walls and these ones. Yeah, because these are floors. We can squarely grab those for now and just add some white frames to them. So that's the issue. Because we did not apply those materials to the actual static mesh, it doesn't show up when we remove it as an arrow because we kind of just dragged it on there. Okay, that's spicely shiny. But I think that's a bug because it physically should not Oh, it should. Wait, that's white frames. I need plaster. There we go. That's why it was so shiny. It was a well dingle, huh? That does not make much sense. But let me just quickly check these. Here, these ones also just like quickly drag them on. That's fine. We're gonna exit. And there we go. Our checks are done. So at this point, we now have our fancy looking building. So a few things that we can do. I want to go ahead and finish this chapter off by just doing some cameras and some final screenshots. So I'm going to cut the video here, and that will be like the outrod to just create those things, and then we have a really nice looking building to get started with. So let's go ahead and continue with the final chapter next. 20. Outro: Okay, welcome to the final Outro chapter. So as you can see, we have an awesome looking building. We got some level art around it. Everything is ready to go. We even have a quite nice looking clean looking scene with all of the assets properly set up. So what we're going to do in this chapter is we are going to play some cameras, take some nice screenshots, and I will also show you how to do some very quick, like, penning video type stuff. So for this, all we need to do is we have over here a camera actor, we'll just call it CAM underscore 01. And I want to go ahead and want to duplicate that. Let's go to Camera two. And a cool thing. So now that we have our level instances. So this building, it's really cool for me because I can put some information text on the right side. But for you guys, it might be a little bit empty looking. So what you can do a trick that we often do also with assets and stuff like that, is if we just move this out and we grab both our level instances and just copy them. We can. Oh, and I note that I need to also change that we can go over here and we can, give it a double sided look. 1 second need to. I accidentally moved it the wrong way. That's annoying. Another thing that you can do, but is you can go to your window viewpot create another viewpot that you can move around while changing this. But I'm just for now, going to move it over here. I'm just checking, like, what would be the most interesting angle. Maybe like angle that's a little bit, like stronger like this and now have it just fit just in between the views. Maybe something like this looks quite nice. And also the cool thing. So these are level incisors, which means now over here, you can see that these windows are not correct yet because we just never looked at that site. But when we change justice, it will change it everywhere. So first of all, I need to move this around and I can see over here that luckily, this is still in a group. That means that if I go for my opaque class, I can add it instantly. Exit and safe. And now it will also be applied, of course, to the other building because it's level insets. So here you can see that. Okay, so we have these two, and now it's also very easy for you if you want to temporarily hide it like this. So that's that one. Let's go ahead and now do Camera three. And for Camera three, what we're going to do is we're going to just focus on some close up. So we go a lot closer here, which is nice because it gives us a bit better resolution and stuff like that or resolution bit better reflections, I should say. I'm trying to nicely fit this into the spot. There we go. Let's see what will be another? Something that I often also like is to have this like over the top angular shot. I'm just seeing if there's interesting reflections on one side or the other side. Mm. I know that is dizzying, but or maybe here. And what I can also do with this one is I can, for example, try 30 millimeters. Or maybe, like, have it a little bit at the top. No, you know what? I'm just going to go for, like, a maybe like a view like this. There we go. Let's just do something like this. Let's go ahead and duplicate this camera, number five, which I'm going to go back to 50. And for this one, sorry if you guys get dizzy by this. That's I'm trying to move it simply here. And this is also quite a nice shot, like having these big pillars and stuff like that and just in here. Then later on when we do this shot, what we can do is we can maybe also, rotate the lighting around to shed a little bit more light on the trees and stuff like that. But actually, this one is quite cool. I like that one. Maybe some, the tree is a little bit in the way, in this case. Maybe, like a low angle shot like this would be quite nice. And then what you can do is you can do another shot, but that you literally just hide the tree because I think this is also quite a nice looking shot over here somewhere in this direction. But we will just like, either hide the tree whenever we do this shot. So you can go in here and just very quickly, like, go into your level and just hide it. And you should be Oh, no, wait, you need to delete it for that. That's a bit annoying. Then I'm just going to contra exit to cut it, exit, save Contrave. So now I can just quickly hide this shot just to see also What I want to do and maybe change the trees to something else. I can also now see a small bug that I want to fix over here, which is that this panel, let me just go to my modeling tools is sticking out. So this is also while you're doing your screenshots, you can often find like little bugs that you want to fix and stuff like that. So we have this one except. And we also have this one for which I'm because you are not able to see it anyway. I'm just going to move it back. Yeah, okay? Let me just exit and save. And let me just quickly check. So at this point, let's say this is going to be our shots, maybe actually one more shot that I feel like we don't have enough is going to be like a top down shot for which we're going to, like, Why not? No, actually, because, you know what? I'm not gonna do that just because we didn't add anything to the ceiling. So, okay, we have these shots now. So what I then like to do is, I like to go in and I like to, of course, have a look at shots and see like, Okay, is there something that we are missing over here? Like, is something that we can improve in general? Gonna go ahead and unhide for now. Actually, no, for these ones, I'm not going to unhide it. Okay, so looking at this, I feel that this area over here, feels a little bit too empty. There's nothing going on here. It's a little bit too boring. So I can go ahead and go into this level and see if I can maybe just add, like, some extra pieces in here to make it visually more interesting. Maybe I can do, first of all, let's do, like, a Yeah, that's the only thing with keeping level instances separate is that you get this annoying view in between here sometimes. It is something you learn to just look past, but just something to know. Here, let me just do this. Maybe have also some Well, you know what? Maybe actually grab one of these things here. That might be nice. And let's have a bicycle, just kind of like leaning against it. Let's see what else can we do? What else can we do? Let's just check. So it's more like on this stretch over here that I want to maybe here, put like a fire hydrant like that and maybe add some benches, sorry, just to fill up this space a little bit. So here and here, There we go, see. And that already feels a little bit better. So I can exit and save. So like that, I like to just go in and investigate every screenshot to make sure that it is visually interesting enough. Like over here, this also feels quite flat this area. So maybe just the same technique where I just add a quick bench or something like that. And also, what I need to do is actually with these ones. I need to move it up a tiny bit. There we go. So I can just go ahead and edit. Let's say replace also a bench Somewhere here. Of course, this one is now rotated, so that makes it a bit more annoying to art changes, but I don't know if this adds something, maybe. Let me just add some visual interest here. Okay. What else can we do? We can throw in a little one of these. Maybe throw in a quick bicycle that is sitting on the corner over here. Like that. Yeah, of course, the nature of buildings is that sometimes it is just quite a large space. Also, over here, what you notice is that the world space, of course, doesn't work when we are rotating our building, something to keep in mind that it probably isn't that noticeable from this shot. So that's why I'm doing it. But not to use this building as your main building for taking shots. So that already now also adds a little bit more visual interest. We can go to number three. I don't see any bugs. The only thing I would probably do here, let me just quickly check. Yeah, I'm going to make my transparent glass a little bit less transparent. So here we have a citro glass just because I don't want to see the interior as much. First of all, I'm going to make my glass color maybe a little bit more bluish. And then my glass opacity. I can make 0.9. Oh, wait, even one. I'm going to 0.9. I think it's the dust amount that is. Ooh, actually let's turn off the dust pretty much. And then yaks, let's not do that. Then let's try 1.2. Let's do 1.2, tone this color down and then make it a little bit bright. Try to be a bit more careful because I don't want to now all of a sudden, at the very last moment, mess up the loop there we go. I feel like that looks a bit nicer. So I just made it a little bit darker and harder to see through. Okay. Of course, yeah, there can be very small things that would be nice to art on every screenshot. I'm not going to do too much, but for example, here, I felt like you just get ideas. Oh, this one is very difficult. S of, like, Oh, let me just art like an aircon unit over here, for example, that kind of stuff. I have two aircon units, and then if we go back to our view, Ex. Yeah, you can combine the props in the building. If it's too annoying for you to preview. I didn't realize it was going to be this annoying to see. But okay, so yeah, we have this view over here. I'll always say that's like, Yeah, maybe we can make this metal or this material a bit more dirty, but for the rest, there isn't too much. Maybe if I just go Contra F. Oh, sorry, Contra F Contra D to check my roughness. That's pretty shiny, so I don't think much will happen. So I'm fine with that. This one also we now have nice amount of assets. I don't see any direct issues, except maybe for some tiny bit of ant alysing over here. But with that one, once we take our final screenshots, we can go up here to screen percentage and set it a bit higher also. And that will render everything out a bit better, see? So we just like set the resolution output a little bit higher. But because it also slows down our scene, for now I'm going to just turn that off. And there's also some console commands that you can use. This one, we, I guess, did not use. Yeah, I guess camera six we did not use. And we went for Camera seven over here. In which case, we can hide this. And at that screenshot, we might be able to just quickly be like, Hey, we're hiding it and we're just replacing it with, like, a like a small tree, but even that doesn't look that nice, then we're just going to leave it like that. So we'll see for now just let's do contra H. So I think our screenshots are pretty much ready to go at this point. Yeah, I think that's ready to go. Nice. So for our screenshots, I'm going to for now turn off that building over there. The way that that works or that I like to do it is quite easy is we just go up here. I like to set my screen percentage now a little bit higher to probably 100. And then in my high resolution screenshot, instead of me setting this multiple because setting the multiple can cause your engine to crash, I like to set my screen quite large because I have a four k screen, and then if I go Max like two, that should already be enough. Make sure that when you take the screenshot, press G to go into game mode. Do not have anything else over here like selected. So I can now go in and I can go press capture and give it a second. Okay, give it a long second. I guess two is already a bit high when I'm already on four K because it means an eight K screenshot. Yeah. So, see? That's what I mean that sometimes it just becomes a little bit too high, so I should have just done one K. But not to worry, we are already back. So let me just quickly screen percentage at 100. Like here, we already doubling it. So that also adds a lot of memory stress. So at this point, this is already looking super clean. So I'm just going to go ahead and press capture. And now you can see that because it basically just captures this resolution, it's a lot cleaner. So here you can see that we now have our high resolution screenshot ready to go. One more thing that I did forget to do, which I want to probably do on the other cameras. It probably doesn't make that big of a difference. But if we go, for example, we camera two, doesn't matter. I will do that per camera. So let me just first here, take a nice screenshot of Camera two. Now let's go to Camera three. And that is that, you won't notice it here, also, but can go to your camera in the focus settings, set your focus point. That basically allows you to, in some areas, give it a little bit of depth of field. But because we are looking at such a giant building, you simply won't notice too much. So we can go ahead and now have this one. It's more if you do like hyperclose ups of assets and stuff like that. So you can take a nice screenshot here. Another one. Another one. And then for this one, we are going to hide that. Make sure you are back in game mode. And also, you know what? I feel let me just quickly. Oh, wait. That's why. I need to hide my other building because it was causing a lot of reflections do not show up. It should have been fine on the other end just for this one. Over here, also, you can see that the shadows are a little bit jagged, which is something I'm a little bit worried about. I'm honestly a bit surprised about it. Even if I set my screen resolution higher, so for this one, I can try to do. If I go to my lighting over here, let me just do here. And then my light, if I scroll all the way down and you need to drop down your advanced, we can go up here to tracing. I sent it to disabled for this scene, but I can sell it to enabled, which works a bit better here, but also it does remove some other shadows here. But that's like the trade off, but that does work a little bit better, and then we have some tiny issues here, but we'll just see how that looks. So if we now go ahead and capture, and then we now have our images over here. Yeah, those are still very nice looking images. The only thing is that for this one, I wanted to rotate my light a bit. So let me just delete that one. Go back to it, which is here. Let me just move this out of the way. I'm going to go into my light again. And this time, I forgot which axis on the No Yeah, let's do on the Z axis. Let me just drag and rotate this. Until I have a nice lighting angle. And I can press Contra vets to copy it back in case I was, like, worried that I moved it too far. Let's do something like this. And then we can just make a screen a bit bigger again. And take another screenshot. There we go. Okay, and then just to make sure that you have your original scene back paste in your original lighting over here. Okay. Awesome. So these screenshots are now made. Now, I'm going to go ahead and set those up also in Photoshop. But before we do that, just to very, very quickly show you, if you want to make some type of, like, nice penning video or trailer, super easy way to do it. If you go up in your scene, I'm just going to make a folder called trailer. You can simply right click, go to cinematics level sequence and scall it like whatever you want, 01, for example. And all you have to do is you need to grab your camera. This is Camera three and drag it in here. Go out of Camera three and make sure that you can see it and that you can select it and go out of world position and go into object position. Now, if you just hold Control and scroll, you can then use this red bar to move this to become a little bit larger, select your camera again. And all you need to do is just press this little key in the transform. Move the transform further, and then just simply move your camera to a point where you want it to be over here and another transform. And now, what you can see happening is, although you do see some popping, which I will show you later on, is that if I now bes G, and I save this and I press Play. You can see that over here, it does create some new shadows. Also, over here, these issues over here with the shadow distance, we need to go and turn off over here, our tri shadows for these ones, because that one was just for that specific view because tree shadows from this distance, they don't really work as well. There are some console commands that you can use to increase it but to be honest, I forgot the console command, and in rate racing it often just us doesn't really work well. So since it's just not needed because we can literally do this, let's not go over that right now. But just because it's not part of this tutorial course. Anyway, now you can see that now we can press Play and we can have this, nice zooming effect. And then if you want to go ahead and turn this into a video, all you need to do is go up here to render this into a video. What I like to do is this, I like to set my settings to 60 FPS and a four k resolution. Then I can always downscale later on, and you can set over here a directory and you can set a file format. So I already set my directory, and let's call this Cam underscore 01, for example. And at this point, I just want to make sure that you save your entire scene, and then you can just press Render. And then what it will do is it will capture video, so I will pass until that's done. Okay, that is done. So now you can see that you get an AVI file. Now, this file is almost always corrupt. I don't know why unreal has in his mind to do this. But often when you launch it like it does seem to work, but you can see over here, this is not the actual quality of the file. That's just that normal video players are unable to properly, get these files to work. So instead, what you want to do is there is this program that is called hand break, which I use even for my tutorial courses. It's basically compression software. It's completely free. You can just type in hand break in Google, and you basically dragon your file in here, and this is what I tend to do. So here you can even see that it is corrupt. I like to then just go down here, and I like to go for professional or Production Max, which basically gives me, like, the highest possible output, but in NPFore format. So I can now go in here. And I can paste this in here and just call it Cam one again, and then I can press start. I'm going to pass the video before pressing start because it takes so much resources from your PC that it might slow down or lag my video recording. Here we go. So that should have now output a proper and before format. You can see over here, see? And that is the actual quality. So, oh, that was a little bug that you need to be a bit more careful about, because, yeah, with Lumen, there's always some flickering going on. However, with this, some ways that you can fix that is, for example, not going for 50 millimeter, but like a camera that's a little bit closer. But in general, that's a way that you can just create some of those views. And at that point, you can just throw them into your editing software. So I would say that at this point, I'm pretty much done. You can see over here we have a texture, memory budget issue. Don't worry too much about it. It just means that all of our textures over here are still in four K resolution. So all of these are like a four k resolution. If you ever want to optimize that, very simple. You go into your texture, you go into compression and advanced, and in here, if you set this to 2048, you can see that it will now render a maximum resolution of 2048. Or you can set this to zero and goes back to 40 96. Anyway, this tutorial course is, of course, about buildings. We will soon be also releasing a tutorial course on how to create entire cities in which we go much more into the optimization aspects on larger scale environments. But yeah, I really wanted to focus here on modularity, smart material use, some additional level art, doing some different shaders and stuff like that. And I really hope that you learn something from it. So I quite enjoyed making this course. I think it's has a nice timing behind it, not too long, not too short. So I hope you enjoyed this course and that you learned a lot from it. If you did, please feel free to leave me a review. If you had any issues with it, please feel free to reach out. We have a Discord server that is quite active, and I hope to see you in the next course.