O Guia final para o motor Unreal 5 para iniciantes completos

1. Why Should YOU Watch This Course?: Have you been a victim of a bad on the real course where your instructor just goes on and on and building a game on the screen and you're not understanding what he's doing, getting 0 explanation and being expected to just follow along. And the worst part is, at the end of it, you might have a working game, but you have no clue how the heck you even did it, because all you really did was watch and copy. If the answer is yes, then you've come to the right place. My name is Michael Moore, founder of bubble and game dev. And my goal is to make you the best game developer and the most fun way possible. I have developed a strategy that has helped thousands of aspiring game developers achieve their goals of creating real-world games. And I wanted to do the same for you. If I've learned, is that it can be very difficult to know where to start and what steps to take to go from beginner to intermediate, to professionals, not only in game development, but in programming and mastering the Unreal Engine. And this is where the strategy comes in. We'll start off by learning the very fundamentals and the Unreal Engine. Each section is dedicated to a certain area where we delve deeper than any other course into a great aspect of unreal. This allows us to fill the foundations. And on those foundations we are going to create our main game project, which is Cyprus, fine. So how are we going to do this? In sections 23, we are going to learn the unreal architecture. We'll learn what the viewport is, how to navigate it effectively, how to add actors, change materials, and how lighting works. Then in section four, we use what we've learned to create and set up our cyber spy world. Section five, we introduce blueprint visual scripting. And unlike other courses where they just stopped immediately, we take our time improperly dissect and understand what nodes are, how they are connected, how they flow, and the amazing things timelines allow us to create. Then we jump back to our main game is to section six where we create moving platforms, pressure plates and flaming find enemies. So what should you expect by the end of the scores? You'll become a master problem-solver. You'll understand the fundamentals of the Unreal Engine and you'll learn how to create games, just like the ones you're seeing on the screen right now. You'll also have the chance to flex your game developer muscles because with every video there is a mini challenge for you too. And even if you can't figure out how to do the challenge, Don't worry about it. I will be there to help you after you try and complete the challenge with you, everything in our game is going to be configurable. So you can tweak, play around and give the game and individual and special feel about it. So you'll be putting your own creativity into it and really making it your own. I am so excited to get started. Hope you are too. This is the perfect time to start learning how to dive in with me and I will help you along every single step of your game development journey. 2. How To Use This Course: Oh, okay, so in this video, I wanted to start off by saying, welcome. Congratulations. Thank you so much for getting the course. Thank you so much for choosing to watch the scores. I'm very excited to get started. I wanted to just talk about how you can navigate through the scores in order to get the maximum value out of it. So I'm going to start with a simple thing which is the Q&A tool you've already seen as my mistake clicked on it. While you're watching the course, maybe you stumble upon something that should don't quite understand, even though I tried to explain everything extensively and delve as much as I possibly can into details. You never know, sometimes I might miss something, sometimes I might not go into too much detail into something that you might feel needs more detail. Maybe I did something, I didn't realize that something might be hard for you. You can always use the Q&A and here, a couple of rules before you actually do do that, before you ask a question. First of all, look through the discussions and see if you have somebody else has already asked the questions that you've asked a lot of times. That is the case, might be one thing to ask a question that somebody has already asked and we've already solved. This will save me a bit of time, and it will also save you a bit of time. I usually reply within the 24 hours because of the difference in the time, and I'm not always in the Q&A MC. I have a track record of always 100% Answering everyone, everyone, everyone. Maybe I've missed once or twice, a couple of people. I'm not sure, but I always always everyday, I open up in the morning and I see the Q&A, I see what students have asked me, so I always reply. But one thing to keep in mind is if I do solve your problem. And actually when I thought solve a problem. Or if you've asked the question and then you solve the problem, go back and edit your question and write a solved over it. This will help me out. This will help other people out as well that also are looking through the Q and A's. So think about yourself. It's actually very helpful because if somebody else does it for you and you'll find the solution immediately with assault, you then immediately know, oh, okay, so the question is solved. Let's look through it. Instead of keep asking asking the question again, we think for me to reply. So with that out of the way, let's continue on. Next. Let's talk about the Discord server. I have a huge discord server with, I think about right now we're at 400 students, like-minded students that love Game Development, that love and real love in C plus plus and all of these things. So make sure that you go there, that you ask questions there, that you show off your game there, you have unlimited ability to do whatever you want in there. So go ahead trying to Discord server, show off your game and help out others. Sometimes when you help somebody out, it actually increases your skills because when you teach something to somebody, you understand what you are providing for that person more. Your brain needs to dissect the information that should have and the ideas needs to be properly prepared in order to teach somebody or help somebody with a problem. Solve. There we go. Let's talk about the challenge slides. And this is something that I feel is very unique to the scores and it's very different than any other course that I can see on the unreal. So this is your challenge slide. When you see the slide, pause the video and do the challenge on it. Whenever I'm working, maybe at the end of the video, maybe in the middle. You never know, it's a surprise. You always have to be on your toes and vigilant because I always create this challenge. And why do I like to create this challenge? Because it's a much better way to learn. Because I've been a student and I've watched courses. And I honestly hated sitting there and doing nothing and just watching somebody just coding code and endlessly park and talk and talk. I don't want this to be the case in my videos, in my courses, I want to get your hands dirty and try things out. And the most important thing, always, always tried to do your best, never just take this challenges. Yeah, let's just get over with not always. Pause the video, try your best. Don't worry about that. I always go back and I do have a challenge with you. I never leave you hanging. I always rule the challenge. This is very helpful. It will help you. First of all, two things on your own, which is very important. Second of all, if you fail, that's great. That's amazing because once you fail and you see the solution, it's much better. It clicks and it becomes concrete in your head. You now understand that much better because you failed and now you know how itself, but you don't even try. You will never know that you can. Whereas your problem if you've never tried and failed. So I recommend that you always, always do the challenge. Always doing as much rather than watching this as my model in life. Let's continue on. Let's talk about the course structure that we have in section one, which are already watching right now we have the introduction we will talk about, about Unreal downloading it and we'll create our first game. Next, we're going to build a virtual world and the level editor, this is where we are going to talk about the viewports, talk about the different panels, talk about the world and just get familiar with Unreal and how to now navigate through it. We're going to talk about the unreal architecture, where we're going to discuss what the static meshes are, what materials are, how to light the environment, what are components in the actors and all of that good stuff. Next, we'll have a section for the cyber spy. So this is the main game that we're creating. We are learning unreal and dissecting it bit by bit, understanding every single little tweak that we need. And we're also keeping things fun by creating a nice game. And each section will use everything that we've learned and put it inside of our game. We are going to build our world by creating the lightning, creating our first level, and loading the inner structures. Then we have the blueprint visual scripting, which is personally my favorite section. Maybe I don't know, because here we will learn above the blueprint, visual scripting. Obviously, we're going to learn about functions, flow control, timelines, the variables, all of that good stuff. And then we'll use all of them in order to create a moving platform, activating this platform and using timelines to create enemies. Then we're going to move on to the next section, which is Section seven, which is making an interactive experience where we will talk about what a character is, what they found is what a player controller and what an input and what they gained more than all of these things that make the world interactive. And obviously then we'll be using them to create our character, will be making our character jump in a certain way, rung in a certain way, and we'll adjust its movements so we can jump higher, jump lower. And this is where your personalized touch will come in. You will decide how high should the player jump? How long should he stay in the year? How much control does it need to have an ear? Then we'll move on to physics collisions. We will talk about how collisions work and unreal and just understand how everything works, how the physics interacted unreal. And in here also we'll talk about damaging real, which is very helpful because next, we're going to be adding physics to the player by making him be able to interact with the environment, get damaged, or create spikes, will create gems that we need to collect throughout the level in order to finish the game. Then we'll have all your obviously what game doesn't have audio. We'll learn about how to add audio, how to play it, how to stop it, how to make sound effects whenever we get to hurt or we pick up something. And then obviously again, we will be adding it to our game. Then we are going in the last three sections, or actually the last two sections are going to be about the graphical interface, which is called the UMG or unreal motion graphics motion means we can animate those things. We'll talk about Flexbox animations, widgets, buttons, all of that good stuff in order to display our health. Display, how much gems that we picked up, display whatever you want. We'll obviously be adding it to our players hot. And the last level in the last section is about adding levels, where we will talk about level design. We will talk about setting up the environments and what it takes to create very fun in levels. How to make them fun, how to make interactive level of how to progress through levels, because we will have so many components by the end of this course, we will have so many objects to play around with, from spikes to jams, two big spikes or small spikes to enemies flying around to so much things and moving platform. So how are we going to structure our game to progress through the levels? This section, we'll cover all of these and we'll create, I think about six or seven or eight or ten levels, whatever you want. Finally, I wanted to talk about something which is very important to me and I think you need to keep in mind, and that is to watch the course until the end. The problem was more students is that they get about 1 third of the way and then they stop and some of them get half of the way and then they stop. They stop. And for me that's very bad because sometimes you don't really get to the third of the course and you're not sure what you did and you feel the motivated, but because you still haven't understood everything and you quit, That's a very bad idea because most of the time whenever you start to feel very confident. But as you start learning, your confidence starts to go down. Why? Because as you expand and you see everything around, you start feeling that the more you learn, the more you understand what you don't know, and the more you need to learn and slowly but surely this feeling can creep up a new and gets you motivated and feeling like, yeah, I'm not worthy understanding unreal. And I was in that position also, even though I had several years of experience in game development when I started on real, several years ago, I really felt overwhelmed because everything was so new, so complicated the huge, huge engine. But trust the process, keep going, keep pushing and make sure that you watch till the end because you'll notice once you get to the end and you have your own game and you understand every single window and what it does and how it works, you'll feel much more comfortable moving to the next level, which is the professional level. You will feel more comfortable using, know what's going on or if you watch something or somebody talks about something, you'll know. All right, I've watched this. I didn't quite understand it at the beginning, but because I watched till the end and I've done much more difficult things. The thing that I didn't understand now seems much easier. So this is my final message. I hope you have fun during the scores. I hope you enjoy. Keep in mind, always asked questions, don't worry about it. There are no stupid or dumb questions. I'm always here to help. That's it. That's it. Let's move on to the next video. I'll see you then. 3. Downloading Unreal Engine 5: Oh, okay, So now it's time to take the first step in our game development journey and an hour Unreal Engine five development journey. We're going to download the Unreal Engine. So what we're going to do is we're going to go to our trusty friend Google in here. We're simply going to type in Unreal Engine. Once you have the results, you simply go to the Unreal Engine.com or you can simply just go to the Unreal Engine.com. I don't know. I have this quirk of always using Google. In here in the Unreal Engine, you'll be prompted with this cool-looking video. And this is the video or the game that has been created as a test on the Unreal Engine five, you can actually try and play it and see the full scope of what you can create and the engine. But for now, all that we need to do is we need to click on this Download button. Once clicked, you will be prompted to this screen right here. Simply scroll down and download the publishing licence. There are a lot of differences. We're not going to go too deep into that. But all that we need to know is that the publishing licence is what is required. Simply click on Download and download of the Epic Game. Launcher will be started. And you might be asking, why aren't we downloading the Unreal Engine immediately? Why are we, why do we require the Epic Games launcher? Well, if you know the Epic Games launcher, it's the parent company of the Unreal Engine. It's the owner of the Unreal Engine. We'll talk about what the outer conduction convection there is. If you know what Epic Games are, they are the creators of a very, not very popular game called for type. Maybe you've heard of it. It was made on the Unreal Engine. And they also have this marketplace where you can download games similar to steam. So on that you can download games, you can play them similar to for tight. And you can also download the Unreal Engine and use that to create your own games. So once you download it, you'll be prompted to the screen right here, where you will require to sign in or sign up. If it's your first time. Obviously you only need to sign up. You can either sign up using the Epic Games account, create a new account, or you can simply sine n using Facebook, we will whatever you want, even steam if you want, which is kind of ironic since they are in a competition. So sine n sign up using any email or any form of signing in here that you want. It's very easy. All we have to do, just use your account on one of these or simply sign up with your name and an email. And you'll get verification and all of that good stuff. Once you're finished, you'll be taken to a screen that is similar to this one. If you look around here, you can see that you have the news where you can look for news about the Unreal Engine. Now you might think that this is kind of stupid, but trust me, if you look around here, you can find very nice stuff that might help you or at least give you an idea of what kind of game you can create. Next you have the samples. These are also very important where you can download, for example, the matrix that you saw in a couple of videos you can download and play that you can download a car and configure it and play around or drive around. But the most important place is the marketplace. Well, the second most important place as the marketplace, where you can download and get some amazing cool, free and paid assets. And you'll notice that some of these assets are free, but not all of them are free forever. So for example, you can see three for this month. It can simply just get them this month, next month. They won't be available. Back in the library, which is the most important part. And this is where you will be downloading your Unreal Engine versions. And you will see all of the projects and all of the assets that you've got anterior, you'll see the versions of the Unreal Engine that you are going to download. Now, I recommend that you download the latest version of Unreal Engine four because you can use the Unreal Engine four to get some of the assets that are still not available on the Unreal Engine five. And once you get these, you can then convert them onto Unreal Engine five. Anyways, if you don't want to download the fort, don't download it. You can immediately download the Unreal Engine five. You can see right here we have this little plus button. Once it's, sometimes it's great, grayed out. If it is just simply open up a new account or use a different account, it will show up this as some kind of bug. I don't know why it keeps popping up. This is why I have an extra one here, always ready for these kinds of things. Download the latest version of Unreal five. If it's newer than the version I'm using most probably it's going to be 99.9% exactly the same. There are a couple of changes. It will most likely be with the UI or with a couple of bugs that might happen with me, that won't happen in your case. Simply just be a bit vigilant when looking at this. If there is a huge difference, most probably you can most probably somebody or you can leave in the discussion or in the Q&A. Just a small reminder, I will update the course, make sure that everything is up-to-date. But I almost well, almost meaning 99.9% guarantee that there will be a very small difference. Now, with all of that out of the way, it's time for your first challenge. Your challenge is to download unreal and set up. First of all, download the Epic Games launcher, just like we talked about. Look around, see what things you have. So look around the marketplace, checkout, the library's different things, just go through it. A font, no worries. Download the Unreal Engine five, like I told you, and set everything up next and move to the next video so we don't waste any more time and we talk about the Unreal Engine five and start creating our first game. I'm so excited to see you in just a bit. But before I leave, I just wanted to ask you a small little favor. You might be asked right now to leave a review. Please don't do this without any concern because it affects me a lot if you just leave a one star, two star, three star review, just for the sake of getting rid of the screen, it will affect me a lot. It will take down my course, it will hurt my representation on the platform a lot. So please, if you don't want to leave a review right now, just move on through the course and whenever you feel I deserve a review, leave it then if not, if you think that I observed with lifestyle review based on what you saw right now, Go ahead, please be my guest. But I recommend that you watch just a little bit, but if you want, I'm not going to stop you. Just take your time. Don't be hasty. Just leave a minute. Don't do it without thinking because it has a huge effect on me, even if you think that it doesn't. Thank you so much for thinking about me. Thank you for being empathetic. And let's move on. Let's move on to the next video. Just as I promised. 4. Unreal Engine 101: Okay, So in this video, we'll just talk about the Unreal Engine origins. The unreal origin because it's a very fun story and we'll talk about the gains that have been created on the Unreal Engine. That way you'll get more excited and you'll feel that you're actually learning something, a platform that has the potential to create incredible games. Let's get started. First of all, the unreal, not Unreal Engine. And Unreal was a game created by a big games or it was called Epic mega games. It was published in 1998. It was powered by the Unreal Engine, an original game engine created by Epic Games. This game reached a sales of 1.5 million units by 2002, which is pretty impressive by that time. And those times, 1.5 million was one heck of a number, especially on PC gaming. So since the release of the unreal, the franchise has had one SQL and two different series based on the unreal universe. That was before the Avengers, Avengers universe and this new universe and whatever, so late this generation is the Unreal Engine five, which was launched very recently. Well, depends on when you're watching the scores during April 2020 to its predecessor released in March 2014, which was the unreal for obviously. And it's source code is available on GitHub after registering an account and commercial commercial use is granted based on a royalty model. And I'm not sure if I've already explained what they royalty model is. It means that you can keep playing or keep using the Unreal Engine until your game makes around $1 million in revenue, then Epic Games will start charging you a little percentage for it. But I'm sure at this point you won't need to worry about that. Try for us to actually release one of your games. And if you make 1 million, I think that it's only fair to pay on real little bit of money. Let's talk about the Unreal Engine origin. First of all, we have the first-generation unreal engine that was developed by a guy named Tim Sweeney. Now, we need to talk about this legendary guy, according to an interview, is swinging road. 90% of the code in the engine, including the graphics, the tools, and the networking. Not only that, his age is undetermined, so we're not sure if his age is 51 or 52. This guy is one **** of a legend. I don't know. I just loved people like these, these characters outliner is, I'm sure he's one of the unspoken heroes of his era. Nobody knows who he is. Everybody. Millions of people have played amazing games, have amazing games, create amazing games, made millions and millions because of this guys, um, I don't know, crazy mine. He created 90% of the code for the engine. So I just wanted to mention him. The while it cost around $3 million to produce a license, usually they were giving these licenses to game developers for around $350 thousand. So I think pretty much they made all of their money. Now, one of the best games developed for the first generation of the Unreal Engine was the Harry Potter and the Sorcerer's Stone. So if you know the meme, congratulations if you don't, you probably have alive, unlike me on the others. So I'm this was the first game, the Sorcerer's Stone. I don't know if you have any memory of that. If you're not as old as I am, but I loved to play that game. It was amazing and one of the best Harry Potter or gains to this day. But now let's talk about the new games that are created and unreal. And some of them you might have heard of if you're a gamer, if not, you probably have no idea what I'm talking about, but I doubt that you are not. Again, we have borderlines, all of them bought the lens, the one, the two, and the three amazing first-person shooter games. We have the madman Arkham City that was also created on the Unreal Engine. We have BioShock, one of the most amazing games in my opinion. We have Mass Effect two, also a very good game that I personally don't know why. I didn't like. We have the job that the Jedi Fallen Order, a very recent game by a very controversial company, which is EA. So you can see that once somebody who's uses the Unreal Engine, they actually come out with a good game. Then we obviously have fortnight and we also have player unknown battlegrounds. Well, you'd be surprised. How does that work? Well, it does, because Unreal Engine is that amazing. And finally, a news, I'm not kidding. I had these slides prepared for over, I don't know, maybe a month or so. But today I heard a really good news that the Witcher for I don't know if you've ever played the Witcher, but it's freaking amazing. And the Witcher four is scheduled to be released and on a whim, maybe 262026 or something like that. And it's going to be on the Unreal Engine five. So if you're learning Unreal Engine right now, in a couple of years, you'll be among the very leading game developers in the world. That's why you need to watch the scores to the end. That's why you have to learn on Unreal Engine. Understand everything, grind your teeth. Fail, fail again, try again, fail again. An order to understand and learn this engine because this can really take you to the top and this is my goal. My goal is to just make it the best game developer in the most fun way possible. I want you to understand everything. I want you to have fun, and I want to see how your creativity can be applied to the modern game development. Because currently games are starting to go downhill without all the micro transactions. So hopefully, we can create a better world inhibitor gaming environment for the future. I will stop my stupid speech and we'll move on to creating our first game. Let's not waste anymore time. There are no challenges and let's continue on. 5. Your First Game: Welcome back, My favorite game developers. In this video, we've created our first blueprint and Unreal, we didn't create all of these things. We just created the Launchpad. So now when we play the game, we ran up towards the platform. There we go, you can see we have an explosion. We have our player being launched in the year and most of the work you did yourself. So let's not waste any more time and let's get started. Okay, so now it's time for our first game engine. Before we get started, I just want you to understand something. This video, you'll probably not know what you're doing. All that you need to do is just follow my lead, follow the steps that I made, and be sure that as we progress through the course, everything, everything that you see will be completely explained in detail. But in this video, I just wanted to show you how we are going to create our first game. Just to get you started, just to get that initial little fear out of the way, maybe a tool create more field. Who knows? Anyways, let's get started. We'll go into the library. Most probably you have the Unreal Engine five in here ready, or you have this option right here. What we're going to do either click on the Launch year or click on Launch here. I like this one. Let's say bigger button. We simply click it and now it is launching. Okay, So as soon as we start our Unreal Engine, you'll be prompted to this window. As you can see, we can create a new project in here, or we can select a pre-determined game. We also have the option to create a film slash video live event. We have the option to create an architecture engineering construction, and some thing related to automobiles. But now let's focus on the game. So we're going to click on the game. We're going to click on the 3D person. We're going to keep it blueprint, keep the target platform desktop quality preset, maximum and the starting content on and make sure that we don't have ray tracing. This is something that we will not need and it requires a very strong PC with amazing qualifications, which I don't have. We're going to create the project and we're going to call it my first game. You'll notice here you can select where that is created. I recommend if you have an SSD that you save it in the SSD, that way it opens up it faster. So once you have everything, hit Create and wait for the project to be created. I'll see you in just a bit. Okay, so now we are in the Unreal Engine, bit scary, I know, but let's not worry about that. First of all, what we're going to do in this game is we're going to create a small Launchpad. If we hit the play key. There we go. We can see that we can look around using our mouse. And if we start moving using the WASD, we can see that we can also run up things. So this is a testing for the Unreal Engine. And if you hear a small in the background, these are the ventilation system on my PC because unreal isn't a small program. So now that we are walking around and we can jump, the next thing we're going to do is we're going to create a launching platform. Once we step on the platform, we want to go up in the air and you can see how cool our character looks. This is a third-person perspective. I'm going to exit. I'm going to click on this little counter drop content draw right here. Once I open it, I'm going to right-click in here and create a Blueprint Class. Blueprint class. We'll have a ton of options that we're going to talk about, of course later on. But for now we're going to create an actor. Once clicked on the actor, we will have this right here and we will be prompted to add a name. I'm going to call it the D p, meaning the blue print underscore. Launch. Launch pad. Hit Enter, open up the launchpad. As soon as we start, we have this free key. Things again, will not be worried about that too much. We're going to click on these three bars in here and we are going to show the floor. So now we can see the floor underneath us. We're going to go ahead and add a cube. This cube is going to be called V launch base. Hit Enter. And now we have a LaunchPad base. Keep in mind, this is where we add components. This is something to remember later on for our challenges. So I'll click on Search for cube and added the cube. Now we have this cube. If we look on the right, you can see that we can change the scale of this cube. I'm going to scale it down on the z-axis to make it a bit smaller, thinner. And I'm going to zoom in using the right mouse button and the WASD and move it up a bit. And then I'm going to click on the scale and set this two by two by 0.2. When we compile right here on the top left, I'm going to drag it in here. And if I go back to the level, I'm going to click on the content and I'm going to drag this back over to my level. So there we go. Now when we play, we can see the pad and our world. And you can see right here that it's a bit hovering, if you like that, you can keep it. But honestly, I have a bit of a thing for this. I never liked to have anything above ground and for some reason it doesn't seem like it's some of the ground. Anyway. Let's keep it. No worries. Compile save. Now it's time to add a bit of functionality. What we're going to do is we're going to click on the ad in here, and we are going to search for the box collision. Once clicked, you'll notice that we have this box collision. And if it's under the Launchpad, you can see right here, just unhook it and leave it in here. So I'm going to move this LaunchPad up and you'll notice it has a bit of different properties right here in the details. So I'm going to increase the size, the X2, 100 on the y to 100. And I'm just going to move it slightly up that way. So there we go. And maybe you know what, let's make the zed a bit smaller. So we'll make it just 18 and maybe even less, maybe make it then that way we will take it down and put it up on this platform, will compile, we'll save. And now when we have everything, obviously when you look at here, if you go back to the game, when we play, you'll see that there is no box, even though we've added one. This is because it's an invisible box, but this box is what is going to help us do lunch the player in the air. So I'm going to make sure I'm clicking the box. I'm going to scroll down into detail until I find these weird big the green buttons. I'm going to create a on begin overlap, which is the second one. Click on the arm begin overlap. And in here I'm going to do a couple of crazy things. So I'm going to click on the other actor, drag from here. And I'm going to type in gassed to third person character. So make sure that it is gas to third-person character. This is very important and make sure that it's from the other actor. And if I haven't talked about it yet, this is where we create our coding and our blueprint scripting. So deep into this, later on in the course, I'm very excited, but for now, let's launch our player. And how do we do that? We're going to jack out of the little pin in here and we're going to write launch character. It's that easy. Make sure that these white lines in here connect and this one also. And make sure that we were using the other actor. And we're using this as the target for the launch. And now I'm going to set this as 3 thousand on the z axis. Does that excess means we're going up compile, Save. And now when we go back into our game, when we hit the play, as I'm walking, if I go into this white cube, there we go. How cool is that? So now we've created our first official launch and we're probably depth, where are we? So as you can see, we've created an amazing Launchpad, bit of an overkill on the launchpad, but that's okay. So what we can do is we can adjust the way our character is flying. Because as you saw right now, when we jumped, we could not go back in the air. Well now we can, we have a bit of air control, but maybe we want to have just a little bit more. Now I'm going to click on my third-person character. And there we go. You can see the name right here. You'll also notice that we have a camera attached to the back of them. That's how we see the third person view. The details. I'm going to scroll down and check on the character movement. This is the properties of the movement that we have for our character, the walking, the jumping, and all of that good stuff. So I'm going to change something in here. And that is the air control. And if you can't find it, you think it's very hard to find, you simply can search in the details and I'm going to check for air control. I'm going to increase this to 0.8. Now when I close this and I play, we should see that once we are in the air, I can much better control my player. You can see that I can take him all the way to the edge of the screen. How cool is that? Now with our first game complete, I'm going to show you a challenge. Your challenge is going to be to adjust the game. Play around with the launch velocity, makes sure to compile. This is very important. And play around with the character movement of the air control, the air control multiplier, and the gravity scale. Also find out other options you have there. Use the extreme method. What is the extremes method? Well, let's say I'm in this character movement and I don't know what the graph the scale does. I just increase it to 221. I hit play. Now I tried to jump. Why can I jump? Well, because the gravity scale is so big that I cannot jump. So what I can do is, for example, go to, let me take this down to whatever. If you ever find yourself one thing to reset, you can simply click on this little arrow that appears. So for example, if I want to, I don't know, let's say I'm looking for where does the jump jump jump height. I don't want it to be 600. I wanted to be there we go. 34. I think that it's going to be a bit too much. So 7 thousand play, what's happening? Boom, there we go. This is the extremes method. Whenever you don't know what to do with one of the options, simply take it to the extreme and test it out. And finally, add a particle system and the components and in template, in details, select the explosion. So whereas the here and the Launchpad, you can go to the components. Let me just stop the game. Go to the components and add a particle system. Look in the details. Look in the details and find a template and add the explosion. So pause the video right now and go do the challenge. Kaye, welcome back. I hope you did the challenge. It was easy. It wasn't that hard of a challenge, I hope. So. I'm just going to adjust this because it's too much. 600 is too much. I'm going to add just the air control from 0.8 to maybe 1.8. I'm going to adjust the launchpad. Launched character from 3 thousand to maybe one hundred, ten hundred. Yeah, So that way, maybe ten hundred, twelve hundred, maybe, maybe compile, save. And I can also play the game from here. So when I hit play, I can walk towards this boom. I jump and I can easily control where are not easily, easily, but I can control where my player is falling. There we go. We go in here, everything works fine. Now the next thing we're going to do in the launchpad, I'm going to add a particle system. So we add a particle system. We are going to call it the explosion. If I scroll up in here and find the template somewhere, you can see right here, I can change this to an explosion. There we go, compile, save. And now when we play the game, you can see that we've had a bit of an explosion in front of us, but this is not what we want. We want this explosion to happen when we are launched in the air. I'm going to scroll down in the particle right here. And I'm going to find the auto activate and I'm going to turn it off, Compile, Save. So now when we run the game, there we go, There is no explosion on the platform. Now we want that to happen. So what we'll do is we're going to move this, right. We are going to find the explosion right here in the variables and drag it into our world. Once we let go of our mouse, we are going to have the option to either get or set. We're going to get I'm going to drag off of this. Not that is called the activate. Activate. It's going to be the first one under Components. Click on that. And now I'm going to simply check this, check this, move it up a bit just so we can see. Right here, there we go. Make it a bit more tidy. And now I'm going to compile, save, compile sake. What's happening in here? As soon as we overlap the box, we check if it's a third-person character. If it is, we are going to activate the explosion. And then we are going to launch our character. It'll compile, save, play the game. Now when we walk towards the platform, when we jump on it, there we go, you can see the explosion happening. Let's do it again. Boom, there we go. You can see the explosion. How cool is that womb, another explosion? Well, it's probably not very obvious. So I'm going to go into the viewport, move it up a bit and maybe just maybe I'll scale it up on all of the sides. So make the scale of the explosion to buy two-by-two, compile, save. And now when we play we should see a boom, a huge explosion. So I hope you enjoyed this video. I hope you're not too scared of what's just happened. And if you have the time, please leave me a review. This point. You've probably been asked to leave a review. If you'd like what you see so far, leave me five-star review. It helps me out a lot. Leave a couple of words there. Tell me what you like. Maybe something we don't like you'd want me to change. You can contact me on Discord, on Instagram, on whatever you want. I'm always available. Thank you so much for watching and I'll see you in the next one. 6. Section 2 - Building Virtual Worlds Level Editor - Level Editor: Welcome back, My favorite game developers. In this video, we'll just have a brief overview of the different panels that we have. The ones right here, the World Outliner, the detail, whatever this one is. So this is just to get our heads around everything that's happening in here. So we then can delve deeper into every single one of them. So let's not waste anymore time and let's get started. Okay, so now let's talk about the level editor. The level editor means everything that you see when you are editing a level. This, for example, when we were creating a launchpad, is not the level editor. By the way, I don't know if you've noticed, but we're using the same interface that we were on, the same project that we were when we were creating our first became. So if you didn't do that, go back and do game. Anyways, let's talk about the level editor and what it is. The level editor provides the core level creation functionality for the Unreal editor. You will use it to create view modify levels. You will modify a level mainly by placing, transforming, and editing the various properties of your objects in the world. So let's talk about the various windows that we see in here. First of all, let's talk about the tambor and the menu bar. The menu bar which you see right here, should be very familiar to anyone who has used a Windows application previously. It provides access to general tools and commands. For example, you can create a new level. You can change project settings in the edit, edit, in the Window tools built and the help. So very basic things. Next we have the tab bar. So the level editor has tabs along the top with the same name as the current level that you are editing. You can see right here that this is the, if you hover over it, you can see the third person example map. You can Tab other editor windows next to this one alongside it. So you can see, for example, when we had the launchpad, we can simply drag it and put it alongside. Next, let's talk about the toolbar panel. This displays a group of commands, and this is the toolbar panel, the one right here. This displays a group of commands providing quick access to commonly used tools and operations, such as creating, playing, and having the various modes that we can see right here. Next we have the viewport panel. This is your window into the world's you will be creating in the Unreal Engine. This is also where you will be editing the various things. And as you saw when we added the platform, also adding them and checking how they look. Next we have the Details panel, which is on the bottom right right here. This is Detail panel contains the information utilities, and functions for the current selection in the viewport. So when I select the Launchpad, you'll see that I have all the options of the launchpad that we've created. If I select the third-person, you'll notice these details change and now we display the various things attached to the third person. It contains transform as it boxes for moving, rotating, and scaling the actor as we did previously, and displays all the other editable properties for the selected actors and provides quick access to additional editing functionalities depending on the type of actor that you've added into the viewport. So for example, if you choose the third-person character, you can see it has animation, it has meshes, but if you choose, for example, this stair, there you go. You can see we don't have these animations or these meshes. Sometimes the detail option change depending on what you've selected in the viewport. Next we have the World Outliner right here. And the World Outliner panel displays all the actors within the scene in a hierarchy tree. You can select and modify actors and directly from the wall World Outliner. So for example, if I select all ten and look around, there we go. So this is the wall ten. If I select the ground, you can see that I've selected the floor. And why is it in a hierarchy? Because for example, we are, we know which is the floor, the walls, and the various things are inside of the arena. All of them are in a hierarchy. And you can also see that in other places. For example, if we click on the launchpad, there we go. We can see that it's the World Outliner and we can also change it. When I said that we can modify the actor we can select right here to edit the blueprint and we open it up. The final thing I wanted to talk about is the content browser right here, which you can click down and up and you can also dock it. We'll talk about that later. This displays all the content assets contained in your project. This is where you go to create, import and ended all the contents. So if you remember from our first game that we created, we right-clicked in here and created the blueprint class. And then from here we also added it to our world. So this is where everything that should do, everything that you add, what almost everything is available. Now with that out of the way, I'm going to issue you a small challenge. Your challenge is to play around and explore. So first of all, explore all the elements we talked about briefly, then make a mess and don't worry about it, just play around, see what you can do. Say, See what you can find. You don't need to understand everything as we'll be delving deeper later on to every single element that we've seen. And this is just to get over your fears of Unreal. So I'm just going to do this challenge right now with you. I'm going to go back in here if you want, pause the video, do the challenge, but I just wanted to show what you can do in here. For example, let's say we can open the starter back. What is the starter content? What do we have in here? The shapes with all these shapes, let's add a shape. I don't know what's going on. The world outline that. Maybe I won't like it to be here. Maybe I want to move it, for example. Nice. We can try that out so it doesn't look very good. So I'm going to go ahead and put it back in its place. So there we go. Just play around, see what options you have. Just add things, make a mass tried to ruin the project. Don't worry about it. You can always just click out of it, create a new project, and lead the one that you've messed up. So go ahead, pause the video right now. Go explore and I'll see you in the next video. 7. Editing Modes In Unreal: Welcome back my fellow game developers to a brand new video. And this one we will be learning about the various modes that we have and about lace actors. So as you can see, we've changed things up and our level, we've added some kind of scary queue. And when we jump off the rails, there we go. You can see we are dead. We disappear. So let's not waste any more time and let's see how we can kill our first victim than the Unreal Engine case. So in this video, we are going to be talking about the various modes that we have and then focusing on one of them. First of all, modes can change the primary behavior of the level editor for a specific task. And we have all the modes displayed up here. We have six of them actually. We'll go over all of them quickly and then focus on the main one. So first of all, we have the select right here. So the select mode is a specialized tool for speeding up and simplifying environment creation and the Unreal Engine. Once the select mode is selected, you can just choose one of the objects and just move them around and edit the world easier. Next we have the landscape, which allows us to add the landscape terrain. We'll not be talking about landscape and scores, but as you can see, this creates a huge canvas for us to work in and added. Next we have the foliage. So the foliage and allows us to paint grass and land and pebbles and rocks and all of these various things without adding them individually. Once you create a landscape. And these go hand in hand, by the way, once you create a huge landscape and you have mountains on all of that good stuff. You want to add, for example, rocks to it. You don't want to add every single rock individually and then change it around. You can simply use foliage to just have a randomized positioning of all of these rocks. Next we have the mesh paint, which allows us to paint and add textures to Static Mesh actors. And then we have the fracture editing. This allows us to create the structural objects in our environment. And finally, we have the brush paint, which allows us to paint brushes. We'll talk about the brushes in just a bit later on. Delve deeper into them. But for now, let's start off by removing everything that we have and the subtle, and going back to the Select mode, first we go back to the Select mode and then we are going to delete everything except the floor inside of the arena. Then we are going to select everything inside of the walkway and we're going to delete it. And we're going to delete this weird the cube mash actor. There we go. Now we have this platform all empty for us. I'm going to select it. The details I'm going to scroll down. And then I'm going to set the scale to be one by one. This will make our canvas a bit bigger. I'm also going to delete this, whatever and wherever. Then I'm going to move, move my character just a little bit to the back. Now when we start the game, there we go. We have this big, huge empty canvas, all for us. Excellent. Let's take a deeper dive into the Select mode because it will be our main focus. First of all, we're going to create and add some place actors. So if you look up here, you can see that we have this Create button. Once we click it, we are allowed to add and place actors in our world. But before I start adding these actors, I just wanted to maybe just alleviate the fear of what I'm saying. By this time you are probably thinking, what is an actor, what is an asset? What is he talking about? First of all, an actor. An actor is any object that can be placed into a level. So if this floor is an actor and this player start as an actor. This third person characters and actor. All of these are actors, whatever can be placed into the world is an actor. Next we have an acid. An acid is any piece of content within the Unreal Engine project. All actors are assets. If we go back in here, for example, if you remember, just show you what the difference isn't just a little bit. And finally we have for bond. And the bond is the base class of all actors that can be controlled by a player or an a I. Whenever we have an actor that can be controlled by the player, it's called a pump. Back in here. We're going to click on the Create. We can add any shape or cube or whatever. But we can also click on the place actors panel. Once they are clicked, we have this new window in front of us. We're going to talk about the various things. First of all, we have the search. We use the search to find any actor by name. So for example, I want the cube, I searched for the cube. There we go. Under it we have the filters. You can see right here, these tabs are used to quickly switch between categories. So for example, I1 geometry, I want shaped I1 flights. I can find them using the filters. And finally, we have the Asset view right here. This allows us to view all the aspart assets that correspond to the search or the filters you've selected assets, what's the difference between an asset and an active? While the point light in here is an acid. But once it's dragged into the world and now it becomes an act, that's the difference. Everything that you can add, for example, everything in the Content Browser is always an asset until you add it to the world, it becomes an actor. So let's talk about the various filters that we have. First of all, we have the recently placed. These are the history of up to 20 types of actors you've placed in your level. These allow for quick access. So for example, if I add the cube and then go back to the recent, There we go. We have the cube and the point-like. Next we have the basics such as the empty actor and the empty character, the empty palm, the players thoughts, all very basic things. We have the lights which allows us to add different types of lights. You can place them in your world. For example, we have also the spotlight right here. We increase the intensity. You can see a white spot has been created due to the light. We have the shapes, the sphere, the cylinder, the column, the plane, everything that you need, we have the cinematic. So these are the cinematic cameras and related actors that you can use to simulate real-world camera movement. These are mostly used for cutscenes in your game. Next, we have the visual effects volumes that visually create an effect. So part of your level in some ways such as the fall of post-processing and various reflection. So for example, we already have post-processing and I'm going to go too deep into this right now. We will talk about them as we go through. Next, we have the geometry. So if you remember, I talked about painting brushes, and this is a brush, this geometry is a bit different than the static mesh and that it can change shapes and sizes it very quickly and easily. We'll talk about meshes in the upcoming section. Next we have the volume. So the volumes are 3D areas of space and each has a certain effect and a certain purpose. So for example, we have a kill zone that kills. We have a blocking volume and all your volume. We have these different types and each one of them has a certain purpose. We'll talk about them as we go on. We'll use a lot of them. Next we have the all classes in here, and these are all the classes that we have despite and without any filters. And also we have some classes, or some actors or some assets that are here that are not in any specific filter because they are not categorized in any way. With all of that information, I'm going to issue a challenge. Your challenge is going to be to add things to the boring world that we have. First of all, at one asset from every place actor category, you don't need to know how it works. You don't need to test it. Just try it out, see what each of these can provide. Next, add a kill zone volume and make it a lot bigger than the platform. So add a kill zone volume under our world so that when the player jumps, jump from the platform and see what happens once you touch the zone. And finally, remember to have fun and play around with this. And later on we'll be delving deeper. I know I keep saying that, saying that, but trust me, we will be delving deeper. Pause the video right now, and go do the challenge. Okay, So how did you get on with that? I'm going to go into the volumes. I'm going to add it goes on volume. And if you didn't know how to make it bigger, I hope you tried to figure it out. You can either scale it up or if you scroll down, let me make this bigger. You can see that we have the brush settings and I'm going to increase it the size and increase that size and that direction. I mean, and I'll just move it up to this position. Is it under the platform? Nope, it's not. So I'm going to move it a bit down. There we go. Maybe make it a bit bigger even than that, just in case we don't jump over it. Let me see. Okay, Seems good. Now I'm going to play my game and I'm just going to jump off the sides. And once I hit the kill zone volume, I suddenly disappeared. Why is that? Well, because it kills you. So I hope you enjoyed this video and I'll see you in the next one. 8. Viewport Basics: Welcome back, My favorite game developers. In this video, we will be talking about the viewport basics. We'll learn what's the difference between perspective and orthographic will learn about the various new modes and we'll also see how we can enhance our level editing experience. So let's not waste any more time and let's get started. Okay, So in this video we are going to learn the basic Scott basic concepts and features of the viewport and the Unreal Engine. The viewports or your window into the worlds you create an unreal. They can be navigated just as you would in a game, or can be used for more schematic designs. The sense of the architectural blueprint. The unreal viewport contains a variety of tools and visualizers to help you get exactly what you need out of your data. First of all, the viewport types. And by the way, the viewport is the square where we see everything. The viewport types, there are two main view-port types and the Unreal Editor, the perspective and the orthographic. The perspective which we are in right now is a 3D view window of your world. The orthographic is a front side top and 2D view of your world. You can change these views by looking at, appear at the top left corner. Select perspective and instead of perspective, click on the top. Once you're in the top, you'll see that you have this kind of architecture looking world that you have. And you can start moving things around in here. And I just think them from the top, which is very helpful whenever you want to make sure that everything is perfectly aligned in your world. We can select all of these, for example, and just move them to be exactly in the center of our universe. We can also look at them from the left, for example, the recall, we can see our little character from the left, from the bottom, from the back, and all of these good stuff. We can go back to the perspective also, the viewport layout. By default you see a single perspective review what, and also by default you can select to see all four of these. So you can see right here, I sorry, I did that too fast. At the top right, you have this Foursquare's. Once you click them, you can go through these views and you can see that they are from the top, which is 0, from the bottom, from the top, from the front and from the site. And you can exit out of them by simply clicking on the maximize on one of the windows that you need. Next we have the view moles. So in the Unreal Editor viewport, we have a large number of visualization wall to help you see the type of data being processed in your scene, as well as diagnose any error that might be coming or happening or whatever. The more common view modes have their own hotkeys and we're going to just talk about the main ones. So if you go at the top-right, top-left, I mean, next to the perspective you can see that we have this lift once you click on it and you can see that we have other options. Sort the list shows the final result of your scene once all the materials and light things have been applied. So if I let's add a light in here, by the way, I removed everything. So I move up and I increase. There we go. So now we have a light right here. So this is in the Lit mode. We can see everything. If I go to the unlit mo mode, this removes all the lighting from the scene showing your base color only. So if I go back to lift, you'll notice that the colors and all of these things change because the light that comes from the sun, some work there we go, That's the sun. The light comes down and it hits this platform and also reflects into the atmosphere. Believe it or not, all of this is true. You'll see when we create our own atmospheres and this lights up things in the unlit view, the remorse, all of the lights. Next we have the wireframe, which is a very scary and more than my opinion, this is the universe. There we go. And this is similar to what we saw in the 2D view. It shows all the polygons, edges, and the scene. So not, not much I can add to them. Finally, we have the detailed lighting, and this is useful for isolating whether your base color affects the color of other objects around. For example, when I add a cube until the swirled, the cube is white and it reflects actually on the ground. Let me show you in the lift that regard, this is white and even though it doesn't show, if you zoom in, you can see this faint, faint little shadow right here. I don't know if it's not noticeable on the screen. If we go to the detailed lighting, this one is helpful for checking these things. It's not actually the reflection. This case, it doesn't really matter because it's not changing the color. And if, for example this Q was bright red or something, it will change the color of the platform under it. We'll see what that looks like when we create our cyberspace again. Next, let's go back to the left. Next we have the game of view. If I click on the G key. Who can see that all the various widgets that we were using disappear. And this supposedly looks the way our game is going to look once we play it. So when we hit the Plachy, you can see we no longer see light or anything of that widget type, or we don't see any way of changing the position of the cubes or all of that goes out. And this is what the G key does. It removes all of these various widgets. Next we have the immersive mode. So it took me a bit of time for some reason to find that even though that was the first place I looked them. So we can go into immersive mode. Well, how cool is that? This allows you maximize and have the, have your viewport to the full extent. That way you have. This is literally what I read on the documentations of the unreal. This gives you a truly immersive editing experience. So if you're ever editing a level and you don't want to see anything around you. You're already placed all of your assets. You can go into immersive mode and start playing around and have a fully immersive editing experience with all of that information. I'm going to issue you a challenge. Your challenge is going to be to see things from a different perspective. Try all the other options that we have in the view mode. Yours, the unreal recommendation and the helper windows to better understand what each option represents. Unit unreal documentation you can go and just check. And the unrealistic meditation also use the orthographic perspective to move objects around and see how that feels. And finally play around and get comfortable with the various controls. And by switching around using the g, the game mode, using the GI button and the immersive mode. So pause the video right now and go do the challenge. Okay, welcome back. So I wanted to show you what assignment by Unity's documentation. So let's go into Google or every hour all the time. So we write in here and lift on redox. And we get the options for the shading models and the view modes. As you can see, this is what we need. It says the oxygen thought Unreal Engine.com. So once we click it, we go into the view moles and you can see that we have a detailed description of the lip and lift wireframe details, lighting, lighting only, live complexity, shader complexity, stationary light governor or whatever. So you can go as deep as you want into these. I just gave you a quick overview of what all of these Thus do. Before I leave, I also wanted to show you what I mean by the helper window. So if you click on the unlit and you hover over the wireframe, you can see that you have render the scene in brush wireframe. If you hold down Control Alt, you open up this bit of a display that gives you a bit more the negation of what this does. And you can open documentation from here. Then we go, this is the hopper window. I hope you enjoyed this video and I'll see you in the next one where we will be talking about navigation. See you there. 9. Viewport Controls Navigation Controls: Welcome back, My favorite game developers. In this video, we'll be learning how to move around our world much better. I know to this point we've been doing a couple of things, but I haven't taught you how to move around and I feel guilty about it, but I think it's pretty intuitive for anyone who's ever done anything on a computer or use any program. So let's not waste any more time and let's get started. In this video, we are going to learn about the various control schemes for the editors viewport. There are various control to enable the navigation of the scene, to select, manipulate actors and change and display options and all of them. Currently. If you've been following the videos, I might not have thought you how we are moving around, but I think you probably figured that out by using the mouse button and moving around with the WASD keys. But now let's delve deeper and understand better how everything is working. Before we start, I'm going to select this box in here and simply delete it. We also had, I believe, some kind of postprocessing. So delete everything. The screen is freer. So before we start, I wanted to talk about a couple of key abbreviation. So first of all, we have the lnb, which is left mouse button, the RnB, which is right mouse button, the m, m, which is middle mouse button, and the fovea, which is field of view. Let's go back into our world and let's start working from here. First of all, we can use the standard way of moving through the world. So how does that look? First of all, remove your hand from keyboard and we will simply be using the mouse. So hold down the left mouse button and start dragging it around. You can see that you can look around and if you drag forward and backwards, you can move the camera forwards and backwards and rotate left and right. Then we have the holding down right mouse button and dragging. This allows us to rotate the viewport camera so you can see we are rotating while when we will when we were holding down the left mouse button, we could not it around. It's dependent on the angle that we set using the right mouse button. And then finally we have both holding down both the left mouse button and row, right mouse button and then moving them around. This moves us up and down. Now, this is in the perspective world. If we go into, let's say, to this orthographic world, if you hold down the left mouse button, you'll notice that we create a marquee selection box, which allows us to select multiple objects at the same time. If we hold down the right mouse button and drag around, we select the world and drag it around. And finally, if we hold down both buttons or the left mouse button and the right mouse button and drag them around. Then we can zoom in and zoom out. So back to perspective. The last thing I wanted to talk about is the F key. So for example, let's say we are somewhere very far away in here. And you'll notice while we are speeding through our world, if you use the mouse wheel, you can actually slow down and speed up the movement of your camera and the viewport. So let's talk about the F key. So let's say I'm somewhere here and I select this cube and I want to go back to it. I can simply press the F key. Now, I am focused on the cube. I didn't only zoom in, actually focused if I look away and hit the F key, There you go. You can see that we are focused on, and this will come into play in just a bit. After the standard movements using only the mouse. We can also have the WASD controls, which feels more natural to those who have played video games or shooting games in particular. Very basic. If you hold down the right mouse button, everything here is, while holding down the right mouse button, you click w, you go forward as backwards. A, the left. To the right. You can move the camera up. Q. You can move the camera down. And if you had the Z key, you'll notice that we increase the field of view and zoom out. Or notice we didn't simply zoom out. We are creating a different app for V. And once we release the right mouse button, we go back to normal. And we can also do this the other way using the C key. Notice this is not a regular Zoom. This is a F or V change field of view change, which is very different, so designed. And the C key, there we go. So WAS D, E, and the Z and the C. Finally, we have the Maya style ban, which is Maya as a wave for designers in programs such as Autodesk and AutoCad, where they have a lot of 3D modeling. This is very helpful. For example, if we select anything, we don't need to select anything. Simply hold down the Alt key and stop and using the leftmost button, start dragging around. You'll notice that nothing happens. But if we hit the cube, hit the F key, hit the ALT, and start moving around using the left mouse button. You'll notice that we can rotate around a specific object. And this is very helpful if you are trying to model an object. For example, the third person hit the F key. Now hold down Alt and hold down alt and then start panning around it. And there we go. We can see that we can model, at least see this object from any side that we want from any angle. We can also do this using the right mouse button. So hold down Alt, right mouse button. And you can see that we can zoom out and zoom in. So there we go. We can use these in order to properly modeled our 3D models. Finally, we also have the Alt and holding down the middle mouse button and then moving around. And this strikes the camera left, up, right, down in the direction of the mouse movement. So there we go. These are basically all the movements that we can have in the viewport. Now that you have an in-depth look into it, I'm going to issue you a challenge. And that challenge is to just simply fly around. Move around our world using only your mouse. So use the left mouse button, right mouse button, by holding both of them down plus dragging around. Also use the keyboard with the mouse to move. So WA as the Q, E, and C, we're using while holding down the right mouse button and obviously dragging. And use the F key to focus on objects and use the Mayan key with an alt plus the right, left and middle mouse buttons plus dragging. And also I want you to go not only into the perspective world, also go to the 2D world where you can also use all of these. You can also use the FG and the 2D world, but obviously not the Maya. I don't think so at least anyway, this is for you to test out, go ahead and fly around, make sure that you are comfortable with all of these navigations because as we move on and move through our course, they will be much needed. The video right now and go to the challenge. I'll see you in the next one. 10. View Controls Selection Controls: Welcome back, my fellow game developers. In this video, we make our world much more incredible because we'll be learning the selection controls, which will allow us to build a very weird and scary world. Look at that. How cool is that? Now, before we use to fill that, this is a very bland level. Now we have this crazy world, so let's not waste any more time and let us get stopped. All k's. So you can select actors in the viewport individually by simply clicking on one of them or in groups using a selection in to the viewport. What am I talking about? Let's get started. First of all, the simple selection. That's pretty obvious. We use select one. If you have a volume, select the edge. There you go. You easily selected. But what if you want to select multiple objects? I've probably done this without telling you what I did because I'm like that you select one of the girls on hold down control and select the floor. Keep holding down the control. You'll select the cube. And then if you remove from the control, hold it back down. There we go. You can see we select again the third-person character, so we can select multiple objects. But what we also can do if we go into the 2D world or before we do that, let me just add a couple of objects here. So I'm going to add maybe a cube down. We'll just put it a bit to the sides. Then another empty sphere Somewhere around there. Okay, that's too high. Go down like that, like that. Okay, back in the 2D orthographic top view. There we go. We can see that we have the cube right here. We have a cube here, and we have this little sphere right here. What we can do in the selection, we can actually drag around and select multiple objects. So you can see that we've selected the light, the cube, the network player starts on an old and all of that except for this little sphere that is right here, because during our selection it did not fit. What can we do in that case, while we can select all of these objects, then we can hold down shift and select the sphere right here, which gives us access to the sphere. What we also can do is hold down the Control and then select one of these objects. And you can see that we deselect them. And while we have all of them selected, we can actually move all of them around. I'm going to reset using the Control Z. And we can also, for example, hold down shift and click on one of these and hold down control, remove them. There we go. So with that knowledge out of the way, let's go back to the perspective and let's talk about the transform controls that we've been seeing so far. You've seen those little three ways, three colored arrows from any object that we select. One, Let's delve deeper into the, into those and understand what all of them mean. We have three Transform controls. We have the move, we have the rotate, and we have the scale. And you can see the W, E, R, or the hotkeys and order that allow us to access those various options. Now let's talk about the three colors. Why do we have three colors? While because first of all, we have the x-axis, the y-axis, and the z-axis, and each of them have a color and the narrowed to indicate how we are moving. So let's go back into unreal and look at how all of these works. First of all, I'm selected this cube right here. If I press the w, everything stays the same. If a price, the E key, there we go. You can see I go into the rotate mode. And if I press the R key, there we go. You can see that I go into the scaling mode where I can scale these objects. Now, you can also change between those if you click up here, but we'll talk about more on this when we go to the toolbar section of the viewport. This controls in late two, moving, rotating and scaling the actors and the viewport using the transform tools. First of all, we have this moving. If we hold down the left mouse button, there we go. We can move in the x direction, y direction, and z direction. If we're in the rotating in lotus, we can rotate around the y, we can rotate around the x-axis and we can rotate around the z-axis. And finally, when we're scaling, it's the same exact thing. Simply hold down the left mouse key and you can go ahead and drag however things or however you want those things to be dragged around. Now there is one more thing that we can talk about, which is this little bit right here. When we are rotating, you'll notice that we're rotating around the center of the object. But what if I want to rotate around this point in the world? Well, if you go back to the Transform, Select and translate, you can hold down the middle mouse button and then you can move around your pivot. So now if I set the pivot up here, for example. The pivot, drag it into its place. This is very hard, but I'll show you this later on, a way that we can actually drag this properly. So there we go. Now the perfect is in here. So now if I try to wrote it, you'll notice that we rotate around that pivot and we also scale around that pivot. You'll notice one side is getting bigger than the other because we are not scaling from the middle and all the movement usually stays the same, but obviously it also changes from here. Once you want to reset the pivot, simply unclick on the object, click again and it will be in the middle. The last thing. And then one of my favorite is the way we can duplicate our actors in the world. So if we select one axis, hold down Alt and start moving it around. You can see that we can duplicate this object and we can duplicate that again and duplicate it again. And how cool is that? Not only does it work in the movement, it also works in the rotating, so hold down the Alt key and drag around. There we go. You can see that we create a very nice shape very easily by simply duplicating our objects that regard. So we've created some kind of weird logo here. Let's delete one of these sides. Okay, great. Now the last thing I wanted to talk about is the vertices. So I'm going to go ahead and add two shapes in here. I'm going to add this sphere, move it up, move it sideways 90 degrees. And let's go ahead and duplicate this sphere. There we go. Now we have these two spheres. Now let's say we want to snap them and place this right here is working properly. But let's say we want to know not like that, maybe 50. So there we go. We can see that we want to snap them in place, but they are not properly, properly snapping. So what we can do is we can hold down the V key. There we go. And you can see that we have all of these little blue dots, and I'm not sure if they are properly displayed. Let me move this up a bit. Maybe this will get better. Select one of them, hold down the V key. And you can see that we have all of these selections which are very helpful. You can see that we can snap into one of these vertices right here. Now, this is also helpful if you want to move around your pivot. So if you move your pivot, for example, to move your pivot right here, there we go. You can see it here. And then when we hold down the V key, there we go. We can snap at much, much better, which is very, very cool. Addition to our movement, will not be using this too much, but I just wanted you to know just in case you come to it somehow. Now, the last thing we need to talk about is the grid snapping solve. You've noticed that I changed this grid snap right here while we can change it to one and the movement will be much more subtle. So you can see, there we go. We can simply move at one, or we can move it 500. So it will snap, boom 500 meters at a time or centimeters. We can set it down, which is the regular one, or we can simply just the same way. So now we can simply drag it around and we'll talk about the other two that we have in here later on and to world toolbar. But if you are curious, this is for the rotating snapping and this is for the scale snapping. So with that out of the way, now that we know how to move and rotate and scale our objects, it's time for a bit of a challenge. Your challenge is going to be to create a real world. Use the tools you've learned to rotate, scale, and change places of the actors in your world. Use different sizes and rotations. Experiment with cylinders, spheres and cubes and anything else that you find, and that's all that you need to do. Solve. Pause the video right now, go create the level and I'll show you my level once. I'm done. Hey, welcome back. So I hope you enjoyed this as much as i now before we, before I showcase my level to you. First of all, there is one thing that I forgot to mention and that is the movement on both axes. You'll notice that we can move like this or like this, but we can also select in-between them and move them on a specific blame. You can see that I can select two of these and I can move in this plane. Or for example, by looking at from this way I can move this plane and the reversal. This is the thing that I forgot to mention, not a big deal, but I think you should know how that works. I hope you enjoyed this video and let me showcase what level looks like. So hit Play. There we go. You can see that I've created all of these objects. And personally I think this looks really, really nice because it feels as if you are in a very huge rural and you're just a small guy on a platform. But before that, our world was very dull and very like there was nothing. But now look at all these objects. You feel that there is a world to explore. And that is basically what game development and game design comes to. It's all about creating the illusion of a huge world around you. I've probably could have added a bit more things later on, we will be adding different colors to all of these materials to not make them look that land. So I hope you enjoyed this video and I'll see you in the next one. 11. Viewport Controls Toolbar: Welcome back, my fellow game developers. In this video, as you can see, we've built a hot, which is a very cool hot and we've surrounded by something that I will not tell you until you do it as your own on the challenge. So when we play the game, you'll notice that we have or how much we also have this FBS that is on the top right corner. So in this video we will learn how every thing in here on the toolbar works. So let's not waste any more time and let's get started. Okay, so now let's talk about the toolbar that we have right here on the viewport. Some of these options you already know what they do, some don't. So let's delve into them. First of all, we have this viewport options right here, which is accessed by clicking these three little dots. And you can see that we have a ton of options. So let's just talk about the main things. First of all, we have the real-time which toggles the real-time rendering of the viewport, which allows us to make sure that the shadows, for example, change all the time with the movement of the various actors in our world. Next, we have the short FPS, which shows the frames per second that we're working with. A few are familiar with any type of gaining, you know, how all this works. Next we have the shore stats, which also shows different kinds of stats. We, let's turn on the show FPS. There we go. You can see it right here, shows stats, display statistics in the viewport that the band on our lot of different things which are right here. For now, there's nothing in our level to actually show starts about, so we're just going to go ahead and turn them off. Next we have the very stats that we can turn on and off. Next we have the four view plane. So let me show you what that does. Let's say, for example, we are standing here at 0, it will be infinite. But as I increase this slowly, you can see that objects are starting to appear. So what's happening in here is for the sake of saving a bit of memory when you're working in huge environments, this is good to use to, in order to not see the things that are too far at, at a very far distance. So let's say I'm here, for example. I'm editing Garan all this cube for example. And I don't care what the cone or the cube on the other side of the map is. I can simply take this now, work with the skew and then put this back up. If I want to remember that at 0, it's infinite. Next we have cinematic controls. This ability to prove, preview our level. If you have any kind of camera or cinema, the world, this allows us for camera shake. You already know the game view and the immersive view mode. We have bookmarks. So for example, we can bookmark camera locations and rotations. And we can also do this for heart of other actors and our world. We can place a camera right here, which is very helpful if you are creating some kind of maybe a cutscene or something. We have a high resolution screenshot which does what it says. And we can also set the layout of our various worlds in here. Let's continue on. What else do we have? We have the view mode, which we already know, the perspective and the two the views. Sorry, I meant this is the view mode and we can choose between perspective and orthographic. We have the view modes right here. We have the flags, the show flags we've found under the view port show menu. They are the means by which you can show and hide many of the items that are viewed in the viewport. Let's talk about a couple of these anti-aliasing. If you've ever played the game, you probably knows, know what that is. It's kind of like helping the edges. So if I click on that, you'll notice that the edges are a bit more square and a bit not as sharp as we'd like them to be. This saves up by a lot of memory. And we have the atmosphere. We can turn off the atmosphere. If I click that, nothing really changes, but it's a very subtle change in my mouth. Notice we have the BSB, which has the geometry given this one and mine, we have the collision, so we can show collisions. There we go, and we can also hide them. That's better. We have the details so because we can show them the details, what details they are, materials that are projected onto meshes. We might see more of them when we talk about materials, we have the fork. So if I, for example, turn off the fog, you can see at the distance there is no more fog. Let's try this on yet. It's a very faint illusion that we've added, but it's not that noticeable. So all of these things are in as noticeable if you turn them on and off, but they do affect what you can see and what you cannot see in your level. Next, we have the four options to select, select, move, rotate, and scale. We have the coordinate system right next to it. So this determines if we are moving in the world coordinates or in a relative coordinate system. What do I mean by that? Currently, if I move this object, for example, they will go left to right. I move it in our world and if I rotate it, I rotate it in a relative scale or actually a world scale. But what if, for example, you can see that even though I rotate it, the movement is still the same. If I change this, you can see that now I can move this relative, not in the world coordinate, but in a relative coordinate system. And this is also reflected right here on the transform of that queue. You can see if I, for example, rotate this in this direction and then set the coordinates to be relative. Now I can move this cube relative to its rotation. Next we have the surface snapping. So if I turn on surface snapping and I create a shape such as the cube and I drag it. You can see that it snaps to the surface. Now you might think, well that's not that impressive, we already seen that, but this also does, does it can rotate to the surface normal and we can also create an offset. So I'm going to set an offset of 100 and I'm going to create a shape which will be a cylinder. So you can see that it's floating above the ground because of the offset. And if I want to drag it over this, you can see that it is snapping and rotating based on the surface that we are trying to add the sphere. So this is also very helpful. Let me turn this off. Next we have the grid snapping. We've talked about this, we can set it to whatever grid that we want. So for example, for 100 the snaps every 100, little a unreal units. Let's call them. Next, we have the snapping for rotation. So for example, right now, you'll notice that we snap at a ten degrees or 20304050. We can change that to be, I don't know, maybe 60. So there we go. Now we snap at a 60 degree rate how holes that we can also turn off the snapping and have this smooth rotation of our cubes and objects and actors and the world. We also can do this to the scaling. So for example, I can set this scaling to be ten or not. That's going to be overkill. The one. There we go. We snap one by one as we move. Great. So let me take this back down because we don't want to have that high. Next we have the camera speed, so we can speed up the movement using our mouse wheel, but we have an extra option to move this up to eight. There we go. You can see how fast that is. And we have the cameras speed scalar, which will, as you can see, makes movement extremely fast. And this is the atmospheric that I was talking about. And you probably didn't believe me, but there we go, you can see the effects. The sky sphere blueprint that we've created and this is the world and that's the Sun. Let's zoom back in. That good habit crazier, right? There we go. Let's put it to four. And finally we have this square right here, which allows us to select from one of the orthographic perspectives, or orthographic views, or the perspective that we have in here. So that's everything that we have in the toolbar. Finally, let's issue a small challenge to build a hut. Built a simple health using all of the scaling, rotation and grid snapping you need. Put inside your crazy level, put it inside your crazy level. Use only static meshes to build. It's all the cubes and spheres and whatever you want surrounded with geometry, and then hide the geometry using the flags so we can see the heart. So it's pretty much something like this. No need to make it too complicated, just surrounded and try to hide the geometry, just like I hinted that previously. So pause the video right now and go do the challenge case. So let's first of all turn of the show stats because I can see them. This is my hut, but this helped hides a very dark secret because when we play the game, you'll notice that it's surrounded by these massive, massive geometry shapes that not allow us to come in. But when we are editing we can see them. Why is that? Well, because if we click on the Show, which allows us to change the flags, we can turn on and off the showing of our Vsb. Keep in mind, first of all, this does not delete the items. This always keep them, keeps them in our world. You can verify this by simply clicking on it, looking into worldview. And if we turn on, turn off BSP, we can still see it in the World Outliner, and we can still click on it and move it. So the flags only hide within the viewport and only high that they do not destroy it. So why do I keep seeing the shore? I don't know why for some reason. Anyways, I hope you enjoyed this video. And before we leave, let's go ahead and delete these geometries because they take up a lot of space in the memory process and you'll know why later on as we learn from them. So I hope you enjoyed this video. I hope you are doing the challenges every single time as much as you can, even if they're hard, even if they're easy. So it's always good to go out and do things yourself to practice. See you in the next video. 12. Content Browser: Welcome back, My favorite game developers. In this video, we will be learning everything there is to know about the content browser. So there will be no more ambiguity. You will know what each and every single button does and why it's there. Not only that, you also have the chance to use your creativity and adding these materials, making the weird shapes and you're weird world, beard world, much more pronounced. So let's not waste any more time and let's get started. Okay, so now it's time to talk about the content browser. The content browser, which you can see right here is the primary area of the Unreal editor for creating and porting, organizing, viewing, modifying contents and the assets within your Unreal Editor. It's also useful for operations on assets such as renaming. You can rename any acid you want, moving, copying and viewing the reference. My default, it's always down here on the bottom left. And it always hide itself whenever you are not looking. But you can also dock it. So you can dock it in the layout if you don't like it there, just simply undock it by clicking on the right here, the little x bottom. So let's talk about this view. I personally, I like for it to go away and high because we sell them, use it. So I'm just going to keep it like this undocked if you want, you can block it, be my guest. Let's talk about the various or the UI, the user interface that we see in here. First of all, we have the navigation bar. We have the source view, we have the collections panel, which we see right here. We have the asset management area, which is right here where you can see the search bar and this weird Antenna thing. Then we have the view window. So let's talk about each of these one-by-one. First of all, we have the navigation bar which allows us to add, first of all, the ad right here, which allows us to create a new content for our world, like the blueprints, which we'll be learning in the upcoming lessons. Next we have the import which allows us to add files from our computer to the unreal world. We can also alternatively drag items into here or assets into this asset view right here. Or we can also add them manually from outside Bye immediately adding them from directory to directory. We will be seeing that later on. Next we have the same wall which saves everything in the window that has changed. We have the history back and forward, which this kind of functions like the web Bryce web browser when you're scrolling through page after page, these button allows you to navigate to the recent files. So for example, let's say I'm on content. And then I go to meshes here. And then if I click back, I go back to content or if I go into character texture, wherever I can then go back one-by-one as I went through. Next, we have the breadcrumb, which is the breadcrumb. Let me show you when I open several ones right here, this section shows you the current file path, which allows you to quickly navigate to the parent folder. So you can see that I entered content mannequin, character texture item can go back to mannequin or I can open from mannequin here with this little arrow, the animation and the character. Next, let's talk about the source panel that we have right here on the left. This source panel is located to the left. Obviously it contains a list of all the folders and collections. We'll talk about that within your game project. So what we have in here is we have the search bar. Obviously, this field allows you to narrow down the list of available folders by entering some kind of criteria. And then we have the acid tree that we see, which is a hierarchical list showing all the folders currently in your game project. And each folder is expandable and collapsible with a small triangle or wherever you want to call it to the left of it, which allows you to see everything in a hierarchy. Next we have the assets view. You can see right here. So when I open up the textures, these are the assets that I have. And this is the primary region of the content browser UI. This region provides a grid or list of all the available in assets within a folder. After all the filters and searches have been applied, we will see what I mean by that later on and I'll tell you also what I mean by having either a grid or a list. First of all, we have the viewing area. This shows array of assets, including the selected folder, and it will be adjusted based on the filters. We have also the asset account. You can see it right here. It tells us that we have six items, which we do. And if we select a couple of these items, for example, you will see that we have three selected. And finally, we have the setting up here. Even though this technically belongs to the navigation bar I wanted to talk about here because it's more related to the asset view. You can see right here, we can decide what content we can see, what content we can't see and which way we see the content. So for example, right now all the assets and RNA tile view or I can select a list of view. So now I have this type of viewing or I can select a column in a few here, a little bit of the background. That's my fans. Fans as an fans that like me, friends of my laptop because I think all of these stuff in here takes its toll on the PC. Let's come back into the continent. The browser and setback is tutorials. Now we have the asymptote management area, which is here. This provides a wide range of functionalities for assets, including the searching and filtering and saving. Also, you can see this little Save right here. So first of all, let's talk about the filter bottom. This opens up the filter section when I click on it, where you can choose what filters you would like to apply to our assets. For example, let's say I'm in the content right here. And all that I need to see are the materials. I click on Materials. I have this little bar added here, and then only the materials are shown inside of the content. If I go to geometry, you can see that I can only see the cube material. But if I uncheck this one, you'll see that I have multiple folders with multiple object types inside of them. But once the material is filter is applied, there you go. You can see, we can only see the material, but we can also apply, for example, materials and textures. So you can apply multiple materials on top of each other. Next, we have the search bar. This field allows you to narrow down the list of available assets by entering some kind of criteria. And each character that you enter will start immediately searching. If, for example, if I search for something that starts with a T, We have or not starts with actually has it. Maybe I want a table. There we go. We can see that we get the material for the table, the actual table, the texture for the table. And let's say I'm just interested in the texture. I just add the filter and the combination of them as applied here. And we have this little Save right here, little Save Current Selection just in case there's something. Now let's talk about the collections panel. You can see it right here and it's currently empty. The collection panel provides a quick access list of all the collections created on your workstation. We can obviously expand and collapse with the little triangle. We can add a list right here so we can create a local collection and we can add items to that collection. So why do we need a collection? Anyways, let's, you might be thinking why not create a folder right here? Well, the problem is, let's say we have a table. We'd like to have this table. We create a folder and the content, the browser, hey, New Folder. Tables, okay, we enter into the tables and we add all of our tables in this folder. But let's say we have red tables and Green Tables and blue table and all of that good stuff. What if we want to add everything blue together? Do we also come to the content right here and create another folder for the blue stuff. Blue stuff. Just call it blue stuff. Now we also want to have a table here and that is blue. And then put a table here. Sorry, a table inside of the blue stuff. Well, you can't do that, but this starts to take more memory because everything in here has a certain size if disk size, and the more you add, the more you have. But this is where the collection can help us. For example, let's create a collection of things in level one. Let's say I can go right here and just search for table. Let's say we have a table in level one. There we go. I add to the collection. I also want to add the, let us say I don't know. Let's search for something blue and the content. So I also want to add the slant. Now, I can see that in the collection, I have this blue lamp or whatever and a table. And keep in mind that whenever you add something to a collection, it isn't copied and pasted it only reference. So this is a reference to the actual table inside of the component, the browser. I mean the content folder that is right here. So this is the power of collections and allows us for quick navigations, and it has references to the object so they don't take up any extra space. So I hope you enjoyed. I hope all of this information wasn't too mind-boggling. Now it's time for a bit of a challenge. Your challenge is to make grids or something. So click on the Content folder and the source of you, filter out all the materials available. Add the materials to your cube in the crazy world by dragging them onto the objects and play around and see what else you can find if you maybe want to create some kind of collection things. So pause the video right now and go do the challenge. Okay, welcome back. How did you get on with that? So I'm going to click on the Content, click on material. And just like I told you, I'm simply going to start dragging these onto our levels. So jagged is here, and now it's time to dock it because we were using it. So there we go. We have everything. Let's add this q material, this here. And let's add this to the floor because our four seems very boring. Let me just expand this. Or what else do we have? Let's add some concrete. Add some grass at Mars at some metal at, oh, this looks nice for before. I want the floor to be completely white. Maybe a different kind of white. Anyways, we'll add gold will add metal, copper will add, a rock, will add not V rock a rock. Let's add this one also. This one is one of my favorites. Let's see what else do we have this one, this one, and we're starting to run out of time. So I hope you enjoyed the video. I'm going to click on this and I'll see you in the next one if you want to take your time and add it to all the cubes and all the shapes. So I'll see you in the next. 13. Details Panel: Welcome back, My favorite game developers. In this video, we are going to be learning about the details panel above parent and child relationships and about simulating physics and how objects move in the world. Nothing really strange happened except that we have able to physics. So I like to in this video not only talk about the details panel, also things around the Details panel, things a bit maybe niche and Unreal. So it's not always focused on a single thing in the world. Thank you so much for watching so far. This is, I don't know which number of videos you've been watching, how many hours? It has been a thank you. I appreciate you. If you ever have the time, leave me a review. It helps me out a lot. If you don't feel like I deserve a five-star review, contact me beforehand, let me know what did you not like and I will go through that with you. So let's not waste any more time. And this is a long intro, right? And let us get stopped. So now it's time to talk about Details panel. The detail panels contains information, utilities, and functions specific to the current selection and the viewport. It's containers, the transform edit box. So if I select the Skew, you can see the transform edit box right here, which is responsible for moving, rotating, scaling, and displaying all the editable properties. So you'll notice when I changed the location, it changes when I change the rotation, these value here changes and obviously the scale. And we can change this from the Details panel. You can hover over this and use the dragging of the mouse button, or you can simply change the value immediately right here. Now, let's delve a bit deeper and see what else we have in here and start immediately from the top. First of all, we have the actor's name. You can set friendly names to the actors directly in the editor. These names can be used to access related actors or find using some kind of search functionality is there in the world outliner or later on as we are creating blueprints. So if I double-click on the cube that we go, I can call it the test cubed. Okay? Next we have the Add button, which allows you to add more components to your actor, and we'll cover that later on in the course. You can see, for example, we have the static mash component inside of the cube. Next, we can add a blueprint. This allows you to create a blueprint out of this act. And we've seen this in our first game that we did. But for the sake of explanation, I just wanted to make sure that we understand both of these things. Of course, as we move through the course in the upcoming sections, we'll delve deeper into each one of those. But for now, all that you need to know that components are special types of objects that actors can attach to themselves as some objects and blueprint. Our blueprints are a visual scripting the Unreal Engine using a node-based interface to create gameplay elements. So let's go back into our Unreal Engine next to the blueprints, we have this lock. So when we click on the lock, if we select any other object, you'll notice that we are always on the test tube. And this is very helpful for your editing and you just want to move around and you don't want to deselect this cube by mistake. So if I unlock it, we're still on there until I click on another place and then we don't have it anymore. Next we have the search filter box, which allows you to type a text to filter through in which details you want. So for example, if I want everything related to physics, I can type in physics. And if I want anything related to static, there we go, I can type in static. Next we have the property matrix icon on here. This opens up a matrix which allows you to view multiple property values belonging to multiple actors at the same time will not be talking too much about it because it's able to advanced topic. And to be honest, I've rarely used it. I've never really found any meaningful functionality to it. You can always get around it, but some people prefer to use me. Honestly, I'm not a huge fan of it. Next we have the toggle favorites. So for example, we can set one of these elements right here to be favorite. So let's say simulate physics. I can add to favorites. And now I can select Toggle favorites, and now I can see the favorites. I can add multiple favorites. Let's unfavored that and remove from favorite, this one. Next to it we have the setting which is, which displays options to expand, collapse, and otherwise filter property categories. So for example, show ALL advanced detail or collapse or expand all of the options that we have. Next we have the properties area which is here. Let me just make this bigger and how the World Outliner for now and make this bigger on this side so we can see everything properly. Displays the actors properties. They can be viewed or modified. And you'll notice each of these properties are set in specific categories. So let's talk about, will not talk about every single one of these because there are many of them and some of them, some are specific to certain other actors. So for example, the cube has these properties, but if I select the third person, you'll notice he has animation and meshes and different options in the physics. So different actors have different properties. Now let's talk about the favorite. Why would we need any favorite? Well, if there is, There's our properties with an actor that you frequently change and you want quick access to, you can use the favorite properties in order to have them at the top and then scroll between them. Next, you will notice that we have this little arrow right here, which allows us to return to the default value that the box or whatever actor you selected goes back to. For example, if I change this material to rock, to break, and I want to go back to the default. I can simply reset this and we go back to the very default, which is not what we want. We'll set it like this. We can also, for example, reset the rotation. There we go. Everything is 0 and we can reset the scale. And also recently position controls that controls that to reset the undoes, the reset. Also let's take notice and talk about the transform here a bit before we move on. So almost every single actor you will ever replace in your world will have a transform. That's why it's very important to understand what's happening in here. First of all, we have the obvious location, rotation, and scale, and we can log the scale so that way when we increase one, the other ones also increase depending on where they're starting. Then we have the mobility, which is also very important. We have the static. Static means we are not allowed to move the object in any way. Stationary is like a predetermined movement. So the object can maybe move, but we know in which direction it's going to be moving. And we have the movable, which means that this object will interact with the world. Now mainly why do we need to specify one of these three? Because static objects, for example, you can see that they already have a shadow. And shadow rendering is actually something pretty hard to do if you are simulating light. So if you have something that is stationary and Unreal Engine knows that this will be stationary. It can just bade the lighting before you start the game. And that way it will save up a lot of memory when it comes to stationary, it can cache that a shadow and know where approximately it will be. While, when it's movable, this will be the slowest rendering and it always casts a dynamic shadow, which means, meaning that it's always changing and taking lots of memory out of your system. So the final thing I wanted to talk about is parent-child relationship. You'll notice right here that we have this cube all alone, all alone. I'm going to move it right here. I'm going to go ahead and add another shape in here. I'll add a sphere and to the swirled. And I'm going to take the sphere, I'm going to drag it over into the test cube. So now we have a child-parent relationship where the test cube is the parent and the little sphere right here is the child. Now, how does this help us? If I move now vest cube, you'll notice that the child moves with it. If, for example, rotate the parent, the child rotates with it. If I rotate in any direction, the child rotates with it. And if I scale, the child also scales with what we have at basically takes up all the properties that the parent has, which is very nice, which allows us to create multiple things. For example, if we have a planet and we want to have the skew of the center of the planet. And for the little sphere to be the moon, we can just anchor them together. And if for some case our planet moves around, this sphere will move around with one more info I would like to say is just like we have the relative and the global rotations in the view port panel or Toolbar. You can also have them right here. So you can see currently, if I reset the position a lot is that the sphere is in a very weird position. If I take another sphere and add it and put it exactly in the same location that we have right here, or almost the same. You'll notice that its coordinates are 295 minus, minus 34523. But the second sphere, which is a child of the test cube, has very different coordinates. That's because it's relative. It's relative to the cube. If I reset the position on all sides, you can see that it does not reset to the middle of the world. It resets to the middle of its parents transport. This is something in mind when working with these various parent-child relationships. You can also, for example, click on here and select world, and there you go, you can see that the coordinates are back to normal. So with all of that information, time for a bit of a challenge, your challenge is to have a bit of a change. So look through the properties you have at your disposal. Some are familiar. Find a property you believe you can change and making a difference in the actors are clear round, just find something, look, worry about it. You can always reset it to the default. Select one of the actors and make it simulate physics, or how does that affect the mobility of the transport tested in your game by playing it? And finally, create a parent-child relationships and play around with the transform and get used to it to understand better what's going on. So pause the video right now and go to the challenge. Hey, welcome back. So I'm going to get this little sphere that we created earlier. I'm going to put it in front of the player, move it up a bit. I'm going to search for physics, and I'm going to click on simulate physics. Now if I play the game, There you go, you can see that the ball felt from the sky and it also bounced and I can now move it around. If we look back in here and we'll notice that the mobility of the sphere changed from static to movable because it has to be movable. If physics can be applied to it, then it is movable. Now watch what happens. Similarly, physics is on, mobility is movable. If I change it to static, you can see that the physics simulation is no longer available. So I hope you enjoyed this video. I hope you've tested out the parent-child relationship and I'll see you next time. 14. World Outliner: Come back, my favorite game developers. In this video, we are going to be learning about the World, Outliner, everything inside of it, how everything works, and why it is needed. So for example, remember when we had all of these shapes, you might have noticed that everything was very clumsy. We couldn't understand what's happening. But now, for example, I can turn off all of the shapes on my platform. And if I want, I can also turn off all the weird world shapes and clean up my environment if I ever wanted to do that, that out of the way, let's not waste any more time and let's get started. Okay, so time for the maybe last video of this section, it's time to talk about the World Outliner. So let's make this a bit bigger, make the Details panel a bit smaller, and let's look at what we have in here. So the hierarchical tree view of all actors within the current level are inside of this World. Outliner. It can be used for selection, attachment, and a lot more things. As you can see it as a hierarchy. We have everything that is lightning based under the lightning, everything I'm the arena base under the arena and so on and so forth. And you can see also that when we have a child parent, parent relationship, we also have a hierarchy for that. So the World Outliner displays all the actors within the scene in a hierarchy tree. And actors can be selected, modified directly from the world outline. And what do I mean by that? I mean naturally a while. What is meant by that? Is that, well, for now there's nothing in particular. But for example, let's say we have the third-person character. We can immediately go to its blueprint by clicking right here. We get its opening editors and hopefully today they're regards all weekend. Immediately start editing this from here. Now, let's talk about the various elements of the UI. First of all, we have the search box which allows you to type a text to filter actress display. For example, I want all the cubes. I get all of my cubes. Next we have the list headings right here. For example, we have the label displayed and we can set them to be from in the search be based on the label from top to bottom. We also have the pipe right here, so we can right-click and we can change this from the type to want to know the ID name, the socket, the level, the mobility, wherever. We can also change this view I. So for example, if you click on this right here, we have this little option that allows us to turn it off and then turn it on back again. So we have the eye viewing option. I moved on too quickly and I didn't talk about the Create folder. For example, just like we have a folder up here for the render effects, the arena and whatever. We can also select multiple objects, then set a folder to them. So now they are neat and a folder and we can close them down. This is something that we are going to do in a couple of seconds or minutes to fit all of these various cubes inside of some kind of folder. Next we have the actor list, which is very obvious list of all the actors unless they have been filtered out using this setting right here. So we can, for example, if we wanted to see only the selected, so we only see the cone five, we want to hide temporarily actors, we want HIV actor components and so on and so forth. And that's basically, that's all there is to the World Outliner and not much salt. What I'm going to do is I'm going to click on this cube. Let's see. I think that everything in here shouldn't be selected. So what we can do is we can actually change the perspective to talk. Zoom out. Now we can see all the big cube. So I'm going to select these cubes. Hold down, Shift select these cubes. Well, I'm just calling everything cubes shapes. If you want to call them. There we go. So all of these shapes, I've selected all of them almost. I think if we zoom in, we have okay, this is the, this is something that we would like to select, hold down control and select that also without the blue sphere on the cube, what else do we have? What are these cubes or I think there are cubes or no, no, that's not the cube that we want. I'm sorry for taking so long. Okay, so now that we have all of the cubes selected, I'm going to go ahead and add them to a filter. Let's call them the weird world. Shapes hit Enter. And let's look from the left perspective, make sure that to be okay. I think we got all of them. Yeah, I'm pretty confident that we have all of them. So if I go back to the perspective, there we go, we can see that we've selected all of them and now we can turn all of them off. How cool is that if we ever need to, for example, duplicate this level. Now we have a much neater, not very neat. For example, we can also set all of these cubes right here to be part of the level. So for example, these are the shapes. Let's add shapes on platform. Shapes on the platform. So now I can turn all of these off. And obviously I haven't selected everything that I could. Just add all of these. Okay, so let's see what the problem is. What else do we have? These two cubes? Let's add them to the shapes and the platform. And what else do we have if I turn off the shapes on the platform? So these two cubes add them to the shapes on the platform, and there we go. So now we have all the shapes and the platform in one single place. There we go. Turn on, turn off, and now we have a much better and well-organized World Outliner. For the last thing that we need to do is we need to issue you a bit of a challenge. And your challenge is to go to Google and type in World Outliner Unreal Engine. Once you do, you'll get the documentation for the Unreal Engine four. But don't worry, it's pretty much the same except for a few option, which is the setting icon. Now scroll down and see how you can use the plus and minus to find actors and the world. This is one of the challenges where you will be doing it yourself. So I'll just guide you through the process and then I'll let you figure it out on your own. And if we go in here, for example, we start off by writing World Outliner unreal documentation. Now you are beginning to understand how you can find things yourself. You are becoming a problem solving mastered. You find the World Outliner, you open it up in a new tab. You can also look through the World Outliner UI if you'd like. Here. See we have a ton of information about the Unreal Engine four. Unfortunately, there are no documentation for the Unreal Engine five. That's why this course is so important. Five-stars, please raise the World Outliner. And if you scroll down, you'll notice that you have something that you can do. Searching through the world. You can either use the regular sky wording or you can use the plus and minus for various things. So this is the part where I leave you to it. If you want, you can search through those. I am CVS never use them, but I would love for you to test things out and do something on yourself. There's no consequences, do not finding out how this works. So I think it's pretty safe to let you go on your own. Little grasshoppers. Go ahead and do your own research. Try new things I love about yourself. And thank you so much for watching so far. If you haven't left a review yet, this would be the perfect time. So thanks so much for watching. See you on the next one. 15. Section 3 - Unreal Architecture Actors - Static Mesh Actors: Welcome back, My favorite game developers. In this video, we are going to have a guide to placing and working with static mesh actors for creating worlds and geometry and our environment. And even though we've already worked with that, we are going to delve a bit deeper and understand how did we add a chair made of grass in the middle of our level. So let's not waste any more time and let's get started. Okay, so it's time to talk about Static Mesh actors. Even though we've been using them, we've been applying them into our world. Now it's actually time to develop deeper and really understand what we're working with. Before we start, we need to understand that there are two main types of meshes. We have static meshes and we have skeletal measures. So these are the differences between them. One uses is used for rendering geometry, the other is for complex animation. The static mesh has only one part, skeletal has multiple parts. The static measures does not have any movable parts on it while a skeletal mesh does. And finally, these are the two icons that we see. And you'll notice these icons when you create a new asset in the content browser or when you add one and you look at the World Outliner. We in this course are going to be focusing more on the Static Mesh actors because they are more simpler, simpler, and easier to understand. Skeletal Mesh actors are a bit more complex. Let's begin. Back in the Unreal Engine. Static meshes are one of the most fundamental types of renderable geometry in the Unreal Engine. In order to use these niches to public or world, the static mesh actor is used. So there's a difference between a static mesh and Static Mesh actor. Static meshes once dragged into a level from the Content Browser, are automatically converted into static mesh actors. So if I open up in here, I got to the content. And if I set the filter to have static measures, you'll notice that all of these right here are static meshes. If you hover over them, you can see their type. The top right of this little box that opens up. But once it's dragged into the level, now when you look at it, you'll see that the type is a static mesh actor. There is a difference between them. Keep in mind that though these are called Static Mesh actors, this simply refers to the mesh. So this is a static mesh, but it doesn't have to be, it can be movable, just like we saw earlier. It can be an elevator which makes it movable, or it can be completely dynamic whenever it is. Whenever it has physics. So usually we have these regular basic static measures such as cubes, spheres and cones, and maybe a stair that's still considered a very simple, basic static Match, but we also have complex meshes such as this table. This is also a static mesh actor, but it's basically like a cube. It has a variety of shapes inside of it. Not only that, it also takes multiple types of materials. So you'll notice whenever we add a material to the score, it becomes copper all over. We can see right here. But once this stable, as it has a material, you'll notice it has several materials, you, it has many elements or a combination of elements on it. This is also something to keep in mind. And finally, we have to understand that Static Mesh actors also have a static mesh component on them, which gives them the specific shapes that they have. It's not about the Static Mesh actor being alone on a cube and that's it, that's forever we can change what shape that static mesh has by changing the element that it holds right here. And actually you're going to see that for yourself by turning that cube into a chair. And honestly, I don't care if it's a chair. You can turn into whatever you want. I am probably going to turn that into a table. So select one of the cubes that you have rotated and scaled in your game. Even not a cube, you can select anything, any static mash. Those are just words I use whenever I create a new cube if you want. Now changed the Static Mesh property from Cuba to chair. And notice how the chair or table or wherever takes the same transform properties. So pause the video right now and go do the Chaldean. Okay, Welcome back. So let's see what shall we use? I'm going to select this huge cone in here on Static Mesh. I'm going to select a table. Table. Once I click on the table, you can see that this huge cone has suddenly becoming table. Not only that, it has become a huge freaking table, and it's also made of grass because the comb was made of grass. So you'll see that it takes on all of the properties. The shape, the, I mean, sorry, the location, the rotation, and the scale. And it also takes after the element that was on that column. And now that they will actually have a table made of grass. So that's something you did not expect to do today. So with that information, I hope you enjoyed, but before I leave you, I also like, although we already talked about this, like when you add the physics through this mall, when we play the game, you can see that that ball falls. Not only that, we can also interact with it and push it around. And once it has physics on it, we can also change how this Static Mesh might behave when we interact with it. So if you go down until the physics, you'll notice that we can turn off the gravity if we want. So it will simulate physics once we botch it. Let me show you how that would look like. So I'm going to put this down right here. And let's turn off the enabled gravity hit Play. Now I'm going to walk towards this ball and you see that once I push it, it just doesn't have any gravity and it starts floating away. How cool is that? So there are a lot of things to play around here with. So for example, we can increase the weight, whereas the weight, so we can increase the linear damping. So how much it slows down the angular damping, how much it stops spinning would be very good. If we have, for example, a cone or a cylinder, we can change the mass. We can take this mass and instead of 100, let's make it a thousandth. Maybe it will be much harder to push now. Now you can see it's much, much heavier, but once it's gone, it's gone. Let's make it 10 thousand, see if that affects anything. There we go. So now because it's so heavy, it's almost impossible for us to push until at some point we do. Go ahead, have fun with all these things. Add physics, two things if you want, you can add physics to all of these and maybe give them a bit of a push so all of them start moving around. Although I don't recommend that because whenever you have a physics body, it takes up much more calculation than it would if it was just static. So with that information, I hope you enjoy it and I'll see you in the next video. 16. Geometry Brush Actors: Welcome back my fellow game developers to a brand new video. And this one, as you can see, we've created a very, very weird looking castle. The point of this video is using an brushes and understanding the geometry of these brushes in order to create levels in the Unreal Engine. So this is a long video I know, but there is a lot to explain, a lot to understand, and a lot of things to have fun. Let's not waste any more time. Let's get started. Okay, so now it's time to talk about geometry brushes. The first thing we're going to do is we're going to create a new level for these. What I did, I went ahead and create content. I created a new filter for the levels, and I found the level that we were working with, which is the third person something. I'm going to go back into content without this, I'm going to right-click. I'm going to create a new folder and call it B levels. Now again, I'm going to select the level filter and drag the third person and to the levels right here. And I'm going to say move there. From here. I'm going to change this to the crazy world. Hit Enter. Now I'm going to go ahead and file create a new level. I'm going to select the default because we don't want it to be empty or any of these other weird stuff. We want it to be the default level. Now we have a default level. I'm just going to make this a bit bigger. So I'm going to make the platform two-by-two is bigger and I'm going to change the element on it from the default one to a basic white. So that way we have a differentiation between it and the geometry that we're going to add Control S to save it and make sure we are inside of the levels and call it the Geo testing, which means geometry testing. Save and let's get started. First of all, geometry brushes are the most basic tool for level construction in the Unreal Engine, it is best to think of a geometry brush as a filling in or a carving out volumes in the space of your level. Geometry brushes can still be useful in the early stages of the product for rapid prototyping of the levels and the objects. Once you have all of your brushes setup, then you can replace them by static meshes that are far more efficient and less taxing on the system, especially when it comes to the lighting or the shadow casting, as we've talked about earlier. So first thing we're going to do is we're going to go into the create and place the actor panel in here. And we're going to go to the geometry, and we're going to go through each one of those and talk about the specific values that they have and the commonalities that they have. Also, we'll start off with the very basic, which is a box geometry. So I'm going to scroll down and in here we can see that we have the x, y, and z, and we can increase and decrease the size of this box using these three values. So I'm going to set it to be five hundred, five hundred by 500. And already you can hear my PC starting to scream and shot. Now, when we click on it, we'll notice that we have in here the option of the brush type, which can be either additive or subtractive. What does it mean to be subtractive? No, it doesn't mean that it will be invisible, but it means that instead of adding to the level it will remove. How does that look? Well, if we add another box in here, we'll put it a bit inside of this. Or actually let's put it to the side up here. Once it's subtractive, is invisible and we lose it very easily. But no worries. It's the box brush to drag it into the other box. And you'll notice that it carves out a bit of a shape in here. This is what we mean by subtractive. It means it doesn't add to the geometry. It actually takes out from it. We'll keep it as it is right now because we need to talk about the other things such as the hello. Because we have wall thickness that we cannot access. But when we click on the hollow, you'll notice that inside this becomes like a house and it's a hollow from the inside. When we add a bit of wall thickness, you'll notice that the walls becomes thicker. So we can see right here, if we add more thickness, There we go, you'll see that the wall is much thicker and it's added from all sides. So now you can see how geometries can be used to carve out your levels very, very easily. Why? It takes a lot more computational power. Because these, for example, this box and wall shifting and wherever are very taxing on the system. So there we go. We can see that inside we have this cut out because of the subtractive. A box that we've had. Anyways, let's move on to the next shape, which is the cone. Once the cone is added, it has similar. Let me just make this a bit bigger so we can see it properly. And let's see, Okay, So it can be additive and we can change to brush immediately in here to be something different. But let's keep it as the coal. Obviously we have, we don't have the eight sides of a regular cube. We have the Z height that we can increase. We have the outer radius that we can increase. And we also have an inner radius with the amount of sides. So if I, for example, add more sides, this cone becomes more a specific, more how to say more accurate, but it will take up much more resource consumption. So I'm going to turn it back to eight. Next you have the align two sides. So if I click on it, you'll notice we have a slight rotation and what does that mean? Well, if you look right here from this side, you'll notice that the green arrow, let me just go up. There we go. You'll notice that the green arrow is coming out from the side. If we click on the Align side, you'll notice that it comes out in-between the intersection between two sides. I don't know how you're going to use that, but who knows? Maybe sometimes it will come into play. So let's increase the height. Let's talk about the things that are not showing. If we hollow out the scone, you'll notice that we have two new options to play around with, which is the cap z and the outer radius, I mean, sorry, the inner radius. So if I take another box added in here and make it subtractive and drag it into this cone. Now you can see that it's similar to a hat. So scroll this down and there we go. So you'll notice that now we have this sort of a hut and let's just increase, I meant to increase the size on the x-axis. So that way we can properly see how everything is looking and maybe also add a bit of Z-axis. Maybe not that much. There we go. We can see that we have this sort of a hut. And this is not quite what I want. Let me just decrease the size so we can see the floor. What I can do is I can select this cone and I can increase or decrease the capsid. And you'll notice that the floor of this is getting lower. If I increase it, then you can see that it gets higher. So this is the inner Z height. Next we have the inner radius, which should be probably easy for you to understand. So if we increase the radius, there we go, you can see that we expand the radius from the inside, while the radius from the outside stays the same. Okay, great. Now that we know how the code works, it's time to learn about the cylinder and springy much the same going on from here, you'll notice that we can make it additive, we can make subtractive. We can change the brush shape immediately. We can increase the Z. Go, we can change the outer radius. We can make it hollow, and we can change the inner radius. And the cool part about the cylinder is that we don't need to add any other brush and make subtractive. We can just look from up here, how cool is that? Now we can change the inner radius or make it bigger or make it smaller wherever you want. You can also increase the size and change the alignment. So you can see right here, if I zoom out, you can see the green line once I change the alignment at aligns with this arrow and it aligns also from this side. You can see it easily. There we go. So it aligns with the axis and we can increase from a to, I don't know, 13 to make this more circular wherever you want. So now that we have the cylinder, it's time to talk about the curve stairs. So if we add the skirt stare and let's just say I have no idea how the skirts that works. So what I'm going to do is I'm going to start looking at the various things in a radius. Let's increase that, see what happens. Okay, So the radius from the inside is increasing while the shape of the stair is still the same. If we increase the step height, there we go to the maximum. You'll notice that the inner radius stays the same, but the step height is extremely high. And if I increase the step width, the inner radius stays the same, the highest stayed the same. But now we have accommodations for any huge feed that stuck on these. We can also change the side. Why does this keep coming around so we can change the step width. We've already done that. We can change the angle of curvature. This adds a bit more angular curvature to our steps. We can increase the number of steps. Just in case you think it's not hard enough to climb this wall. And we are actually making a really nice structure. Next we have the number of. Next we had the option to add the first step. So if we increase this to one, actually nothing changes, but usually we can add one more step down here. See if we increase this to okay, there we go. So you can see it right here, changing the power of using extremes. My friends, we can add this little height right here. There we go. This is the height of the first step. Let's decrease it back to 0. I don't know how you would use that. And finally, the last option is to use the counterclockwise to just flip the stairs and make it on the other side. So now that we understand the basic shapes, basic shapes, we still have one thing that I did not talk about, which is present on all of them, which is the length of the Tesla is best described the right ear when we use a sphere, because it's not obvious on the other ones. You'll notice the sphere is made up of triangles and you can see that it has tessellation. This means how many, How should I call it the sides? It's best described on a sphere by changing the amount of triangles. So if we just simply increase the tessellation, you'll notice that we get more triangles and a more or better defined a sphere. If we decrease it to one, There we go. You can see that we have a very bad sphere while on the queue. Increasing or decreasing data isolation doesn't really do anything, so just keep that in mind. Now for your challenge. Your challenge is going to be to explore and build. So first of all, explored the last two geometries, which is the linear stairs and the spiral stairs. They can anything to the overkill or the extreme, build out a level you can imagine. Use the shapes we've learned. Use this level that we've created to create a very different level using the geometries and use these shapes in subtractive ways. Finally, keep the level for later, we'll be using it in the future. So pause the video right now, go test out the new stairs and finally create your own level using the brushes. I'll see you in just a bit. Hey, welcome back. How did you get on that? I hope you had as much fun as I have. One thing I forgot to mention is when you're editing it in the orthographic, you might have noticed that the subtractive are all in red, while the additives are all in blue. So this is my structure from the top. Let me show you the structure from the front. There you go. How cool is that? Aren't you excited to see what I created? The perspective? There we go. So now you can see this. I don't know, nothing too fancy in here. I've added a cylinder or something. It's a cylinder, made it subtractive, added a huge cube, added these stairs. I also added the cylinders with cones on top of them. And in-between those parts that are missing and floating in the air are things fears, yes, spheres that I added. And as you can see, I did not test my game enough because I cannot step on these steps. Well, thankfully, if I go out, okay, So actually I cannot do that right now, but let's go ahead and try to get to the top platform. Anyways, this is not the point of this video. The point is that you created your own level, and if you want to share it, you can go to the score and share it with your fellow game developers. They're using the link. And one of my descriptions, if I think this game is harder than it looks anyways, I hope you enjoyed the video and I'll see you in the next one. 17. Components Sub Objects Within An Actor : Welcome back, my fellow game developers. In this video, we've created a cube made out of sphere components with light components on it. And not only that, we also added a projectile components. So now as you can see, this cube flue towards the wall, and once we hit it, you can see that we can affect It's movement because we've hit one of its components. And if you don't believe me, there we go, we click on the cube. It's only a single actor in the world, but it has several actors as component on them. So let's not waste any more time and let's get started. Okay, so now let's talk about components. A component is a piece of functionality that can be added to an actor. When you add a component to an actor, the actor can use the functionality that the component that provides the component must be attached to an actor and cannot exist all by itself. And you can see the components right here. Whenever we look in the details, for example, the floor doesn't have any other component than this Static Mesh Component that it has. When adding a component to an actor, you are putting together the bits and pieces that will make up that actor as a whole. So you're actually creating one actor out of, if you want to call it like that, several actors. How can we understand this better? Well, let's imagine a car. So if you have a car, usually it's not just a car. The sum of its components are called a car, but it has a wheel component, four wheels component. It has the body component, it has the light component, and it has its eyes which are camera component. So all of these form the component of the car. So all of these bits and pieces of the car make the car it's not the car all by itself. It's not one single huge piece. It's a collection of components, hopefully that made things a little bit easier to understand. So let's go back into our p.sit Unreal Engine. I'm going to go out from here because this level keeps my fans screaming. I'm going to create a new level or we can use our crazy level, but I'm just going to create a new one, a default one. Save the selected one. And let's just make this one maybe five by five. There we go. So we have a big platform and we'll change this to a basic white material. And there we go. So now I'm just going to move this guy back in here. And let's talk about what we have as components. Solve, for example, you can make an actor a component of another actor. For example, I'm going to add a Cuban here. So this is our q, and I'm going to make it a bit bigger. So we're going to increase on the X, increase on the y increases around the z-axis. And then in here, as I've said, we can add new components by clicking on the plus button. Once we click in here, we can see that we can add a sphere, which is a static mesh component once added. Now we have a little sphere. There we go, right next to this box. But not only can we add another shape, but we can also go ahead and add a light. So I'm going to add a spotlight. And notice that the hierarchy has changed. Now the spotlight is the child of the sphere. So now when the sphere moves, regardless, spotlight moves with it. Now why did that happen? Well, because when I clicked on the Plus Add button, I was selecting the sphere. If I want to set something outside of the sphere, I need to select the static much component, which is the root components. And every single actor in the world, whenever is added has always a root component. It doesn't need to be the Static Mesh Component. It can be any other component, but right now it's a static mesh. I'm going to rotate this sphere 90 degrees, and I've turned off. I'm going to set it to, this. Seems good enough. Then right here, move it up a bit, and let's increase the spotlights luminosity or intensity. There we go. We're going to maybe make the attenuation radius. Nope, not that. Let's decrease and make the light color red. We'll talk about lighting later on. Increase the intensity again to its maximum. Then maybe decrease or increase, and move the sphere of paper. There we go. So it covers the whole square. So now when we play, There we go. We can see, there we go. We can see that we have this red light over the square, which is coming out from one of its component, which is a sphere. And you'll notice when we click on the cube, we cannot see the components. And they also work in similar ways to the parent and child relationship. As you saw when we were moving the spotlight on the sphere and spotlight was moving with it. Now these components are actually static meshes that can survive on their own. Let's take an example of a component that cannot survive on its own and it's going to be your challenge. Your challenge is to create a projectile or something. Go ahead and create an actor with several components. I recommend creating some sort of sun was moons around it. And then these can be anything you want. Just make sure you have at least one shape, one shape, and then another one next to it. Then add the projectile movement component to it, check all the properties on it. So the properties on the projectile movement and suddenly initial speed and the maximum speed, so that when you start the game, the actor starts moving and I will drag them and that adding two walls would be really nice. Just saw we can capture the projectile while it's speeding. So pause the video right now and go do the challenge. Okay, welcome back. So I'm going to go ahead and duplicate this sphere. Since I already have it. You'll notice that I don't have a spotlight, so I'm going to go ahead and duplicate the spotlight the way we do it, it's simply hold down Control W. There we go. We get to another spotlight. Added there. Select the spotlight and let's reset the position. It's going to be reset to the sphere, which is very convenient. And then I'm going to rotate it up 180 degrees. So now we have lightning from down, lightning from the upside. Now I'm going to select both of these spheres right here, and I'm going to duplicate them. There we go. Okay, not like that. Maybe we'll select them and Control W naught. We still don't get the spotlight. No worries about that. We'll simply will simply duplicate the spotlight added to force V4 and duplicate the spotlight again out of five. And all of this is just for me to have a bit of fun. Let's reset the position. There we go. 00. These fear for whereas this view for key, obviously it did not reset properly. For some reason. Can you go down please? Thank you. Now we're going to take the sphere and we're going to rotate it by 90 degrees. There we go. And the final sphere, which is here, and we'll just rotate it like that. There we go. Now we have these four spheres with spotlights shining on them. So there we go. Not bad. It seems good enough. Now I'm going to go into the cube and I'm going to go ahead and add a projectile movement. Now we have a projectile movement and this does not live by its own. It always needs to be a component that cannot survive without being attached to our cube right here. What did I say? We needed to change? Let me checks at the initial speed and the max speed. Okay. Then initial speed, let's increase it to, I don't know. Let's make it 700 seems good. Max speed. Let's increase that as much as we want. And there we go. So now it should be flying. Let's just play and see what happens. Yeah, Seems like that didn't happen. That's because we have an error. We need to set the mobility so you can see it right here. Sorry for the inconvenience. I'm going to go back into this cube right here and make sure to set it to movable play. And there we go, you can see that it fell down. And I'm going to also simulate physics on this. I'm going to go ahead and create another shape, which will be a cube. That's not very good. I'm going to set it in here. Let's go to the top. We can see things as more properly. Our king was confused there for a minute. So let's go ahead and increase the size of the swallow. We gonna build a wall. Sorry for that. And now we're going to go back to the left. Increase the size like this, make it on these that axis. And now we should see a pretty good wall. There we go. The Plachy bam, you can see that it interacted with the wall that I want to make it a bit faster so we'll set the initial speed. And these are just things that I'm playing around with. Okay, so you don't have to actually look at me while doing all of this. I'm just having fun. So I hit Enter the Play button. Bam. Okay, so there you go. You can see how that was moving. Not very good. Let me turn off the gravity. Maybe it will make things better. And let's see, should we change anything else? Maybe we can make it more bouncy. Anyways, that's for another time. Just hit splay, boom, and there we go. So now it's flying around. It's coming toward us. And then look how cool is that. So we've affected our little spinning cube gland it. So I hope you enjoyed this video. I hope you have a better understanding of components and I hope that you are always trying your best when doing the challenges because as you can see, I always help you out. I'm always there to then finish the video with you. And how cool is that shot? I wish there was a sunset. Well, don't worry, because in the upcoming videos, we are also going to learn how to create a sunset. Them. Thank you, Michael, Amazing. I'm getting tired. So see you in the next video. 18. Volumes Reference: Welcome back my fellow game developers to a brand new video. And this one, as you can see, we created a space where we move a bit slower. We created a space that we completely stops us. We created a space that makes the space around us very weird. And we created a space that kills us instantaneously, actually give this as a fire that gives us instantaneously. So let's not waste any more time and let's get started. Okay, So volumes, we've already used volumes in a previous video, but now it's time to delve up the deeper volumes are three-dimensional actors used to alter the behavior of areas within the level. Volumes can be used for behaviors like the common volume behaviors causing damage to the player or other actors inside of a volume, which is very helpful whenever we are testing out our health. Blocking certain actors from entering the volume acting as a collision surface. For example, I don't know if we don't want the player to escape from a certain level or something, opening a door when an actor, and there's a certain volume. So let's say we want to be able to open the door only if the player is standing in front of that door. We add a certain volume actor that trigger or that allows us to trigger the door opening and changing the way a level calculates the lighting visibility. This is done through the post-process, as you saw a couple of videos ago when we deleted it, the environment changed a little bit. Now let's go ahead and create a couple of volumes. First of all, creating and placing volumes is very simple. We're simply going to use the volumes right here or we can set the place actor and just add volumes. Not going to set the place actor because it's a bit cumbersome. Some volumes can be created by selecting one of the volumes from the Value tab right here. And once the volume has been added, it has a place in the level. You can resize and reshape it. So let's go ahead and add, for example, a Physics Volume. If I add the Physics Volume right here, you can see that it has its size and similar to the brushes that we've added a couple of videos ago, we can scroll down and change the size using the x, y, and z. We can also make it hollow. How cool is that? So all of these things are similar to the way brushes, work. Volumes are support actors generally used to detect when certain actor types have entered a specific area and trigger an effect. The nurse and response. For example, the bank causing volume. If we add one, Let's see, where is it the bank causing volume which is right here. Just increase it. I'm, I'm just gonna change the scale in mind. When we change the scale is the size of the box which is here stays the same. So just keep that in mind if something weird happens whenever you are playing the game. The pink causing volume causes damage to the player every couple of seconds. And we can change the way it damages the player by accessing the different properties that it has. For example, we have the Pain Causing, doesn't cause pain or not. Well, if you don't want it to cause pain, then it's pretty much useless. Now I'm just getting the point of this having been true or false is if we want to trigger it after the player stands on something specific, then we have the damaged for a second, the damage don per second to the actor inside of the volume when the Pain Causing is enabled obviously, then we have the damage type. Does this determines the type of damage the actor can take. Currently, we don't have that much, but you can create your own damage type. This is a bit advanced, but it's good to know. So for example, you can create a spike damage type or narrow damaged or a bullet damage. So all of these can differ depending on what functionality you want. Then you have the pain interval. So this is the amount of time in seconds between applied damage when the Pain Causing is enabled. And finally, we have the entry pinpoint. This determines whether or not the damage is applied immediately upon entering the volume or after the pain interval has passed, this is an additional damage, so keep that in mind. Next we have the volume, Physics Volume right here. And this will affect the way our player or character moves, moves through this physics volume. For example, we have the terminal velocities. This determines the terminal velocity of the pond. If you don't know what term terminal velocity is, is the maximum speed that any object can fall because, you know, all add objects no matter the size. Size Actually, no matter the. A weight of them fall at a certain maximum speed because of the way they are of their size. This changes the maximum speed that the bone can fall off. I don't know why we would use it, but it can be something like maybe inside of water. Then we have the priority which determine which Physics Volume takes precedence if they overlap. So if you have water and you have oil inside of that water, so which one has the priority? You have the fluid friction that determines the amount of friction applied by the volume as the bond is moving through it using its movement, we have water volume, which determines the volume contains water and you have what else do we have? Anything else? No, that's it. We also have the physics on contact which determine if the actress is affected by the volume simply by touching it or if he needs to be completely overlapped by it. So let's go ahead and test this out. So let's say the fluid, Let's make it water volume. And let's make this about, I don't know, let's make it three and see what happens. So when we play, we walk towards and there you go. You can see that we are slowing down once we're outside, we are very fast-moving. But if we're inside, there you go. You can see that because of the friction, we are moving slowly. Now, why do we have that jump? No idea. Anyways, you can see that we've jumped. Next we have the Spain causing volume in here. But, well, nothing happens because we don't actually have any health. Now one thing to keep in mind and that is that the player right now will not know how to avoid this Pain Causing Volume. You as a designer needs to always keep in mind that you need to add some kind of particle effect, fire spikes, whatever it is to make sure that the player who's playing your game understands that there is. I don't know. You can add a cloud of poison, for example, and make sure that the player knows that there is pain there if he walks through the, through, through it. Anyways, there are a lot and locked and unlocked on volumes, as you can see right here. We are not going to go over all of them, just some of them, and some of them you are going to explore my yourself at some volume. I hope you understood the joke. Anyways, add a blocking volume and see if you can move through it at the kill zone value, just like we did previously, and see if you can move through it. Add that kill zone at two that goes on a particle system component and set the template property of that particle system to be fire. So pause the video right now and go do the challenge. Okay, welcome back. So I'm going to just keep the Pain Causing volume. Why not? It doesn't bother us. And I'm going to go ahead and create a new volume, which is going to be the blocking volume. We're just going to put it right here and just maybe make it a bit bigger, 700 to that. So now when we play, can we walk through it? No, There we go. We are stopped by an invisible wall. Excellent. Now let's go ahead and add a kill zone volume. That I go. Kill volume. Let's increase its size a bit or no, actually, let's keep it the same size because we are actually going to add a component to it, which is going to be a particle system. That particle system is going to be fired on that fire. We're going to change the template to fire. There we go. This far is a bit small. So what you can do is, for example, increase the size of that fire. Where is it? Why is it not increasing? Increasing the size on the x-axis, on the y-axis, on the SAT axis. Okay, so I think that's far is good enough. So now when we play, if we walk through the fire, bam, we die, we immediately disappear from our level. One other thing I wanted to add is the post-process just to show you how it works. So I'm going to go ahead and create a volume, search for the post process volume. And I'm going to set it in here. And I'm going to increase the size like that, like that. Just move it right here and there we go. So now it's behind the player. What I'm going to do, as you can see, we have a lot of options when it comes to post-process. And it really takes a very good scholar vision in order to change all of these effects. But I know a couple of them. So I'm going to add, for example, a bit of blue intensity. I'm going to increase the blue. I'm going to add some chromatic aberration and increase the intensity to run a no to. And I'm going to also add some mountain know what intensity that. And now I'm going to play the game. And if I walk towards that volume, wow, how cool is that? You'll notice that now everything is very weird and the world around us as lagging. I've added this widget. And why is it when I'm turning, is it not working? Or if I'm actually outside? Well, because this depends on where the camera is. And you'll notice that our third-person, oh, by the way, even if we move during gameplay inside the width, we can also see, you can see the chromatic, these three little colors, and the widget is deep black around the camera. So I hope you enjoyed this video. I hope you like the way these volume works. Let's Control S to save the level. And didn't we save this level? Go anyways, GO. Really, I'm sure that we save this level. No worries about that. So GO volume testing, we'll call this, save that. And now we have, okay, so we were in a different level. How that happened. Not whereas about that. As long as we learned something new, I hope you enjoyed this video and I'll see you in the next one. 19. Materials : Welcome back, my fellow game developers. In this video, we are going to learn all that is, there is to know about materials as you can see are crazy world is much more colorful. Oh, no, oh my God, we are almost done. No more blend. Q white cubes. Now we have colorful cubes with the material with different surfaces. Were they crazy, scary world to be honest with you? So let's not waste any more time and let's get started. Okay, So materials, even though materials, I'm not actors and in this section, we are more focused on actors. You already have two amazing worlds and it would be really shame if you keep them this plan. So we're going to use materials to make our levels much more beautiful and add life to them. First of all, let's talk about materials. What are the, a couple of key concepts that we need to understand material. A material is an acid that can be applied to a mesh to control the visual look on the scene. And then we have the textures. All the textures are images that are used in materials. They are mapped to the surface of the material that is applied. Just to get those two things out of the way. Now let's go back to Unreal Engine. Immaterial is an asset, as we said, that can be applied to any mesh. And we've already seen how that looks at a high level, it is probably easiest to think of a material as a paint that is applied to an object. But even that can be a little misleading since materials literally defined the type of surface from which your object appears to be made. You can define its color, how shiny it is, whether you can see through the object, which we'll do later on in the course and much, much more. Let's start adding a material to the surface of a brush. I'm going to go back to the geo wherever. What did we call it away. That's okay. So now, now I remembered the previous video. I had a bit of a, this is the volume casting. I'm going to change it. I am starting to go crazy. So yeah, midlife crisis about to start. So I'm going to move this two levels. Inside of levels. We have the crazy world and the volume testing. Okay, so after a couple of minutes of searching, I realized I had made one of the biggest mistakes. However, for some reason, overrided the level or forgot to save my level that had the castle and whatever. But that's okay as long as you have yours, it will not deter us from our goals of learning how to add material to certain niches. So let's continue on. The first thing that we're going to do is we're going to go ahead and drag a machine here. And I was wondering all the time, where did that thing go? Anyways, big mistakes. No worries. We always make mistakes as long as we admit that we made them and we try to do better later on. But for now, let's look at this cube. So what can we do to the skew? We can go in here, select materials not levels, and we can go ahead and for example, add this text. And when we drag it, we put it on this brush. And you can see that we only put it on one side of the brush. And this is what I meant when I said that it's not simply a paint on the wall, it's actually the way we see it. So you can see the way the surface reflects and challenges scholar. And you see that you can almost feel the depth of these little wrinkles right here. So you can see right here the shadows being reflected on this side. But once you move to this side, we no longer see it. You see a bright shadow right here. So all of this is part of the material. That's why it's much more than simply painting on a surface. But now that we've added this to one side of the brush, what if you want to add it to another side of the brush while you can go ahead and drag again one here. But that is not that efficient wall, but looks really nice. Anyways, you can see also how it can change colors, so materials are very powerful. Now, what we can do is we can select one side, hold down Shift plus b. And now you can see that we've selected all of the sides. And now we can simply drag in one surface and all of these surface have been added. And you want to understand where we got this shift B, you can simply click on the brush. You can go into properties to the geometry. Geometry. And you can see right here that we can select the select matching brushes by using the Shift B. And there are many, many other selections that you can have. Geometry. The properties of the brush. And the last way we can simply select one of the surfaces and we can go ahead and select, for example, the walnut or something different, for example, the water lake and whatever. So you can see how the surface is moving because this is a water lake. This is not simply a painting on surface. It is at the actually has life and purpose tool. So now that we've learned how we can add it to a brush, Let's learn how to add it to a static mesh component. This is much simpler. You simply take with the material, drag it on here, and there you go. You can see that the material, it has been added. But there is another trip that we can do. Let's suppose we want to apply a material of all, let's see the material of this cobblestone we want to apply it to, I don't know, a linear stair. We can either add the stair and then add the material, or we can select this cobblestone and then simply drag a linear stare. And you can see that the linear stare immediately has the cobblestone on it, which is very cool. And let's see if we can do that. The same thing with shapes. So we have the cobblestones selected, let's choose another one, drag in the square, but this does not apply well, because it's a fairly simple to simply drag it onto the surface. So with that knowledge, let's talk about textures. Textures are something that is very advanced. And if you look right here on the element, you can see this little texture. And we can actually select the texture and go to it. If we double-click on it, we can open up the texture. So this is called the normal, I believe, or the roughness, which gives us the surface roughness. So keep in mind, this is a very, very deep topic. And when creating a game that looks textures and materials, use a whole different department of artists and graphic designers, which I am not complete honesty. So these are image assets used in materials to apply to a surface or to draw on the screen or the hub. The most important part, textures are created externally within an image in imaging and editing, image editing application, such as Photoshop for example. And then it's imported into unreal or into some other pro, 3D designers such as blender. A single material may use several textures. As you saw, we have this texture for the roughness, but we also have a texture for the granite. Whereas it, so there we go. So we have this texture also follow the granite and different ones as well. With that out of the way, the final thing I want to talk about is a mesh, static mesh that might have several elements to it. So for example, if I scroll down and add one of these stairs, when I add the stairs, you look at the material right here and you can see that we have two elements. One for the right here, step at the top, and one for the surface in-between the steps. So for example, I can change this material and set it to be clay and change this material and set it to be add on all some would do something if I can find it. You can change it to any material that you want. Let me try to add some kind of materials, so maybe just make it flowers or whatever. So there you go. You can see that you can change to materials on the same static mesh whenever that Static Mesh not deleted, whenever that Static Mesh is complex. And actually I'm going to select one of these woods right here. And let's say I've selected this, I can drag it into the surface. Or while selecting, I can go to the element right here and use. There we go. So we can see now that has been applied and we have a really nice-looking stair with all of that out of the way. The last thing that I wanted to talk about is whenever we have a special property on the brush. So I'm going to select the cobblestone and actually know what. Let's select this one, Shift V. And let's go ahead and apply the cobblestone. Let's look at this brush one. We select it and scroll down until we find surface properties. Surface properties. There we go. It was closed. So we have the pan, the rotate scale, and a bit of lighting. So the pan, the bottoms in this selection allow you to pan the texture of the material either horizontally or vertically by any given number. So once we start clicking, your noticed that they are moving to the right, we can increase the amount of movement that we have and we can also set a custom one. Then we can also move them down. As you can see right here, we have the rotate, which rotates the texture. So there we go. We can set it to 45 degrees or we can set it to 90. And we can also flip. These are very helpful things to keep in mind. And finally, we have the scale and keep in mind that the scale uses the u and v instead of the x, y, and z. We can, for example, scale three on the, on the you and apply that. There we go. We can see that the cobblestone has been smashed. Anyways, with that out of the way, I'm going to issue you a bit of a challenge to add materials to your world. Now that you have the weird shapes and the floating cubes add materials to all the surfaces and static meshes, Static Mesh actors and the world. And do the same for the geometry that out level which your instructor has stupidly. I don't know. I don't even know if I deleted it or if I for some reason, I think when I created a new level to test all the volumes, I did not save. I don't know To be honest to how I managed to do such in state, but let's not worry about that as long as you have your level if you follow the steps, I did exactly. And you deleted your level. I take full responsibility. I'm very sorry. So pause the video right now and go do the challenge. Okay, welcome back. So my fellow game developers, it's time to add materials to all of these shapes. Well, it's going to be able to cumbersome because I already have lots of these. So what I'm going to do is I'm going to select all of these shapes almost. Let's see. Oh my God, we have so much. I'm not going to go and do every single one of them. I'm just going to select most of these nano up almost these also these. And we're going to use SI materials. The geometry, Let's select, Let's select this one. This is too hard. Select the normal lake water also, the wood. Now that we've selected the woods, we can scroll down in here and set all of these elements will transport selected. That's okay. So selecting another bunch of elements and we'll set this kind of Woodbine on them. Bam, there we go. Now I'm going to select another batch of elements. Maybe set that to be. Okay, Let's set it as this one. It seems good enough. Wherever is material that I select something weird in hears that mesh values material. So we have displayed to materials. Now let's just replace this, these ones. Okay, great. Everything looks good. Let's select the rest. Right here. We'll add this one of the chair. Yeah, sure. Why not? We have a different materials and we'll select just the ones in the white. Select the other ones. And we'll make them. I think this is gonna take a long time. I hope you enjoyed this video and I'm sorry for the mistake again, I hope you didn't delete your level like I did and I'll see you in the next one. 20. Lighting the Environment: Welcome back, my fellow game developers. In this video, we are going to be learning everything there is to know about lighting. So at the end of this video, I will issue a challenge and then tell you, I'll see you in the next video. So this is the result of the challenge that I created when we hit play. There we go. You can see because of the material that I've added, these are still lighted up. But now when we move throughout our level, look how cool this looks, at least for me, I think it looks really nice because we move from blue to complete darkness to then having read on us than green, which really makes your level seem as if there are a lot of things to do in here. You can see I've added a bit of red to the heart. So nothing too fancy to be honest with you. I know it's not like revolutionary. Probably you created something much nicer, but this is just for you to have a bit of inspiration. So let's not waste any more time. Let's get started. Okay. So remember last video or a couple of videos ago, I don't know. I lost my g or level. Well, for some reason it's back here. So that's great news. I guess. I don't know why it's beer that's probably a glitch because of the early access and Unreal Engine five. But just in case something happens, Do you like this? Simply restart your Unreal Engine and it should come up again. I've been facing these problems a lot Plachy. Anyways. Let's not worry about that. Let's worry about lighting in the Unreal Engine. So I'm going to go ahead and create a new level in here. This level, or actually I'm going to create from here this new level. It's going to be an empty level because we don't want any lighting in our world. So let's talk about the basics of lighting and explain a couple of key concepts before we start. First of all, we have lumen. It's the unit of luminous flux. So the lumen is the SI, which is standard international units, derived unit of luminous flux, a measure of the total quantity of visible light emitted by a source per unit of time. So basically, for example, when we measure weight, we use kilograms or if you're in the imperial system, we use pounds. In the case of light, we use lumen. Then we have the specular scale. This is something that we'll see in just a bit and it's a very advanced topic, but I just wanted to give you a broad idea of what it is, It's relating or having the properties of a mirror. So how far off the light reflects on a mirror like surface will see a lot of mirror like surfaces as we go on through the course. Anyways, with that out of the way, let's go back into our Unreal Engine and let's see what we can do. As you can see in the World Outliner, we don't have anything. It's completely and utterly empty. So we're going to start adding a couple of things in here. First of all, and Unreal Engine, there are a number of ways of adding light. We've seen. There are a few key properties that have the greatest impact on the lighting. The way we can add lights is simply by going ahead and creating glides from here so we can add a point light. But as you can see, there's still nothing where you might be thinking, why is there nothing at all? Well, because we need something to reflect off of that light. I'm going to go ahead and add a cube in here. And you can see that it's far off. So I'm going to reset the cubes position, and I'm going to reset the point slides position. Focus on that and then move this up and they're regards on now we have our cube being illuminated. What I'm going to do is I'm going to set this q. Let's make this bigger and move this up a bit also, I'm going to make the skew may be five-by-five. And actually you know what, let's make it 100 by 100. Yeah, so now we have a huge canvas to work with and understand what's happening. Let's continue on the other way of adding lights as by simply using the place after Going to the lights filter and just start adding lights from here. So once the light has been added, you can then adjust the position, the rotation, and the scale. So you'll notice that in here we have the position, the position on the y and the rotation. Obviously nothing happens when we rotate a point life because it shines the same in all directions. But if we have a spotlight, for example, and we do a bit of rotation and all that kind of rotation. But this kind of rotation. This again, there we go. You can see that we can change the angle and we can change the angle also on the x1 direction. So all of these can be adjusted and lights are usually represented by these little sprites right here in the editor. So as you can see, this is swan as for the spotlight, and this one is for the 0.5. Okay, Excellent. And notice also we have the spheres are out there that we'll talk about in just a bit. But before we do that, we need to talk about the density. If you look into the details, you can see a property that is the intensity. And this determines how much energy the light outputs into the scene. For example, for a point-like any spotlight, the intensity is usually in lumen. What do I mean by that? We have this little point like right here. And you can see the sphere. Sphere is how much it can influence, which is the attenuation radius. Just wait a bit and we'll talk about that. If we increase the intensity, you'll notice that it's entire, almost entire circumference has been set. While if we decrease the intensity, you'll notice that it goes to 0 eventually. We can also change the color of the light. So by clicking in here and you can see that we can change how the scholar looks with, which can add a lot of variety to a level that you are trying to create. Next, we have the attenuation radius. The attenuation radius of the light does a few majors things. First, it sets the reach of the light. Second defines what objects will be affected. And finally, it serves as the outer bonds when calculating the fall off of the light, what do we mean by fall off the light? That means how far does the light effect what we see? For example, if I increase the attenuation, you will notice that this circle of light increases. And if I increase the intensity and I increase the attenuation, I can keep going and going until we affect the maximum amount. And what's the follow-up while the fall off? If you scroll down, you'll notice that we have this very bright middle Spark, which is the sun, if you want to call it like that. And then we have this outlet outer radius and notice everything inside this orange. And then we have the red, and then we have the complete darkness black. So all of that affects our life inside. So I'm going to reset this to eight. And I'm going to go ahead and create a life that is 200. And you can see that we barely see anything. So I'm going to drag one here. And how big is the surface? Okay? I'm going to make this one, actually, let's make this one bigger. So I'm going to make it 400. I'll make this 1800, make this 11100. There we go. You'll notice these are three varying degrees of attenuation. And keep in mind that we kept the luminosity or the intensity on all of these three lights the same and this is the same one applied on a point, I mean a spot light. So the light attenuation radius can have a serious impact on the performance. Obviously, you can already hear, I think the south of my fans going around because we are adding a lot of things. Next we have the, let me just point by point. We have the source radius. The, all of these things can affect the way the light behaves. I'm not going to go too deep. Because from experience I understand that most students aren't as interested in lighting as they are interested in creating a game using lighting. But please feel free if you think this topic interests, you go into every single detail, understand everything, and see how all of that works. I really do encourage you. It's saying amazing topic and trust me, if you can create a nice lighting seem to gain, you can. It's like it's the difference between a mediocre game, I incredible game. With all of that out of the way, let's talk about the different types of lights. We've seen. The points lie pretty obvious. These are similar to light bulbs, so they emit light in all directions from a single point. We have the spotlight, just like we saw earlier. We add a spotlight, that's the mudslides light in a single point from a single point, but it has a certain direction and it is gone like soap. If we scroll down, you'll notice that it has not only the rate of generation radius, it has the inner cone, and it has the outer cone that we can manipulate and change the color of. Obviously, there we go. You can see that the color of the sprite that represents the light also changes when we change the color of the lines, or this is something to keep in mind. For example, if I increase the outer cone. Just like that. And move it up a bit. Anything increases the attenuation. There we go and increase the intensity. There we go. We can see that we can also create this kind of light attenuation like, I don't know what you want to call it. Next, we have the rectangular light and this is something that is usually used inside of rooms. I don't know. I've never to be honest, use it, but it's very important to understand because look how it can be manipulated and changed the realm now will become sort of a, it's like a projector when if you have a projected different a bit different than a spotlight and that it doesn't Project a, a cone like projection, but you can put it in here and just use it. You can see that it does not generate any light from behind. It just has square lighting. Next we have the skylight which captures the background of your scene and applies the lighting to the meshes. This is something we'll see later on as we apply atmosphere and clouds and all of that. So basically the skylight is like when you have a mountain, for example, and lights shine on that mountain and that mountain reflects light back to you. So that's what's called the sky lighting like big, huge object or the atmosphere actually reflecting light back onto your object. This week, we will see you in the next video of this makes shadows much less dense. And finally we have the directional light. So when we add the directional light, you'll see that it shines over everything. And directional lights are primarily used as your outdoor lighting or any lights that need to appear as if it has been cast from an extreme infinite distance, which is usually the sun. With all of that out of the way. I know we haven't learned too much and look how all of these change. We can adjust these lights so we can decrease and increase the lux intensity on the directional light depending on how you want it to look. We can also change the angles. There we go to make it seem like a sun, sunset or whatever. Later on we'll learn how to use these all in a better, much better way. So with all of that out of the way, I'm going to issue a small charge to create your own lighting. Duplicate your crazy world level. We move all the elements relating to lighting up the level, create your own lighting on the structure. You can do the same for your NGO level though I don't recommend it because already there we will using geometric shapes which take a lot longer time to render. And then you're adding a lot of light into that level. I don't think it will be a good combination. And use different flights and different colors depending on your system. This might be very taxing or pretty simple. So mused, light sparingly, play around, have fun. Enjoy your time. Try to use as little light as you possibly can and keep in mind all the attenuation. But that information, I'll leave the creation, the creativity to you, and I'll see you in the next video where we will learn about the atmosphere and the Cloud. So see you then. 21. Atmosphere and Clouds: Welcome back my fellow game developers into a brand new video. And as you can see, or maybe you just don't know. But this is a world that we've created all on our own. You'll notice that the clouds are a bit different. The environment does have a different, the angle of the sun is also a bit different. So we've been changing all of this up. We've been testing our game out. We've been playing around with the atmosphere, the Cloud, with the sun, with a lot of things. So this is a very exciting video, but let's not waste any more time, and let's get started. All keys. So now that we understand how lighting works, it's time to understand how the atmosphere and clouds, clouds to work. So I'm going to go into the file, create a new level, make sure that it's empty. Save everything in here. This will be our testing or atmospheric creation and clouds. So first thing we're going to do is we're going to start off by adding a directional light, which is pretty simple. So when Steve directional light is added, you will see that nothing happens because we don't have anything to actually liked. So I'm just going to simply create a Cuban here, put it in the middle of the middle and make it 1 thousand by one. Okay, so everything is 11000, that's great. So whereas the cube, There we go. So the cube is everywhere I think all because he made it also in this direction. So I'm going to unlock this and make sure it's like one in here. Okay, great. So now we can see our cubic properly. Excellent. The next thing I'm going to do is I'm going to add a sky atmosphere because everything right here, it looks very dull. So I'm going to go in here. Let's add this and just search for Sky atmosphere. Once this guy atmosphere has been added, you will notice that nothing at all happens. But if I select the directional light, I find the atmosphere sunlight. Whereas it, at most fear sunlight when I click on it, you'll notice that now I have this amazing looking atmosphere with a little sun in the middle. Now, how does the sun work? It's not just for props, it actually moves and it actually determines how the directional light will work. So if I select the directional light, you'll notice that it's at a certain angle. So on all this, what happens when I decrease the angle? There we go. You can see that we can create this little neat looking at I don't know what you want to call it. At sunset maybe. Yeah, sure. Looks like a sunset. So now let's add another Cuban to our level, which is a fairly tiny cube. I'm going to zoom in on it and just move it up a bit. So notice notice how the shadow is not just dark, it's completely, completely black. So what we're going to do is we're going to go ahead and add something called a skylight, which we've talked about previously. And notice how everything changes, literally everything now the shadows look more like shadows and not just some kind of void of abomination. I'm going to select the directional light because we're having a bit of trouble. The urine just like in just a little bit of increased just to make everything much, much smoother. There we go. Now, we have a lot of properties when it comes to the sky atmosphere, when it comes to these sky lighting, and when it comes to the directional light also. So I'm not going to go too deep into that as I've said, because most students don't really care about the light. And I honestly, I'm not a professional at this. I'm going to leave a couple of links. And if not, it's going to be part of the description of where, where I'll teach you how you can find everything. The next thing I'm going to add it a bit off clouds so you can see that everything is pretty empty. So I'm going to go in here and I'm going to add a sky atmosphere. Once dragged in, I'm going to search for volumetric, volumetric clouds. There we go. So when I add the Volumetric Clouds, There we go. You can see that now I have really nice-looking clouds. Now one thing when I zoom out, you'll notice we're still in this avoid right here, but we'll figure that out. So now you can see that we have these clouds in the air and we can tweak a lot of things. We can change the, the layer height, how high the clouds are, and all of that good stuff. We can change things, stop if you go down into it. You can even change the color of these clouds. But of course not that easily because clouds are also have their own very weird things in them. I also leave a link that she can go to and look through all of the clouds and see how you can adjust them on your own and customize your clouds, which seems very cool. You can also use the tip to the max level, which is always the preferred method of discovering things. There we go. So immediately I understand that this makes my clouds a bit more dark in those. I didn't even look at what it is. Okay, great. So the last thing I'm going to do is go to the directional light and I want to add shadows to the Cloud SOC gas, shadows. Shadows on clouds. It should be guessed. Shadow on clouds. Let's see clouds. Okay, there we go. So add a bit of shadow to the clouds. And on the skylight, I'm going to select it and I'm going to look for the real-time capture. Select that, and this should make all of the shadows a bit more smooth. There we go. I'm going to make this a bit bigger. There we go, just so we can properly see how that shadow looks at this up a bit. And their regards. So we can see that the shadows look pretty darn good. And in the next video, when we will be setting up our world, I'm going to actually be having predetermined values that I'm going to apply. What I recommend is that should do this yourself. Before I take you to your challenge, we're going to go ahead and add the exponential heights to remove this voids down here. So exponential heights simply drag it into the world. And you'll notice that now we have this little world in front of us. We no longer have a void down there was with a cool-looking Fog. Now what you can do is you can decrease the fog density a bit, but just keep it a little bit higher than 0. And items like that. Much fog because it looks like we just dive in, we're in heaven. So I'm going to add a bit of zeros here. There we go. So 0, maybe that's too little. I don't know. Just increase a little bit. There we go. I think that is good enough. So as you can see now we have a beautiful world to work and it's not perfect, but it gets the job done. So I'm going to take you to your challenge. And your challenge is to studying. We use the two links I provide you with to check the various properties for the Volumetric Clouds and for the building of the fog effect there around with the options if you're interested in creating and tweaking your own sky. And finally, you can, if you don't find any link. So you can either search for volumetric clouds and sky, atmosphere, and add to it unreal lamentation. And you should find everything that you need. So pause the video right now, go to the challenge and I'll see you in the upcoming section, most probably where we will be building our first world. See you then. 22. Section 4 - CyberSpy 3027 - Building Our World - Lighting And Preparing Our Level: Welcome back my fellow game developers to a brand new video. And in this one, we are going to be setting up our world. We're going to create everything from scratch. As you can see right here. This is our level, this is our clouds, our atmosphere, our fog down here. And wherever we're going to set the lighting, set the post-processing, set the clouds, set everything up, so set yourself properly. And let's not waste any more time, and let's get started. Okay, so now it's time to start creating our real-world cyber spy 3027 game. So let us go ahead and do just that. I'm going to go into the games and noticed I've opened up a new project. I'm going to select the project and make sure that it's blank. We don't want to have any other template will select the project name and we'll call it cyber spy 3027. Let's see. We can not add a space or you can call your game whatever you want. It depends on you. Let's keep everything the same. We'll keep stopped at content, maybe we'll need it. Let's go ahead and Create. And I'll see you whenever the game has been or the project has been setup. Okay, welcome back. So as you can see, we start off with this nice looking table and whatever. What I'm going to do is I'm going to simply go in here and create a new completely empty level. And this is going to be our main level. Now, let's start off with the basics. I have everything right here next to me that I'm looking at all the values because I've already set up, set up this level. As we go on. Please feel free to add whatever you want. Feel free to add any other tweak anything that you've learned so far, I'm going to use the basic thing that I've created. I'm not going to try to do anything very weird because I don't want these kinds of videos to take me three or four hours. Let's get started. First of all, I'm going to create a cube. It set the position to 000 on all sides, make this scale one hundred ten hundred by one hundred ten hundred. This is going to be our main platform. Next, I'm going to add a directional light. This is a directional light and I'm going to enable atmosphere sunlight. So I think this is it. I'm going to enable the gas shadows on the clouds. I'm going to enable the cast shadow on the atmosphere. Next we're going to add a sky atmosphere. So I'm going to add this right here so we can find things faster and I'm going to search for Sky, atmosphere. There we go, add it to the level. We can reset the position. It doesn't really matter where this guy is. Next, we're going to add a skylight. So this is a skylight. I'm going to reset, reset its location really doesn't matter where the location of the skylight is. I'm going to add a post-process volume. This is going to be very helpful. It will allow us to better adjust everything around us. Now, obviously, I'm also you don't need to reset. It doesn't matter where this process volume will be because we are going to turn on infinite extension on it. So I'm going to make this detail panel at a bit bigger. And I'm going to first of all, but let's go to infinite extent and set this to be unbound. This means that it's not only inside of this cube that the post-process volume has an action, it's all over, it has infinite extent. Now that we've set this up, let's go into the auto exposure. And what does the auto exposure mean? Well, if you, for example, look at the sky, you'll notice that slowly it starts to brighten up and then when you look down, goes back down. So once you look at the sun, everything starts shining brighter and whatever then you look down, it starts dreaming again. We don't want that to happen because it will take a bit more processing time and it's really not worth it. So go to the minimum and maximum, right? This turn them both on and we'll set both of them to one. So the minimum is one, the maximum is one. And there we go. You'll see that the whole world is much brighter, but don't worry, we will compensate for that. Next, we'll add some atmospheric clouds. So volumetric atmospheric clouds will add that. Next we'll add exponential height. So exponential heights, so we don't have this void anymore under us. There we go. Everything seems to be looking good. Let's search for volumetric fog, and we'll add some volumetric fog to the exponential height. This, if you notice there's a tiny bit of difference at the end there, but it's not. That showing will also change the fog scattering colors. So 4k, 4k scattering color. We'll make it completely white. So there we go. So you can see how the difference is there. Now we're going to go into the skylight. So skylight, there we go. There are a couple of things that we're going to change in here will make the light color a bit more blue. So we'll set that to blue. We'll change the intensity to be around 0.8, whereas the intensity, Let's see if we can find the thing here, Intensity Scale. You'll notice here that if we drag this down, How much does it affect things? It will most likely be more obvious when we look at the shadow. If I add a cube in here, just see the cube. Yup, very obvious. There were all sorts of social. There we go, where you can see that the cube has its shadow, a bit of a blue shade. We'll change that in just a bit. We'll at once we adjust everything, everything should be looking quite good and maybe the blue is just a bit too much. So back in the skylight, I'm going to change this to not be completely blue. Maybe just, just kind of like that gives a more, a better looking view, will go to the directional light. So directional light will change the intensity. Let's just change it to 0.5. See how that looks. And let's go to the light shaft, turn that on and turn on the light shaft bloom. And we'll set the bloom scale to be 0.05. And finally, we are going to change the color of the directional light to be a bit more orangey. How do we change this to orange? Maybe like this. Okay, there we go and make it a bit more orangey, and there we go. So I think that's everything that we wanted to set up. Oh, okay. So I made a couple of adjustments. Not too much just changed up the folk scattering on the exponential heights. And I think all of our level is set up. The last thing I wanted to do, let's close up the place actor for now. I'm going to move on to the challenge and issue a small challenge was the post-processing level change the view Jeanette vignette to maybe it's called ****** or vignette. Vignette, change it to ¢0.5, the global saturation to 1.3 to give it a bit of a hue. Then add anything extra you might want to have in your level. And you can even experiment with the numbers I already gave you. So as you saw, everything that I did right here was predetermined. That's why I made it so fast. But I do recommend that you go through all of these, changed the angle of the direction of light, play around with the fog. And if you feel that it's too much of a hassle and you feel like your level isn't coming up to well, not worry about just create a new level with the starting content. You don't need to create everything from scratch. This is just for me because I wanted to show you how we can create a level from the ground up. And because I also wanted to do have our own touch into the game. But if you want, if you feel it's too much and you really don't care about it just stopped the level of pressure. So pause the video right now and go to the challenge. Hey, welcome back. So let's see where the post-process is in here. So I'm going to select it and I'm going to go to the vignette. Search for vignette. Select the vignette. How much did I say we needed? 0.8? I think. There we go. Yeah, 0.8. So even though I knew 0.8 was the thing I wanted, I'm going to take it down to around 0.6. Even 0.50.5 seems to be good. And let's set the saturation. How much did I say I wanted the global saturation. Okay, global saturation. There we go. Click on that and let's just set it to 1.5. There we go. So it will make the whole world a bit more blue, just like you saw. Okay, so it's 0.31.3 and there we go. So I think now our level is already now let's move on to the next video where we will, we will be creating our first levels. Sort of the design will just create a couple of objects in the sky and we'll set a couple of pillars around our level, and then we'll start creating everything else. So I hope you enjoyed this video. I hope it wasn't too confusing and I'll see you in the next one. 23. Creating Your First Level: Welcome back, my fellow game developers. As you can see, we have started creating our levels. We've added a bit of ambiance in here. There's something I forgot to mention that I set all of the cubes right here in files. So we have the platform shapes, we have the sky ambiance, and we also created our platform right here. As you can see, it's nothing too much. It's just like a couple of platforms that we jumped from one to the next to get to the end of the row, we also have this little golden ramp, which I honestly pump like the color off too much just to make sure that we can see that there is a ramp. Electron will be adding materials and so on. That's not waste anymore time. This video is a bit long, but it all depends on you. It's just a bit of a guide on how to set everything up and have your first level. So let's not waste any more time. And let's get started. Okay, so now it's time to create our first level. We're going to first of all create the ambience around. So we're going to add a couple of cubes in the air, and we'll add also a couple of pillars around the level to set everything up. And finally, we'll create a small structure in the middle where our player can help from one place or another. So whenever you are creating your level, it's always very important to create a game design template for the level. Usually that's done with very professional tools and you'll see how much I put in effort into it. Very good. No, I was just getting it's all about keeping it simple and stupid just for the sake of having the overall feel of how your canvas or game design will look. So basically, this is me or you, and there will be a bit of a distance between you and the door? Yes, this is a door. So your goal is to get from this position to this position. And the way you do that is by jumping from one of these platforms. So this will be elevated with this one. Both of these will be elevated and if you jump across, you cannot jump from the ground to this position. This is very important. So we'll have a couple of these things. And when you get to the door and you will be able to and the level, we also have the stairs. So in case you're jumping from one platform to the next and you fall down, you have the chance to go back up the stairs and then boop, boop, boop. Go back through your thoughts. So let us get started with that before we do. First of all, I want to set the ambience around this whole thing. This really also depends on you. But what I wanted to do is I wanted to add, for example, a couple of spheres in here. So let me go to the Create, add a shape, add a cube. For example, make this cube. That's lock it down. Make this cube a 100 by 100 by 100. And just put it in the sky like this, and then add another cube with a bit of rotation like this. For example. There we go, this is another cube. Let's make it 200 by 200. And then we'll add another cube, for example here, which will be 400 by 400 by 400, make a day but farther away. Then add a another cube. This cube will be a massive cube, which will be a ten hundred. Ten hundred. Okay, so let me just move away a bit. And then we'll move that Q bright like this, then add another cube and in other queue. So basically you'll get the drill. And after adding all these cubes, we can change this, for example, to a sphere. Once we have a sphere here, for example, then we'll add another sphere and another one and make this 11000 by 1000. And once you've added enough shapes in the sky, you can add columns if you want. I recommend that you can go from perspective to top. And then you can start duplicating things around. So you can select all of these, for example, and then move them right here at a widow of a rotation like that to keep things fresh so they don't click Duplicate and then add another one. There we go. This is just off the top of my head and they're regards song now when we play the game, currently we are this floating thing. Let me go back down to prospective stand here and then we start the game and imagine you're walking around and you look up and you see all these crazy cubes and the sky. Then what I wanted to do that you just slopes camera now. Then what you want to do is, for example, I'm going to add another cube in here. We add a cube will make it 50 by 50 by 50. Actually, I think 50 is a lot or no. Let's keep it at 25. Maybe, maybe it's better at 2525. And let this be. 100. So we'll add one of these, a huge pillar and distance. And then we'll duplicate it four times. For example, this position of a trend them. There we go. Now we can select this form. Then we can duplicate them again and again and so on. And then you can take the same pillar. And instead of 25, make it 15 by 15, and make this maybe 200. Then you will add some of these skinny pillars around. So there we go at this one. But to the back and duplicated, duplicated again. Move it like this. There we go. So now we have more variety of pillars. So we add a couple of pillars ear, and then we'll add a couple of pillars here. This is just for example. And just keep placed right here in the middle. Look, imagine you're a spirit small person and you look up and you see all of these weird structures floating in the sky and you see those are huge pillars. This will give you a world in lots of authenticity. It will feel as if you are part of something bigger and you're displaying in this little clip playground right here that will create. And finally, I'll just make another type of pillar like this one, for example, take this back here and maybe make it 150 down. And this will be the most, the one that will populate our world the most. Make ten by ten. So this will be small, skinny ones. There we go. We add one of these smaller pillars. And we can even change the height of each one of these pillars. For example, like this, like that and whatever. If you want, you can make some of them floating. I do recommend. If you want to experiment with that, then you will have these smaller looking pillars right here. Now if for example, you're laying the level and you're jumping from one to the next, you'll look up and you see all of these different kinds of shapes at the distance and really, really adds a nice atmosphere to your level. So I'm going to cut right here and use the power of editing, the magic of editing. And then I will show you what kind of level I'll come up with. See you in, just save it. Welcome back. So there we go. This is my level. I also change the materials here. This one is basic wall. These one are basic shape materials and the ground is the asset platform material. I wanted to change materials in the next video, but I thought let's just do it right now. What the heck? There we go. This is my level. Look how many cubes I've added. Look how many pillars I have. And if you look from the top, this is how it looks. It looks fairly nicely distributed. I tried my best it as much as possible and I want to add too many things because too many things will obviously start taking a toll on your processing power, even though I think this is already too much. But it's okay. I guess I tried to make a fair distribution here. So you can see we have a couple of thick ones just like this one, a couple of little less thick ones like these, and a small tiny ones like this one. So there we go. This is the level that I've created. Now let's go ahead and create the actual platform where our player will be jumping around. I'm going to zoom in here. Maybe try to slow down a bit and I'm going to go ahead and Corey, oh, and by the way, I saved level and call the level 0. I created a folder right ear for the level 0 and the folder for levels and the content with the level 0 right here. Okay, so now I'm going to go ahead and create a cube. I'm going to reset its position 2000. I'm going to move it up a bit and I'm going to scale it like this. I don't have a predetermined amount of distance that I'll have, but I think I can pretty much figure it out on my own. Some kind of platform. So this will be our starting platform. There we go. This is where our player, we'll be starting off. This is where the player will be walking around. And if you want a good idea as to make it floating in the ear, that would be really cool. I'm going to take down just make it touch the ground. Yeah, about yea big. Then I'm going to duplicate this one. Going to rotate it around the sky. And then of course I'm going to take. This is the y-axis. Nope. Okay, there we go. So I'm going to scale this one down properly. All of this is really tedious. I know. And if you think it's too much, then please be my guest. Just do it. Do whatever you feel like you're doing. You don't need to follow my exact exact steps. So there we go. Now we've made the both the bag and from of our level. Then I'm going to know what this is too high. Let me just make it a bit more small. There we go. Up. Yeah. I guess something like that should be good enough. I guess. Yeah, kind of like this. The player won't see these little mistakes. So it's okay if you keep them going to add one to the other side as well. There we go. Then I'm going to duplicate this again, download it. Now we're going to increase the size like this, increase the size a bit, decrease the height up a bit more of it to the left. There we go. Duplicate and set it on the other side. So now as you can see, we have this kind of platform and we will try to make sure that we can not jump from this position to this position. Finally, we'll add a couple of walls on the side. So let's just duplicate this. Kind of like that. And we'll move right here to the middle. Increase the sides like this, move it down a bit. So yeah, I think that looks good enough. Maybe make it a bit thinner. There we go. All of these are pretty adjustable, so it depends on how you want your level to look like, as long as the player cannot escape from your level and go wondering around or if you want, you can make that, but I don't think that's going to be very productive. So there we go. Now we stand in here and as you can see, we have, imagine if you were a player and you're standing here and you need to get to the other side. And you see all of these tall buildings in the distance and these weird cubes and wherever sky high, which is really nice. I guess this is all that we needed to do. What? Of what else? No, actually, I think we still need to make the ramp, so we'll make some kind of little ramp right here. Duplicating this one. I'm making it smaller on all sides. I'm going to add a stair. I'm just going to add this kind of ramp. And the ramp is extremely huge. Just for the sake of having someplace for the player to move up in case he falls down and move it up like this. And there we go. Let me just adjust it a little bit. We probably need to change this material just for the sake of seeing what is going on. Let's see what do we have something yellow, gold on a wait, I think we have some kind of yellow material. This one? No, that's not one that I was looking for. Let's just make it out of wood for now or whatnot. I don't like this. Let's search for material. Whereas the yellow there was a very nice tint of yellow that I used to like adding. That's not what I'm looking for. Maybe we'll create our own later on. For now, let's just add the gold. Put it right here to the side. This looks not nice at all. But this will just do because we want to make sure that it touches properly right here. Okay, so there we go. Now we have this ramp of gold. That's it. That's it for now. Maybe you can add a couple of shapes for the cube. For example, these will be the cubes that we jump on. What make them like five-by-five. There we go. One platform, the second platform. Third platform. This one will be a bit to the side. It would be a tad longer. There we go. Make it a bit hard for the player to jump from one to the next. So we'll make this a bit more distant. Then finally, you will add another one right here, and finally a one right here. There we go. So now we have our level. Now, obviously there are a couple of problems in here. First of all, it's barely visible which ones are the platforms and which one is the ground, which is going to be very hard for our player. The second thing is that when we play, we are this orb that can float around, which is not good at all. This is something we will adjusting after we learn how to create a character. Finally, we seem to have something very blend because everything looks the same and we don't have a door on an or an objective. This is something we'll deal with later on in the level. I hope you enjoyed this video and I'll see you in the next one. Sorry, just before I leave, I wanted to issue the challenge. Your challenge is going to be to design your own general area. Design the shape you'd like your area to have. You can use paint like me or a more professional tool. Don't go too deep into it as later we'll be introducing other mechanics. This design might change. Build the level you want after watching me doing it a bit, doing it a bit, have fun and go crazy. So design whatever you want, add whatever shapes you want them to distance, add whatever type of platforms you want. This is where I leave you troop for now. See you in the next video. 24. Building The Inner Structure: Welcome back, my fellow game developers. As you can see in this video, we've added a couple of materials. We've created our own materials like the yellow one and this red one and the green one you've actually created yourself. So let's not waste any more time. This is a long video and let's get started. Okay, so in this video we are going to be creating a couple of materials to make sure we can distinguish between the floor, the end, the platform, the platform we need to eventually get to the walls. And maybe even we can change up these outer balls a bit. Let's get started first of all, with the floor. So I'm going to click on the floor. So you can see that the material on this cube is the basic shape material, and the material on the walls is also the basic shape. Let's choose this one and maybe change it to the floor. There we go. So now we have this floor. Let's select the four walls right here and we'll make them the basic wall. There we go. So now we have a distinct color. This one we shall change to the platform. Yeah, I think that's good. No, I don't think that's good. But it still adds a bit of change in color. We can keep these platforms as they are. Now, the next thing I want to do is I want to change this color right here, but this, I wanted to use some kind of yellow or gold, but there is no yellow or gold material. What shall I do in this predicament? Should I give up or should I use a bit more skill in order to create my own material? Well, that's exactly what we're going to do. I'm going to go ahead into the content to remove the material filter. Maybe let's go ahead and create a new folder for the materials. Open this one up, right-click in here and warning before we start, I'm sorry, right-click and create a material. Now a warning before we start, what you're about to see will be a bit scary, especially if you are a total beginner and unreal and never seen anything like this. Stay brave. I'm going to name this VM, which means the material underscore. Yellow. Hit Enter. And I'm going to double-click in here. Okay, what is happening in here? I have no clue. Nobody does. This is basically we can create our own in material. As you can see, we have a ton of options in here, and we have a ton of options in the details. And as I've told you, a material or texture is usually created by a whole different department. When it comes to game development. What I'm going to do is I'm going to introduce you to the very basic things that we can create. So let's go ahead and first of all, create a very basic yellow color. How are we going to do this? We're simply going to right-click in here, search for a vector parameter. As you can see, we can also add a lot of other stuff, but we'll add a vector parameter. We'll call this the yellow color. And it will simply going to attach it to the base color. Double-click in here and just search for a yellow, golden kind of look in here and you can see immediately the colors taking shape. We can determine how we want that color to look, maybe a bit yellow or yellowish. I think this is good enough. Hit OK, Control S to save everything. Then go back in here. Now we can see that we have this yellow color. It will take a bit of time to render. Now, if we drag on these yellow color, there we go, we can see that we have the yellow color ready to be used on the platform. And I'm just going to move this a teeny tiny bit. So it is perfectly placed just for my, for the sake of my OCD. And if you don't have it, congratulations, that's it. I think that's good enough. We'll just stop it. And that yellow color seems a bit goofy to me, but I guess it's okay. Now, it's time to go ahead and create our door. Now, the way we're going to create our door is, first of all, we're going to right-click and the content. We're going to create a new folder and call it the exit door. We're going to double-click to open up the door. And in here we're going to create a new blueprint class. Now, this is scary. Don't worry about it. Once we clicked on the blueprint class, we are going to create an actor. This actor is going to be called BP, which stands for blueprint underscore exit. Door. I know all of this is a bit advanced, but stay on course with me. Open up the blueprint. This will make so much sense later on as we move through them, especially in the next section. Here we're going to create our door. First of all, we'll go right here to these three little dots will create the shop floor. Then we're going to go ahead and add a cylinder. Once we have a cylinder, we're going to call this the outer frame. We're going to move it down like this. Over backwards like this. Maybe we can rotate it. I don't know. That's just reset the position. Now we're going to go ahead and make it a lot bigger, except for on this side, we're going to shrink it down. And then we're going to make it about maybe three by three. So this will be the outer view of our door, sort of kind of like this. Let's choose a material for it. I'm going to select the one that I like a lot if I can find it. There we go. So this will be our outer view of the door. Next we're going to add a another cylinder. We're going to call this the inner frame. Will rotate it like that. I'm going to obviously make sure that this one on the Z is one. Maybe even smaller. I don't know who knows and move it up outwards a bit. Make this five. There we go, so it sticks out a little bit. And then I'm going to make it a bit bigger. So yeah, kind of like this. This. There we go. So now we have the outer door or inner frame, excuse me. This really will depend on how you want your door to look. And this is the floor in order for us to know where the player will be stepping in if you want, maybe you can move this up a little bit just like that. And if you want to change a bit of a distance in here, you can detach the inner frame from the outer frame. That way, you can really just have your way in designing things. And the last thing we want to do is we'll duplicate this inner frame. So click on the inner frame, hit Control W. And notice this as the components. And this will be the in their door glow. This is where we will know whether our door should be glowing green if it's open or grow glowing red if it shouldn't be open. So I'm going to make this kind of oval shape. This is where the player will know where, whether or not he can exit through the door. Let me just make this a bit wider. Move it up like this. There we go. Now let's just change the material on it just for now, just so we can see how it looks. And you'll notice that all of this fluttering, this is because they are on the exact same plane. Once we move it outside a bit, there we go. There is no more flattering. So this is my door. It's kind of ugly. It's not the prettiest one, the prettiest door on the block, but it will do the job, in my opinion, be compile, we save, and now we're going to create a material of equal growing rent in the exit door. I'm going to right-click. And before we do that, let me just go to the end of the level and drag our beautiful door in here. And it turns out this door is extremely small. So there we go. I think we misjudged how big this level is going to be. Okay. I really think we misjudged the size of this level any ways. Let's just keep this door up here. Later on we'll be fixing any problem that we face. We can just select all of these and make them smaller and adjust everything around us. Anyway, this is our teeny-tiny door on the other side of the world. If you want, you can make this bigger. So we can just simply select all of these and just go like this. Yeah, not the optimal solution. Let's for now just keep it as it is. Going to the exit door. Right-click in here and we'll create a material. This is going to be m under glow red. Hit Enter, open up this material. We're going to right-click and add a vector parameter. This is going to be the red, and we'll select the red in here. There we go, Make it all red. We're going to set it inside of the base color. This is the first step. Second step is we want to add a bit of speculations or specular, makes it a bit more. How should I call it a bit more reflective and gives out a bit more color to the world around it. So the way we'll do this is by simply clicking on one, holding down one and click on the canvas right ear or the graph. So drag that to the specular. Let's see if that makes any difference. There we go. We can see we have a bit of difference. We can simply if we want to hold down Control or hold down Alt, remove that. You can see the teeny tiny difference and that when we set it to red. And finally, we are going to take this one Control W to duplicate it. Set this right here, value to ten. Now we're going to right-click find the multiply. Drag from the base color and drag from this value right here. And then we'll make it a bit more emissive. So now you'll see after a while, there we go. We have a red glowing color. So save, apply. Then go back into the level door, select the door glove frame, and set this to be the red material. If we can find it. There we go, the red glow material, compile, save back in the level. There we go, you can see our door looks red now this indicates that we cannot go to the next level unless we do a couple of things in order to make it green, but we don't have any green color. So this is going to be your challenge to create the green material. Create the green material similar to the red one, meaning it needs to be emissive and have all the same values. If you want to add your own material like bricks, feel free to add them to any surface and the level. Also feel free to go to the Epic Game Store and get yourself some real cool free assets. It's in the marketplace, it's very easy to find and that's it. Pause the video right now and go do the challenge. Hey, welcome back. I hope you applied your own material. Now as you saw, I felt that the level has two huge because the doors very small. Let's see what we can do if we go to the Create at the place actors and I'm going to search for the player start now this will give us roughly the size of the player that we are going to be using. If I turn this guy around 180 degrees. So this is basically how tall we are going to look like. If you think it's good enough, then by all means use that kind of level design. I like it. I think it's big enough. I think it's not too big. Maybe it's a little bit too big. But if you feel like that, what you can do, Let's take this player start and move them over to the door. And there we go. You can see that this door is kind of small. So what I'm going to do is I'm going to go back to the exit door. I think I'm going to make it just a little bit bigger, so increase the size, make it six, increasing on the y to make it six also. Then we'll increase the size of this egg-shaped, whatever. Maybe make it. Let's increase the size right here. And honestly, you can stop the video right now. This depends on how you want your door to look. You know what, maybe just make it David smaller. Yeah. Kind of like this oval oval shaped door. Let's compile save Look. Let's see how that looks. Yes. Deliberate, small. I just wanted to door at least would be this big. Let's see, compile save. Even though the bigger wouldn't be to hurt too much. There we go. Now let's increase the size of this bad boy. There we go. And now for the outer shape, which will be massive, compile save and the level. Yeah, I think that's good enough. So now the door, if you look from the beginning of the level, you will see that, yeah, that's kind of a door at the end there and it's exactly what we are looking for. Maybe move this door bit out the frame just a couple of inches out. Ten, there we go. I think that is our door. And all of this can be later on adjusted. I might adjust it outside of the videos right here because it's like, honestly, the game is what you want to make it. So if you want, you can go for this kind of style where you have this touching right here. Maybe this will give the door a bit more like a claw and feelings, some kind of I don't know what kind of design you are going for. Some reason, door right here isn't Excel because we need to move the entire door to the bottom. Like that. Yeah. There we go. This is our futuristic looking door. Yeah. That's why I keep telling you I'm not the best designer, I keep that thing to people that know what they're doing. So I hope you enjoyed this video. I hope you did the challenge. I really hope that you created your own door. That's not this ugly, and I'll see you in the next video. Let's go ahead and create the green material and it's pretty simple. All you have to do is simply take this and duplicate it by hitting the control w, or you can control C, control V to copy it. Then select right here, and instead of the glow red, colored glow green. There we go. And they now open up the glow green. And all you have to do is select the color in here and just move it out to wrap. So remove any green and the red, any blue and keep only the green head. Okay, now we have our green Apply. Save. And now we should see they now. We should see that now we take out the door that's duplicated by holding down Alt. There we go. This is a second door and let's try to add something to the frame. I don't think we'll be all right here. There we go. And now we have a green and a red door. I hope you enjoyed this video and I'll see you in the next one. 25. Section 5 - Blueprint Visual Scripting - Blueprint 101: Welcome back my fellow game developers and congratulations on making it to the next section. I know the previous sections is there have been mistakes, there have been false, there have been weird the magic things happening in the editing because sometimes I do make mistakes, but now I am in my element. This is what I love. I love programming. I love how to change behaviors. And as you can see in this video, we are going to learn about the basic blueprints and we're going to start off by creating our first nodes. And when we play the game, you can see that we are printing to the screen. Finally, something exciting. I hate creating levels and putting different colors. And whenever it's not my style, it's not where I thrive in. This is what I love. I hope you feel the same. So let's not waste any more time. This video is already long enough and let's get started. Okay, so finally we are starting to get to the fun part. This is where I like to be. This is my natural place to be. I thought like designing, not actually, I like designing. I don't like lighting and atmosphere. I like programming. I like to make things behave in a certain way. And that's exactly what Blueprints do. The blueprint visual scripting system In Unreal Engine is a complete game. Please script things system based on the concept of NADH based interface that allows you to create gameplay elements within the Unreal Engine, just like you saw in the first game that you created, just like you saw in any other place, we did anything. We can add behavior to certain actors whenever we create a knowledge base. And this system is extremely flexible and powerful as it provides the ability to a designer, not a programmer, to use virtually the full range of assets and tools that are only available to a program. So before we start off, why would we even need blueprints? So first of all, we can create customizable Prefabs with construction scripts, just like you saw in the previous video when we created a door. So now we can add multiple doors and this is very helpful whenever you are creating something other than at all. We can create a playable game character. So currently, we are just floating around. And sometimes you might have solved the 3D person that's walking around. We can actually create one from scratch. We can create a chart that shows us the barriers, how much health we have, what we picked up, what weapon are we holding? And we also can create the game rules and requirements. So it tells us we need to pick up five jams before the door opens up, or we've already picked up two gems and wherever. So all of these are possible was the blueprint. And we also have two type of blueprints. We have the Blueprint class, which is ideal for making interactive assets, such as doors, which is collectibles, and the structural scenery, just like we saw in the previous video where we created a door. And we also have something called the Level Blueprint. So a level has its own level blueprint. And this can reference and manipulate actors within the level or keep track of data and change the behavior based on the data. In order to access the Level Blueprint, we can simply click right here at the top on blueprints. And you will get the option to either create a new empty Blueprint class or you get the option to open up the level blueprint. Once it's open. There we go. You can see that we have all of these weird windows that we saw previously but never really gotten into. So let's talk about them. First of all, we have the graph editor right here in the middle. And this panel is the heart of the blueprint system. It is here that you will create the networks, the nodes, the wires that pulled the fine you're scripted behavior. Nodes can quickly be selected by simply clicking on them and then just simply dragging them around. And you can see that these right now are disabled because they are not used. If you're bothered, simply click on these or you can actually delete them but less than delete them because we'll be using them in just a bit. Second of all, we have the my blueprints panel. This is essentially an outline which is right here. The panels here allow you to view existing elements of the blueprint as well as create ones on your own. And by the way, that's just drag this right here until the panels. So now we have two untitled, something I forgot to mention. We are in the my first game project will leave the cyber spy project alone and do all of the learning. This my game project. I created a new level where its own atmosphere and everything. So you don't have to worry about that. Let's save this inside of the level. And we'll call this VB, which stands for blueprint testing. Maybe we'll need to call something else. It's okay for now. And you'll notice that the name of the level of Blueprint is the same exact one as the name of the level that we're working in. So next, let's talk about a couple of things which are the key concept understand for blueprints. First of all, the variables. Variables are properties that hold a value of all reference an object or actor in the world, soap. If you look right here, you'll see that we have variables and we can create these variables by simply clicking on this plus button. I'm not going to go right now. And two variables because we have a separate video for that. Next we have the functions. These are all the graphs belonging to a particular blueprint that can be executed or called from another graph within the blueprint, within the blueprint, this is a very powerful tool. If for example, you have a function right here that makes something explodes and you want to make that something explored from metal know a weapon or a dinosaur. You can create a function and call that explosion from here on the dinosaur, which is very helpful. You can also create or overwrite an existing function, will not worry about that. We'll talk about that later on. Now, we also have something called the macros, and these are essentially the same as collapsed the graphs or not. We're not gonna go too deep into macros. They are but advanced and we really will not be needing them. Just know that they are collapsed. Combination of nodes and graphs. Then we have the Event Graph which performs an action in response to a gameplay event. So for example, if you have a character and it bumps into a car, that's an event, something happens. Then we have the Event Dispatcher and active communication method, or one actor dispatches and event. And another factor that is listening to the other event is notified. So for example, let's say we have an actor that has the enemy, he's a ball, goes flying through the world. And then we have your character, which isn't, which is also an actor. And once they bump into each other, there is an event dispatcher from the player or from the enemy bold to the player that tells us something happened. And then we started doing things. We'll see all of that in more detail as we experiment. This is just for you to have a journal, general knowledge of what's happening. Next, we have the Details panel right here. We've already talked about the graph, the Blueprint Panel or gay, and now we have the details panels or the Details panel is also where you will handle many blueprint editing tasks, including editing process for blueprint variables, changing their name pipes and all of that implementing Blueprint Interfaces, adding inputs, outputs to function, and adding events. So just a small example. Once we create a variable, you can see all of the different things we can do. We create a function. There you go, you can see we created a new tab. We can also change a lot of things above the function right here, and all of the things are right here on the details. So it's similar to the Details panel and the levels are for the various actors. But this is particular for certain elements inside of the graph that's just delete this function. We don't need that and leave this variable again. Now let's talk about the nodes that we have in front of us will delve deeper into nodes in the next video. But let's just see what these are right now. Nodes basically our objects such as events, function calls, flow control operations, variables that can be used in the graphs to the find the functionality of that particular graph. You can see some when we begin, we have the event that it can play and the event tick system. And you can see how the event looks by the red color that it has. The beginning is the event that is triggered for all actors or every single actor has the event begin plate some norms. But generally the ALU, when the game is started, this is triggered and any actor that has spawned into a game after the game has Boulder this thought that also calls the event begin bleed. So for example, let's say you're playing a multiplayer game and you respond to the map again, there's a beginning plate. Event is dispatched. So let's go ahead and test it out. Maybe I'm lying. So I'm going to print out a string and let's slow it down a bit. I was at the pasty. Drag from this element right here, release the left mouse button and simply print a string, and this will print hello. Not only that, you'll see this is a function or this was a event nor this is a function node. When we open it up, we can see that we can either change what is typed in here or we can change the text color. And it also can change how long a duration this for last, Let's set the duration to five. Set the color to red, and compile. Whenever we do anything, we always need to make sure that we compile, save, and then we can play, we can either start playing from here, which will pray, play regular gameplay, or we can play from this button right here, must we click it? The GOP. You can see that we have the hallow on the top left corner. How cool is that? Now, next we have the thick naught. This is simply the offend that is called on every single frame of gameplay. It has an output pin, which is the Delta. You can see it right here. And this is the amount of time in-between each and single frame. Now it's time to understand how the Delta Works. And it's going to be your challenge so thick, thick. Not sure where I call the challenge like that, but anyways, print out something using the event thick this time, play the game, see how it looks. Now add a delay node in-between them. The way you add the node is you simply right-click and side of the graph and then look for the delay. Right-click. Okay, Sorry, I forgot what I said anyway, right-click search for the delay and put it in-between the event tick and the print. Make sure you do the connections, set the delay to 1 second, increase the duration on the print to be ten seconds. And remember to compile every time you make a change. So pause the video right now. And gold worthy challenge. Hey, welcome back. So first of all, I'm going to right-click in here and write out print string. I'm going to connect it. And I'm going to say in here that this is the print. And I'm going to keep it for ten seconds with a blue color. So, okay, Compile, Save, play the game and their regard. We can see that every single frame we have the print, printing out. And if you don't know how many frames we will have in per second, remember that you can always show the FPS. Next we're going to create a delay. So I'm going to move the snout, right-click in here, right delay. And then I'm going to connect these two nodes in here. I'm going to set the duration to 1 second, compile, save, play the game. And now every single second I get the print, print, print, print. So I hope you did the challenge. I hope you are always now this spot, this is where the challenges are most important. I recommend that whenever you see a challenge, you always pause the video and always, always do your best. Remember, I am always watching you and I know what you do. I hope you enjoyed and by this time, if you haven't already, please leave me a review. It helps me out a lot. Thank you so much for watching. See you in the next video. 26. Nodes: Welcome back, my fellow game developers. In this video, we are going to be learning everything there is to know about nodes. We will learn about how they look, why they look the way they look. Why do they have so many pins? How do these pins work together? And what are these kinds of wires? So let's not waste any more time and let's get started. Okay, so now time to talk about or to delve deeper into the nodes that we have. The graphs that are used inside of the blueprints can be event and function calls to perform actions and response to gate play offense associated with that blueprint, we're talking about, each type of node performs a unique function. However, the way in which nodes are created are usually the same. How do we create notes? First of all, we can right-click right here and on any empty space in the Graph Editor tab. And this brings up a list of all the nodes that can be added to the graph. Actor is selected in the world. It also gives us the option for that selected Act. You can see it right here, selected actors available. We also have context-sensitive, which is, as it says, contexts sensitive to a specific special actor or something and our graph. So let me just demonstrate how that looks. For example, if I add a Cuban to the world and I keep selecting it back in the level I right-click. You can see that I get, can get a reference to that cube. And I also get a lot of other things that are common or related to that cube. The other way that you've seen me do is we can simply drag a connection from an empty pin. And then when we release, it also gives us the option to create some kind of note there. Next, we can also select nodes by clicking on them. That's pretty obvious. But what might, you might have not known is that we can hold down Control and then select multiple nodes and we can move them around all together. And if we want to deselect one of the nodes, we can simply hold down the Control, select one of them, and now we simply move the ones that have been selected. Next, let's talk about these weird little pins that we have. Nodes can have pins on either side. So we can see right here we have these pins on the side and pins on the other side. We'll see many other types of these. Pins that are on the left are called the input pins, and the ones on the right are called output pins. Pretty simple. We have two types of pens. You'll notice we have these white ones, which are the execution bins. Execution pins are used to connect nodes together, as you can see right here, to create a kind of flow of execution. When an input pin is activated, the node is executed. That means once the spin activates, once it gets the flow from here, this node gets executed. And once the execution of the node is complete, at activates an output execution then, and then continue, continue, Continues, sorry, for flow of execution similar to right here in the thick. We start off with a thick. We go to the delay once the delay is done, and then goes through the output execution been, and whatever is on the other side, it executes. The execution pins are displayed as an outline, just like here, whenever they are not wired, and once they're wired they become solid. One thing to understand about execution pins, that sometimes functions, actually functions always have one input execution pin and one output execution. But other types of nodes can have multiple inputs and output execution pins are allowing for different behavior, but button on the pen is activated. Second type of pen that we have as the data pens that you can see right here. And these data pins are used for taking data into a node or outputting data from a node that, that happens are type-specific, as you can see right here, one is a string. We'll talk about the different types of variables that we have. But for now, keep in mind the string, the Boolean, and all of these things. And they can be where your two variables of the same type which have a that have been on their own or a that had been of the same type from another note. For example, you can see that this one is a float and I can only attach to a float. I cannot attach to a color, even though in this case, if we hover over it, you can see that we convert this flow to a linear colors structure. That means we can attach it, but for example, we cannot attach to a Boolean. There is no conversion in there. We can convert this float to a string and then we can execute it. Like execution pins that have bins are displayed as an outline. When they're wired. They are not white, they are not displayed, they are full. So you can see that once we connect them, there we go. And you can see that they also have arrows are on them that determine the direction. What we'll talk about that in just a bit. Let's just keep it as it is right now. The other thing that we can do with these data happens is that we can promote them to a variable. Let's say for example, you want this text color to be a variable, meaning that you want to change it at some point manually, dynamically, instead of coming right here and changing it manually, what you can do is you can create a variable right here on the left, or you can right-click on the text color and see that you can promote to a variable. And this essentially is a shortcut for manually adding a variable, which is very nice. Now that we understand nodes, a bit better time to talk about the wires. The wires are the connection between the pins, which represent the flow of execution or the flow of data. Let's talk about the execution wires, which are these white ones. These are the wires in-between the execution pins, and they represent the flow of execution. Execution wires are displayed as white arrows spanning from the output execution pen to the input execution. Then the direction of the arrow determines the direction of the flow. Data wires connect one database to another database of same type. Just like I said, they are displayed and colored as the arrow and are used to visualize the transport of data. So notice that the wire right here is green, but if I connect it to the text blue, you'll notice we created this as a converter. You can see that now because this one is a return value over linear color structure, and this one is also, that means we have a blue line, solid lines color changes depending on what the data is. Now, these connections can only be made between two compatible database. For example, I cannot connect this output execution pin into one of these. It's impossible. It even tells me that will be with these being all faded out once I release back to normal, if you drag a connection when that is not compatible and error will be displayed also on top of them. I don't know if you've noticed that. Yeah, there we go. We can see that it's an error. It cannot be done. And we can also remove any connection that we've made. So let's say we don't want this Delta seconds to be connected to the duration. I can right-click in here, and I can go to break link and break the link. What I also can do if I had this connection is I can hold down Alt and click on this and the execution is destroyed. Now another thing I can do is let us say this, that happen to connect to this duration. So what I can do is hold down Control, click on this, and now I can move it around. This really does save you a couple of seconds whenever you get used to it. So what else do I need to teach you? The last thing I would like to add is, for example, let's say I want to connect this data up into this data pin and to this data, then what I can do is I can double-click in here, and this creates a another node. And now I connect this to the second one. So now the Delta seconds data is flowing to the duration and it's flowing to the print string. And it's also allows me to add a bit more organization. If there ever is a node in the way and things get complicated, this is very helpful just to add a bit more contexts. It's very important to be well-organized whenever you are creating nodes. Because if you ever come back to your node and you haven't organized the dwell, you would be so lost and you would have no freaking clue what's going on and how your program is working. Trust me, your future self will always thank you for being organized. Now, with all of that information, let me show you a challenge to disconnect and the quit. First of all, stop the screen printing without deleting the print nodes. Disconnect the beginning play and the thick from printing. And a new keyboard event when the one key is pressed. And when pressed, Add a quick game, a functional compile, and play. Pause the video right now and go do the challenge. Okay, welcome back. So I'm going to hold down Alt disconnected delay and going to also disconnect these two durations. And I'm simply going to delete this. I'm also going to disconnect the beginning layer by holding down Alt and clicking on the execution, then compile. Now let's go ahead and add. This is glitching. Give it right-click in here, add a keyboard event, and I'll look for one event when the one key is pressed or released. Once I click on that, I'll notice I have the pressed released and the key that was pressed. From here, I was told that I should create the quit game. Hit Enter, and now I should have everything ready. So Compile, Save, play the game. Now we walk around, we have this weird the cube, we jump on top of it and when we click the one week with the game. So I hope you enjoyed this video. I hope you are having as much fun as I am. You can see the way I'm bugging super-fast. I hope I'm not being too fast for you. And I'll see you in the next door. 27. Blueprint Variables: Welcome back, my fellow game developers. In this video, we are taking things to the next level because right now when we have a chair, when we press the one key, we no longer see things being printed or quitting the game, boring stuff that nobody likes. Now we make the chair right next to us disappear, and we also can make it reappear. So let's not waste any more time and let's get started. Okay, so now it's time to learn about variables. Variables, as we've said previously, are properties that hold a value or a reference of an object or an actor in the world. These properties can be accessible internally to the blueprint containing them, or they can be made accessible externally so that their values can be modified by a designer working with instances of the blueprints placed in the levels. All of what I said du will be clear once we get started. First of all, let's talk about the various types of variables that we have. So once you create a variable, you'll notice that you have the name of that variable and you also have the type of that variable. If we try to select the five-year, see that we have a lot of them. Let's talk about the main ones. Booleans are values that can be either true or false. Byte is a whole number between 0255. Usually use the for, I don't know, something that's very small, not too big to 55 at the max, we have a digit numbers which are, I think between minus 2 billion and something to 2 billion and something. These are 12345, so these are integer numbers. Next we have indeed your 64, which is the same as integers, but on a bigger scale, scale, you might be thinking, why do we need a bite and integer and an integer 64? Can't we just use the integer which is irregular? Well, maybe you need a huge number or maybe you need a very small number. Now you might be asking me, well, why don't we only use the integer 64? Well, because when you create a variable, you take up a bit of space in your memory on the computer. The less you use, the better performance your game creates. If you know that the number you are creating will only be from 0 to a maximum of 255. Then you use a byte. If you think that your number is going to represent the iron or the number of stars in the galaxy. Then you'll need the integer 64. Next we have the float. This represents numbers with decimals. So for example, 0.050.5, anything that has a float decimal in it, anything that has a dot, something is represented here. And just as integers, they can be negative or positive. Next we have the double is the same as the float, just a little bit bigger. We have the name, which is a piece of text used to identify something in the game. We have a string, which is a string of characters such as a, B, C, or the end wherever. And once these characters are strength together, we have the string. So for example, right here you can see the print is a string, the hello as a string of characters or numbers. Next we have text, sorry for that. Next we have the text, the text that you display to a user. This is very helpful in a sense that it's different than a string because you can have, for example, different languages on this. Next we have a vector. So we've learned what factors are these are three-dimensional. Usually they are used for three-dimensional coordinates such as the x, y, and z. We have the rotator. It's a group of numbers that define the rotation in a 3D space, we have the transform that allows us to create 3D positions, rotations and scales. And finally, we have all of these other things. We're not talking about all of them, but we'll say that we can create object types. Also. For example, I create, I can create a variable of type Static Mesh. There we go, we can create a variable of type Static Mesh. And you can see this right here. You can also make variables, not only a single pipe, you can make them arrays, Sets. And Matt, Don't worry about this now, we'll only learn about arrays later on as we move on through the course. Now, next, how do we create these variables? Let's say I create a Boolean variable right here. You can see that it is represented under the value variables. In the My Blueprint panel, in the Detail panel, there are several properties for this variable. First of all, we have the name, I can call this whatever I want or for example, I can call this Michael. If I wanted to. I can add spaces to width and I can do whatever I want the name to be. Next, I can set the variable type. We've seen that already. We have the instance editable. This will determine whether this variable is publicly editable to an instance of the blueprint. Meaning, for example, remember when we had the door, we don't have anything currently. Remember when we had a door, let's say I wanted to have this door animal. Let me see if we have anything in here that we can use and the content. Now, all kids saw the launchpad. Excellent, We have the Launchpad. Okay, so let's open up the launchpad, even though this is not a Level Blueprint. But the variables work all the same. So for example, we have this variable, we set it as instance editable. We save. Now I didn't compile and then save. Now in the testing, when I add the Launchpad, you can see that I can change this variable which is right here in the new variable that I created. If it's not the instance editable, compile save, then you can see right here, I can no longer change that. Just a little preview of how that works. Next we have the blueprint. We've only this is whether this variable can be set by the blueprints node or whether it can only be read and not set on its own. Next, we have the tooltip, which is basically the description. Next we have the explores on spam. This should be the variable that is exposed or the bin as exposed. As soon as we start the game, we have the option to set it private, meaning we cannot use, use this variable or access it from a different blueprint. This can be very helpful because for example, you don't want to change out on all the players health when you jump on or when you shoot a gun, for example, I don't know. Some things are best kept private. Next, we have the exposed cinematics. This should variable v exposed to a sequencer or a man mathematic name? I'm not sure how it's exposed and how it's pronounced, but you'll see later on that if we, for example, have a sequence or if we have some kind of timeline, some kind of animation should this variable will be exposed to that animation. Next we have the category. So remember when we had a variable right here on this Launchpad, if we open up the blueprint for the launchpad, we have this variable and it's a category of default. We can call it like category high. Now if we compile save, go back here, you'll see that it needs to be instance editable file save back in here you can see that it's under the category high. What else do we have? We have the replication. This is whether this game, this variable actually this is more of a whenever you're playing a multiplayer game and whether you want to, in this variable to be replicated on all of the players, not just the server that's handling everything. This is just a, something a bit more advanced. And finally, we have something that we don't see right now, but it is available when we want to create it. And that is if we have, for example, transport, notice that now we have a new option in here which is short through 3D widgets. This is only enabled when we have the instance editable on shore 3D Widget went true allows the user to tweak the vector variable by using a 3D transport widget in the viewport. This option is applied to the effectors, the transforms, and we'll see how that looks later on the course. Now, let's move on and talk about the accessibility or how to access variables and the blueprint. Let's say now we have a Boolean variable. We have a three right here, it's called Michael. How do we actually drag it and use it right here in the graph? Well, we can simply drag it like that. So simply selected, drag it into the world. And now you are prompted to either get this, meaning we get the information or the data from this variable, it tells us what it is. Or for example, in the case of a boolean, is a true or is it false? Or we can drag it and set this variable so we can set whether it's true or it's false after connecting it to one of the output pins on one of the notes right here. Now, alternatively and a bit of a shortcut is if you drag this Michael and hold down control, and then you have the option to immediately get it. Or if you drag it and you hold down Alt, you have the option to immediately set it. So keep that in mind. The control and the OLC allow you to get and set. Finally, we have the referencing of actors. This is something that you've seen already. If you go into the swirled, for example, and we've selected the launchpad back in the testing. When we right-click in here, we can create a reference. And this is basically also a variable in our world that we've got. And the last thing is similar to or actually we've already talked about this when we create a variable, if we right-click on any data that we want to have a variable of. For example, if we want to get a variable for the duration, we right-click on it, we create a variable or promote to variable. And there you go. You can see that a variable is created of type float, which is the type of the data. And that was right here. If you right-click and promote to variable from an output, that happen, you can see that we go to the set and not to the gate of that variable with all of that information. I think it's time for a bit of a challenge for you. And this challenge is called the magic chair. Now, I created this challenge when I had a chair and my level. In order to mitigate this problem, my my lack of concentration, I'm going to add a chair to the level. Okay, so now we have a chair in the level. Now that we do find for the magic chair challenge, get a reference to the chair or any object in your level and your level of VPU, BP, meaning a blueprint. Then add a set hidden end game function node. Attach the chair reference to the nodes target. Connect the node to the tick events. So it updates all the time and promote new hidden that had been dual variable and call it is hidden. Finally, when one expressed set is hidden to true and when released set is hidden to false. So the video right now, but reread the challenge if you're not sure what you should do and go do. Harlan. All Kaye, welcome back. I really hope you tried your best even though you'll notice right now that as we go through the videos, the challenges are going to get harder. So we've selected the chair. Let me go back and do our testing. Right-click and we'll create a reference for the chair. Next we're going to right-click in here and we're going to set hidden game. There we go, we can find the criteria, but there is a, okay, so something happened right here. Let me just delete it and make sure that we understand what's happening. So I right-click and you'll see that I can set hidden. And you can see right here that calls function on Static Mesh actor three, which is the chair that I have right here, which is the static ash mesh actor three set. Alternatively, what I could have done is I could have dragged from this thin and set hidden game, and this would have created the same function. So actually this set actor hidden, IT don't want that. We set hidden in game, set hidden and game, which is this one. And notice that this time we create a reference to the Static Mesh Component because we don't actually hide the chair. We hide the Static Mesh Component of the chair. So now that we understand all of this mind-boggling things, Let's move this side, will give them as a souvenir. Let's move this up right here. We're going to attach to the event ****. We are going to promote the new hidden to a variable and we'll call this new variable is hidden. So if it is hidden, then we will hide this chair. And if it's not meaning this one is false, we're going to short the chair right here. I'm going to stop this. I'm going to drag it up in here, detach it by month. And then I'm going to drag these hidden to the pressed. You'll see it immediately creates the set. And I'm also going to drag this hidden on the release. And this also creates the SAT for the head. Now, when we press is hidden should be true, when released is hidden should be false. Compile, compile, save. Play the game. There we go. So now we have this chair. If we press the one key, the chair disappears. When we release them one key, the chair reappears. I hope you enjoyed this video. I hope you liked what you saw. I hope you're enjoying this new blueprint and behavior and manipulation and world manipulation using this node. As you can see, it's very simple. I know if you're just starting out, it might be a bit confusing, but trust me, as you know the challenges which is the most important part. And you slowly learn how to do mistakes, how to correct these mistakes. You are going to become a master to understand the little tweaking things that you need to do. Top, hope you enjoyed. See you on the next one. 28. The Blueprint Class: Welcome back, my fellow game developers. In this video, we are going to be learning about the other types of Blueprint, which are the blueprint classes. So there are different than the level blueprints and that they are attached to certain classes. For example, this chair is not a irregular Static Mesh actor, as we've come to understand, it, is a blueprint class. And when we come near it, it becomes a while. It displays something to the screen as you can see whenever we are near it. So let's not waste any more time and let's get started. Okay, so now that we've seen Level Blueprints and to look at the blueprints classes, there are several, several different types of blueprints that you can create. However, doing so, we'll need to specify the type of the parent class in which the blueprint will be based. Whenever we are creating a blueprint class, we need to select the parent class. And you'll hear me say that a lot of times whenever we are working with several ones with the parents and whatever. The two ways of creating or actually three ways of creating a blueprint is first of all, by opening, opening up the content right here. And inside any folder you want, right-click The create a blueprint class. You'll see that you will be prompted to one of these blueprints and told to pick a parent class. So if you have an actor, a bomb, a character, a player controller, a game obeys, and others. You can see clearly actor is any object that is placed in the world. A bomb is any act or that can be possessed. A character is a bomb that can walk. A player controller is an actor that is responsible for controlling the poem. That can walk a game mode base as the game mode where we can, for example, set the number of genes that we need to pick up, or how long until the door opens and whatever and the other ones aren't as important and will not be going down into them. But you'll notice that we have a lot of other parents that we can create. We can basically create a blueprint out of anything. But don't worry, you won't need to understand all of them slowly, but surely you will be experiencing most of them. So let's go ahead and talk about the second way we can create this by clicking on the ad right here and also creating a blueprint class. And finally, we can convert any object in the world into a blueprint class. For example, if I add a Cuban here, okay, so we already had a cube. We use this cube. We can go right here, right next to where we add components. Click on these three little dots connected with a wire. And you'll see that this allows us to convert this object into a blueprint. You can select the name of this object. So B P underscore best cube. And we can select this to be a band glass and the parent class will be the Static Mesh actor. Once selected. There we go. Now we have this test, the cube as the band class with a static mesh actor already available for us to play around with. And notice that it is the For some reason this has blocked me. I think pretty much this is because an error. I don't know what's going on, but anyways, let's continue what you can open a blueprint either by let me close this and let me save and close this one also. So you can open a blueprint by either clicking in here and opening up the Blueprint. You'll notice this is a bit different. Now don't worry, this is the simple version of the blueprint. And if you want to open the full one, you can simply click in here. And this opens up the full blueprint for you to play around with. Notice that I think this is not moving because this is the the root components or we cannot move it. I don't know. I'm not sure if that is the actual problem was. But anyways, the other way we can open it by simply selecting the actor right here, clicking on this and opening up the blueprint. Next, let's talk about the class or the blueprint to how everything is exactly the same. You can see the My Blueprint, you can see the view port right here. It's different than the Level Blueprint because we can actually modify and add objects in here and add the components. We can see the details panel. If we go right here into the Add component, we can select what type of component we would like to add. So for example, we can add a static mesh actor. We can add a queue. And it's exactly the same as when we were adding actors in the Details panel and the level editor. So it's exactly the same. So for example, when I add a sphere, you will be immediately prompted to change the name of it. So I'm going to call it my sphere. And now I can move this sphere around and notice that it is the child of the root component up here. Now we can also remove a component obviously by simply deleting it. It's that simple and that easy. Whenever you add a component that's going to be in the center of the rod component. But obviously you can then change it up, rotate, and scale it, do whatever you want with it. And you can also create advance and functions that are related to this component that you've created. So in the Details panel you will see all the various things that you can change about this a sphere. You can also see them here that you can actually create events on the component begin overlap, or whenever an object passes by and starts overlapping with the sphere, this component will trigger and we click, for example, in here, you'll see that we create a node that is an event of the overlap with the sphere. But there is another thing that you can see right here, the same way that the Level Blueprint has an advantage graph. This one also has an offender grab the blueprint class also has an event graph. You can see it has the same nodes which are the event, the event thick, and it also has an additional one, which is the event actor began overlap. Now this is a bit different than the one that we see here. And it's not about the overlap. When we created the overlap event, it was only for the sphere. By this one is whenever we are overlapping the act or meaning if we overlap the sphere, or if we overlap the freaking unbelievable Q, which is right here. And we also have the construction script, which has only a single node on it, which is purple. The construction script runs following the components list plan instance of a blueprint a class is created. And why did I use the word following? Because even though you might think is that whenever you add an act or it's instantaneous and everything happens at the same time. That is not the truth because something's loop before others. Even if there's a micro millisecond difference, there is a difference. However, the actors starts whenever it's created. First of all, we have the components being created. Then we have the construction script running, and then we have the Event Graph running. This is how the actor or a blueprint actor class created whenever we created into the world that contains a knowledge graph. This one right here, that is executed following or allowing the blueprint class instance to perform installation initialization operations. So this is very helpful for initialization. We'll see how later on, and this can be extremely powerful as actions like performing traces into the world, setting meshes, materials, and all of that good stuff is done in here. So enough talking, time for some action. I'm going to compile. I'm going to save and I'm going to close this test. What I don't know who can see right here that when we change the blueprint, it changes immediately inside of the world. Now time for a bit of a challenge. Now it's time to make a parking magic chair. Take one of the chairs in your level and convert to a blueprint. Add a box collider component and make it a bit bigger than the chair. Call it a trigger called the box collider Trigger. Select the trigger and scroll down in the details to the bottom and add to add Events category. Add an n-component, begin overlaps or press the big green scary button. Then don't be scared of this. Simply print a string from the trigger. That's all that you need to do. Compile, save, play, and walk near the chair. And if you're feeling especially courageous in this video, try to use one over the data pins and connect it to the string that is being printed. See what you can get and see if you can figure out what's happening. So pause the video right now and go do the challenge. Okay, welcome back. So I'm going to select this chair. I'm going to click on this to convert this to a blueprint. And I'm going to call this the BP underscore, magic chair. Anther. Select it. And now it opens up. As you can see in the blueprint, it's the root component which is right here. Now I'm going to go ahead and add a box collider. Box collision that's called, I'm going to call the trigger. That's move it up a bit and make it a bit bigger than the chair. There we go. Now we're going to scroll down and select the component begin overlap. As you can see, we get this event node and then we have the various things. All that we need to do is simply print out from here a certain string, which we'll see Hello, compile, save, play the game. Now, as you can see, we already saw a hello when we enter into the box collider, when we start, start overlapping with it, we get the hello message again. Now, Well, so many errors. What's the problem in here? Okay, so I wanted to cut because I wanted to read a bit what's happening. I wasn't sure how long it will take me. But basically the problem here is if you look at it, there's a lot, but they are all the same. So we are trying to access a non x is non trying to read property Static Mesh active three. And wherever you can see under it we have access non Blueprint B, B testing, execute whatever BP testing the event of graphs at the top, if we click on the Set hidden, it will take us to where it is, which is here. So it was trying to access the static mesh actor and good. But of what? This is an unknown. Why is it an unknown? Well, because now this is no longer the chair that we were using to hide. Now it's called the BP underscore Madam Chair. So we were basically trying to hide something that is not available to us anymore. This is very important whenever you have an error to check if you've done something wrong back and the B in the BP testing, simply remove this. I'm going to delete this and I'm going to disconnect the set hidden, put this under a year, and put it right here as a souvenir compiled saved. Now we should never get any error. Now, let's see what happens. First of all, let's see we have the overlapped component. If we attach it right here, Compile, Save, and now you'll understand why printing so important. So I'm going to move the chair a bit further from the player, so it doesn't start immediately. Now when we get close to the chill your C, It's the BP underscore. Magic chair sees that 0, C under 0 triggered. So basically the overlapped component is the trigger that we have in here. Well, notice it says the trigger at the end. It's from the BB chair and it's the trigger that's being overlap at first. So if we try to change this from triggered to Michael, that's usually does everything using my name, use your own name. So now when we ever loved, you'll see that the name is now Michael. Now let's try something different. The other actor. So if we attach, so hold down control, attach the other actor, compile, save more of this back a bit and you can start hearing my voice is getting tired. Play that. And now when we go through, it's the third-person character, which is the one that we're playing right now. Or that control select the other component. This will give us the other component that overlaps the chair. So the component only third-person character as the collision cylinder. You might be thinking, well, what's the collision cylinder? I've never seen that if we play the game, just hit F8, this will effectively keep the game playing, but you will have the option to move around. If you click on the third-person character. How should I show you this and open up the blueprint right here and go to the event port and click on this collision. You will see that it has eight Capsule Component Collision back in here. If we had the FAA again, there we go. It's the collision cylinder. How cool is that? So I hope you enjoyed this long video and I'll see you in the next one. 29. Functions: Welcome back, my fellow game developers. In this video, we are going to be learning all about functions and a very long video, but it is a very important one. I want you to put on your thinking caps. I want you to embrace the power of mathematics because we are going to be using them to calculate the distance between two points, such as this, a and B. When we play the game, the F8 key, you'll notice we have two 3D widgets, and if we add a bit of distance in between them, you can see that it is calculated on the fly. So let's not waste any more time and let's get started. Okay, so now it's time to learn about functions. Functions are now two graphs and belonging to a particular blueprint that can be executed or called from another graph was a blueprint. Functions have a single entry point and a single exit points similar to the hidden. And you'll notice that these are functions whenever you see this little f right here, and the color is blue. So sometimes it can be a different color, but it should always have this f symbol. What are the advantages of having functions? They can be reusable, they can be editable. They are very reliable and they are easily readable. And you'll see how functions can really enhance our experience when working with nodes, especially when we have a lot of them. So how do we create these functions? First of all, we have the way or the method that we can do right here simply by clicking this little plus icon, we have effective, effectively created a function. And now we are prompted to call it. We can call it whatever we want. Let's just call it my new function for now. And then in the graph, you can right-click here and you can simply call out the function. And there you go. You can call this function, and there we go. So now this is my new function which you can attach. And whatever. You have nodes in here, all the nodes that you create an ad and play around with R then all executed once inside of this little knob right here. There are a couple of things that we need to talk about, especially in the details right here. And one of the most important is the axis specify. When creating functions, you have the ability to specify what other objects can or cannot access those functions. This is done by setting the access specifier property. And as you can see, we have three of them. The public is a setting for public, meaning that any other object can call this function. This is the default setting usually. Then we have the protected, a setting of protected means that the function can only be called by the current blueprint as well as any blueprint that the arrives from the current blueprint. And finally, the private means that only this blueprint can call this function. Now you might be a bit confused on what protected means and what does it mean to have a blueprint derived from another blueprint? The simplest way I can put it is by showing you, for example, we have this BP chair. Remember when we go and create a new blueprint class, we should select the parent. Well, we can actually create a class that is derived from the let me show you the VP underscore chair, magic chair. I mean, as you can see, we can create this new blueprint that is the ride from the chair. And we can also do that with everything. So when we create an actor class blueprint, we are deriving from the act. So any function inside of the magic chair that is protected can be used inside a function that we could, I mean, sorry, a blueprint that we create you that is derived the chair, if it's protected, if it's public, anybody can use it. If it's private, even a function derived from the chair cannot access it. Now, back in the functions we have this option to set it to either pure or not pure. The main difference is that pure function promise not to modify the state of the members of the class in any way, while impure functions are free to modify, the state, will see that later on. Once we use pure function, we will come across a lot of them, pure and impure. Finally, we have the inputs and outputs parameter. We can set the input and output parameter right here in the Details tab of your function. To add an input, simply click on this plus button right here, and you will be prompted to a new variable and you will see a new data appearing right here. You can name your valuable, for example, the new entry. There we go. So you can choose what type it is. You can set it to have a default value and a pass by reference. There we go. You can also do that with the output. So look, when we create an output, we have a return null. And if we go back into the event of graph, you'll notice that this also has a return value and an entry value. Whenever you are working with this function, you need to give it some kind of input. And then at the end it will give you some kind of output. And you can also, for example, change this from pure. You can make it, or you can make it pure, meaning that it will not modify anything, as you can see, it no longer has anything to attach to it. I'm going to delete this, I'm going to delete this. And now we are actually going to have some kind of application for our function. Let's talk about the Pythagorean theorem. I don't know if you've ever heard of it, but it's a way for us to calculate the distance between in two points. So whenever we have a point a and point B, and we have some kind of distance, especially when it's in 3D. It's kind of hard to calculate if you've ever learned how to do it into the, it's pretty simple. 3d whenever we have them on an axis. And keep in mind the a is the origin, but that does not mean that it is zeros, zeros 0. It has an x, a y, and the z also the D has an x2, y2 and a z. What we do is we get the distances like this and we calculate the distance of x1 minus x2 for the distance of x. Then the d y for the Y1 minus Y2 and always to the power two. And finally the, these head or uneasy or wherever you to call it the Z1 minus Z2 at the power two. And finally, when we have these three and this should have been the easy, sorry for that. When we have all of these, then we can get the square root of dx plus dy plus dizzy, and then square root, all of these. So keep this formula in front of you is very important if you want to take a picture of it to understand it better keep in mind this one is easy, sorry for the mistake. Now it's going to be time for your challenge. Your challenge is to measure for this, first of all, create a new BP actor called it the BP underscore, beta gore or Igor. I don't know how you pronounce it in your language or in your place from where we were from. Then you will need to create a new function called the Pythagorean Theorem. You will need to give it to vector inputs, the point a and point B and one float output, which is going to be the distance. Use the break note on both vectors to get the x and y and the z salt simply drag from the point a and use the break. You'll see what happens. Then use the subtract node. So create a minus this is to get the DX, DY, DZ. Use the to the power two node on the result to add them up in the plus, do a square root to find the node, you'll need to find that node and attach it to the output. Drag the function into the graph and make sure it's not pure. Finally, attach it to the event thick and print out the distance and make dual variables for the points. Make them instance, instance editable, and make sure 3D Widget enabled. So I know this is a huge task ahead. I would love. I would put this challenge difficulty at all, maybe eight out of ten. So don't worry, take your time, go through it, read carefully. I tried to do my best to have everything broken down and do your best even if you make a lot of mistakes, I'm going to go over this step-by-step, but you need to make sure that you also put in a bit of effort into this. Pause the video right now and go to the challenge. Okay, welcome back. So I'm going to close this down. I'm going to right-click in here. And we'll create a new blueprint class. And it's going to be of type Actor. That's okay. We'll call it the BP underscore, beta gored by the god. I don't know. Let's see what beat that gourd. Then create a new function, the Pythagorean theorem. So we'll open this up. We're going to create a new function in here, which is going to be the beta. Theorem. Hit enter. Okay, great. Next, we are told to give it to vector inputs, which is going to be the point a and point D. And one float output. I'm going to add two inputs and one output. And by the way, and every single version of Unreal that I've worked with, I always had a small x right here in order to delete this variable or this input. Or if you ever want to delete those, you can see that we can simply click on the X right here. The first one is going to be called point. It's going to be of type factor. The second one is point B, and it's of type vector. The last one is the distance. And it's astype. Float. There we go. So now we have the Pythagorean theorem and it's not pure and everything should be good. Next, what do we have? We need to use the break mode on both vectors to get the x, y, and z. Excellent. So I will drag from the beat and type in break. There we go. We broke the vector, we got the x, y, and z. And we'll do the same right here to break the vector. So now we have two broken down the vectors. Now, the next thing to do is to use the subtract node and the minus to get the DX, DY, DZ. Remember from the Pythagorean theorem, we need to remove the x of the b from the x and the y or vice versa. It doesn't really matter because we are, we are making it to the power two. So I'm going to add a minus in here for this abstract on the x. Duplicate that will do the same for the y. Duplicate that. And by the way, I'm duplicating using the Control W and finally the z. So now we have the DX, DY and the Zant. Seems good. Let me just okay. This looks really nice. Next we are going to use the to the power two nodes and then add them up in the plus node. So pretty simple to the power two, whereas the to the power square root of two. So square root, excellent. Let's duplicate this two times. One in here, one in here, and then just set them up like this. Finally, we need to add them up. So AD Connect this one and add a small pin right ear. I hope this wasn't too bad. There we got, so now we've added all of them up. The last thing we need to do, after adding do a square root to find oral, find the node to attach to the output. So now we have to make this a bit longer. Let's try to find this a square root, which is the SQRT. Attach it right here and now we have the distance calculated. How cool is that? So it's pretty simple. We did the break, we subtracted and got the DX and DY. We took them to the power two. We added all of them up and we had the square root. Excellent. Next, Drag the function into the graph and make sure it's not pure. In the event the graph, I'm going to drag in the Pythagorean theorem. We are going to attach it to the event thick and print out the distance. So down here in the Event thick, That's print out a string, which is going to be the distance. So I'm going to attach the distance to the string right here. Now we are going to convert it. We convert this float to a string, and now we can show it or print it out. And finally, make two variables from the point and make them instance editable and show the 3D widgets. I'm going to right-click on point a and promote it to a variable. Right-click on point B and promoted to a variable. So now we have the point a and point B. I'm going to select both of these and make sure that they are instance editable, short 3D Widget. Point B, instance editable show 3D Widget, and there we go, That's the challenge. So I really hope that you did your best. I know it was harder than expected, but it was pretty doable if you ask me because all the steps have been properly given. I hope anyways, compile, save back in the game. Let's just add to the viewport may be a cubed, a cubed store. We can see when we add the Pythagorean blueprints. So now we have this pedagogy blueprint, and you'll notice that we have these two shapes right here on top of each other if you, It's not clear, but once you move them up, there we go we have the point b and we have the 0.8. So now we have these two points. When we play the game, we should see that there is a distance that is being shown. I'm going to press F8 and I'm going to select the point a, the point a, and then I'm going to move it. And there we go. You can see how all of this is changing in front of our eyes. How cool is that? And this is the power of using functions. So back in the Event Graph, instead of having all of these right here. So imagine we have this function In the event of graph. And then after it we want to do another thing and another thing and then another thing, surely, slowly but surely, you'll notice that short graph is filled up with so many images and all of this can be avoided by simply using the simple trick of creating a function. I hope you enjoyed this video. I hope the challenge wasn't too hard for you, and I'll see you in the next one. 30. Flow Control (Switches): Welcome back, my fellow game developers. In this video, we are going to be learning about flow control and how we can divert the flow of execution using special notes. So if you haven't already, please leave me a review. If you think I deserve a five-star review, we'll just leave me five-star review. If not, contact me and tell me what the **** the problem is and I'll try to fix it and try to improve my teaching. So thank you so much for watching. Let's not waste any more time. Let's get started. Okay, so now it's time to talk about flow control. At the beginning, I wanted to create one huge video to cover all of these different nodes. But as I practiced this video at one down to be like 22 minutes or more even. So, I decided to break it down into three parts. So what are the floor control nodes? Nodes, these are nodes that allow for controlling the flow of execution based on conditions. So we're going to open up the Level Blueprint and we are going to start learning about all of these. Now, if you would like, I would like you to just set a It's right here. Oh, my God, what happened? Just set a space right here because we are going to be doing all of these using either the Begin Play or the event thick. And then after finishing, we'll just set them on a separate wall, will make it the trophy wall similar to this one, just if you ever need a reference to any of those. So the first thing is the switch node. I'm going to search for switch if I can type it properly. And you'll notice that we have a lot of switches here. We're going to select switch on n. We can switch. There we go. Switch on and saw a switch node reads in a data input and based on the value of that input, sends the execution flow out of the matching or the optional default. So what do I mean by all of that? As you can see, we have this input execution node and one default output execution node. When working in the integer or a string. Or actually you can create a switch on almost anything that you would like. You'll see that later on. But for now, let's just focus on the two main ones, which are the int and the string switch node is added to the blueprint. And the only execution plan available is the default pen right here. This will fire if the input fields to match any of the other specified outputs. So how does this work? Let's first of all focus on the end. We've selected the end, we've added it to the graph. Now we can see that in the details property we have the starting index at 0 and it has the use of the default pen. If we turn that off, it no longer uses the default pen. I'm going to go ahead and add in here three or four values. And then I'm going to attach it to the event thick. Attach this switch to the event tick. And then I'm going to right-click in here and promote this to a variable which I'm going to call the number one. Once I have number one, I'm going to get the right-click to in here. Whenever I press the two are actually, you know what, that's called this number two. I think it's more fitting. Goal number two. And now I'm going to set the number to be two when expressed. And then I'm going to set it to maybe. Let's set it to 0, okay, let's keep it at 0. Now I'm going to print out from here a string. This will be 0. Actually, let's just change a bit of it in here. We'll just make the duration a bit longer, so like ten seconds. Let's make it thread. Okay, great. So now we have this one and now we'll duplicate this three times at that **** to each one of those outputs. We can properly see how all of this works. 31 more time just for the default and will write in here one here, two, in here three. The last one, we'll set it to default. Now we have this number variable attached, and based on the number two that is going to be given, one of these will activate if it is the 0, the 0 will activate if it's the one-to-one, if it's the duty to if it's the three is the three. And if none of these options right here, it will just output the default. Then I created this input right here, which gives us once the tool is pressed, the number two becomes two or a set as two. Once it's released, it's back to 0. So Compile, Save, play the game before I play the game. But let's just delete the Pythagorean, whatever. Now when we play the game, it's all zeros. But once I press the two, you'll see that now we have two on the site, which is very cool. Now, what would happen if we, instead of the tool, just set it to 12? Now when we compile, save, play the game, it's all zeros when pressed the two, we get the default. How cool is that? This is the exact same consequence. Every we are working with a switch string. So I'm going to detach this and I'm going to move this up here. I'm going to get the string. And I'm going to do exactly the same thing if you want, you can test this out on your own. I do recommend that you do it. I'll promote this to a variable. Write down the name of the string, name and the string. You need to add the elements right here so you can add the pins, but still you need to determine what is the string that's going to be output. You'll get right here in the details, the option to choose. I'm going to write in here today. Tomorrow. Yes. There we go. So three options and the default, I'm going to duplicate only three of those anyways, let's not it's okay. Just delete this one. And maybe we should move this a little bit down. There we go. Now we're going to attach this today. Moral yesterday. And the default, this is going to print out, this is this. Tomorrow. This. There we go. Now we are printing out all of these three and all that we need to do is to get these three key. Whenever it is pressed, the string will become one of these two options. So the thing you need to understand here is whenever we are working with string references, it's always important to make sure that we have the exact same wor word. So I'm going to simply copy yesterday. And whenever we press the three it's yesterday, and whenever we release the three, it is tomorrow. So compile, save what's happening in here again, exactly the same, nothing too special. When we press the three, the string name becomes yesterday. When we release the three, the string name becomes tomorrow. And the string name variable is attached to the selection on the string switch. And based on whatever the string name is, one of these options is selected. So Compile, Save, play the game. There we go. Everything is default. Why is default? When we press the three, this is yesterday, we remove it, this is tomorrow. So obviously at the beginning, why is this happening? You might be asking, well, remember that whenever we create a string name, there you go. You can see that by default it's value is nothing. It's completely empty. So instead, if we set it as tomorrow as the default value compile safe now we should see that this is tomorrow. So I hope you understood what the problem was here, and I hope I didn't say it too fast. I'm excited about all of this. So when we created the variable, its default value was 0, that didn't happen d here because the actual value which is right here was the zeros. So that's why this didn't happen. I'm glad that we encountered this problem in order to better understand what was going on. So the next node for flow control and look also, I will teach you something very cool. Which is if we add these together in order to know what this was doing, simply create a selection around all of them and hit the C key. This will create a comment around your notes, and we'll call this the switch. On. There we go. And now we can put it in the Hall of Fame or whatever we want to call it. So I'm going to detach this one right here, close these down a bit, select all of these, and this will be the switch on string. There we go. There we go. Okay, so the next thing we're going to learn is the branch. So right-click in here, search for branch. And as you can see, this is similar to the switch, but this time it only takes in a true and a false value, and it's only based on a Boolean. The branch node serves as a simple way to create a decision based flow from a single true or false condition. Once executed, the branch node looks at the incoming value of the attached Boolean and outputs and execution balls based on the incoming or the appropriate output. So if the condition here is true, this option will be while the execution flow and we'll go through the true. If it's false, the execution follow. We'll go through the false. Now, I can create some kind of example, but instead I'm going to let you discover this on your own using a challenge. First of all, make the chair hiding work again by reattaching it to the Atlantic. I hope you didn't destroy it. Use the hidden condition on a branch node when it's true, print out hidden. When it's false, print out easily seen or whatever you want, salt before I leave you to the challenge, let me just incase you deleted your set hidden. There you go, you can see it right here, the center then on the static mash makes sure to attach your little chair in here, or you can use any other object that you want. And then we have this using the plus one. So pause the video right now and go do the challenge. Okay, welcome back. How did you get on with that? So I'm going to drag these two back in here. I'm going to set the branch, set this like this. I'm going to try to zoom in because I know sometimes these aren't well displayed, especially if you have your quality normal. Especially if you have your quality down. I'm going to compile, save, and the problem is okay, so we don't have anything attached to the aesthetic mash. I'm going to select the chair. And from here I'm going to get a reference to the chair. There we go, The magic chair, attach it right here, and now we have access Compile Save, That's great. We have this hidden variable. So what I'm going to do is I'm going to attach it to this condition at the branch after we set this component to be hidden. And then if it's true, I'm going to print out a string which is and make it last for maybe five seconds. Then another one. If it's false. Compile, save, run the game. There we go. It seen at, seen at seeing once we're inside, it gets one unseen. But once we click the one key, there we go. It's hidden when we remove it. Seen once it's clicked, it's how cool is that. I hope you did the challenge. I hope it wasn't too hard even though it was something new. So in the next video we'll be delving deeper into those, all of those flow control things. So I'll see you in the next one. 31. Flow Control (Branches) : Welcome back, My favorite game developers. In this video we are adding more items to Hall of Fame, the new and the new ones, the flip-flop, the for loop and the for loop with break. I know this video is a bit too long maybe for you, but that's because I'm trying to make sure that I explain everything and not leave anything too ambiguous photo. So let's not waste anymore time. And let's get started to case. Let's continue on from where we left off. This isn't the second part. So I'm simply going to hit Alt and click on this to detach it. Select all of these, hit the C key and call this the branch. And we're going to add it to our Hall of Fame up here, or the, what you want to call it back in here. The next thing we're going to learn is the Duchenne new, and you'll notice that it's here under Utilities flow control, the new node will fire off an execution balls n times n being this number right here. After the limit has been reached, it will seize all outgoing execution until eight. Both balls is sent back to the reset. That's shortlist. Show how this works. From the exit, we are going to print out a string, which is going to be the ethic counter. That's a good idea. So this will display the number. It will be in red. And it's going to last class about. Let's put a second so we can see properly, have time to review everything. And now we should compile, save, and play the game. And we didn't see anything. Excellent Because we've said the N to be 0, I'm going to set it to five. Now when we compile, save, play the game, There we go, 12345, but then it stops. Nothing happens. Why is that? Well, because it will not display anything and this will not work anymore until we reset it. We're going to do, we're going to add a small delay in here, which is going to be a two seconds. Seconds. Drag this from the reset. And as you can see, this is extremely ugly. So I'm going to double-click on the wire right here. And I'm simply going to add this kind of attachment. So look how much more beautiful and much more understandable. This is why I always recommend that you organize your notes, compile, save, play the game. 12345, we wait two seconds. 1212, bam, there we go. And you can increase this to five to six to ten. As you can see, it resets every couple of seconds. Select this, hit the C key, detach it from the event thick, and we add it to the Hall of Fame. Next we're going to talk about the new one. So do once. So the dual want snowed, as the name suggests, will fire off an execution false just once. From that point forward it will seize all outgoing execution just like the do. Well, actually this can be equivalent to the new n. If the new n hat equals one. This is more used than the Duchenne from experience, I've always use the ones. Rarely do I use the new. Demonstrate how this looks. Simply attach this. We're going to print out a string which is going to be hello. It will last us for, I don't know, Let's put five seconds. Let's keep it blue. You can check in here if it is starting as closed, this will not work until they start closed has been set. So if you check it, it will not work until the reset pin has been activated. So Compile, Save, and notice that we are in the event **** in the benthic, we are printing out many, many, many times, every single frame. But in this case, we don't even print once because we started off closed. Why do I keep making those mistake? Now we play. There we go. We see the Hello. Now let's say we have started with a close. We are then going to add a delay of two seconds again. Then we reattach to the reset, double-click on the wires, make it prettier. There we go, compile, save. And now when we play after two seconds, we should see the hello. One. Bam, nothing happened. Why did nothing happen? So the reason nothing happened is that this delay doesn't even start. So what we're going to do is we're going to, instead of using the delay in here, we're going to get the event begin play. Create a delay from here. Then we're going to attach it to the reset and then it's going to be resetting every two seconds. For now, let's just remove this. I'm going to hit the ALT right here. Excuse me. Let's just hit the ALT ear. Okay, So what we need to delete those. What happens now? The problem was is that the delay didn't even get executed because the du once never opened the Print String never happened and the delay never happened. What we did instead is from the ligand play, do a delay of two seconds, recently, do once and now we will have everything working. Compile, Save, play, one, do that. There we go. It worked this time. I'm going to remove this. And then I'm going to reattach the delay at the end. Should've probably displayed the problem before making or fixing the wires, would have saved a bit of time, but that's okay. So close the start, compile save. Now we play the game. Hello. Hello. Hello. Okay, great, so let's select all of these commented out. The blue. Once. There we go, That ****. And you know the drill by now, simply add it right here. Next we have the flip flop. Flip flop. There we go. So this is the flip-flop, Flip-flop node and execution output toggles between the two execution, sorry, did I say, I'll put an execution input and toggles between two execution outputs. The first time it's called the a as output. The second time it's the B, then the a, then the than the, than the beat. Node also has a Boolean input allowing you to track when output a has been called. So let's see how all of that work works. We'll attach it to the event thick. And actually before we attach it to a ventricular, just a bit of a delay to see the process happening slowly. We don't want to see all of them very fast. We'll add a zero-point, will add 1 second this time because we want to see them quickly. From the a, we're going to print out a string, which is going to say point a. Or actually you know what, let's call it the hello. Keep it as hello. Make it less than seconds. And we'll duplicate this and we'll call the second one from the bee world. This should be printing out hello world one after the other. And then we're going to duplicate the sprint again. This will go after both of these strings. It's going to print out the boolean a. There we go. You can see the conversion happening right here. And just double-click to make things a bit more distinct. What's happening in here, in the Event thick, we get a delay of 1 second. Then we go to a which prints out Hello from B. It prints out world. And from both of these we are going to print out a string, which is going to tell us either true or false. If it's true, then it's the a. If it's false, then it's the B. And we'll set this in red just in case so we can see everything properly. Compile, save. And now when we play 1 second hello, true world faults. Hello, true, world, false. That means that whenever we have a hello, that means we have the a, that means we have a true. Whenever we have the b, it means the world means that as a is not a speed. Okay, great. So select all of these at the CQI flip flop. And I'm doing all of this very fast because first of all, we don't want to waste a lot of time and honestly, I don't know. I feel that they are pretty self-explanatory. If you still feel that you don't really understand, just try things out on yourself, see how everything works. I just really hope that I'm trying to explain as much as I possibly can without wasting too much time. Next, the for-loop. For loop. The for each, the for loop. There we go. The for-loop node works like a standard code loop. If you've ever created a for-loop in golf and execution balls for each index between the start and the end, index and the loop iteration will take place between frame, between frames. So large loops may incur a huge performance hit song. We don't need to use the event thick. We can demonstrate this on the begin play, which is actually much better. So I'm going to start this from 0 on Filter. And then the loop body is simply going to print a string. And that string is going to be the index. There we go. Just make it, give it a bit of space. Set this to be 1212 is good. Suppose this down and then we are going to print out a string after we have completed the loop. That will tell us neat door. I don't know why. Compile, save, play the game. There we go, 012 until the fan and finito. And notice how fast it was. It wasn't like the do n which took its time. It was immediate, it was instantaneous. So that's the difference between it and the do. And if you are wondering, the other difference is that it doesn't need to start from 0. It can start from index three, sort compile, save, play the game 3456 until then. And then we have the finito. That's basically the for-loop. Nothing too exciting about this. Select all of these C for loops and enter alt, click on this one, and add it to our Hall of Fame. We'll set it to right here. The whole thing is getting crowded. And finally we have the for-loop with breaks or for loop with break. This time you are going to understand it all by yourself. So use the for loop will break at a for-loop with a break, I've already done that for you. Print out the index in every iteration, said the first index 0 and the last one can be done when the index gets over five years, the branch to break FOR loop and also print out when we complete the for-loop. And did you notice anything before we continue on? Just wanted to show you what I meant by when the index gets over five. So you can use, for example in here, a bigger than or greater than or equal. You can use this to compare it to any other number that you want. So I'm going to delete this. I'm going to show you the challenge again. So pause the video right now and go do the Shalon case. We are going to attach this to the beginning 30, sorry, because in the event thick this will blow up your PC. Then we're going to, what are we going to do? We're going to be printing out every single iteration, a string, which is going to be the index obviously. And then we're going to also get from the index. And we're going to check if it's greater than five. Once it becomes greater than five, we're going to create a branch. From this branch, we are going to check if it's true. We're going to break out. I want to break free. Similar to Eddie mercury. We're going to break free from the clutches of the loop. Once we've completed, we are going to also print out a string which is going to tell us that we're done. We'll keep this for 12. This one also for 12, and we'll just add a red color for a bit of a distinction. What's going to happen in here? We're going to start off from 0 until we get to ten. We're going to print out every single iteration and we're going to check if it gets over five, then we are going to break out from the loop. Let's see how that looks. Combine, save, play the game 01 and those six, because six is greater than five, if we have, if we would have put in here greater than or equal. So let's try that. Greater than or equal to five. This video is getting very long, sorry for that. Then it is going to stop not on the 6th, but on the five. So notice the difference, boom on the five and then we're done. And what's the thing that you need to notice is that we get the Don actually printed out. That means the loop has been completed. I hope you enjoyed this video. I'm sorry for the long sessions. I'm trying to explain as much as I possibly can. Make sure to put this in the Hall of Fame and I'll see you next one. 32. Flow Control (Gates) : Welcome back, My favorite game developers. In this video, we're going to learn about the last part and the floor control. I can't speak anymore soap. We're going to learn about the gate, the multi gate, the sequence and the while loop, which is the wildest of all the non nods in the unreal universe. So let's not waste any more time, and let's get started. K, congratulations on making it to the last part of the flow control. First of all, we're going to talk about the gates or if I right-click in here and type AND gate, you can see that I get this really nifty gates or a gait belt is used as a way to open and close a stream of execution. Simply put the nth or input the x in an execution plan. And the current state of the gate, whether it's open or closed, determines whether those pulses bass out of the exit or output or not. So the toggle, which is this last year, this execution been reverses the current state of the game. So opened becomes closed and vice versa. Let's go ahead and test this out. From the event thick we are going to enter and from the exempt we are going to simply print out something which is going to be the hello string in here. Then we're going to add some kind of number, which is maybe the five. Let's do something different, the space bar. So once the spacebar is pressed, we open. Once the spacebar is released, we close. We're not going to test the toggle, I think split pretty self-explanatory. So we'll compile, save, play the game, hit the space. There we go, we get a hello, we stop hitting the space. There we go. We start with hit the space. We open up the gate. When we release the space NOR gate opening, select all of these at the control gate. And to the Hall of Fame. I worked for too long. I get crazy. Anyways, let's talk about the multi-bit gates, all the Maltese gate multiplied gate nodes, thicks and a single data impulse and routes it to any number of potential output. This can be sequential or it can be at random, and it may also be lobbied salt. Let's see how all of that works. We have 0 is the output 0, output one. And let's add another tool which aren't going to be a print string. Hello, Let's make it last for how much? Let's make it last for ten seconds. Okay? Now I'm going to duplicate this four times. It's going to say Hello, World. How are you? Or something like that. So actually let's start to say, hey, there. How are you? There we go. So now we compile save and will not add anything in here. We'll just play. There we go. Hey, there, how are you? Now we can set it to be random. So when it's random, compile save, we'll see that we get you there. How are okay, so it doesn't, it's not necessarily like the reverse. If we play it again, you'll see we have something different every single time, almost. I hope. There we go. This is the third one. How are you there? Okay, now, let's go ahead and test out this. We're going to use the just choose the hidden. So we'll use the is hidden to loop, compile save. And the is hidden is with the two button, I think. Yeah, there we go with the one key. Sorry. I'll compile save. And now when we hit the one key, I'm just going to remove the random. When we had the one key, this should be a little beaks or play. There we go. So when we hit the one key, we get it again and again and again and again and again. Excellent. There is also some, you'll notice also that the loop is similar to the multi gate. But there's the loop is similar to the reset, but there is a small difference. If I keep holding the one, you'll notice it will keep on printing. But if I have something in the reset, for example, when the spacebar is pressed space, I was actually looking for the space bar and I pressed Space stuff. That's how sometimes I get lost. Anyways, the spacebar, when pressed, it will reset. So we play the game. There we go. When we press the space we recent. But if we keep holding down the space, you'll notice that we don't have this looping accident. So let's put these all together and we'll call them the mall thigh. This is basically the Bill Gates because it's small tollgate. The ways. Let's talk about the sequence. Before I go. Completely nuts that sequence. There we go. Let's zoom in. Allows for a single execution plus a trigger. To trigger a series of events in order solve the node may have any number of outputs, all of which gets, gets cold as soon as the sequence node receives an input. They will always get called an order but without any delay. So for a typical users such as me and you, the outputs will likely appear to have been triggered Simon simultaneously and will not need to attach it to the deck, will simply attach it to the big in-plane. I'm going to add all of these, and I'm just going to copy the one from Bill Gates. Copy these, and hit the Control W. And we'll just use the hey, how are you? How are you? Hey there. Sorry for that. Hi there. How are you? We got all of these are properly attached, I hope so when we compile, compile, save, labor game, there we go. Hey there, How are you? Excellent, That's all that we needed to do. Sequence this one is very important to keep in mind. We are going to be using it. Some of these are not as useful as others, but it's good to know what you can use. Whenever you are faced with a problem, maybe you'll remember that this might have some kind of flow control north. Let's go back into our whatever you want to call this, the Hall of Fame. And let's see if I have any tool that I can use. So it's good to know the tools that you have, but not all of them are that important? I would say that the branch, the switch and the sequence and the new ones are the most important though. So I would call these four are the most important. Now, time for the while loop and this is what I call one of the scariest and most hard to control node in unreal because it can crash or PC, you cannot add a delay in it. And it's very, very, I call this the wild, wild west of the unreal. A while loop is a test condition and a body are all that make up the while loop. So for executing, executing statement in this body, the blueprint evaluates the while loops test condition to determine if it's true after executing this statement and it's BOD is a blueprint, re-evaluates the test condition. If the condition remains true, it keeps on executing the loop body. Otherwise, if the condition returns to false, the blueprint determines that the loop has finished and it exits. So keep in mind what happens in here. Let's say we set whatever we want from the loop body. Once it's completed, it prints out completed. But how does it know when to start and when to stop? Well, based on this condition, so let's say if the condition is true, then it will keep on looping through the body until or while the condition is true, it will keep on looping through the body. Once it becomes false, it stops looping. While it's true, it keeps on looping. And y is the while-loop source scary? Well, because you can end up in an infinite loop and that's the scary part. And the for-loop or the fall break, you always have the index that is eventually finished or whenever you break out of the for loop. But in the case of the while, you can end up in an endless loop and this can really crash your unreal. It happens to me all the time. That's why I'm going to issue it to you as a challenge to crash your PC. Not worry. If you follow the steps, you won't be. You want to crash anything from begin play, create a while loop. Create an integer variable, big number that while is less than ten, keeps the while-loop going. And the loop we want to increment the big number and then set it and print it out every time. And finally, when looping is completed, print out the done to the screen and I'll give you a small hint. The nodes that are needed, the less than and the increment, increments as a plus, plus. Pause the video right now and go do a huge welcome back. I hope you didn't crash any computer and I hope you tried your best sort. Let's get started. I'm afraid I might crash through this challenge. Anyways. Keep in mind we cannot use a delay. I'm going to create a new variable in here, which is going to be big number. This big number is going to be an integer and that integer will have a default value of 0. I'm going to get this integer or by holding down Control and setting it to right here. And I'm going to check if it is less than what did we say. Anyways, I think then is good enough, whatever it was added to the condition. Now every time we loop, I'm going to increment the integer. And the integer I'm looking to increment will be the big number which is right here. We can use it since it's a reference, it won't do us any harm. Let's double-click in here and make things a bit more. I don't like whenever wires are going through other nodes, that really brings up my old city. Let's see, maybe if we delete it and we attach it without I don't think so. Okay. There we go. It's better than using that extra wire. Now after we increment, we are going to set the big number. There we go. All I did was dragged as big number and the execution which immediately created a set. And after we set, we are going to print out a string. And that string is going to be the big number that we just got. So after we print out the big number, we're also going to print out whenever we are complete, print out the string which is going to be done. Let's make it red just so we can distinguish between the numbers being printed, compile, save. So what's happening in here? The beginning, we started the while loop and we check if this is less than ten, the big number which we got since it starts off at 0, then it's less than, than, than the condition here is true. Then we open up the while loop, the start looping. And on every iteration we're going to increment the big number that we have in here by one. So you can notice that it adds one to the specific value. So plus, plus means it only adds one. After adding one, we are going to set the big number. Because remember here we're just getting a reference. Here we are setting the big number. So this number is increasing. After it increases, then we print out the string that we got, so we keep track of the big number. And once the big number and this, like every single loop iteration, we are checking the condition. So first of all, we start off with 0 less than ten, do it at increments by one, it becomes one. Is one less than ten? Yes, continue 234 until we get to tan is stainless than ten, know it's equal. Then we stop. So we shouldn't see a fan or not. We should see a ten in here, and that should be the last of it. Hit Play. There we go, 123 until we get to ten, and then it's gone. Play again, 0123 to ten, and now it has gone. So I hope you enjoyed the last part of our floor control. I know it's been a long journey. I know you probably feel exhausted because of their videos have been a bit long and maybe exhausted because they have been also a bit hard. But trust me, this is a very important part of learning and understanding how loops work. And also you're getting a lot of practice and node creation and the blueprint, which is very important because they can be really tricky, especially in the beginning. Added to the Hall of Fame, look how many things you've done. Be proud of yourself, boss for a second at yourself on the back if you've made it this far and go and leave me a review because that's me on the back. There you go. I hope you enjoy it and I'll see you in the next video. 33. Timelines: Welcome back, my fellow game developers. In this video, we are going to be learning everything about timelines and how they can affect the world around us, and how we can use them to create animations. If we walk inside the light, you'll see that the light turns on to read and then slowly it shifts, are actually very fastly shift to green. And when we walk out of our imaginary window, you can see it shifts to green to red, and then it goes back down. So let's not waste any more time, sorry for the long video, but timelines need some time to understand. See you just a bit. Okay, So finally you've made it to the last video of the section. Congratulations, you are one of the very few people that make it this far less than waste anymore time because this is a very long video and let's get started. First of all, the timeline, what our timelines, timelines are nodes or actually they are special modes. Well then the blueprint that provide time-based animation to be quickly designed and blade back based on advance floats, vectors, or colors that can be triggered at certain key frames along the timeline. The best way to understand what the time timeline does is by creating one. I'm going to go into the Content Browser, going to right-click in here, create a new blueprint class based on the actor. And I'm going to call it the BP underscore, light light actor. Open it up and now let's get started. So the first thing I'm going to do is simply add a collision box in here. There we go and add a light actor. And we'll choose it on the default team roots. So it's not a child of the box collider. And we'll call the spotlight. Spotlight or you know what? Let's make it a point light. The point light. Let's move it up like this, not too far from the ground and let's make the box a bit bigger. So similar to this? Yeah. Maybe that's good enough, maybe make it just a little bit bigger. Okay, there we go, compile, save, and now let's go to the Event Graph. Now in the graph we're going to add a timeline. Right-click in here, and we're going to simply type in timeline. And you can see right here we have the Add Timeline. Click on this, and now we have the option for the timeline. We can call it whatever you, we can call it whatever we want. But in this case we are going to make it the light changer. We'll call it light changer. And what we want to do in this timeline is to make the light go down and then go up using the timeline. Timelines can be edited directly inside of the blueprint editor by double-clicking on the timeline. And now you can see we are inside. But before we do that, let's talk about the various spins that we have in here. First of all, we have the play. This causes the timeline to play forward from its current time. Because the play from start causes the timeline to play forward from the beginning. Stop, freezes the playback at the time of the timeline, at the current time, and reverse glaze it from the end to the beginning. Then, sorry, from wherever we are stopping to the beginning and then the reverse from n, please the time backwards starting from the end. Something new time allows you to set the current time to the value in the new time input, which is right here, which is this new time, takes in a float value representing the time in seconds to which the timeline can jump when the new, when the set new time input is called. Then we have the update which outputs and execution signal. As soon as the timeline is called Finished, obviously, it outputs and execution signal when playback n. And just keep in mind that this is not triggered when we stop the function, when we use these top input. And finally, the direction inputs or outputs, an enum data indicating the direction of the timeline. Blank. Before we continue on, let's go ahead and create a variable first. And this is going to be called the brightness multiplier. Brightness multiplier. And it's going to be a float. We're going to compile, save, and we're going to set it to be at around 2020, I think is a good number compile that strike this N, right, in exclusive BP testing. Back in the light changer, which is right here on the tab. Or you can simply double-click on the timeline. As you can see, we have lots of options in here. So let's talk about each as every single one of them. First of all, we have this Add Float, which adds a new flow tract to the timeline for animating scalar float values. We have the add vector, which adds, adds a new vector truck to the timeline for animating float actors values such as rotation and translation. We have the add event track. This adds an adventure which provides another execution output pin that will be triggered at certain key frames that you're going to add. You'll see what key frames are in just a bit. Next we have the colored track, which does what it does. Let's use for animating colors. Keep this one in mind. Next we have the select curve asset, and this is an external curve that you can add to the timeline if you, for example, have one curve for several objects that you'd like to animate. This is where you would add your external, external curve. And this is not the highlighted because you need to be selecting a curve right here and the content, the browser. And if you are, then you go back here. We can go ahead and add this one. Next we have the length which allows you to set the playbacks length. So how long this animation will be? We have the US keyframe. If this is not active, the last key frame of a sequence is ignored. This can be helpful when preventing skipping when an animation is looping, if you have an animation that you want to keep looping playing the last key-frame can create a bit of a skip and create inconsistencies. This allows you to avoid these. Next, you have the auto-play and the other plate. If active, the timeline does not require an execution input to begin. It will start immediately. When we begin the level. Then we have the replicated. This is used whenever we have, sorry, I'll start on the loop. The loop. I think it's pretty self-explanatory when there are the loop, this animation loops, unless it's, it's interrupted by the stop pin. And finally, we have the replicate, which is usually used whenever you want to use it across multiple clients. Clients, meaning when you're playing in multiplier and finally, ignore the time violation. I really don't know what that thus yet the honestly, but I think it's something that's pretty advanced and I've never used it to be honest. Anyway, let's continue on and learn how we can add tracks. Timelines, use Trax, define the animation of a single piece of data. This can be a float value vector or color or events or one of these four ITU tax can be added to the timeline by simply clicking on the Add Flow track. So let's go ahead and do that. If we click on it, you can see that we immediately add a track and we're prompted to enter a name. So I'm going to call this the brightness. Once added, you'll notice that if we go back to the event, the graph, we have an output pin or output data that tells us the brightness and where we are. Now it's time to start adding some keys in here. You'll notice we have the name and we have the ability to add an external curve, just like we have on this one, but this will be specific to this brightness, to this track. And we also have, oh, there you go. You can see that we can, for example, add the fog brightness, which is something already available in the starters package. And also we have the synchronized view, which will synchronize multiple tracks if added on top of each other. So let's talk about adding keys. Once you have a trach in place, then it's time to start adding the keys. And you can do that either by right-clicking and add a key to actually know, right-click and add a key right here. Or you can simply hold down the Shift button, press the right mouse button. There we go. The left mouse button. So the left mouse button. Now, how do we edit the keys? We can select the key and move it around. Or to have more precision, we can simply change it from here. We can set this to 0 and then maybe to some. Now if you, for example, lose your key, but she can do is simply click somewhere and use the Zoom To Fit Horizontal and Zoom To Fit Vertical. And now it will fit your whole timeline properly. That's if you lose your key anywhere. Next we have the moving keys. Pretty easy, pretty simple. Finally, we have the key interpolation. So I'll show you what that looks like. First of all, we'll add this key. Let's add two more keys. So hold down Shift and press the left mouse button, select the first key, set it to 00. The second key is going to be on for 5 thousand, and the third key is going to be at 80. There we go. So now click somewhere around for XOM horizontal, vertical. Notice that, that there is a problem and that is the length is five, while my animation ends at eight. So what we should do is we should actually change the length in here to be eight. There we go. I choose the value of 5 thousand. Well, because if we go back and do in the viewport and click on the point light will notice that the intensity is 5 thousand. So what do we want to do is have it at 0. And once the player enters this box, then the timeline will start going from 0, which is the brightness right now. It goes from 0 to 5 thousand and then back to 0. And this should be all given to us through this brightness. So let's do that. First of all, from the brightness, I'm going to go ahead and multiply this by the brightness multiplier. There we go. This way we get more intensity so we can clearly see what's happening. And then from here I'm going to add the point light. So drag the point line holding down control to get a reference to it. And we are going to set in density. Move it up in here at that **** to the update. That way it's always updating and attach this value right here to the new intensity that we have. And finally, how are we going to trigger this, that we just delete those three right here because currently we don't need them. I'm going to get the box and I'm going to scroll down until I find on begin overlap, so on begin overlap. At this right here. When we begin overlap, we are going to start playing. And I also want to start reversing it once we end the overlap. So on the box, when we end the overlap, I'm going to start playing everything in reverse. There we go. So compile, save, and let's see how all of this works and actually know what. Let's not just play, let's play from the start. I don't know. Let's just play compile, save back in our game. And let's just move the chair a bit to the outside. Or actually let's make this platform a bit bigger. So two by two. There we go. So now we have place for everything. And let's drag in the, where is it? The light actor? And then we're going to play. So now if we walk right here, there we go, you can see that the brightness goes up and it should start coming down. There we go. So now the brightness comes down. So when we leave again, it starts playing and reverse and then go down. Now one more thing I forgot to say, which is the interpolation. You'll notice how it goes up in a sharp way or linearly and then it goes down. What we can do is right-click on one of the key frames. And instead of linear, select Automatic, you'll notice now that the fall off is very different. We can do the same on the other GIZ and we can also adjust how that is going to look. So now when we adjust this compile, save, transitions should be much smaller. So we're going to lay in here. And now we go to there we go. It turns on. And while we're still standing in there, if we go out on the end overlap, it will continue on the process. We stand inside, it goes right, and now it should slowly start to say, again, when we go out, it will do the same. Why? Because in the Event Graph we are playing the reverse. So I hope you enjoyed. Now before I leave you, it's time for a bit of a challenge for you to test out your skills. So I'll change the light color, add a new color track that will control the color of light. Set the colors you want for the light to change from N to make sure that there will be a shift between the three colors. So when the middle should be a bit of time, you'll notice now when you add three colors, There'll be like a very fast switch between the colors. Make sure that you add more time. The middle for the color that you want. And back in the event graph from the same point light variable node, add a new node to set light color from where we changed the intensity. Now you can simply drag from it and set the light color. And finally, set the new light color from the color change and the timeline, the video right now and go do the shallow. Okay, soo, let's go to the light change a timeline. I'm going to add a new color track. We'll call this the light, or let's just call this the color. Scroll down in here and you'll see that it's a bit different. So I'm going to double-click in here, or actually let's select the color. So it's pretty intuitive. And drag this one similar to that. This one is for the opacity. If you'll notice the opacity, then we'll add another color in here, which is going to be green. There we go. You'll notice they blend the color blend. So what I'm going to do is I'm going to Control C Control V pump. That's not gonna work. I'm going to add another color in here, which is going to be red. There'll be goals. So now we have read and change this to white. There we go. So we start off white, we go red. And then we go back to greenish yellow. There we go. And now finally we will go back to red. And let's add a bit of red in here and a bit of green in here. So now we have several shifting colors. There we go. Okay, seems good enough for me. So we're going to go ahead and save this. And let's play and see how that looks. So I approached the light, it starts off white. It should begin to turn red. And it doesn't. Why did it not happen? Because I forgot the most crucial step of actually adding that color. Anyways, Set light color, believe it or not, this was not the trick. I actually forgot to do it. For some, I just thought by some kind of weird magic without adding anything, this will work. You'll see here set the color, simply attach the new color to the color that we are given in here. Move this down. There's a bit of mismanagement theorem, but that's okay. So now when we play, we stand inside. Yes, there we go. Now it should shift to green. There we go, which was a bit fast, but it's okay then why? Then when we leave, it plays in reverse. It goes to green, red, and then it should go slowly to white. How cool is that? I hope you enjoyed this video. Congratulations on finishing the section number wherever. And I'll see you in the next one. 34. Section 6 - CyberSpy 3027 - Moving Platform - Creating Our Moving Platforms: Welcome back my fellow game developers to a brand new long video, to a brand new long section. Also, I know this video is long. I know you're tired of long videos. I hate them also, but trust me, it is so worth it because we've created the most advanced thing we've done so far. Look what happens when we play a platform that is green, moves to a certain location and then moves black. And not only that, it's also made of freaking glass. How freaking cool is that? So let's not waste any more time and let's get started. I need your full concentration because this is a very crucial point. You need to fully understand everything that's happening. And that's why the video as long because I go through everything in my new details as much as I can. Let's get started. Okay, so it's time for the fun part. We are back in our main game. It's time to create a moving platform. So we're going to start off by, first of all, importing the glass material because I really don't have time to create the material right here. You can do it if you want. It's a very simple guide. But all that we need to do is we need to go to the content, right-click on this folder and go to show in Explorer. This will open up the folder for our wherever, where the unreal projects are and where the unreal pack is. Why are we doing this? Because we need to import the resource material that I've provided you with salt. Keep in mind what I'm going to do right here. I'm going to select the platform. You will get a file, which is the glass material. You will unzip it and then you will have inside of the platform makes sure that you take out this platform and you drag it into the comment, you should see the folder appear right here. Now, if we double-click on the platform, you'll notice that there might be nothing in here. So I'm going to restart this program and hopefully we shall find the glass inside. Okay, welcome back. So right now let's go to the levels, the level 0. And we should see right here in the platforms that we have this glass material. Now if I double-click on the glass material, you'll notice there are a lot of nodes. All of this I did on my own. Well, I'm just getting ahead. I actually went online and saw how we create a glass material. There's no shame in not knowing how to do everything. I recommend you go through, maybe create your own material, maybe you want some kind of lava material. I recommend that you try different things. Anyways, no, let's not save anything. Now it's time to create the platform. I'm going to right-click in here and the Blueprint Class irrigate an actor. This will be called BP underscore moving platform. Hit Enter. Open up the moving platform. First thing I'll do is I'll create a cube in here. This will be our ground, and this will be two by two by 0.3. Let's see here, Let's move it up the ground a bit. So this will be our moving platform. I'm going to add the glass material to it. So there we go. This is the glass, as you can see, it is transparent. I will call this the moving platform ground. And I'm going to go ahead and add another cube in here, which is going to be one of the edges. Let's make p dimensions properly. So 0.03, then it's going to be 2.03 and then it's going to be 0.03. There we go. So this is our first edge. You'll notice that it is just slightly bigger because we will have a second edge, and I'll just call this the edge. I'll duplicate this one. This will be our second edge and this one is going to be 0.030.30.03. Okay, there we go. So this one will be the edge which is on the side. I'm going to rotate it like this. And for some reason decided to not be. So I'm going to actually, you know what, let's move it to the other side. There we go. Minus 90. Move it like this. We'll just reposition it to be properly on the side. I'm not going to waste your time and be doing all the edges. I'm going to use the magic of editing. And then when I come back, everything should be settled. You should do the same. Okay. So as you can see, I've created a casing around our glass platform. Now, what did I do that? Because I want these edges to represent whether the moving platform is on or not. So simply drag these edges, select all of them and drag them under the moving platform. Now what I'll do is I'll make sure that we're selecting all of these edges. I will make them all red, which is the red glowing material. Now if the platform is red, you'll know that the platform is not working and will need to be activated. And if it's green, then we'll need, then we'll know that it is moving and it is activating solve. This is just a small little trick I want to do. Now it's actually time to start moving this platform. First thing we'll do is we'll create a new variable in here, which is going to be called the is on. And it's going to be a Boolean and it's going to be instance editable. That variable will be true. If that variable is true, then the platform is on. That means it's moving. If it's not, then it's going to be off and not moving. But not only that, it is also going to change the color of the edges. The first thing we need to do is we need to go into the construction and we need to make sure that we get a reference to all of these edges and set their color because we will be setting their color on the begin plate. How are we going to get a reference to all of them? We are simply going to open in the variable and we'll see that we have a reference to all of these edges. Now, the problem is we need to add them one by one. So I'm going to do this really fast. Okay, so now that I've added all of these, if you were worried like this does not look good, what you can do is select all of them. Right-click and you can see right here that we can align them to the right. So now all of them are aligned and we can also align them and make a vertical distribution so all of them look really nice. Now the next thing I'm going to do is make an array. So I'm going to right-click in here and type in make array. I'm going to add as many pins as we are going to need, and I'm going to start attaching all of them. So this is something for you to do, pretty fast case. So now we have this array. And the way we're going to do this is we're going to promote this to a variable and it's going to be called the edges array. And we are going to set it as soon as we start our, not even when we start upon construction of our moving platform. There we go. Now we have a reference compile save. Now in the event the graph will just delete the overlap and the event thick. For now. What we need to do in the event that graph is we need to determine whether the colors will be read or they will be green. From the event begin play. I'm going to create a branch on this brush. The condition is going to be as on. If it's true, we're going to get the edge arrays. Excuse me. We are going to get the edge arrays. And from the edge arrays, I am going to create a for each loop. Now the foreach loop is similar to the for loop, but the difference is that it works solely for the purpose of using items. So for each, meaning that we go through each item in an array and we provide the for each loop an array, and it goes through each of the items. And we'll do the same right here for each. So basically what we're doing is we're going through each one of the edges. And then we are going to, from every single element, we are going to set material on every single one of these elements. So if the, if it's on, then it's going to be green. The green. And if it's not, then it's going to be obviously, there we go, compile save. So what's happening in here? First of all, the construct, we get a reference to all the edges. When we begin to play, we check is the platform on. If it is, then we're going to go through each element of the array and we're going to turn it to green. If it's not, we'll do the same, go through each element of the array and turn it red. Let's see how that looks. Make sure that this is on, is instance editable in level 0. I'm going to Add the moving platform. There we go. Move it up a bit. So now when we play, it's all red because the is on, is off. Right? Nice one. And then when we turn this to true, then we'll play the game. There we go. You can see that the edges are green, meaning that this platform shouldn't be moving. Now, let's move on and actually start making this platform movable back in here. Before we even set the material of our platform, we need to set the relative location. So I'm going to drag from the beginning play set relative location. And we're going to set the relative location of the moving platform a grant. So click on that. That's the one that we are going to be moving. So put this right here and put the moving playground, moving platform ground under it. And why are we moving the moving platform ground? Well, because it's the main object that needs morning. So now we need to set a new location and I'm going to promote this to a variable. And we'll call this the starting location. Hit Enter. There we go. So now we have starting location. I'm going to make an instance editable and I'm going to expose it to a 3D Widget. Combine safe will not need to test this out or you know what? Let's test this out. I'm going to select the 3D Widget. I'll just set it in here somewhere. And now when we begin play, There we go. You can see that the platform moves to that position. Excellent. Back in the moving platform. Now we need to start moving it. So after we send the material and if it's green, we will be moving. If it's thread, then no need to do anything. So from here, I'm going to start the move component to what components should I be moving? It's obviously the platform ground Sort drag and the platform ground into the components that need moving. Let's set it right here. Then we're going to set the target location. I'm going to promote this to a variable and it's going to be the target location. Or let's call it the location, two moles. To set it under here, just for the sake of having everything really nicely organized. And then we'll select the location to move to set the instance editable, show 3D Widget, combine, save back in our level. Now we have this starting location and this location to move to. I'm going to set the location to move to about here. So now when we play the game, boom, boom, there you go. You can see it went from this position immediately to this position. But this is not something that we want because it's very fast and that's not what we are looking for. So I'm going to go back. Instead of doing, doing it that fast, I'm going to use these ease out and ease in. So I'm going to right-click promote this to a variable and set it on both of these. I'm going to call this the easing. If this is true, then it will slowly move to the other position. So make it an instance editable. And what else I'll do. I'll also make sure to have this overtime promoted to a variable. I think we should move these right here. Maybe it's better. I don't know. It will depend on you. I am I'm feeling that it's better to move it like this. Yeah. I don't know. I don't know why. Whereas veterans tier. Tier Yeah, I think here it is better to over time, this will be the time that it takes to move from the initial position to the position we need to move to. So this will be the move bim and Enter, compile save. And the move time will also be instance editable. And that's it. That's all. It needs to be. The most time default value. Let's just give it two seconds. I'll compile save. And the default value of the easing should also be true. So now look what happens. We're going to select this platform and the easing is on the move time as to when we play, look what happens. Replay. There we go. And I hope you'll really noticed how the easing in effect works because it didn't just go to that position and stop there immediately. It slowed down until it got there. So notice that again, look. How cool is that? There's a slight difference if we remove it. Let's see how that looks. I don't like that that jerky movement easing in much better if we increase this full five seconds, for example, and play the game. There we go. We can see that our platform is moving slower. How cool is that? I'm super excited, but there is a small problem left to solve. We want this platform to move back from its location that they've got to back to its starting location. And I'm already to deepen this video. I don't feel like doing good, so I'm going to give it to you as a challenge. So pause and go back. After we move the platform, create a delay that will pass at the point, promote a variable pos time so we can control the delay that happens. Move the platform back to the starting position, and make sure we keep doing this in a loop. And if you want, I can give you a hint. If you don't want the hint, pause the video right now and go do the challenge. And if you want the hint, I was still here. Okay. Connect the delay to the first node of the moles to move component to stop that information, pause the video right now and go do a shallow. Okay. So I hope you'll challenge. I hope you tried your best. After we moved to the location that we need to move to, I'm then going to have a delay. And then I'm going to go ahead and move back to the starting location. So I'm going to duplicate all of this in here, set them off. But instead of using the Move tool location, I'm going to use the starting location. Oops, there we go. So I'm going to move the starting location. We're going to use the same warming because it's much more practical like that. And after we moved back to the starting location, what we'll do is we'll have another delay. And then after that delay, excuse me, we're going to connect back to the smooth tool. And I'm going to see again, I select this nope. Source, select this NADH, right ear. This one can be deleted, completely deleted, and we'll add this one right here. And there we go. So by the way, if you are wondering why I'm zooming in so much, because if I zoom out a bit, you will start to see everything fading out, especially if you are on not a high resolution during the score student watching scores while you're watching this course. The last thing we forgot to do is to promote this to a variable. This will be the bars. And we'll set it right here. And we'll also make sure that the Palestine as applicable right ear compile, save and the boss time shouldn't be normal than than 1 second I think. Let's see how that looks combined safe. So let me just one more time explain what's happening. Festival. The platform arrives. We set everything into an array and reset that array called the edges of rape. Then on the Begin Play, we take the moving platform and we set it at the starting location, which is an instance editable and shows a 3D widget that we can set in the world. Then we go to a branch. This branch checks if the platform should be on or not. If it's not, then we'll get the array. We'll go through each and every element of the edges. While the edges array, we go through every single edge of that array. And then we said the materials to read. If not, we're going to set the material to green once the materials are, I mean, if it's on, then we send the material to green and then we will need to start moving. The platform arrives in the world. It's set in the starting position right here. Now it needs to move to the location to move to with a bit of easing and a bit of time in-between time it needs to go to that position so it doesn't simply snap there. Then we delay for a certain pulse time, then we move back to the starting position also with, with an easing and also with angels time. Then we bars at the starting position and we go all the way back to the location to move, to compile, save, and let's see how that looks. There'll be goals, so it goes to this position. It should wait 1 second, and then it goes back to its original position. Now it waits there 1 second and it goes back. How cool is that we are actually making magic, ladies and gentlemen, thank you so much for watching. Sorry for the length of the video. I hope you enjoyed that and I'll see you in the next one. 35. Adding Activation Plates : Welcome back, My favorite game developers. In this video, we are going to be creating an activation plate. Now when we run the game, we no longer need to set the moving platform manually. We can just use our handy activation plate. And once we stand on it, there we go. You can see that the plate is turned on and now it moves from one side, from one location to the next. So let's not waste any more time. Let's get started the k. So now we have our moving platform, but the only problem is, is that we don't want to keep going through that platform and turning it on and off from right here from the details. We want that to happen in game. And in order to do that, we will need to create some kind of activation platform. So let's go ahead and do just that. So I'm going to go into the content on the where should we do it? I think we should do it right here inside of the platform folder. If you want, you can create one separate folder. In here. I'm going to create a blueprint which is going to be an actor and call this VP underscore the deviation Plate. I'm creating it inside of the platform because I feel that this is actually part of the platform because without the platform, the activation plate will not do anything. But if you feel that the activation plates or should be responsible for something else, then be my guest predated in a separate folder. I'm going to open this one up. Then I'm going to go ahead and create the Cuban here, make it 0.3 on the z axis. There we go. We can see that it has a bit of height. And we'll just make it two by two on the x and the y. Then I'm going to call this the outer edge. I'm going to duplicate the outer edge and make it 1.8 by 1.8 by 0.2. Let's see how that will look and I'm going to move it up a bit and this will be called the globe. This glow is going to have a red material aren't. So this bonding will be all the time read until we stop on it and then it becomes green, I think would be a bit smaller, maybe 1.6 by 1.6. Yeah, I think that looks good enough. Maybe move it up slightly. There we go. So it looks kind of like a button and I think the 1.6 is good enough for me. Okay, great. So Compile Save. Now we're going to go ahead and add a box collider. And this will be the trigger and the trigger. I'm going to scroll down and create an over or on begin overlap event. So on begin overlap event of, sorry, before we do that, back in the Trigger, let's actually set this properly. So we're going to use this, we'll use these tools is actually the same, but I just like having, since we have this option, why not use it? I'm going to create this extent. And I'm just going to move it up a bit. There we go. So it's just hovering above it because we don't want it to be triggered by this platform. Maybe it won't be, it probably won't, but just in case compile, save back in the Event Graph. So in the ear, we're going to delete the begin the thick and the whatever. Then in here, what we're going to do is as soon as the player move, moves through this, we are going to turn the globe material or the glow cube material into the green. So we're going to do this only once because we don't want to have multiple instances of this just in case because sometimes overlap does something weird. So we're going to do once and we're going to get the globe. And from the globe we're going to set material. And that material is going to be the green material. So there we go. We set it to green. I know sometimes these little things in here are very hard to see. I don't know. That's just the problem of Unreal ligase. What can I do? So the green material from the globe with all the swans combine, save back in our level. We're going to add this right here. Now we're going to play. And when we come in here, there we go. You can see that we have triggered, it was red and now it became green. I think I'm going to make this smaller. Let's make it 1.5 by 1.5, because I want this to really be defined. So let's see how that looks. When we play the game. This is our platform, we know it's red, that means we need to push on it and boom, there we go. Now it's green. Excellent. Now, what else should we be doing in here? Well, obviously in the obvious question, the obvious answer is that we actually need to connect this platform. I mean, this triggered box or this activation blade to the moving platform. How are we going to do this? We are going to create a dispatcher event. So I'm going to go back to the activation plate. I mean the moving platform. And in here before we set the relative location, I'm going to instead create a dispatcher events. So I'm going to close down the variables. I'm going to add a dispatcher event and I'm going to call this the act, the platform. I'm going to drag it into the world. And I'm going to say that we want to bind. So I'm going to set these execution pins. Now, why are we going to bind this? Why are we choosing to bind? Because we're going to bind this to an event. And what is that event? Well, it's going to be a custom event. I'm going to right-click in here, and I'm going to write custom, oops, add custom event. There you go. We can see that we have it right here. Once we added, will be prompted to create or sorry to name the event. I'm going to call this activate. The way we bind this by simply joining these two red boxes right here. So what happens now? As, as soon as we begin plate, we are binding an event before we set the relative location. And then what happens inside of the Activate is we are going to set, actually we'll just going to grab the zone. Whereas the variable of the exam, There we go. We're going to set the variable to be true. Then we are going to move this a bit. We're going to go ahead and set the branch and the condition will be the variable of the exam. How am I going to make this a bit better? There we go, it seems really good. What's happening in here? We're starting the game. We are binding the activate, but we are not triggering this event. What we're doing is binding the event, setting the relative location and checking the condition on the branch. If it's already on, then no problem, the branch will start moving. If it's not on, then we're going to set the material to read and that's it. But what now we did with this activation and setting the branch. Now when this activates, it's called upon, it's going to set the is on to true, and then it will go to the branch. And then it's going to set the material and do all of that good stuff. Now the only thing that's left to do is to actually call this Event Dispatcher the activation plate. Make sure to compile from the activation plate, and that is going to be your challenge. Your challenge is to call the activation event, create a variable of type moving platform in the activation plate. So what the type of the variable must be moving the platform, it's an object reference. Use the data pen to call the activation of the platform. So once you create the variable, you'll need to drag it into the Event Graph obviously. And then from that, you use the data up and to call the activation platform event. At that should, after we set the material and back in the game view ports, select the pressure plate and assign the platform you want to move. So obviously this moving platforms should be an instance editable. Pause the video right now and go to the each hello. Hey, welcome back. So in the activation plate, we are going to create a new variable. And this variable is going to be the flat forum activate. The type of this platform is going to be the activation plate and it's TBP underscore activation blade. Excellent. We're going to set the instance editable and we're going to compile, we're going to save. And we're going to go to the Event Graph after we set the material, we're going to drag in the platform to activate. Keep in mind whenever we're dragging hold down control to get a reference, hold down Alt to set. Then we'll drag from here and we're going to call the activate. Okay, So a bit of a mistake that I made and let's see in here, the type of variables should be the moving platform, okay? Yeah. What can I say? This is of type moving platform changed the variable. There we go. Remove this, jack, this back in, and now we should see the Activate. There we go. So as you can see, I made the mistake. I really wanted to keep this mistake and because I could have just added this out sometimes I do if that mistake isn't good enough or do I mean by good enough? I really think that you can learn something from this mistake that I made. So I would love to keep it. I hope you don't think that I'm very bad. This is the way I like to teach. I like to keep my mistakes just for you to know that not everyone is perfect. And I also do a lot of mistakes even though I already created the scores. So keep in mind, I already did this project and I rehearsed it and I plan it all out. And I also make mistakes, so don't be afraid to try to make mistakes and to learn from them. We save everything we are activating. We'd go back to the level. And on the activation plate, I'm going to select the platform to activate. Now, we can either select it from the drop-down list or we can use this little pick actor and then select this moving platform. And there you go. You can see that this is the movement platform right here. Play the game. This is active already and select it again. Don't have this on, play the game. So now the platform isn't moving once we press it. Oh my God. Don't tell me. This is not one of the coolest thing you've been. Very smart. Thank you so much for watching. Sorry for the mistake. I hope you learn. I hope you can see that not everyone is perfect and I hope that you see the benefit of always trying to do these challenges to learn. So see you in the next one. 36. Creating Enemies Using Timeline: Welcome back, my fellow game developers. In this video, we've created ourselves a little flaming demon enemy. As you can see, he has flames all around him. But not only that, when we play the game, he starts moving from 1 to the other, trying to kill us. But that's not the catch. The catch. I mean, we can set the speed. We can set him to be slow and we can set him to be fast. And there you go. You can see that we have control over him using timelines. So let's not waste any more time and let's get started. Okay, so now we are going to be creating an enemy. But even though he's not part of a platform, so this section is mainly focused on platform, But the enemy will use a timeline and we learned the timeline in the previous section. So I think this is the perfect place to create one. We're going to create a new folder in here. This folder is going to be called the enemy. And we're going to double-click inside the right-click and create a new blueprint, a class of type Actor. And this is going to be the BP. Bp means blueprint, just if you need a reminder of. I never said that. The NMI there we go. So VPN underscore enemy, open up the blueprint enemy. Now in here we're going to add a sphere or going to call it the enemy body. And we're going to move this enemy body up a bit and we're going to make him 0.3 on all sides. Wait, let me reset this and make the make him 0.3 on all sides. Is it too small? I don't know, To be honest, maybe he is 0 or maybe it's better. And then we're going to add a particle system right on the top of this guy's head. So once we've added it, we should see the template where the particle system should be, the fire. There we go. So now this enemy is made out of fire. He's a flaming bold going towards us. And we're going to change the enemies body maybe to read if you have some kind of red. Now we don't, let's see if we have something black. We have something very black. Let's see, maybe we can create our own. Maybe. I don't know. We can create this kind of totally black you or something like this, like the metallic ball that's flying towards us. Compile save, I think this is good enough. Back in the event the graph, Let's delete the overlap and the tech will only be needing the Begin Play to start the timeline. So we'll add it up. We don't even need the beginning play to be honest with you. On the timeline. We're going to call this the fast moving enemy. And why is it the fast-moving enemy? Well, because you'll see later on from the fastboot moving enemy, we are going to double-click in here and we're going to create a low track. This flow track is going to be the movement. We're going to add three points in here, or three kids. And we're going to set the first one to be 00. The second one is going to be 1.51, and the third one is going to be 30. And the length of this whole thing is going to be three. So we're going to expand it on all sides. There we go. So now we have all points. Now this variable will go from this value to 1.5, the 1 second, and then on the third second is going back to 0. I'm going to right-click on the key and make it auto. And right-click in here also make it although, and then pull this one down. So we have this nice smooth movement compile, save back in the Event Graph, and now we have the movement. Now what we're going to do is going to be a bit weird, but don't worry about it. We're going to learn this movement. And what does that mean? Well, if we hover over it, and I don't think this is the alert PR looking for. We're going to right-click and learn vector. So when we learn vector, if we hover over it, you can see that this is a linear interpolation between a and b based on the Alpha. Meaning that using this, we are moving from a, from vector a to vector B. A certain speed, which is the Alpha. So can you guess what the a, b, and alpha are long to be? The a is going to be the initial position of the enemy. The B is going to be the position we want to move the enemy to. The Alpha is going to be the movement that we are getting constantly from the fast-moving enemy. Then we're going to, the a is going to stay 0. So that means where we set the enemy, that's where the enemy is going to start. But the B is going to be promoted to a variable and it's not going to be called B if I can catch it. It's going to be the ending location. By the way there, we could have made the enemy move exactly the same way as we make the platform move. But I want to show you as many ways to move things and have the opportunity to use timelines so you can get used to them. Then after this, we're going to also promote the variable right here. And we are going to be updating it all the time. And what shall do we, what should we call this variable? While it will have many names, but I think we should call it The shouldn't be the ending location, it should be the movements. So it needs to be something that represents the movement from a to B. I'll call it the enemy destination, enemy nation. It's not a very descriptive, but add on or we can add a tooltip if you'd like. From this enemy destination, we are going to set relative location of the enemy. Baldi, said relative location and the location that is going to be set is going to be the enemy destination. Now, we could have simply use the enemy destination that we get from here. But because we are going to later on add more movement for the enemy, or actually you're going to be adding more movements to the enemy. That's why I decided to keep it like this. Compile, save. And now the ending location should be instance editable and it should show through the Compile, Save back and our world. Let's go ahead and add an enemy in here. So I'm going to simply drag and the enemy. There we go. You can see that he has his fire on him. And you'll notice that the ball is a bit higher than the point right here. We can fix that by simply going to let me just close these two down. Going through the enemy viewport. Let's see the ground, the floor. As you can see, sometimes we get this error, but we simply can reset this to 0, compile save back in our world. So this is the enemy. Let's select the ending location. We will move it right here. And now when we hit play, nothing happens because as smart as I am, I forgot to go into the fast and make sure that we are in auto-play and we are looping. So Compile, Save. And now when we play, There we go. You can see that the enemy is going from this direction to this direction. And the ending point is where it's where we've set it all the time. But the problem here is, if I set, for example, the destination right here. Now what's going to happen? Now the player or the enemy is moving extremely fast. So you can see he bounces from one location to the next. What if we wanted to make a enemy that is a bit slower and more fair to the player. Well, we're going to create an enum for them. If we right-click in here, go to the blueprints and select enumeration. This will create an enumeration. We're going to call this the enemy speed. Speeds or types. Let's call it types. It seems more filling. And if we open up this enumeration, you can see that we create, we can create various types of enemies, not exactly enemies, but this will allow us to create various types of enumerations, which will effectively create a separate variable that we can choose from an order set, the player or the enemies speed. I'm going to call this the fast, the medium, and the slope. Now we have these three types of enemies. We can simply save and close this down. Now I'm going to issue a challenge to set the enemy speed, create two other timelines, one of longer length and make sure to adjust the keys for each and turn autoplay off. This is very important. Next for every timeline set, the lobe and the destination attached, attach all of them to the set relative speed, create a switch gate based on the new enumeration recreated. This will be a tricky part and make sure to connect. All the timelines store it. So remember the switch that we learned a couple of videos ago. Well, this is your moment to shine, to use them. So make sure to use a switch that is based on the enemy enumeration that we just created, which is called enemy types, I think. Finally promote the variable inside of it and make it instance editable. So you'll need to promote the variable on the switch so we can change it for every single enemy and test it out. Make sure to also connect the switch though they begin plate. This is something I believe I forgot to mention. Pause the video right now and go to the challenge. Okay, Welcome back. I know it was a very tricky challenge and I know you're not already familiar with enumerations, but bear with me and you'll understand what everything means. Back in the viewport. I mean, back in the event graph, I'm going to duplicate this timeline and actually doesn't do anything. So back in here, this is going to be the medium moving enemy. This is the second timeline. Then we'll duplicate it again, and this will be the fast moving enemy. Sorry, slow moving enemy. And let me just open these up so we can see fully what's going on. And from these, I'm going to open up the medium moving enemy and he's just going to be a bit faster. So instead of the 1.5 is going to reach his maximum velocity at maybe two. And his minimum velocity, or meaning that he's going to go back to 0 at minute for AD second four. And this right here should be the value. Why isn't that in the middle? Because this one starts at 0, this one ends at four, and this one is in the middle. But we need to adjust the variation. We need to turn off auto play and we need to make this four seconds long, compile, compile, save if you want, we can actually make this one a bit slower so that the medium is more slow, but I don't think so. So back in here. So we have the medium down. Let's do the slow one. This one instead of 1.5 is going to be at three. So it's telling me that I already have a key there. So this one is going to be at six and this one is going to be three. I'm going to adjust this like this. There we go and make the length six compile, save. So now we have three various or different timelines, each having a certain speed. So now I'm going to simply get these and duplicate them two times, attach each one of them to the Update and attach the Alpha, the movement. And I hope you can see properly what's going on. So I attached the movement of the Alphas and the sets to the sets. Then I'm going to add all of these. There we go. That's why we created a variable for the enemy destination. Or actually we used a reference for the enemy destination instead of later on. Instead of using the immediate that up and from here, because each one will set its own. Now for the tricky part, we're going to create a switch node. The switch based on the, on NME types that regard. So as you can see, we have three outputs, each for the fast medium and the slow. How cool is that we created the animal iteration enumeration, which effectively means we created some kind of type. And now we have the selection right here, which we are going to promote to a variable. And we'll call this the enemy speed. Once we have this, look what will happen now. Will compile, save everything shouldn't be working properly. There's just makes sure the autoplay is turned off on all of them. Compile save back in here. When we select the enemy, we have the option to, we didn't make an instance of the bull, the enemy speed instance editable, compile, save. And you'll notice what is the type of if you click on it, if we tried to hover over it. Let's see if we can see it properly in here. If we hover over it, the variable enemy speed. So we basically created a variable of type and in speed, we can see this also in here, enemy speed. So the type is an enumeration type, but it's the enemy types that we have that I say enemy speed, you sorry, I meant the type is of type enumeration and that enumeration as what we created right here. So back on the enemy, we can set it too fast, medium or slow. So if we sat him too slow, we play the game. There you go. We can see that he moves slower right now. If we set them second too fast, There we go. You can see that he bought around, which is not fair, especially if your character isn't moving that fast. And if we sat him to medium, we play the game. There we go. We have a medium moving enemy and our world. I hope you enjoyed this video. I know the enumeration type is a bit hard. I know the challenge was probably not that fair because you're creating a very new things you've just learned how to create timelines are now Michael is asking out of you to create some kind of switch on some kinds of enumeration types then whatever, all of this is mind-boggling, but trust the process, the challenges do your best and the challenges, I hope you understood what's happening in here. If you have any questions, you can always leave them down below in the Q&A and the discussions AND and OR you can ask them under discord channel. I hope you enjoyed this video. See you next time. 37. Section 7 - Making Interactive Experiences - Game Mode and Game State: Welcome back, my fellow game developers. In this video, we are going to be learning above the essence of our game. So we'll be learning above the Game Mode and how the world interacts. Congratulations on making it to the section. I hope you're enjoying the course so far. If you are, please consider leaving me a review. It helps me out a lot. If you don't think I deserve a full five-stars, what an excellent review. Please contact me, tell me what I did wrong. How can I improve? I always aim to please and bring you the most fun and interactive and best possible teaching style that I can conjure up. Let's not waste any more time. Let's get started. Look game modes. Okay, So in this section we are going to learn information about high level gameplay programming and scripting in the Unreal Engine with the aim of making interactions between the layer and the world easier and more understandable. To this point, we would play the game, we wouldn't know what's happening. We just become either some kind of floating thing or we wouldn't become some kind of third-person guy running around without any knowledge of why and what is happening this time around this section, we'll learn everything about what is happening. So first thing we're going to learn is about the game mode and the game state. The game mode, something in the Unreal Engine that can be used to determine, for example, the number of layers and speak spectators present in the game. It allows us to know how players enter that game, whether or not the game can be paused or not, the transition between levels, all of these things can be handled inside something called the Game Mode, which we'll see in just a bit. We also have something called game state, which is similar to the Game Mode button, the game state, for example, we can determine how long the game has been running when each individual players joined the game, the base class of the current game mode, and whether or not the game has actually even began sort game state is usually associated to a multiplier multiplayer game. While the game mode is what we are going to be focusing on, because an outgoing game, there's nothing too much spectacular that will need to know about the game state, isn't that necessarily, but I thought it would be a good idea for you to know that there is something called also a game state that's deeper into the game mode. Back in the Unreal Engine, you'll notice I'm back at the my first-person game. My first game, I mean project. And let's get started. So why certain fundamentals like the number of layers required to play or the method by which the players joined the game. So do they appear that they fall from the sky? They like after they die or so all of these things, these are common to many types of game. Limitless rule variations are possible depending on specific game you're developing. So as you know, if you're a gamer, there are endless rules for any game that you can have. So this is where you do it. You do it inside of the game molt. And regardless of what rules, these are, game modes are designed to define and implement them. We have something called the Game Mode blueprint, and it's possible to create your own blueprints for the Game Mode classes. Let me demonstrate what I mean by the game mode before you create your own. So if I open up the content and if we go to the crazy world, for example, actually maybe this is not the best list to show you how, what I mean if we go to the volume testing saw in here, you'll notice that we don't have anything. We just have this later start right here somewhere. So this one, the player stock, and once we started the game, we just start blank. So when we play the game, we are the third-person character without any freaking reason. Why is this third-person character available for us to play? Well, that's because of our game mode. If we go to the window and scroll down until we find the world settings, add that. This will open a small window right here to the side, next to the details. And you'll notice that we have something called the Game Mode breath here. And the override is none, meaning that we are using the game or game mode default to all the levels inside of this project. And if we click on the selected Game Mode View, you'll see there is nothing. That's because we didn't apply any sort of game mode. If I, for example, select in here, select the Game Mode. You can see that now there are these little options right here, which is the default bond, the hard class, they are invisible. That's because the game mode, this is the very standard tone. But now what happens when we play the game? You'll notice there is no more third-person character. Now, why is that? Well, because we are no longer the third person. We are actually the default bond that floats around. And I would like to show you the default bond, but I keep it to the four. The next level. If we go into the edit and the project settings, we go to the maps and modes right here. You'll see that the game mode, the default Game Mode, is the third person game mode. And if we click in here, you'll see that it's the third person character. So whenever we start the game, because the default Game Mode was before we changed it in the world settings, the third person game mode, whenever we start the level, we start off with a third% character as the default bond class. And it's the same for the player controller. It's the same for all of these. So let's go ahead and create our own game mode. You'll see if we click in here, we can select the third person game mode. And now when we play, there we go, We're are the third person character, but we can change them if we click on the third-person character here, and we select the default bond. Now when we play the game, There we go, you can see that we are no longer this certain third-person character and we can fly around. We can still interact somehow with the game, but we'll see how we can change that later on. So you are beginning to see how the game mode can affect the world and how we play in it. Now that you've understood what the game mode is, obviously not the full scope and range of width. Let's create a new game mode in the Content Manager browser, wherever it is, right-click and create a new blueprint with the parent class being the Game Mode base name of the BP underscore my Game Mode. Open the world settings window for you to find. For some reason I've just showed you override the current game mode with your own. I'll give you a small hint. It's in the windows when those settings, world settings, obviously, when I did this challenge, I wasn't expecting. I have a certain idea of what I'm going to talk about, but I always try to keep things fresh. Pause the video right now, and go to the challenge. Hey, welcome back. So I'm going to open up the content. I'm going to go in here and the continents right-click am going to create a blueprint class is going to be based on the Game Mode base. And I'm going to call it the BP underscore my Game Mode. Open this baby up, drag down right here. And as you can see, the game mode is exactly the same as any Blueprint class, but it still has a bit of difference when you come to, when you go into the nitty-gritty things. But for now, all that we need to do is simply go to the game mode right here. Click and select BP, underscore my game mode. And you'll see all the settings that have been set right here. Let's talk about the sum of these settings and the ones that we are going to be using, mainly the default bond class. This is very important once we create our own character, we will be setting it right here, but we will be actually setting it right here for this game more than the class settings. Then we have the Hulk class. This is something in my opinion up with outdated. We'll be using something different to create the hot in our game, the player controller. This is very important because currently all the movements that we're using for the third-person character are already predetermined. We are going to be creating our own later on, we have the game state that we talked about. We have the player state, something similar to the game state, but obviously more associated to the player. And finally, we have the spectator class. This is just in case you die. For example, like a game in a game of Counter-Strike. Once you can roll them around, you can determine whether you can roll morale or you can't roam around. So this is the basic things over it. Now when we play the game, you can see that we are the palm. And if we go into the game mode right here and go to the class default, you can see that in the classes we can change the things. So for example, the default font class, Let's set it as the, what should we, should reset it. Let's set it as the third-person character, for example, compile, save. And now when we play the game, there we go. We are the third person characters. So you are beginning to see how this will affect the game. But before we continue on, there is one more thing that you need to understand. And that is that this game override if you hover over it, this is the default game mode to use when I'm starting this map and the game. So when you are using this map, when I go to the level of the crazy world, not just the difference that the game mode is back to none. It's back to using the one that was in the project settings and the maps and game modes. If you don't override the game mode, it will simply use the default one that is available right here. With all of that information, I hope you enjoyed this bit of introduction. Later on we will be using the Game Mode much more extensively, especially in our game projects. So thanks so much for watching. See you next time. 38. Pawn: Welcome back my fellow game developers. And in this video we finally taking things too far because when we play the game, we are not a floating head. We are not a third-person character. We have become officially a table. A table because that does not move. It just sits there and it's just watching costs. Let's not waste any more time and let's get to making or turning ourselves into a table. Okay, so what is a bond? We've already seen what the pollen is, but now let's delve a bit deeper. So basically the is the physical representation of a player within the world. It is the base class of all actors that can be controlled by the player AI, meaning the third person player that we are usually playing around with. What is a pump. The character that we start flying around with as a bond, as the physical representation of an entity within the world. This not only means that the pond determines what the player, a player or AI entity looks like visually, but also how it interacts with the world in terms of collisions and other physical interactions. For example, a character that we'll be seeing later on is a type of bond that has the ability to walk around and we'll see what all that means later on. But for now, let's first of all understand what the default palm. So if I go into my game world view and change the default bond class to the default bond and play the game. You'll see that we have this moving around character, but is it really just some kind of invisible ghost notes? Not because if you press the F8 key, you can see right here that we have this default bond class somewhere in the world. There we go. So this is the default bond class. If we move around, you can see that this whole time you were this little ball. How cool is that? You were this little ball hovering around the world. And if you don't believe me, you can just go ahead and test it out. And this ball actually interact with the world around it. This is what gives you the collision. This is why you cannot pass through walls whenever you are playing with this default bomb. To be honest with you, the first time I realized we were this ball, I was very scared. I was like, Whoa, I've been using Unreal four because I never learned from a course like you, I never knew that I was the default bomb flying around. And when I realized I was super shocked, I was like, my whole life has been alive. So anyways, we are this ball and let's now explore this wall a bit more. Because while the bond class provides only the essentials for creating a physical representation of a player or an AI. The default bond class comes with some additional components and functionalities. So if we go to the Content Browser right here, we'll right-click and we create a blueprint class that is a pond. Just call it the, let's just call it the test bond. So underscore bon, testing, whatever. Just so we can see what's inside. As you can see, there's basically nothing. It's all empty. It's similar to any class. There's nothing too fancy about it. But if we go back in here, I'm just going to delete it. I don't want it in my world and you can see how the image looks. Delete this. If you right-click and create a blueprint class from the default because you can find it in the common, it's in here. So under the default bond class, select that, select. And this will be the BP underscore default. Or on the BP underscore my default bond. There we go. If we open it up, you'll see that we already have this mesh component right here and the components. And we also have the collision component, which is the actual circumference or circle or sphere around this smash component that allows us to hit the walls and interact with the world. And we also have the movement component that allows us to float around the world. So this is how it all works. And if you want, you can add something in here. So for example, we want to know, let's able to, a small cube right in front of us, will add this q, but I don't know. It's going to look I don't know if this will work. We're just testing this out, compile, save. And back in our world setting. Instead of the default bonds, select my default bond. And now we play the game. There we go. You can see that when we float around, we have this, we can cube in front of us the whole time. This cube does not interact with the world because, well, it doesn't have any collisions on it. How cool is that now we have our own personal cube floating around with us because we created our own the default. Now, all of that information and learning about bond classes, it's time for a bit of a challenge. And your challenge is to create a new class. Create a new blueprint of pi bond called the mind bomb, test at a static mesh to it and set it to whatever you want. A table is very encouraged because we wanted to have fun. We wanted to see how all of that looks. Then add a camera component to be a third person perspective. So you are looking at the table from the outside, set it as the default bond class to our game mode and test it out. So pause the video right now and go create your own bond. Okay, welcome back. So I'm going to close this window down and I'm going to keep it just for the sake of testing. I'm going to right-click in here and go to the Blueprint Class, select the bond. This will be the BP underscore my ball. Test. Open this baby up. Let's go ahead and add a static mesh. Static Mesh. We go, this will be our body. The static mesh will be a table. Table. There we go. This is the table, so now this is us. Next, we're going to add a camera. We'll add the camera and we're going to set it on the 3D perspective. So we're going to do it sort of like sometimes the cameras just a little bit to the left? Yeah. With a bit of an angle. There we go, compile, save. And now I'm going to set the default Python class as the my bond test. And now when we play the game, there we go. We are the table and you can see how we are a bit over the edge now obviously we cannot move around and I think we are floating, gave it in there. The FA we are definitely floating, but that's because the bone test, you'll notice that we are over the floor a bit. Maybe we've moved up for some reason. I don't know. Anyways, as you can see, we can create our own physical representation of a player. Or if you ever have an AI that roams around, you can also set the representation using that bond. So I hope you enjoyed this video. This is just a small introduction to the bond, even though we will not be delving later on into the bone. It's just good to know what's happening around you in the world. So see you in the next one. 39. Character : Welcome back, my fellow game developers. In this video, we are going to be learning all about characters. As you can see right here, we are no longer the regular character, but instead we have this little jumpy invisible guy that just jump on top of this moving a cube and the world. So let's not waste any more time, and let's get started with characters in the game. Okay, so now it's time to learn about the character. A character as a bond which has some basic by medieval movement functionalities by default, what does might be the mean? That means the petals. We have two of them. That means the legs. So whenever you have a bond that can walk, it's called a character. So let's go ahead and create one of these characters and see what they look like. So I'm going to right-click in here. I'm going to create a Blueprint, Blueprint Class, make it a character and colors the BP underscore my character. Hit Enter, open up the character. Let's just close down the compile and save the game mode. Let's close this down also. The addition of a Character Movement Component and then capsule component and a skeletal mesh component, as you can see them right here, the character has these properties of the bipedal movement and extra movement functionalities. A character is designed for vertically oriented players. So meaning any human being to represent the walking or running, the jumping, the flying, and the swimming through the world. This class also contains implementation for basic networking and butter of input models, but we will not concern ourselves with the networking for now. Let's just move on and see these components and explain them. First of all, you can see that we have the capsule. Capsule. This is used for the bounds of the character and for the detection of the collision. Next, we have this little arrow pointing out. This is useful to indicate which direction the character spacing. We have the skeletal mesh, which is unlike the Static Mesh, not the skeletal mesh that is the representation of the body. So you can easily keep it empty if, for example, creating a first-person character or you can add the third person guy. So for example, you can add this mannequin female or mannequin man and whatever. Finally, we have the character movement. And the Character Movement Component is an actor component that provides an encapsulation movement system for common modes of movement for a humanoid character, including walking, falling, swimming, and flying. And the character movement is basically the heart of our character. It's where all the functionalities come from. And you can see we have many, many, many things that we can adjust right here in the details. I mean, look how long this list is. Obviously we're not going to go into every single one of them, but it's good to know what we have, almost what we have in here. First of all, you can see we can adjust the grab the scale. We can set the maximum acceleration, the breaking friction, the mass, and all of that good stuff. But we can also adjust the specific things such as character walking, character movement walking, for example, the max step pipe. So if we come into some kind of step, how high will that step B until we cannot jump over it? This is very important, the walking floor angles. So if we have an angle that is, for example, 90 degrees, Can we still walk up? But no, I don't think we can. We have the ground friction, the max, walk speed, and all of these things. Next we have the jumping and falling. You can see that we have the jump z velocity. And we saw this when we were creating our first game, how we can adjust the height of the velocity that we jumped. We have the amount of air control and all of these things can be tweaked to create your perfect character in the game. Maybe you are looking, for example, a game where the controls are a bit harder to master. For example, you would set the air control to be low. That means how much we can control the character while they're jumping. Or maybe you want to create a game similar to Super Mario, for example, where you jump very fast and then you fall down very fast. And while in the air, you can really maneuver your character a lot. So you can control the, well, you can increase the air control. These are all things. We can also have the character movement inside of the networking. Not worry about that too much. We have the swimming, for example, and the flying and all of those things. So for example, the rotation settings, how fast we can rotate. All of these things can really affect your character. If we compile, save, and if we go in here and select the default, default bond class to be my character. And you might be thinking, well, this is the default bond class we are putting in a character. Well remember that the character is actually a palm, which has, these might be little movements. So the character derives from the palm. That means we can set it as the default path. And when we play the game, There we go. You can see that we are now the character that we've added, but unfortunately we don't have any movement. We can move forward, we can look around. So basically, we are pretty, pretty useless. But this will not last long because I'm going to issue you a challenge to add the ability to jump in the Event Graph, create an event trigger by pressing the space bar. It's going to be similar to the one I think we did the space bar a couple of videos ago. When pressed, simply call the jump function, test it out and change the jump, see velocity and the gravity and see how that affects your jumping. So pause the video right now and go though the challenge. Welcome back. So in my character, in the event graph, I'm going to delete these three weeks, don't need them. I'm going to right-click in here and type in space bar. When pressed. I'm simply going to jump. There we go. Why are we able to call this jump? Might be because we are working in a character. If we work, for example, maybe an A-bomb. Let's see if that will be, if we open up the my bond, I don't think, but let's test it out. So if we jump, there we go. Okay, so this is not the jump you are looking for. Let's see the space. As you can see, we are only calling. So if we jump, there we go. You can see that we don't have this function because we are inside a part. But while we are inside of a character, we can actually call this jumping because look at this, Look what's written in here. This is the target is the character. This is associated with the character compile, save, play the game. And now when we hit the space bar, there we go. We can see that we have the ability to jump. Now, let's go ahead and play around. Click on the character movement, scroll down. For 20. That's a really nice number to jump on. And we're going to set it to 600 and maybe increase the gravity too. Compile, save the game. Jump. Up. There we go. Let's try to have a bit more jumping high ability. If we increase the chunk velocities and we changed the John velocity or the dye like change it without noticing. Let's put it at ten hundred. Ten hundred, two hundred will compile. Save, play the game. Boom, there we go. As you can see now we have this jumping higher, but the, because of the gravity, having a higher scale, we are falling down to the ground faster if we set it back to one, compile, save, play the game. Now when we jump, you can see that it takes in a bit more time to drop down. And I think we're doing through it the way. I think that's something really incredible. Why can't I stop this? For I don't know why it wasn't going I can choose the F8. Let's see. Was that because I was, we used the character who jumped on top of this cube and we went flying around. That was a very nice coincidence. So I hope you enjoyed this video. I hope you understood the difference between the regular path and the character which has bit more movement abilities similar to a human. And I'll see you in the next video. 40. Player Controller & Inputs: Welcome back, my fellow game developers. In this video, we are going to be learning about the player controller, and we're also going to be learning about input, axis and Action Mappings. All of these things are in just a couple of seconds. So let's not waste any more time. This is a bit of a longer video, I think. And let's get started. All k layer controller and inputs. In the context of a player or NAIA entity, the controller is essentially the brain. Controllers are non-physical actors that can possess a palm or any class derived from a bond, such as the character to control its actions. There are two types of controllers. Let's go over them. First of all, we have the player controller, which is used by human players to control the bonds and the more complex cases of input and persist through the game. Why is the bond can be transient? We'll describe what that means interested in, but we also have the AI controller, which implements the artificial intelligence of a bond, their control. They are more focused on responding to inputs from the environment in the game world. It don't really have any of their own thoughts. That's good. And observe the world around it and make decision and react accordingly without explicit inputs from a human player. In this course, we'll be focusing more on declare controller, or in this introduction at least more on the player controller. And maybe later on down the line, we'll talk about the AI. Anyways, back in the Unreal Engine, let's talk about what I meant when we said player controller persists. So let's take an example. Let's say we are in a death match gameplay. You may die and respond. So you would get a new part, but your controller will still be the same. This example on the example of a death match, if you've kept your score on the palm, the score would reset because your palm just died and you got a new one. But if you kept your score on your player controller, it would not. This is what I mean by the word transient. Now it's never a good idea to keep the score on the player controller. It's better to keep it on a game mode, for example. That's the whole point. The point I'm trying to make is that the player controller is kind of the brain. It's the brain or they may be soul if you want. Or for example, you can have a player controller to walk around with your player. And then once you get into a car, you would use a another controller for that car. So that's how you can think of the player controller. Anyways, let's go ahead and create a player controller. We open this up, right-click in here, create a new blueprint class. And you can see that we can create a player controller in here, and we're going to call it beep the underscore, my player controller. And you can see we have a controller as the symbol. Open it up. It has a camera, will not worry about that for some reason it has a camera, but there is no camera and the components sometimes unreal is just a bit weird, or maybe that's something I don't understand. Anyways, as you can see, it's a normal blueprint class. Now what do we want to do is we want to go into my character, will remove the inputs that we have right here. And actually the player controller in here, we're going to right-click and we're going to set the jump action. You'll see we have an action event for jumping. We'll just enter it. Then from here we're going to try to jump. But as I've said, only the character has the ability to jump. What we're going to do is before we actually jump will right-click and get player character. This will get the main player character that we have in our game with the index 0. And since we are, since we don't have any other character and the world than this will immediately get the one that we need. And from here, we will drag in. We will write jump. And you'll see that we have the jump function right here, which is attached to the target. So there we go. Why does the jump appear here but did not appear at appeared when we were dragging off of the data pin, but did not appear when we were just clicking anywhere. Well, we can make it appear if we turn off context sensitive. Now if we type in Jump, you'll see that we have this, but we need a target, not any character. So this is the whole point. Whenever we are dragging out, when we have context-sensitive and the bands. Or you can see right here at references, a character object. That's why we have the jump. But while pressing around, there's no jump because inside of the player controller, there is nothing called the jump. The jump is a function that has already been created beforehand. It's not magic or anything. Okay? Now, this is all good. If we compile, we save, go back into the volume testing. And in here, inside of the player class, player controller class, instead of the regular player controller, we are going to use the my player controller. Okay, no need for compiling. We play the game and there we go. You can see that we can now jump. Let's delve a bit deeper and learn about input mappings. Because now we are faced with a bit of a problem. What if we have several layers in a game like a multiplayer game, and each one of them has a specific player controller. Should we just go and change the code on each one of them? Should we just go into every single player controller and change declare controller there? Well, this is where the input mapping comes in. We'll go into the project settings. Inside of the input, scroll down until you find the input. And in here you can see that we have two types of mappings. We have the action mappings and the access mappings. And if we open them up, you'll see that we already have stuff in here ready for us to use. Why is that? Because we created this project specifically with Starter Content. I'm going to set this right here or we can simply drag it and put it right here next to the windows. The other tabs I need. What are the action mappings and what are the access mappings? So the action mappings, these are map, these are used to map it screamed button that will later be bound to an event such as jump, fire. I don't know, kiss whatever you want. The fact is that pressing or releasing a key mouse button or key, keypad button directly triggers some kind of game behavior. It's similar to what we were using when we were testing out all of our nodes, where we were pressing the one and releasing the one, pressing the space bar, releasing the space bar, this basically gives us either a true we are pressing or no, we're not pressing. It's either one or 0. But this is the difference between the action mapping and the axis mapping, the access mapping, which map keyboard controls a keyboard or a controller or a mouse input. This will later be bound to a continuous game behaviors such as moment. And you can see it in here. They move forward, move right, turn rate the turn, look up and look down till the input mark in the access mappings are continuously pulled. So it's not a 0 or a one. It's a range between 01. And even if they are just reporting that their input value is currently 0, this still is being output all the time. This allows for a smooth transition and the movement or other game behavior, rather than discrete advanced triggered, such as in the input mappings. And we'll understand all of this in just a bit. So how do we add an action mapping? We simply click, for example, and the access mapping also obviously the click on the accident action not being in here we are simply going to say print. So print or say hi. This will be the say hi, There we go. What shall we use? We can either select a button from here. You can see that we have a lot of options that we can use. Or we can simply click on this right here and select one of the buttons. So for example, I'll use the H. There we go. You can see that we can also click on the Shift Control, Alt and command, which allow us or make us hold down Shift Control or Alt to make sure that this one works. Back in the player controller. If I right-click in here and say type in, say hi, you'll see that now I have an input action event C, height. So the input action jump is that way because of the project setting, action mapping says to jump. From here, I'm going to simply print out a string which is going to say hello. That's good enough. Compile, save. And now when we play the game, we press the H. There we go. You can see that we have hello being printed to our screen with that information. Time for a bit of a challenge. And your challenge is to adding more access mapping. So add a new action mapping key. If you feel like it, we already know how it works. Add a new access mapping key, create two events of these two inputs and print something out of it. Test out each one separately to make sure they work. And I recommend if you want to print out something, print out the actual value of what you are crossing. This will make it a bit more fun as the video right now and go do the shallow bowl case. So I know I left you a bit in the world of the unknown, especially when I asked you to create something in the axis mapping, because it's not that easy. I just thought it's time for you to experiment. Sorry for that. Anyways, let's try to display the name, get the name Gretzky, display name and attach it right here to the strengths. This will get us a name, then convert this name to a string. So I'll compile, save. And now when we play the game instead of hello, we should see that we are pressing the H key. Very cool. Now, back in the project settings, if we look up on the lookup, you'll see that we have the mouse button. Why? I think this is a pretty good place to stop. I'm going to create a new axis mapping. Call it the lucky best. I'm going to select the mouse. Instead of right here, I'm going to simply type in mouse y back in New York play. So as you can see now, when we move down, its a value in a certain range, it's not just one or 0, it's a value in between. And you can see it if you stop moving faster, we get higher values. If we move left and right, you'll see that it stays 0. It's only on the x, y. How cool is that? I hope you enjoyed this video. See you next time. 41. Casting : Welcome back, my fellow game developers. You might be wondering, why do we have a cube? Why do we have a chair? Because when we play the game, the chair falls on the cube and nothing happens. But when we walk through the cubes or towards the cube or fall on the cube, you'll see that it starts spinning. And this is the whole point of this casting thing. We're going to learn how to access specific variables inside of specific actors. We've casted two, and we'll also learn how to make sure that only certain characters trigger certain events and other characters. So let's not waste any more time and let's get started. Okay, so let's learn about gas tank when using a cast to note and blueprints. But simply you are attempting to check if the object that you're working with, these specific object that you need. In other words, say you have created a special character blueprint cow called my character, just like we did, that has a variable or some sort of custom functionality within it. You'll need to cast that specific character. If you want to access properties on the player character from another blueprint. Like for example in here, you can always just get the player character node and affect the player character. All of that is good, just like we did in here. We got the character, the player character, then we got to jump all as good. But this is only in the general settings and general ways you cannot access any of the custom functionalities you have added to my Character Blueprint that we are working with. Let's see a small example. If I go into my character here and I create a variable and let's call it the, hey, whatever. Just create a variable. Compile, save if we go back and the player character right here and we tried to get the hay. There is nothing. Try again to get the hey, there is nothing because we are unable to get it. But if instead, I display a character cast to my Character BP, you'll see that we have the entry point right here. And then we have the either, if it works, we cast from here, and if it doesn't, we cast from here, and we have the option to use the BP, my character. From here. I can access the hake. There we go. So we can set the hay or we can get the hay, and then we can use any other function to continue on with the slope. So you can see how this property or how the casting can be very important by using the get player character than using the gas to my character node. You can then say if the player character is my character and then let it access the variables, functions, the events, the everything that you would ever meet. Now, why is this double important? Not only because we can access certain variables, but because we can also make sure that we are not affecting the world or the game without our own knowledge. So what do I mean by all of that? Let's say we have slowed down a bit, please. Let's say in here we have, let's remove this blocking or move it up. Move it a bit. So we'll create little volume in here that is going to be the trigger. Let's just have a truck trigger volume in here. And I'm going to just make it bigger for the sake of everything being a bit faster. There we go. Now we have this box trigger. I'm going to open up the Level Blueprint. Right-click in here and add an event on collision on actor begin overlap. So once we go through the volume trigger that we've created, we are simply going to quit the game. Compile, save. And now when we play the game, we are, we should be using the third-person character so we can move around. We play the game, we walk towards the volume, and then there we go. So we stopped the entire game. But what would happen if, for example, instead of the player going through this, we have the magic chair. Maybe the magic chair isn't the best example. Let's see, let's see, let's see or actually know what my test bomb. There we go. We have the bond of testing. And in the details, we'll just simulate the graphics. Let's see if we play the game. Well, he fall, it won't fall. We need to physics, physics of k. Actually, let's use something a bit simpler. I don't want to use the bond even though the pond would work, but let's see. Let's move this a little bit. Anyways, let's go ahead and create our own blueprint real fast will create an actor. We'll call this the EPA on those score. Fall. Open this up and we'll simply add a cube in here. And we'll make sure that physics simulate physics compile, save and the testing I'm going to drag in this cube. Let's see what happens when we played the game. The cube falls on top of the trigger point. The trigger is it triggered, volume is triggered and for some unfortunate reason we couldn't begin. Now you might be thinking, Well, of course, while the kube folder, but what if for example, you have some kind of jam that you wanted to collect and you have a flying enemy around or some kind of platform that you want to trigger. And once that enemy passes through that trope, through that platform or through that jump, he collects the jump for you or heat triggers the platform 40. Without your knowledge, how bad would that lock? Your game will just be working out of nowhere. Using a gas makes sure that only when the player goes through the, through it. So we can actually get the other actor. We can cast it to third-person character on either side. So now only when it is a third person. So we check for the third person. If the other character is the third person, the casting works and we continue to the quiz game. If it doesn't, it just tells us, let's print out something. Oops. Print out a string which is going to say, no, sorry, not the third person. There we go. Compile, save. And now when we play the game, boom, nope, sorry, not the third person, but if we walk through it, there we go, we stop the game. So you can see the power of casting of either using functions and variables specific to a certain character, and in order to make sure that your game runs smoothly. So gasoline is very important. That importance out of the way now it's time to create a spinning secure. So creating a new actor BP, spinning a cube, you can, if you want to use the one that we just created for testing, add a static mesh and make it a cube. Also from thick node add a add act or low. Locate, that's probably wrong. It's actor Local Rotation and set these z Delta rotation to, to test it. Now add a branch in-between and promote the condition to variable that can rotate. Add a box, trigger to the cube, and make two overlap events for the beginning and the end on each test, the other actor to the BP, my character or wherever character that you have, maybe it's the third person one that's better than my character. I just used my player character for any general character that you have, you might even name this blueprint something different than me, and set the camera to true or false or false? False based on if the character overlap begins or overlap ends. So pause the video right now and go to the challenge. All k's sore inside of this right here. We're going to select the trigger volume and maybe we can convert this. What Let's just delete it. We will not be needing it. Yes. Deleted. And it's telling us there will be an error because there is nothing here anymore. Simply delete all of that, compile, save, close this down and the cube fall test. Yeah, sure, let's convert this one. So I'm going to go into the cube fault test. What did we say? We needed to call it spinning a cube. Spinning cube, open up. Spending a cube will move it up a little bit. We'll add a box around it for the Box Collision. Move it up a bit more of the physics. I cannot see anything. Can I move this box? Increase it. On either side. We go. Okay, so whenever somebody crosses these invisible lines, we should start spinning. So Compile. Save. In the Event Graph, we are going to go from the event tick. That's what we said. Delete this from the event thick. We are going to add actor local rotation on these ads will set this to be to compile save, and let's just trim off the physics on the cube right here. So physics on the cube, physics, physics simulate physics. Remove that compile save. So I'm going to move this cube down like this and move it right here. Now when we play the game, you should see the cube rotating around. I'm going to go into the player controller and I'm just simply going to attach this compile save back in the game or this up a bit. And there we go. So now we have this cube spinning. Next we're going to go back and spinning cube in the event that graph and in the neural create a branch. Notice something, not this. I don't know if we **** them all this, but let's say I want to add a branch in-between these two. So a bit of a shortcut, you can simply drag over this wire that is already there and type in branch or anything else. And you'll notice that a connection has been immediately made between these two. So this is a bit of a shortcut for you. Now we're going to right-click in here, promote this to a variable and we'll call this the way this all the time. It's always in the bad place. This condition is going to be the can't rotate, rotate and compile save. We'll set this to be default value will be false. Compile save. And then we're going to get the box. And we're going to scroll down and create an event with the on Begin over lap and the overlap. Then we are going from the other actor we are going to cast to 02:00. Am I writing something wrong? All the other components or gas to third person character. Excellent, There we go. Duplicate that, will do the same on the end. Begin. There we go. And we're going to set the counter rotate to true if we begin overlap and to false. If we stop the overlap, there we go. This should be it, I think Compile Save. Now we'll play the game. And the cube is still when we walk towards it, it starts spinning. Excellent. When we walk away, it stops, walk in, it starts spinning. We walk out, it stops spinning. Now let's try to add some kind of following cube. Again. Let's just try the magic chair and see if it falls. Yeah, sure why not? It's going to be fun. So physics, simulate physics, play the game. And now when they share files inside, there we go. It doesn't spin until we the third person player stands inside of them. So I hope you enjoyed this video. This is, I believe the last video in this section. This was a great section. It will allow us to move forward and make our game much better. Thanks so much for watching. If you haven't already, this is the perfect time to leave me a review. If not, contact me, there anything wrong, let me know. I will try to enhance the experience. Thank you so much. See you next time. 42. Section 8 - CyberSpy 3027 - Creating Our Character - Setting Up Our Character: Welcome back, My favorite game developers. In this video, we are going to be setting up our character and our player controller, and we'll be putting all the inputs in their place. So congratulations on making it to section eight. I think at this point we're about halfway maybe or more. You are one of the very, very few percentage that make it thus far. So continue ongoing, continuous smashing doors. I know sometimes it's hard. I know sometimes it seems too easy, but it's all part of the process. So let's not waste any more time, and let's get started. Okay, so finally we are setting up our own character. This will be a first-person character because we've already covered the default bomb, how we can fly around. We've seen how a 3D guy looks. Now we're going to create a first-person guy view. Before we start. Obviously, this is the cyber spy 3027 project. And as you can see, as soon as I opened up the project, I have this one. Now. It's pretty simple. We can just go to the Content Browser, go to the levels, and just open up level 0. All good. Now, no problem, but there is a problem. We don't want to keep having to do that step. Well, it's not that bad, but we need to be more professional. So what we can do is we can go into the Edit Project Settings. Right here. If we scroll down until we find no scrolling down, just the maps and modes where we can set the Game Mode base for the entire game. We can also set the editor Startup Map and the game Default Map. That means whenever we start playing the game and the default editor Startup, when we start up the game, instead of the minimum default level, we are going to select the level 0. And we'll also select the game default to be level 0. There we go. So now if we close the Unreal Engine and open it back up, we should see our level 0. Okay, So I didn't think through the process of opening and closing just for the sake of saving a bit of time. So let's get started. Where were we? We are going to talk about the setting up of our character, right? So first thing first is we are going to create our character and the content. I'm going to right-click in here, create a new folder for the FPS. Character. Fps stands for first-person shooter or frames per second, but in this case it's the first-person. And even though we are not going to be shooting anything, but that's the common way of calling it. Inside of the folder, we're going to right-click Blueprint class, and we're going to create a character. Once the character has been added, we are going to call it the BP underscore my character. Or you can call it whatever you want. We can call it if you have a certain name for your player, for example, a Jimmy. So maybe your, a characteristic called Jimmy, you can call him bp underscore Jimmy. So make sure that you always have BP. So, you know, it's a blueprint. It's not necessarily this is something that I've been doing for a very long time. So that's just how our role. Now. We have everything set up in here so we won't be adding anything too much. You want to add some kind of, I don't know, bubble or something that will represent the player. That's fine, but we have everything ready. All that we need to do is maybe move the capsule or know what, let's just keep it as it is. What we are going to do though, is we're going to add a camera in here. This camera will represent the eyes of our player and we'll just move it a bit to the front or to the head. This is basically where the player is going to be looking. Maybe just move it a little bit to the front. So imagine this is the skull of the player and this is where the feet will be. And maybe these are the eyes. Yes, to that. Then we're going to go in here and we're going to find US bond control rotation. So if you hover it, you'll see if this camera component is placed on a palm, which we are, should it use the view control rotation of the bond when possible. What does that mean? That means if we rotate the player, the camera will be rotating. Or in fact, when we rotate the camera and look around, this will also rotate the whole body of the player and not just the camera or something like that. So just check that n, There we go. So now it's true. Now everything should be working. So compile, save, and let's put the character right here. Okay, so now that we have our character, it's time to create a bit of input mapping. I'm going to go into the edit and to the project settings. And then the inputs down here, we are going to create our action and axis mapping. So as you can see, these are currently empty because we didn't add any starter package or we didn't started the game on a certain template like we did in the previous project. So I'm going to start off by, first of all, adding the jump. The jump is going to use the space bar, pretty simple. Then I'm going to add the sprint. The sprint is going to use the shift, left shift. And down in the access mapping, I'm going to add one for the looking down, look up, down that I say just down. I meant looking up and down. And I'm going to select the mouse y. There we go. And I'm also going to create the move forward, move forward, backwards, move forward or back. Words. There we go backwards. Is that how it's written backwards? With an a I'm not the best that spelling and let's just call it forward and back. Let's easier. There we go. And what are we going to use? We're going to use obviously the W. We're going to use the NEP. You might be thinking, how are we going to use the W and S at the same time? Well, if you look right here to the right, you'll notice that we have a scale. We can change the scale. If I increase this, for example, to do, whenever I press the W key, instead of outputting one, it will output two, meaning we will be faster. What can we do to go back? Instead of using one, we're going to use minus one. Now when we press W will move forward and when pressing the S will move backwards. How cool is that, that information? It's time for a bit of a challenge for you to finish up the key mapping. First of all, at the following mappings, the game pause the look rough, left and right, and the move left and right. And make sure you set the proper scaling for each. Stop. The video right now and go do this little bit of challenge. In here. We're going to add the game pause, and here we go again boss, we are going to or pause game or whenever you want to call it, you know what, let's just call it the boss. And then we'll use whatever you used. We'll use the p.ball and we'll add two more access mappings. The first one is going to be the look left, right. We're going to use in here the the mouse x. There we go. And this one we're going to call the move left, right. And we're going to use you guessed it, the a. And the D. The a is actually going to be the minus one instead of D. Why is that? Well, let me show you. First of all, this is everything and whenever we change something in the project settings, it just gets saved automatically. You don't need to press anything. So there we go. Close down the project. So what is the a, the negative? Well, if you look right here, and you can see that when we're moving to the left, you can see the values and here being negative. So if we press the a key, we expect to move to the left. That means we are moving left. That's why the a is the negative. And when moving to the right, that is the positive, maybe you were confused about that. I know I was 1.5 first. 1 The first I learned this compile, save the camera should still be at 0. Excuse me, the camera actually was in a good position. It'll compile save. Now back in the my character. And the Event Graph will need to actually set up the player controller. And since we don't have a clear control controller yet, Let's go ahead and create it. So I'll right-click and the FPS character creating a new blueprint class, which is under the player controller, colored VP underscore my layer controller. I think in the player controller for now we don't need anything. Just compile and save and back in my character. As soon as we begin play, what we're going to do is we're just going to get a reference to that player controller. So now let's go into the Event Graph and we're going to get a reference to the character. And this will allow us to just, for some reason, I can delete the authentic, not worried about that. So we're going to get a reference to the player character. So get layer character. There we go. We're going to cast to my player character. There we go. And after weak acid, I'm going to promote the player character to a variable. And it's not letting me because I want to promote it to a variable. So right-click in here, promote to variable. And by the way, if for some reason you have this great out, well, what just happened to me? Just simply close this window down, open and back up. Unreal. Does that sometimes So underscore my characters. So this is going to be the main character compile save. And now we'll just be able to use my character and just drag, drag him in here, get from it the reference, and we'll be able to use the jump, the move and all of that good stuff. So I hope you enjoyed this video. Congratulations on making it this far. You are doing extremely well. See you in the next one. 43. Setting Up Player Controller: Welcome back, my fellow game developers. In this video, we are going to be creating our character. So as you can see, we can look around, we can jump, and we can do lots of other things. So let's not waste any more time and let's get started. As you can see, we also turned on the platform. How cool is that? So see you in just a bit. So now that we've set up our character time to set up our player controller. And even though we've already set the player controller, now it was the actual time where we will delve deeper into setting the player. So first we'll be starting to think of by looking around. So I'm going to go into the content and to the FPS character and open up my player controller. From here we have the reference to my character and we're going to do a couple of things. First of all, I'm going to get the input x is looking down. So input axis looking up and down and they care of not using the axis values. We want the axis events. So looking up and down, there we go. Now we're going to get a reference to our character. From this character, we are going to add some controls to look around. But before we do that, there is something that needs to be explained. If we go back into the level and select any cube that we have in here, I'm going to make the details a bit bigger. You'll notice that we have the rotations, but there's something we didn't talk about. We didn't talk about the role, the pitch, and the yarn. So let me show you what all of these are. If we go back into the slides right here, you will notice that an unreal, instead of using the regular around the x or around the Y, they actually have names which are the role, yarn and pitch. And why did they call these like this? I have no idea because I believe it's a system for airplanes. So for example, an airplane is moving forward, a pitch means that its nose either goes up or down. Roll means, well, role I think is obvious. If we move around, this axis will roll around and the yarn is whether we are moving the whole plane doubts or it's not looking up on or actually sorry, the arm is if the plane rotates. So the difference between the role, the yarn, and the pitch, if you've ever played GTA San Andreas, I believe there is the controls FOR loop playing. That's a reference. I think most people will get if you've ever flew a plane in the GTA games. But it's pretty easy. So just think of it. The arm is when we are looking around this axis, the role is around the x-axis and the pitch is around the y-axis. And if you ever forget, simply go back into Unreal, just hover over the x. So this is the X rotation. Let me take it back to 0. This is the Y rotation. There we go. So this is the arm. I mean, sorry, the y is the pitch even I sometimes forget what they are. And finally we have the yarn which is around the great with that information. Now it's time to start looking up and down. So if we want to look up and down, what should we be using? Let's look at this. For example. If we want to look up and down, There we go. You can see that if we move our head up, then move it down. This is very simple explanation, but basically that's what we mean. My character is going to have the controller pitch input. And what is the value? The value is going to be the actual axis value and we are going to be getting it right here from the looking up event, Compile, Save. Now when we use the look up and down, which is the mouse phi, I believe so now when we play the game, are we applying default palm? Yes, we are. So we'll need to go to the World settings. We create our game. I don't think we created our game manager or the game state, whereas the game mode, okay, So we didn't create our own game mode. Let's go ahead and do that in the FPS character. Or maybe this is not the ideal place. Maybe in here is better. Maybe in the platform. Nana, I don't think so. The levels and the enemy. Whereas the best place we can set this. Well, I think because it's very related to the player, I think this is the good place. So again, more base, b, p underscore my game mode. Hit Enter. Let's open this baby up. And it's going to be pretty simple because only the only thing will change in here is the player controller to BBB underscore micro controller. And the default bond class is going to be BP underscore my character Compile, Save, and that's it. I guess. That's it. So back in here and the world settings instead of the game mode overwrite be none. We're going to set it to BP, my game mode. So now when we play the game, there we go. We are this character that can look up and look down. But notice I'm, I'm sure it's happening through to when we move the mouse down, we are looking up and when we move the mouse up, we are looking now. Why is that? Well, because by default and Unreal everything is inverted. So what we need to do is to go to the project settings from here and the inputs and the look up and down. And instead of scale being one, we are going to be setting it to minus one. That out of the way back in our game, we should see that when we play the game, we look up, when we move the mouse up and we locked down when we move the mouse down. Excellent. Now the next thing we need to do is we need to set the movement. We're going to set up the moving forward and backwards. So right here, right next to the looking right-click and input axes move forward and backwards. I'm going to get my character in here also. And you can see how important it was to get a reference to the character. I'm going to add movement input. And we're going to add this right here. Now. We'll also add the axis value obviously to the scale value. Now there is something to understand in here, which is the world direction. What direction would we want to be moving in? While obviously we would like to be in the plane which we are looking at. So what do we need to do is we need to get the actors forward vector. So from the character, I'm going to drag out the gap actor forward vector. I'm going to set it in the world direction. What is the forward vector? It's pretty simple. If we go back to the viewport of the character, the character, the viewport, you can see that he has this, let me turn off the floor. He has this little arrow that is in front of him. That's basically when you are looking forward. This is the actor, while this is the forward. And if you rotate in this direction, oops, this is not what we are rotating. Solid capsule. It doesn't rotate. So basically it's the direction that you are always looking. Because we've set the property on the camera to use form control rotation. That's it, perfect. Compile, save back in my controller. Layer controller. What else should we be doing? Oh, okay, so the jumping, Let's see if we get the input action jump. There we go. We're going to get from the character, or should we just drag in a new character? I think we'll just drag in a new character. And from here we will simply just get the jump. We've already done this before. We went to the press and we don't need anything, this will suffice. So Compile, Save, and we didn't test the movement for some reason, so we play the game. Now if we look up, you look down and if we press the space bar, we jumped and if we press the w, we are moving forward and the *** we move back. But obviously we cannot look left and right and we cannot move left and right. If I walk around, jump, we are about halfway creating our amazing character and start moving it around. But the rest is going to be your challenge. Your challenge is to finish looking and moving at the input axis for local left and right. Add the axis, move left and right axis look axis move. When setting the movement left and right, make sure we use the right vector, not the forward vector. Solving right vector is basically if you take your arm and set it to the right, that's your right access vector. And also make sure to choose the correct options for, option for looking inputs. So it's either the yarn or the role I recommend that you try and do it yourself instead of just testing both health and see which one works. Because it would be a great lesson for you. So pause the video right now and go do the challenge. Okay, welcome back. So we were still playing the game. So what should we use is the pitch I mean, sorry, we've already used the pitch as the arm or is it the role? Well, if we select this, for example, let's try the role. I don't think our player would like looking like that. Most probably. This is how his head is going to be looking. Great. So back in my player character when we look in here, okay, so look up and down. Let's add the input action. Look left and right. And from here we are to drag and the controller. Y'all. Y'all actually, sorry, I was pronouncing it. Y'all. Almost like a compile, save, and play the game. Look left, look right. And now we have full motion of our looking. How cool is that? Now, the last thing we need to do is set up the proper movement. From here we're going to add the move left and right. It's the axis event. We're going to add movement input. Okay, and that's, I forgot about it. So add movement input. As you can see, it's starting to get pretty ugly in here. I don't know how we can fix it. Just a bit more organization. So there we go. I think it's inevitable in here. And I'm going to get the get actor right vector, set it up right here and get the axis values. So there we go. Does it look a bit bad? Yes, it does. Can we do anything about it? Yeah. Maybe let's just move this right here and make it more aligned. As I told you, it's always very important to have well-organized everything. Because someday you will come back to this. I'll move this right here, add a comment by clicking C and call this the movement meant. And maybe we can add the jumping into the movement also. I'll make this a bit bigger. There we go. And this will be around compile, save. Play the game. Okay, so we started off in the wrong place. That started in here, play the game. Okay, so now we have full control. We can look around, we can jump, we can jump from platform to platform. But as you can see, some of the controls aren't as good as we would like them to be. In the next video. Almost made it into the next video. We are going to be adjusting our movement for the player and customizing it the way you would like. Thanks so much for watching. See you in the next video. 44. Adjusting Player Movement: Welcome back, My favorite game developers. In this video, we'll be adjusting our movement. As you can see, the jumping and moving as are a bit different. And we'll also add the ability to sprint. So as you can see, I'm now much faster. And finally we add the ability to pause. As you can see. You can, you might think that online too and not moving at all, but we actually have false. And if I try to walk and look around, I can. So let's not waste any more time. And let's get started. Okay, so right now when we play the game, our character moves around, our character jumps, our character looks around and everything is good. We have all the abilities to explore the world, but there is still something. First of all, I don't like this way, v jumpy thinky I want to have more of a platform or fear, like feel like supermodel or something. So I'm going to be adjusting my character's movement. And before I start doing that, I just want you to know that I've already played through these and I already know what I want. So what I recommend that you should do is that you take the time to adjust those values on your own and see what works for you, what doesn't work for you. Maybe your map is a bit smaller, maybe your map is a bit bigger. So it really depends on your play style and how you want your game to feel. This is the part where you add your own creativity into it and really make it, make it your own. So the gravity scale, the gravity, I'm going to set it to 2.8 because I don't want to have this float thing and then take a couple of seconds to go down to the ground. I wanted to be like PPP. I meant how I mean, next we need the max acceleration. This means that it will take us time to get to the maximum speed. I don't want that. I'm going to set this to ten K. That means it doesn't mean that we are this fast. It means that we get to our maximum velocity very fast. And obviously we can change the mass velocity later on. Now if we scroll down, I also want to change the jump Z obviously because now with the gravity to 0.8, I don't think will be even able, even able to lift from the ground. I'll set this to 900. And the air control, I want to have much more air control because while jumping from platform to platform, I want to be able to arrive at that platform because the gravity is 2.8, so we're falling very fast or we need a bit more ability to move in the air. So I'm going to compile, save. And if we play the game. So now when I move, I immediately get to top speed. When I jump, there we go. Did you see how that jump looks? This is what I'm looking for. I want to have this nice, clean supermodel star. So when we jump, we can also move in the air. So when we jumped like this, we have full air control. You can see how we are slamming down to the ground. How cool are these cubes in the year really gives our world and field. The world is huge and we're just a small little part of it right here. Anyways, let's continue what we still need to do a couple of things and one of them is adding the pause. If you remember in the project settings, the input we've added, the sprint and deposits. So let's go ahead and finish up with those. Back in my player controller in here. Are we going to do while we're going to be setting the pause? So I'm going to create the input action for the pause. Action event for the pause is human. And what I'm going to do is instead of just setting the pause, we need to make sure that we can unpause the game. Also, if you're playing and you pause, you then need to have some kind of way to unpause it. From here, I'm going to create a branch. And this branch will have a condition on it that will check, is game false? This is simply returns true if the game is paused and false if the game is not paused. If it's true, if the game is paused, then we are going to unpause it. So we're going to set game paused. And it's going to be not paused, as you can see right here. And then we're going to set game bars. If the game is not paused. Before we move on, there's something that we need to do. And if we click on the bars right here, you'll notice that we have in the inputs something called the execute when pulse. And this is very important. We need to make sure that we check it. Why? Because this will, if it's not true, if it's false right here, execute. When paused will not work. That means while we are caused, this event will not execute, which really hurts us because we will not be able to unpause it. Because once it's paused, How are we going to make sure that we un-pause it? That's the brainiac Compile Save. Now when we play the game. The problem is that we don't have a player start. So if we add a player started in here, let me go to the Create. Let's start. We add it there, start like this. Let's draw data into the proper direction. There we go. And I think now we should start from the players thought, Okay, great, so now we move around and if we hit the peaky regard, you can see that everything has stopped, even the lights. Now if we hit the P key again, there we go, we can then move around. Let's test this out with something, with something that is moving in the environment. So you can see that this platform moves once we had the peaky, everything stops. Excellent, So we have the buzzing working. The next thing we need to do is set up the sprinting. And the sprinting is going to be part of your challenge. May look layers print the input sprint action event acts as the Character Movement Component on the character. So why are we doing this? Let me show you. Because if we look in the Unreal Engine, if we look on the character, the sprinting isn't on the character. So whenever we were trying to access the jump, the role, the everything, these were all part of the character. But when we want to access specific movements, we need to access the Character Movement Component on our character that we have. A reference of. X is the movement component on the character. When pressed, set the max walk speed to one hundred ten hundred when released, set it back to 600 and also obviously tested out. So pause the video right now. Go do the challenge. Okay, welcome back. So back in my platform where my mouse is starting to get old, let's select these and call them the pausing game or game pause, pausing game as the same worries. In here, we're going to right-click. My right-click is not working very well. I'm going to add the action Sprint advance. From here. I'm going to get my character, my character. We're going to access the counter movement, get character movement. There we go. Let's set it right here. From the character movement we are going to set max, walk, speed. There we go. The pressed. And then from here, you know what, let's just duplicate this sort of Control W, when released. The character movements or what should be the max walk speed when pressed, it should be one hundred, ten hundred released, it should be 600. And maybe we can even increase the suburbs or maybe we'll make it 1000 to a 100, so it's double the speed. Compile, save, play the game. So now we walk around and when we hit the shift key, regard, you can see that we are much faster than I think we're too fast. Ban them all. My god. This game is becoming really, really nice salt. For some reason I always start right here. I hope you enjoyed this video and the next one, we are going to be making our movement a bit more realistic by adding some camera shakes and Unreal. Let's not waste any more time. No, that's not the right word. I'll see you in the next one. That's the proper one. 45. Camera Shake in Unreal : Welcome back, My favorite game developers. In this video, we'll be adding a camera, shake our heads while we are moving, as you can see, making our little game a bit more realistic. So I know this video is long. This is the last video of this section. I believe there will be many things that we need to explain, many things that we need to understand. That's why I go over things a couple of time just to make sure and explain as much details as I can to make sure that you fully understand what we're doing. So let's not waste any more time and let's get started. Okay, so time to make our movement a bit more realistic by adding a camera shake. About not only a camera, camera shake. The camera shake is going to represent our head moving up and down when we are walking. And maybe be a bit more faster when we're walking faster. But let's first of all just handle the camera shaking. So in order to create a camera shake, we need to go into the FPS character. Right-click in here, create a new blueprint and choose all classes. And in here we're going to search for my camera shake and we're going to use martin camera shake. Why is it called MATIN? Be honest, I still I've never asked that question only now that I think of it. Anyways, the MATIN camera shake, that represents the camera shake, I'm going to call it VP underscore. While shaking. Shaking or head bobbing or wherever. Block shaking can see the symbol. Double-click to open it up and let's just add it in here. The game is still running, so I'm going to stop it. And as you can see, it's very similar to all the other blueprint, the graphs, except for the options that we have here for the details. And this is where all the magic is going to happen. So what we're going to do is we're going to set each one of these keep in mind I already know what I want. I've been through these. You can set whatever you want an experiment and add your own flavor to it. But for now, let's first of all talking about the oscillation duration. This is the duration in seconds in which we will keep shaking as we move. And we're going to set this to as much as we possibly can. Why is this? Because the way our camera shake is going to work is if we're walking, then we will be shaking, will just be moving our head around. And if, for example, we walk for, let's say we have this ten seconds. If we walk for ten seconds, then this camera shake is going to stop. And we don't want that. We want to make sure that we have enough time of camera shake. So for example, if it's 59 thousand seconds, if we walk more than 5,959 thousand seconds, then we will stop the camera shake and hopefully we won't have to walk that much. Next we have the oscillation blend time. So this is between us not moving at all and then suddenly having a camera shake, we would like to have a bit of blend time and an out. And the out means that while we are shaking, then we stop the shaking. We also don't want it to be very abrupt. We wanted to slowly move down and slowly move up. Next we have the actual oscillations, so we have the rotation location and the F or V. So first of all, let's talk about the rotation. You can see that we can add to the *****, to the Y'all and to the role, but we won't be adding any rotations on the roll, on the rotations because I think and I actually try that. It really adds a bit of dizziness, sand layers or some users of your game. So let's just keep away from any rotation. Next, let's talk about the location oscillation. This is what we are going to be adding. So I will open up the x, Y, and Z, and you'll notice that they all have similar options. So we have amplitude, frequency, initial offset, and the waveform. Let's talk about the amplitude and frequency by showing you a couple of slides. One slide actually. So if you don't know what amplitude and the frequency are, you'll see that amplitude is the amount in which you shake. So if we set a high amplitude than our head movement is going to be very high and then very low. If we set this, set it to a small amplitude, we will have a small moving head and then small moving. Now, what's the amount in which we are moving? You can see the top and the bottom. And then we have the frequency. While walking. Do we have a lot of head bobbing or do we have a bit of a head bobbing or as the head bobbing very slow. This is what the amplitude and the frequency are. And you can play around with these to make sure that they are to your taste. Back in here, next we have the initial offset and you can see that we can either choose random or we can choose 0. So if we choose random, we can either start by looking up or by looking down. But if we choose random of that, I say random before we choose 0, it will depend on the amplitude. So if I set it to minus three, minus three, for example. Then we are going to start from the bottom and then move up. If I started last three, then we are going to start from the top and then move to the bottom. That's if it's 0. And then if it's random, it just starts no matter what the value or the sign of the amplitude is. And finally, the waveform, we have two waveforms. We have the sine wave, which is similar to this one right here. You can see that they are very consistent. But actually this is not similar to a sine wave because sinewaves have a consistent amplitude. In this case it's not. But the box you get the points. So it's a small moving up and then as smooth moving down and very consistent movement. Then we have the Perlin noise, which is all over the place. Usually the Perlin noise is used better for a camera shake with explosions in itself. There's an explosion or you get hurt or something, then you can use the Perlin noise in order to create this shaking effect. But for now, we'll stick to the sine wave. In any case, we're not going to add any movement on the x. Because if we look at the character, for example, this camera, we don't want any movement like this. We only want or movement on the x-axis. Only want movement on the up. And the what happened on the, on the z axis and the y-axis. So there we go. I think I must have messed this up. I don't know, to be honest. Anyways, let's not worry about that compiled safe back in here. On the y-axis, on the amplitude, I'm going to set it to five. The frequency will be seven. We will have random offset, we don't mind and we will keep it as a sine wave. Then on the z-axis we're going to have five amplitude, 15 for the frequency and keep the initial officer. Let's set that to 0 just to have a bit of variety. Finally, let's talk about the F or V oscillation. It's pretty much similar. You can see that we have the same properties in here. The only difference is as we change the field of view, which we already understood, which is the field of view either you zoom in a bit and zoom out a bit. This is not very useful whenever we are walking. Maybe it could be useful if we are sprinting, that would be really nice. So you can just have a bit of zoom in. That would be amazing. I think so. Or maybe you can add a bit of oscillation. I will recommend that our fovea oscillation, but in our case we'll just leave it at that. And finally, we have other options that you can delve into, but we're not going to it too much about that right now. With that out of the way, Compile, Save. Now it's time to actually add that camera shaking into our player controller. First of all, we're going to create two new custom events. We right-click in here and add custom event. And we're going to call this the Stuart camera shake. And from here I'm going to get the player camera manager. So get their camera manager. Yes, this is new, I know, but this is something that we need. And then we're going to start camera, shake. The camera shake as you can see right here, we can select which camera shake we want. If we click on here, we can see that we have our PPE walk. Shaking. There we go. Let's connect it right here. And then we are going to stop the camera shakes. So we are going to use this actual camera right here. So stop camera shake and will not use this one because obviously we don't want to start the camera shake and then stop it. We are going to use or actually create a new custom event. And whenever you are creating a custom event, a handy shortcut is type in dot and you'll get your custom event scarp. Camera. Shake. There we go. Why are we using let me just move this up it, but actually set it. Why are we using this actual value? Well, because when we start a camera shake, we are sort of instantiating if you want this camera shake glass. So we want to actually stop this camera shake class. We don't want to stop some random shapes. We want to stop the one that we have started. Now that we are stopping and moving, a stopping and starting the camera shake. The next thing to do is to go down to where we are moving. And from here, we're going to create a couple of branches. We're going to set a branch. Here. We are going to connect both movements for the left and right and for the forward and backwards. And we are going to create a very big condition in here. So we're going to get the player character. We are going to get a velocity. Velocity. There we go. Now that we have the speed of our player, I'm going to split the structure and to x, y, and z. And we are going to check if our x-axis. Is greater than a certain amount. So if it's greater than, let's say 15 will also check if it's less than 50. Why are we checking both ways? Why are we checking that it's less than minus 50? And why are we checking that it's greater than 50? Well, because if we're moving forwards, after we get to that speed of 50, we'll get to a speed of 600. So this really is just a formality. It can just set it bigger than 0, but 50 is like, I don't know, maybe you want to add some crouch movement. In that case, you don't want to have camera shake. It really depends on you. So if we're moving forwards, hours of velocity will be plus 50. If we're moving backwards, our velocity will be minus 50. The same applies if we're moving left and right. We'll check on the x, will also check on the y, but we will not check on the Z because we don't want to have any movement if we are jumping or something like that. Greater or less everything is good. Now we're going to check if any of these is true. So I am going to use the OR. So if any of these is true, then we are going to set the condition right ear to work. And what does the author mean OR means either this one or this one, or this one or this one. If one of them is true, then we are going to return true. So we get the character, after we start the movement, we get the branch. We check if our character has a velocity on the X or the Y greater than 50 or less than minus 50. If only one of them is true, then we are going to start. Actually, you know what? I'm going to leave this to you as a challenge. I remember this at the last second chi-square. Start the camera shake when we have movement and stop at when we don't. Make sure we only do this once. We don't want to have camera shake on top of a camera shake. You can try it without the ones see how that works out. Also, make sure that after we start and stop the shaking, we reset the do once on each other and test it out to make sure it works. So after we stopped the camera shake, we need to reset the ones that was behind the stock camera shake. After we started the camera shake, we reset the ones of the stock camera shake and vice versa. So pause the video right now and go do the challenge. If it's true, I'm going to do once after this, do once I'm going to start camera shake, the better we go. Then if it's not true, that means we're not moving fast enough. I'm going to stop. Camera. Shake. There we go. Now what we'll do is we're going to find the stop camera shake, reset the start camera shake. And from the start camera shake we are going to reset the ones of the stock camera shake. Why are we doing this? Well, after we stop, we want to then have the ability to again do this once, once again. Once we stop, we want to again be able to start. And once we start, we also want to reset the ones of the stock camera in order to do it again. So Compile, Save, it's giving me an error. If we click on the target, we have a problem in here. First of all, we need to remove this immediately, compile, save. The problem is we don't have full read on here is not a blur camera manager. Therefore, target must have a connection for case. So since that's the case, let's just attach this one right here. Drag it down. Okay, so Compile, Save seems everything is looking good when we play the game. Let's see, We'll look around once we start moving. There you go. And as you can see, we have our head bombing, a bit of lagging on the game, not know why, but as you can see, we have this shaking of the camera. Once we stop, there we go. There's no more head bobbing. When we move, we have the head bobbing again. And when we sprint, we also have the head bobbing. Okay, great. So thanks so much for watching. I know this video has been long and I'll see you in the next one. Congratulations on finishing this section. We'll give yourself a pat on the back. 46. Section 9 - Physics Collision - Adding Collisions: Welcome back, My favorite game developers. In this video, we are going to learn about collisions. We've already seen how collisions work and Unreal button now it's actually time to delve deeper and really understand what's going on. Now you can see this table in the air. You can see this ramp. If we play the game, There you go. You can see that our table does not behave as a table adult. And we are going to see how we did that and why we did that, and how we can then turn this table back into functioning like a normal table. Let's not waste any more time and let's get started. Okay, so now it's time to learn about adding collision. That's first of all, create a new level. And we'll simply just duplicate the BP testing maybe, or BP testing is a good one to duplicate. So Control W. And we'll call this the collision testing, coalition testing. That's open this up. Save. Okay, great. Let's delete the share for now. Yeah, we don't need it. Well, the lead this also and I think in the blueprints we have a lot of stuff. I'll just select all of these and simply delete them, compile save, don't worry about this. It's only deleted this script. Close this down. Now let's learn about collisions. First of all, if we play the game, we are the default palm. Okay, great. I am going to move the player a bit backwards. The players thought where the player starts, I'm going to create a cube to represent a ramp. So let's add in a cube. Let's make it a bit bigger like this. Actually, let's make it bigger like this. On this side, also, also k. So there we go. This is our makeshift ramp, so simply a very basic, very, Nothing Grand. Then we are going to add a table on here. So in the content, let's search for table. We'll add a table. We're going to go into the details and simulate physics on this table. So now when we play the game, you'll notice that the table falls and there we go. You can see how it behaves the way that it falls. And actually let me just move the player this angle and just rotate them. So now when we play the game, we can see the table falling down. As you can see every single time we have a different way of the table following, but it's always pretty much consistent. It behaves as a table, but I don't know if you've noticed when it was falling, it wasn't quite like look at the edges when it falls. It's not actually like a table. You can feel it right here. You can see that there is kind of a weird way that this table is behaving. It's as if it's floating a bit in the air. And this is what we are going to learn in this video, how the collision is working on these tables. If we go back in here, we can double-click on this Static Mesh. This is called the static mash editor. This is where we can do lots of things to the static mesh, but also change up the collisions that we have on the table or any other static mesh for that matter. First of all, we need to understand that we have two kinds of collisions. We have the simple collision, as you can see. Now you understand why we had these different places where we didn't touch the floor just had a fluffy thing. And we also have the complex collisions, as you can see that engulf the whole part of the table. And the complex collision and simple collisions are used based on what the Unreal Engine fields as needed or what you determine as needed. So if you, for example, one of the stable to be super accurate and you want, for example, to shoot a boat and have it go through these spaces, for example, you'd obviously use the very complex collision if you don't care and you just want to have a simple table that you can put stuff on and you really don't care what happens if, for example, the table falls, then you can use the simple collision. Now you might be wondering, why would I use a simple collision at all if I have the complex collision? Well, because whenever you are using the complex collision, it's much, much more taxing and expensive on the system. Whenever you add a simple collision, it's very easy for the physics engine in the unreal to understand what you need and how is added. Now that we know that, how, now that we know how the complex collisions and simple collisions look. I'm going to turn off the complex collisions, but because we'll focus on the simple ones, right here, you can see that we have the collision. We can click on that and we can remove the collisions completely. Now if we go back in our game and we hit Play, you can see that the table no longer interacts with the world around it. We don't want that, we want to fix it. So let's add our own types of collisions. First of all, you can see that we have these simplified collisions. I'll leave that for later on. Next we have the ten dope. Now, we'll talk about these in just a bit. But first of all, we need to talk about the auto convex collisions. And as you can see, as soon as I click on that, I have a little window that opens up in here. We will take a look at using the auto convex collision tools to automatically create collisions for static measures. As you solve. As soon as we open it up, we got the option here. And inside of the auto convex collision, we have the option to set all of these parameters. Now, I'm not fully sure how these parameters work. This is something very deep and complex. All that you need to know is if we hit the apply on the already default values, it creates this nice collision. And you can see it's a bit better than the one we were using before hand. Better depends on what your needs are in the game. So right now if we play the game, notice that the table is much more interact with the world and feels much, much more. How should I call it real? So it's a physical object because of the way these are handled. Now, you can play around with these values, increase the hop count, for example, increase the vertices, increase the whole precision, and apply. All of these will affect how the condition of wraps around this complex shape. As you can see when we increase the precision, there are no longer lines in here and it's more into the actual table. Now, this might seem very cool, but as we've said, This is closer to complex collisions, which makes the table much more taxing on the system and requires a lot more calculations. This is the Convex, Convex decomposition. Whenever it's called a for me, I've always known it, always known it as the auto convex collision. I'm going to close that down. I'm going to remove the collision. Now let's talk about these gain DHAP thing is right here. So basically, whenever you add one of these, you create a simplified collision based on the number of dots adopts is a type of bounding value volume, which stands for K discrete oriented poly types, where k is the number of axis aligned planes. What do I mean by all of that? Basically, it just creates a type of wrapping around. So as you can see, we've created this kind of shape. It's not a very simple shape as an a squared, but it is still very simple. Noticed we used, we have the ten dot x, the y, and the z. And each one of these is based on what she required. First of all, for example, when we add this one and this is on the k dot x and you want multi-story much difference, but it's because the table is circular, but usually this is more focused on the x axis. If we, for example, let's remove this collision. If we add the y-axis, this will be more, well said the y as a more priority for the table. Let's remove this. And if we set the z, you'll notice that it's more focused on design. Now, this is where it really shines because of the difference between the x, because this table is circular. So the Y and the X really don't have any difference between them. But for example, when we talk about the SAT, you'll notice how much more focused on the z axis, which is the height of the table. It is really. So that's basically the x, y, and z, which basically creates poly types, which are these rectangles and triangles around any object that you have. And it's really simple. It's like as you can see, this table can be really enough. If you just want a standing table. Obviously when it falls, you can start seeing the differences, but if you just need something that stands and things to put on it, it will be perfect and much less taxing than using, for example, the auto convex or any complex collision. Let's remove this and let's see the rest of these. So we have 18 DOP simplified collision. As you can see, it's similar. It's like a combination of the x, y, and z was more polytopes. Obviously much more calculations will remove this. And finally, we'll add the 26th DOP. As you can see, this is the most simple and accurate and I believe this is what we were using for the table before we removed it. So I think this was the standard one, if I'm not mistaken. So if we save and replay the game, There you go. You can see how the table falls down very, not extremely naturally, not as, as you'd expect a table like to really, really fall in real life, but it's very close enough in my opinion, and it really depends on the object that you want to use. Now, with all of that out of the way, I'm going to issue a challenge to test out these simple collisions that we haven't yet tested. Add the various simple collisions that we have with each one. Try dropping the object on the slope, see how it slides down, and see which one fits the table most, and use that if you want also, I didn't add it in here in the challenge. If you want to go grab a chair and try to apply all of these to then share also, see how it works. See what you like and how you want your game to see which way it's better to use a chair and a table and all of that good stuff. The simple collisions are if you click on the collisions and the static mash editor, they are the first three, the cube, the capsule, and the sphere, I think. Pause the video right now and go to the challenge. Okay, welcome back. So I'm going to go into stable. I'm going to remove the collision and I'm going to add a sphere collision. And look how funny this is going to be. Right now our table is not behaving as a table at all. Now if we go back to the static mash editor and then we select a box, for example. Now this should be really, really accurate because there we go. It's like it's sort of a table. It's not really table, but it kind of does the job. So in my opinion, if we'd ever want to use like notice also the difference between the very simple collisions and the holotype. So you can see how we have inside of here. These are the poly types. These are the like the lines that are added in order to make things more accurate. Finally, the last thing that we need to say in this video, like what would you use in this case? My opinion, I would not use an auto convex collision. It's too taxing for a simple table. I'm not going to shoot through it and don't think I will need that. My opinion most probably I'll use the z or if I feel that the table is going to fall down, I would use the 26th dots. So that's just that. I think This is the best solution. If we play the game. There you go. You can see how the table falls. Thanks so much for watching. Well, obviously in this case you will not use the gate off, but thanks so much for watching. I hope you enjoyed the video and I'll see you. The next one. 47. Collision Response Reference : Welcome back, My favorite game developers. In this video, we are going to be learning about collision response reference in a very long video. So what happens in here when we play the game, you'll see everything is normal. The ball just bounces off of the cube. But if we go into the scripts and we connect these two, recompile, and we play the game at heads and then it overlaps it. This is going to be a very crucial part of this video to really understand how collisions work. Bookshop concentration capsule. And let's not waste any more time, and let's get started. All k. So now that we understood how collisions work, it's time to understand how collision responses work. And we've already used these many times when we are using the Add Trigger Enter for example, this was one of the collision responses, but let's see what other collision responses we have. First of all, we have the collision where we are having objects interact with each other. So for example, the one that table falls on the ramp, this is an interaction when our default bond hits the floor and doesn't move through it, this is an interaction. Then we have the hit events. If you want something to report as it has collided, a blueprint or section of the code can be triggered. For example, when the table was falling to the ground, nothing was happening. We are just basically looking at a physical object, just hitting another physical object. But when you have a hit event, you will be able to see an actual event being triggered and some part of your code being called for. And this is very important as we will see later on. Next we have the overlap and ignore. So two objects overlap but nothing is reported basically to object ignore themselves. So you've got a ball, you've got another wall. They hit each other but nothing happens. They just path, pass through each other. And finally, we have the overlap and generate overlap advantage. We've seen how this works before. So unlike the collision that can fire every frame, the overlap events are receive, an received, begin and receive, and overlap, which only fire in those specific cases. So in the event of a hit, you'll see that when we collide two objects, the hip keeps on giving until or while we are hitting on the overlap it just because at once on the beginning and then on the end. So let's see how all of that works in our game. Bag and the Unreal Engine. I'm going to stop this table from falling by removing simulate physics and just skip it right there in the air. Let's move the player a bit. And I'm going to reset the position and the angle and move it up a bit. And let's see, where should we be putting it? Let's look in that direction. There we go. Now I'm going to create a new shape in here, which is going to be the skew. And for some reason my mouse button, I've already negative of this haven't thought. So. I'm going to add this little cube right here. The goal is going to be in front of the player. And then I'm going to add a sphere over that cube, move it up a bit, and let's simulate physics on this. Now when we play the game, There you go. You can see that the cube normally falls on this. I mean, the sphere falls on this cube. They interact with each other. Nothing too fancy about that. Now, let's go ahead and convert this sphere blueprint into a BP underscore sphere. Select regard. We're not going to change anything in here. We are going to go into the Event Graph, will simply delete all of this. Now, if we go back into the testing, you'll notice that if we scroll down into the collisions, we have this option right here to simulate and generate a hit advanced. This is very important for us later on. We also have the generate overlap event, and we also have another thing that is very important. Obviously we have other things, but the next thing that's very important is the collision preset. And you'll notice that all of, all of our objects right here have this collision, a preset. For example, this cube has a preset of default. Now you might be thinking, why is the cube and the sphere different? Well, the sphere and the cube where the same until I simulated physics on the sphere, and then it became a physics actor. Instead of the presets of the default. What is even the presets? If you look right here, you'll see that on the default we can select custom. Once custom is selected, we have all of these options that we can play around with. Now once you change it from where is it, where did it go? Okay, so on the collisions that let me make this bigger and expand this. Expand the details. The physics actor. Once you have the physics actor, you'll notice we have these predetermined collisions. If we change from physics actor to block all dynamics, it's the same. Let me try to overlap all dynamics. There you go. You can see that now we are overlapping things. Now, let's take a quick look and look through all of these just very simply. First of all, we have the default. This is the default settings for any static mesh actor, but keep in mind this will not move. Next we have the custom which allows us to customize how it interacts with every single object. And you might be looking at the responses and object responses, don't worry, we will talk about that. Next. We have the no collision obviously doesn't collide with anything. You can see that it ignores almost everything but ignores the collision, the trace responses but blocks every other object. Then we have the block all which blocks all object, the overlap, all which overlaps all the objects. Now keep in mind we are blocking all and overlapping all static meshes or static world objects when it comes to block all dynamics who are blocking all of the world dynamics. And you'll notice that they are basically the same. But you can see right here that the object type is changing and we'll get to the object type in just a bit. Overlap all dynamics ignore only pounds. This is basically, I believe, the way our bond. If you have a bond that is moving, you just ignore it if he hits you. This is good, for example, for an enemy that you don't want to interact with like our flying ball might be a good solution. We have the overlap only ponds, so we overlap only the bonds and some physical objects. And the vehicle, for example, because a vehicle usually as a palm because it's if a vehicle is rarely standing, it's either a static object or it has to be used by either the player or some kind of AI. Next we have the ponds. So this is a way are a bomb might work. Character mesh, physical act of distractible. And you can see that all of these are just presets for our game. Once me select one of these, we will have a set of these various responses to different objects and elements in our game. Now, let's talk about the Collision Enabled. We have four options in here. In the no collision, the query which is north, which is used for spatial queries such as the overlaps. We have the physics only, the body is only used for physics simulation. And finally, we have the collision that is both for the query for spatial queries and for the physics only. Usually it depends on what you want your object to be. You just wanted to overlap with things, or do you just want it to be a physical body? You can want to have them both. Next, we have the object type. So let's say for example, this is customer. If we select the floor in here and we set it to custom, will make IT world static. And this cube right here is going to be, Let's call it the physics body. Next we'll select this view and we'll say that we want to make it. Let's just keep it as a bomb. That's okay. Let's say we scroll down in here and we say we want to block world dynamic, but we want to overlap the physics body. So keep in mind this cube is the physics body. This floor is the word static. So now when we play the game, the queue for the sphere falls through the queue, but then hits the floor and stops. This is very important to understand and this is how this, all of this works. You can select the object type of any object that you have. And this will change how it, how it interacts with other object types. So there you go, you can select one of these. Next we have the collision responsible responses, either the ignore, overlap or blog. And keep in mind the difference between the overlap and you ignore. Ignore might look similar to the overlap, but there is a big difference when overlap actually can or has the ability to generate some kind of event sold all the time. The Unreal Engine is listening to an event over the world. This object interacts with something that it needs to overlap. Next, we have the trace responses. So choice responses are usually used for a re-cast. And what are, what are re-cast? They are basically lasers that you can shoot out from certain position, not liberal lasers like red ones. No, it's simply a invisible laser that you can shoot from. Usually this is used, for example, for when a player is aiming in a first-person shooter game. So he aims to a certain position. And then when he shoots, a re-cast is created a new determine whether that object should be metal or whatever, or think that bullet towards that direction. So basically this determines how the re-cast. As being said, will not delve too deep into that. And finally, we have the object responses. Obviously, this is the type of objects that we are interacting with. Now, with all of that out of the way, let us demonstrate how an event hit two would work. If we right-click in here. And let's compile. If we select these static, scroll down and open, open this up in here, you'll see that there are common things that we see. We're going to, for example, use the n-component. It, we can from this n-component, simply print out a string which is going to say hello, compile, save. And when we play the game Volcanoes, nothing happens because we are going to have to select this or select this one and simulate hit events and select the sphere and make sure it's simulated events. Then when we replay, there we go. You can see that this keeps on giving. But while the obviously it stops at a certain point, but if we create an overlap, begin overlap. Then we print out, for example, a red hello. Just to see the difference. Compile, save, and make sure that we generate overlap events on both the cube and the sphere. Now when we play the game, we get one hello. But then once we bounced, I think when we bounced, we then touched it again. Yeah. So you'll get to hellos because we only send one when we overlap with that, with all of that information. Now it's time for a bit of a challenge. Your challenge is going to be to change the preset. So after hitting, change the collision responses of the other component to overlap on this feed. Back in here. This is going to be a tricky one, even I sometimes don't know what's going on. We're going to make sure that this sphere, sorry, this sphere blocks everything. You can set it to whatever you want. No, not worth static because it needs to be moving. So physics body, right now when we play, you'll see that the ball bounces on this queue months. We don't want that. What do we want to do is after hitting, we want to change the collision response of the other component to overlap with the sphere. So you'll need to access the other components from the hip event. It's a one of the data pins. Find the null but changes the collision response. Make sure it happens only once. And use the heat component data. And make sure that both generate heat events. If you wanted to do this challenge on your own, go ahead and do it else. I'm going to give you a small hint. There's a node is set collision response to channel. With all of that information. Pause the video right now and go to the challenge. I know this challenge was kind of hard. You probably had no idea what to do. But what we want to do is remove the overlap. And as soon as we get a hint, we want to do once. What we'll do is we are going to change the collision response to channel. Change. Collision collision collision response or set collision response to challenge. There we go. Now what we're doing in here is we are selecting a target and we're changing the way the collision on a certain channel works. This can be done in many ways, in many ways. In our case, for example, I can access the other component. And we can even print it out if we would want. After accessing the other component, which is the cube. In this case, we can select for it to interact differently with a sphere, which is a physics body. So we are going to select the physics body. Said the preset to overlap. So Compile, Save. Let's see how that works. If we play the game, we get a head and then we have a overlap. How cool is that? But we can also do something different. We can get the head component, the component of the sphere, and we can go into the spheres. The other component is the physics body also, let's change it. Let's just have a bit of variety. So let's make sure that the other one is a world dynamic, which is the Q. Now we are going to access the head component, which is us. We are going to select world's dynamic and we are going to select that, we ignore it. We go compile save. Let's see. So in here at the blocks, everything, so when we play, it bounces and then it overlaps. How cool is that? So as you can see, we have the ability to manipulate the way we respond and collisions. I know this has been a long video. I'm sure it's very confusing. I know because collisions was one of the hardest things I had to learn and unreal. But trust me, once you get the hang of it, everything makes sense. Everything is easy. I know I didn't explain and go too much in-depth in it because I know that it cannot really be overwhelming. But I hope this example and this challenge really made you realize a couple of things. So thanks so much for watching. See you on the next one. 48. Damage In Unreal: Welcome back, my fellow game developers. In this video, we are actually going to put our knowledge to use when we play the game. You'll notice that when we attach attack the sphere, you'll see our health going down. We are at ten. And finally, once we try to attack the sphere one more time, bank, we disappear. We are dead because there is no more helpful for us to stay alive. So let's not waste any more time and let's get started. Okay, so now that we learned how to add collisions will learn how collisions will respond to each other. It's time to use these or all of these in something that is useful like adding damage to our player. First of all, let's imagine that this is u. And u is looking at the fireball of death. So the fireball of death is coming towards you super-fast. And once it arrives a true, it heads. Now, what happens here? Once it hits you, this will generate an event hit. Then we get the head info. We get information about where the head while I hit the player. So we get who we hit. What's the component that we've hit? Which part of the player we've hit. We can get a lot of information out of the getHeight info, then we trigger damage. So what happens on the ball is it calls a function to trigger the damage after triggers the damage, and they applied damage advanced triggers on the player. And once that event is triggered, we remove somehow, we check is the half gone? If it is, then we destroy the player and our player dies. So very simple, very easy to understand. Let's go into our world and let's do that in the Unreal Engine. Let's make this a bit smaller. What we'll do here is we'll take these two experimentations and we'll just move them to the side. Then we are going to go into the world setting and change this to my game mode and select the third-person character. So we have the third% character moving around. Next we are going to add a cube and here, so we'll add a cube, will move it up. And let's change a bit on its materials. So we'll change the material to be anything else. Let's make it like stone or something. Yep, stone seems good. And this is going to be the cube that is going to hurt our player. We're going to convert this into a underscore death. And it will be a static mesh actor. Select that. Now we have everything sort of ready. Let's close this also down. So now we have the cube of death. Once inside of the cube are the four Actually we are going to make sure that it generates a hit event. Let's just have an overlap event. Why not? Let's see also the presets. Set it to customs, makes sure that the okay, great. I think everything in here should be good enough when we play the game. On the queue and the event graph. As you know, we used to use the un-implanted, but now we can use something different, which is the event ID. So if we right-click and type in event hit, you'll see that we get this different kind of event. This event will trigger whenever an actor bumps into a blocking object or blocks and another actor that bumps into it. This can work from both sides. This could happen due to the character movement new to setting the location and then moving towards it. Or simply by having some kind of physics simulation hit on top of it. And you'll notice that we get a lot of information similar to what the event hit used to look like, but with an addition of this hit result. And this is very important because if we right-click on this and split the structure, actually this is not very useful. Let's try to try to break it. If you break the head result, look at how much information we can get. We can get the blocking hit the initial overlap, the time, the distance, location, the impact point, the normal, the impact normal. All of these things can be used. We can even get the bone that we've had to whenever we are using a skeletal mesh. So all of that information is given to us by the hip. Now, let's continue on and see what we can do from here once we hit. So let's say this is the object that's going to hit us even though we're going to walk towards it. So once we get it, what we want to do is we want to apply damage. You can see that this is a function that we can give it a damaged actors. Which actors should be damaged? Damage the base damage, how much damage should we apply? The event instigator, what instigated this and the damage causal, which is this can be us or could be something different. And the damage types or what type of damage this is. We're not going to focus on all of these. We're simply going to focus on these two right here. And we can get a return value of the actual damage that ended up being applied because it's not just the base damage. It depends on the event instigator, the damage caused, the damage type. All of these can be changed. So for example, let's say you can create a damage type, isn't maybe that poison amplifies the base damage. So eventually you get more damaged. That's just things that we can add. Now, what we can do is before Let's test this out and see if it works. I'm going to the other component, the other, Let's see the object preference. Let's see. Okay, then I'm going to go ahead and print out, print a string. Let's just print out the other component that got damaged or at least not get damaged just for now, just had the damage applied to compile save. If we play the game. We had the blog there, you see we are hitting the third person. Excellent. Now how are we going to actually call this? Well, if we go back into collisions, we're going to search for the third person. And we're going to find the ThirdPersonCharacter Blueprint class. As you can see, this is our person with at smash with its capsule. It's a normal character that we are going to be modifying. You can see already in the Event Graph we have things that are used in order to jump, in order to touch, in order to move, and a lot of other things. But what we're going to focus on is actually the event any damage. There we go. As you can see, this will trigger whenever it is damaged. And this apply damage on the cube of death is what's going to trigger this event damage. On its own. The applied damage won't do anything. It will only trigger this event and whatever happens in here will then just be triggered. So I'm going to try to print a string and see what happens because sometimes this doesn't always work. And we also need to keep in mind that we need to go to the capsule. And on the collision, we need to make sure that we generate a hit event just in case to make sure everything works. And instead of hello, I'm going to say got damaged with the amount of damage, damage that was given to us. So Compile, Save, and then the cube of death, I am going to remove the sprinting. So Compile Save. Now when we play the game, hopefully we should see there we go, that we are getting damaged by ten. And we can change this value from ten to 12 to 20 to whatever we want. So as you can see, we get a event ID. Once the player walks into this cube, then we apply damage, we call a function this triggers the event any damage from the already damaged actor, which is the other component. This is very important to understand. Okay, so now that we are applying damage time to do something useful with it, the first thing you'll notice is that as soon as I started playing when I hit this object, I get all of these events and we don't want that, we only want this to happen once. So I'm going to create a do once. One snowed. When should we be recent thing? Well, after a bit of delay of, let's say two seconds maybe, or 0.2 is actually good. Yeah, let's just keep it as 0.2. I think it's good. Then we are going to reset it. There we go. Compile, save, and now we should see that we don't keep getting damaged. There we go Much better. Now let's go into the third person and see what we'll do in here. First of all, we want to add some health. This guy, I'm going to add a variable in here. I'm going to make sure that it is an integer because how you can make it a float if you want. But we're just, I'm talking about removing 1010 every single time actually, let's make it an integer. Maybe you want to make it a float. Maybe you want to remove 0.2 or 0.1. So Compile, Save. Now what we're going to do is every time we get damaged, I'm going to get the health I'm going to subtract from the health damage that was caused. There we go. As soon as we get it, we are going to subtract it and then we are going to set the health. With the amount that is left. That way every single time we are removing a bit of health. Then what we're going to do is we're going to issue you a bit of a challenge. Your challenge is to destroy the sphere. I don't know why I called it the sphere. Just destroy the player, the one that we are playing with. Keep track of the health. And if it goes below 0 and destroy the actor. If it's not below 0, then print out the health left to the screen. So it's very basic. You'll need to create a branch, a condition on the branch. If that condition should be the health, if the health conditions should be whether the health is under 0, if it is, then destroy the actor. This is your little hint. And if it's not below 0, simply print out the string, pause the video right now, and go to the challenge. Okay, welcome back. So I'm going to create a branch in here. This branch is going to check whether this is less than or equal to 0. If it is, then we are going to go ahead and destroy it. So straw, the actor, very simple. And if not, we are going to print out a string, which is going to say V amount of health left. There we go. Excellent, So everything seems to be in place. We're going to compile, save. We are going to play the game. So now we are going to, before we do that, the half, the health is at 0. We don't want that to happen because as soon as we trigger this damage, we are going to get destroyed immediately. Instead, I'm going to set it to 120. There we go. I'll compile, save, play the game. So now we will walk towards the cube and you'll see that we have ten. And if we stop walking, this will stop. So we are at 403020 and boom, we got destroyed, so our player actually died. Now we have all the mechanics necessary to create a game where there are consequences and we will see how that will look in later chapters or sections. So thank you so much for watching. I hope you enjoyed. Congratulations on making it through this hard. I know this is one of the most boring, maybe one of the hardest sections because everything is very theoretical. And I'm trying my best to just show you as many examples as I possibly can. Congratulations on making it this far. If you're enjoying the course, please leave me a great review with a couple of words. It helps me out a lot. If not, if you don't think I deserve a full five-star review, please feel free to DM me or talk to me on this code or Instagram or wherever you can find me in my description. Just tell me like this section was extremely bad. Please explain more on whatever now. Go back and maybe change the lesson, maybe add onto this explains some things more. And your satisfaction is my goal. Thanks so much for watching. See you on the next slide. 49. Section 10 - CyberSpy 3027 - Adding Physics To The Player - Creating A Damaging Environment: Welcome back, My favorite game developers. In this video, we are going to create a damaging environment for our layer. What do I mean by that? Well, remember we had the enemy, but the enemy didn't really do much. Now if you look at the top left of our screen, you'll see that we aren't getting damaged every single time. And finally, with the final blow, we are dead and we are actually out of the game. We have no longer the option to play in it. There you go. You can see now our game is much more scary. A lot more stakes are online, so let's not waste any more time and let's get started. Okay, so we are back and our cyber spy 3027 project. Now it's time to create a damaging environment for our player because we already have an enemy. He's not here, but our enemy doesn't do anything. He's not scary, he should be scary. So what does it mean to die? Not the philosophically, but in the game, basically, that means that the player can no longer move and weak with the game. That's it. I'm going to open up the content, the FPS character, open up my character. In here. I'm going to do we have in here basically nothing. So if we play the game, let's just make sure everything looks good. Okay, Great. So back in my character, let's remove the beginning played. I don't think we will need it and we're going to create a new custom function, custom event, dot add custom event. And this custom event is going to be called Game over. What happens upon the game over? Well, we simply quit the game. We quit the game whenever the game is over. Pretty simple, nothing too fancy about it. Now, we need to go into the ball, the ball or death enemy, the BP underscore enemy. We have a lot of things in here, so I'm going to close down everything. This is the Event Graph. That's really nice. I'm very proud and hope you are too. You're doing this along with me. That's why it's important to always do the challenges. Now we need to make sure that the enemy overlaps. So an generates an overlap events. So I'm going to go into or width in me, where does the collision, why can't I find it? If we scroll down until the collision, there we go, we are going to make sure that it generates overlap event. And on the Collision Presets we are going to make sure that it overlaps of overlap all even static meshes just in case, but we'll make sure that it only damages the player. How are we going to do that using all the tools that we've learned so far. First of all, I'm going to create an actor begin overlap. This is not what we're looking for. We're going to type in here, actor begin. Overlap, not the bind. We are going to select the collision right here. So the under the add event collision at actor began overlap. As you can see, there are many options you always need to be diligent and what you're doing, you can just be like me just type in something had under and hope for the best. From here we're going to get the other actor. We are going to cast it to my character. Now we know that it is the character that we put. And if we did the character, we're going to apply damage. The damaged actor. Who should it be? It should be our bp underscore my character. There we go. So compile, save the animal. What do we will set the base damage. Now here's the thing. We're going to make the damaged be 0.1. It will apply 0.1 damage and the health is going to be one. And you'll see why later on as we move through the course, the damage factor is the same. The damage type will not need to change any of this. I think this is perfect for us to use, compile, save, and back in our level, let's go ahead and add an enemy in here. Let's add enemy, move it up. And let's select this thing. And we'll just move it right here in this direction. And this will be a whereas the enemy, we will make sure that this, Okay, so I was looking in the wrong details. Let's make this a little bigger. Yeah. Sometimes I don't like how everything is squished in here, but you get used to it. I'm going to make him one of the medium enemies. So now we play. If we go up in here, well obviously nothing is going to happen, but Still that we can see that we overlap all and B should get damaged. When you complete your challenge. Your challenge is to apply to character. Should have been applied damage to character. I'm not the best at naming titles. If you've noticed, call the event any damage on the player, create a variable, subtract the health every time we get hit and set it whenever there is any damage. Make sure we do this only once. Don't want this to happen. For some reason multiple times. Check when health gets below 0 and call the game over event if the die. Finally, if we don't make us invincible for a book and then reset to do once. So there is your challenge. It's very similar to what we did in the last section of the course. So pause the video right now and go to the challenge. Okay, so I hope you tried your best at the challenge. I know it's a bit hard. I know you're not used to it, but it is very important. Now before we continue on, I thought that maybe 0.1 is too little, so I'm going to set it to 0.2, compiles the n. By the way, if you want, this is a great idea. You can actually promote this base damage to a variable and you can then expose it on spawn that actually, sorry, instance editable. And now you can set it however you want and depend a negative dependent on the enemy. This is a very good idea. So back in my character, here we're going to create any damage, event, event, any damage. We are going to do this once so, once. After we do once, we forgot to create the variable. So I'm going to call this variable the health. We're going to make it a float, and we're going to set its initial value to be one or the default value to be one. Every time we get damaged, we are going to subtract a bit of health. So minus subtract, really simple until now. And after we do, we are going to set the health, drag this in here. The Health. So now at any damage, if we do it once, we subtract and we said the health, after setting the Health, we are going to create a branch. And this branch is going to check if the health is less than or equal to 0. If it is, then we'll know that we are dead. So I'm going to go ahead and do a game over that set. Game over. This is the event that we created up here. So this is nothing new. This is what we just created. And you can see the target is the BP, my character, meaning it's inside the VP, my character. And then on the false, if we don't, then we are going to print out a string, which is going to be the health. Everything we're doing in here is exactly the same as we did previously. We're going to make it red and we'll set it to five seconds, closes down. After we print, we are going to add a bit of delay. Will set the delay to maybe like this. Whenever you have a game, if you ever notice, not 22 seconds. So whenever you have a game and you're playing, usually what the game developers or game designers do is they let you have a bit of a cheat code, a bit of time for invincibility whenever you get hurt, that way you will create a more fair game just in case something weird happens. Let's say, I don't know, sometimes things happen like maybe the enemy gets stuck on the player while you're moving, he gets stuck or he hits you twice or whatever. And you might feel like, well, why the tool, my health goal, this is not fair and this will really trigger the player of your game and make him angry. He wouldn't understand what's happening. So it's always better to just give a bit of time for the player to be invincible, at least for two seconds, maybe less, maybe more. It will depend on you. And after the delay, we're going to go ahead and reset it. Once. Compile, save. And let's see what's going to happen. We're going to play the game and will stand in front of the ball. There we go, 0.8. And you'll see that two seconds when it hits us from the back, nothing happens, which is good. Zero-point for your point too. And now we should 0. What happened? Now? We are that. Why did that happen? Because in my character we are checking if it's less than or equal to. That's the whole thing. Like would you want the game to stop when you get to 0? Or would you want your game to stop when you are less than 0? So in this case, we are not dying exactly on 0. We are lying on a bit more. But if you want, you can change this. So for example, you might have noticed and I was thinking like, why are we not dying on 0? This is very weird and I've been testing things out and seeing why this is the reason. Like for example, when we get to 0 and we're not there yet, We are named after. Now the problem is, what I'm not understanding is that we set here, this is less than or equal to 0. At this point. If it's equal to 0, we should be, that should be true. I don't know To be honest why this is happening. Like it. To work, it worked and the project that we were doing, there is a very simple solution to that. We can simply just set this one to 0.1 and a non-metal, or we can even add something else. I tested this if we set this to 0.5, so the damage is 0.5 on the enemy. There we go. The second time we die immediately. Now, why is this happening? I don't know. Maybe there's some kind of glitch or maybe off the top of my head right now. Not able to understand it. But to fix this, we can simply set this to 0.001, compile save. And now if we select the enemy and put him back down to 0 to play the game. Now you'll see that once we then 0.6, the animate x again 0 for the enemy attacks again 0.2. And now this final blow should be our last talk. As you can see, I'm not honest, I'm not really sure what's the problem here is maybe there's some kind of inconsistency in white is working on the 0.5, not working on the zero-point too. I wanted to show you this problem because sometimes you like, this is what happens to me. Sometimes I'm not even sure what's going on later on, keep this in mind. I keep it in the back of my head. And later on I just come back to it and I realize, oh, this is why. Thank you so much for watching. I hope you enjoy. I hope you tried your best during the challenge because a very important one, there were a lot of lessons to be learned, and I'll see you in the next one. 50. Adding Spikes : Welcome back my fellow game developers to another video, a very fun one. We've created two types of spikes. These spikes keeps hurting us. So as you can see, we lose health as we are standing inside. If we go back, we no longer lose any health. These spikes, on the other hand, they kill us immediately. No mercy from these spikes. If we jump on top of them, we get, Let's not waste any more time and let's get started. Okay, so let's go ahead and start creating spikes. I'm going to delete this player or the enemy from here. We're going to talk about the two types of spikes that we are going to have. It's very simple. The first type is going to kill us immediately as soon as you stop on the spikes, you're dead. The second type of spikes are going to be damaging ones. So let's go ahead and start creating the depth spikes. I'll go into the content and the content. Then I'm going to create a new folder which is going to be called the spikes. Spikes. These spikes, I'm going to right-click and create a new blueprint class is going to be based on an actor, is going to be BP underscore death spikes and enter, open up the death spikes. Here we are going to create a cone. This cone is going to be right, that centered, Oh my God. What happened? So something is going on. Anyways. Let's just add this spikes right here. Close down the BP enemy, close down the left. Now let's keep the character where we might need them. I don't know, no, I don't think so. That's cools down the character also. Let's check the floor so we can see the floor. And it doesn't want us to see the floor. And let's close this down and try to open up again. Maybe we can see the floor. As you can see, unreal is not always as responsive as we would like it to mean. So I'm going to close this down, maybe set this to 0.2. Sorry. So apparently this is Locke was made. So select this set the exon zero-point to set the y to 0.2. Maybe these are two small animal 0.3.3. I didn't think like what should be done in here. We'll just make them pointy. Yeah, there we go. There we go. Now we have our first spike right here. We're going to duplicate it. So we'll call this the spike duplicated using the Control W. We'll just move it a bit to the right, maybe at 60 or maybe 90. Then we'll duplicate this spike again or move it 90 to the other side. Now we're going to select all three and duplicate all of these three. Move them. It didn't allow me to do that. No worries. We'll just do it manually. Just set. I don't know. Sometimes unreal is really on width. Duplicate that again, we'll just set nine of these cones around. There we go. Last one. Go, compile, save. And now in the level, if we drag and the spikes, there we go. These are very menacing and scary spikes. Let's look at them properly. Yep, seems to be good enough. This should be big, this should be scary, and these should actually be deadly before we make them that, Let's change the select all these spikes and let's change the material on them and let's see what we should select. Maybe the floor. No. Let's see if we have some kind of metal frame. Let's see. Yeah, those look good. Compile Save. Now let's be honest, there's something weird above them. Let's make them not glass obviously. Let's see. The metal. Metal seems that good one. Yeah. Yeah. It looks very scary, very menacing. And you can feel that there is a threat and they are not touching the ground. So I'm going to select them. Go down in here. These are things that you need to always take care of. So there are a bit inside of the ground. Let's make this one. Okay, great. So I'll compile, save. Now if we look in the game, we can see that there are probably properly grounded and they are extremely scary. So when speed walk towards them, we need to die. So this is going to be your challenge to apply damage while not damaged because we are going to kill. But you'll see what I mean. First of all, create a box around the spikes, create an overlap event. Kill the player when they touch the spikes and makes sure the spikes kill only the player. Then I'm going to issue an extra challenge to create the damaging spikes that don't kill the player immediately make them a bit smaller but different than the regular spikes. And I'll give you a small hint if you don't need any small hen's, just go on with the challenge. Because the Character BP you created in order to make sure only kill the player. Pause the video right now and go do the challenge. Back. Indeed, death spikes. I'm going to add a box collision. And this box collision is going to be as big as the spikes are big. Let's move it up right here and make it big. There we go. So as soon as the player touches them or thinks of touching them, he's going to die. If you want. We can make this a little bit smaller soap. We actually fall between these bikes sense very menacing and scary. So Compile, Save. Let's call this the kill zone on the spikes are going to add an overlap event. So on begin overlap on the box. We're simply going to cast the other actor to my character. And after we've cast, we make sure that it is the character. And then we are just going to call Game. Over. There we go, compile, save, and now when we play the game, we jump, BAM and weird bed. How cool is that? Really nice? Now, let's create the damaging spikes. So I'm going to duplicate the depth spikes and I'm going to call these damaging spikes or damaged Spice, Spice spikes. So that's opening damaging spice. Let's remove these. We are going to change the kill zone to damage damage zone. We're going to go into the viewport. We are going to change a couple of things in here. So first of all, let's select all of these spikes will make them a bit shorter. So maybe 1.2. There we go. Even less. Maybe one sure will make them a bit fatter. Maybe even a bit more fat. Sorry for the word fat, I'll use the word. I don't know. Wider. There we go. This spike seem a bit different. Due date. Let's compile and compare them. So if we add the damage spikes, we need to make sure that it's really obvious that these are just damaging ones. Maybe make them a bit shorter. So maybe make them 0.8. Yep, there we go. I think this is perfect because it really makes them very small or very not threatening. Still threatening because they are obviously these are spikes, but they look like you might be able to walk through them. I'll make this 0.6. Nope, sorry, 0.8. Let's select all of them. Make this 0.60.7. I really, I like to play around with these things and I recommend that you also do maybe you want your spikes to be completely different. I totally understand. And we're going to select a different type of metal on them. Maybe copper compile save. Let's look at that. Seems good enough for me. Let's continue on. Stop wasting that much time. Select the damage zone. Let's go and begin overlap. Only begin overlap. We are going to Shack for the players. So cast to my character. So this is my character. And we are going to apply damage. There we go. The character is going to be the damaged actor. How much damage should do, let's say 0.1, compile, save. And now we should see that when we play the game, we walk towards these spikes, we get damaged 0.90.8. Excellent. Now what I want to do is I want to make sure that these damaged spikes, if we select them, Let's see. Oh my God. Let's see, where's the collision? Select all of these, scroll down to the collision, makes sure that we generate the overlap event. And on the Collision Presets, Let's make sure that we have only the spikes selected and this blocks all dynamic. I'm going to set it to overlap all compile save or we can set it to ignore, to be honest, maybe that's better. Let's select to just ignore all. Whereas it, where is it? Whereas ignore, ignore only ponds. Sure, Ignore only ponds or bad compile save. Now if we play the game, we shouldn't be able to just walk through them. And since the box is the person or the object or the component that is taken care of the damage, nothing is going to happen. Now, it's time for a bit of philosophy. In this case, you might be thinking, well, the player just walks to the spikes, he gets damaged, but then there is no more damage. If we're standing inside of the spikes, we don't get damaged. But what if we do want to keep getting damaged? If we're standing inside of the spikes. You might be thinking in this case like this really will depend on you. Would it be more logical that the player can stand between the spikes once he gets it gets hit. That might be the logical way to go about because there's space in here between the feet, between the each spike and you can put your feet inside so you are pretty much safe. But if you want, you might be tempted to add a bit more like urgency. So once you stop on inside of the spikes, we need to get out of here immediately. We need to jump as soon as we possibly can outside the outside of the spikes to not lose all of our health. Going to implement the damage being always given, whenever we are standing inside. And then you can choose how you want your game to be. I'm going to go in here. Let's remove these two and we're going to use the event it, sorry, the event thick. I'm going to create a new variable in here that is going to be called layer inside. And from the event thick, I'm going to create a branch. The condition on this branch is going to be as player inside. The player isn't side. I'm going to apply damage. There we go. And the damage I'm going to apply is the same one that I had down here. Now. Here, instead of the begin overlap applying damage immediately, we are going to set the player is inside to true. So now when the player steps in and the damaging spikes, excuse me, the player inside play the game. Once we step inside, we don't see anything happening because there is, oh, we need to set the damage the actors. So let's just drag this damaged actor and here, compile, save, bile, save. You know what, actually I don't like this too much. Let's remove this and actually promote this to a variable. My character. Yeah, there we go. That's much better that way. We'll set it you for it actually damages. There we go. Save. Now we are going to use this character right here. So Compile Save. Now when we play the game, there we go, we get damaged. Excellent. Now the problem is when we stop outside, we keep we keep getting damaged, not good. So back in here, we're going to create an on and overlap. On an overlap, we are simply going to copy these. So Control W, simply copy these and use the other actor that has stopped, stopped the overlap. And the other actor, Why is it not allowing me to use the other actor? How did that work? So sometimes things are just weird. We're going to set the player to false, and now we are no longer going to be damaging the player. So we'll step inside. There we go. While we're inside, we keep getting damaged. If we step outside, there you go. No more damage being dealt tools. I hope you enjoyed this video. I hope this was not too confusing. If there's any questions. I'm sure there is nothing too new in here. We're not doing something extraordinary would just setting up the character. This could be a bit more efficient. I don't like every single time casting and every single time getting the character and the variable. I don't know, it seems a bit weird, but we'll work on that later on. Thank you so much for watching. I hope you enjoyed. Hey, this is Michael from the future. So I did this outside of the realm of your visibility because I wasn't sure if it will take too much time. But there we go. I fixed this will really like because casting takes a bit more energy from the processing. So I didn't want to always keep every single time casting. And also because it's inefficient, we already have the character. So instead, what I did is whenever we end the overlap, we get the other actor. We compare it to my actor that we've already gotten in here. We check if the my actor and the other component that left the overlap sphere or the overlap damage zone is the same exact one using the equals. If it is, then we will set the player inside back to pulse. So now when we play the game, there we go, we get damaged. When we go outside. There you go. There's no more damaged. So I'll keep this in front of you. I hope you understood what's happening. It's very easy. We are simply getting the component that left. The actor that left. We are comparing him to the character. If they aren't saying the person that went in as the same that went out on the branch, we are making sure that the player is no longer insight. Thank you so much for your patience. I know you're like, Oh, finally we loved this video. No, I always come back, See you in the next one. 51. Adding Gems To Pick Up: Welcome back, My favorite game developers. In this video, we've created a mechanic that will allow us to actually progress through the game. As you can see, we have these four jumps floating around. And all we have to do is just walk towards the jump and pick it up. And you'll notice there is a small number on the top left of the screen that indicates how many gems we have collected so far. It's been for, It's been very fun. It's been a bit long, but it's been very informative. So let's not waste any more time. And let's get started. Okay, so now that we have are ways to die using the spikes and the death enemy, whatever. Now, it's time to actually create a mechanic where we will be able to pick up enough gems that will open up the door and we can go through it. So let's go ahead and do that. I'm going to go into the content and I'm going to create a new folder in here. And that's going to be called the gems or the pickup gems, or just call it jumps inside of the gems. I'm going to create a new material. This will be the m underscore. Whenever we are creating a material, rename it, underscore. Gold gems. Double-click to open it up. I'm just going to do a very basic things just like we did the other colors. And actually, you know what I'm thinking that don't actually need to create this. Going to delete it, I'm going to find the platform, the door, door. Just simply drag that over into the jams. Copy here in the gems we will have the glow green. We'll call it the gold gem. There we go. Let's open it up and we'll change this from the red, which was red. Now it shouldn't be gold. Let's double-click and open up the gold. And let's see, we're going to set it to like a yellowish. Think like it's gold. I don't know what gold is, to be honest with you. But I think that will be enough. So let's add it right here. Now let's go back and the goal jam you should see, let's apply this. And then just the bit you should see that it changes right here, but that's okay for now. Let's save this and the day now. Okay, there we go. Now let's right-click and create a new actor. So a new blueprint actor, which is going to be the VP under score, pickup Gems, pick up gem. Let's open it up. The first thing we're going to do is going to simply add a cube. We are going to scale it down on all sides plus 0.4. And we'll move it up a bit in the air and we'll add a 45-degree angle similar to the, let's see which way. I'm on the x-axis, just like that. 45 degrees. Give me five please. There we go. So 45 degrees compile, save. Now back in the Event Graph by wanted to add a bit of rotation. So I'm going to delete this. Before we do that, we also need to go to the cube, and let's call this the gem body. There we go, and we'll change the material on it to be gold. Gold jam. Yeah, there we go. Compile save. Now if we add this to the level and I think we should maybe take this down a notch. I don't know. What do you think? They think it's cool, glowy. Feel that. Why is it the leg? Some reason there's a lot of lag. I don't know why sometimes that happens, but in any case I want to set this to 0.4. I don't really need this to be glowing. Let's see. I think that's enough. So if you play the game by thing that, or this is good enough, maybe it really depends on you. If you want, you can increase this, I think zero-point for maybe 0.60.6. Just a faint little glow. There we go. We can see that now. Okay, It seems good enough for me. Anyways, back in the Event Graph, I wanted to have a bit of rotation to this gem, so it doesn't look that. I'm going to right-click add the thick. For some reason I deleted it. I'm going to add world rotation, world rotation. And it's going to be the target's going to be the jam. Jam. Body. Why can't I attach this? Well, because the target should be an actor. You don't want that. So we'll add a world rotation. There we go. So I don't know if you've noticed what happened, but let me just add oral rotation. This is important to understand. If you look right here, this target is actor. That's why whenever we tried to add the gem body, which is a mesh static component that didn't work. While if you look on this world, this one, the ad world rotation, you can see that the target is seen component. So this is very important to understand. This will save you a lot of trouble because I remember when I started learning unreal, I was like, What It's the same white Can I use the gym body and I was very confused. And all the courses that I watched, all the training that I've done. Not all of them really explained the sports. So anyways, let's continue on. I will add a bit of rotation on the z axis. So compile save. And we can actually simulate. If we simulate and go to the viewport, you can see that this is how the cube will be moving. Great. Now let's add a bit more rotation. So we're going to drag off up here and add Local Rotation. Anybody local rotation. There we go after the world rotation. And let's add on the x-axis, compile, save, simulate, and let's look in the viewport. Yep, there we go. I really liked this kind of waving thingy. So now when we play the game, we have this or moving around, and once we collide with it, we should be able to pick it up. Let's move it a bit down. I want to be able to add a gem and have it immediately be placed. Would you like to save changes? Yes, apply the changes on the viewport. Let's start simulation and we'll move the body a bit up. Let's change this to world coordinates and this body about a 150. Let's see how that looks. Compile save. I think that's good enough. Maybe you want a 117 just like it feels a bit high in the sky when we play the game. Okay, that's too high in the sky. Then maybe 140 file saved back into the game play. Okay, perfect. So now we have this jump. Next thing we're going to do is we're going to add a box collision in here. We'll just make sure that it's on the under the under the box. We need to make sure that it's outside the jump box. We'll call this the pickup trigger. Pickup trigger. We're going to add an overlap event to it. On begin overlap. What will happen when we begin to overlap? Well, first of all, we want to do this only once. Then we'll want to make sure that it's my character. After we do at once this around. Let's make this a bit by the year. Then after we know it's the character, what we're going to do is we're simply going to destroy the actor. Destroyed the actor that we have right here. And so it's the gym, It's the self. So now we should see when we play, oh sorry. We adjusted the box a bit. We'll get the box like fast right now. But to be honest to do like I feel you are already a seasoned developer by this point. So we'll make this a bit bigger than its size so we don't have to stick our necks inside of it in order to pick it up. Just make it 90 by 90. Think it's good enough. Now compile save. And when we play the game, there we go. We have picked up our channel. How cool is that? The only problem that is still here is that we need to actually have a way to open the doors when we pick up the champs. And in order to pick up or a hat in order to open the doors when we pick up the gems, we need a system that allows us to actually be able to add these gems and increment the number of channels we've collected because we won't have only one gem. We might have ten jumps when we need a system to keep track of them. So this is going to be your challenge to make the chance collectible. So first of all, create a variable and my Character BP to keep track of the collected jumps. After we pick up the jumps, but before it gets destroyed, acts as the variable and incremented by one. Set the new value of the variable, and print out the number of chance collected every time you pick one up. Pause the video right now, and go through the challenge. Okay, So the challenge, hope it wasn't too hard on the content FPS character, open up my character. In here we're going to create a variable which is going to be the collected gems. Now, there are two philosophies that we can do in here. First of all, we can just go to the gems in the event of graph and just use everything that we have in here just to add the gems together. There is a small problem that sometimes like the collected jumps, which should be an integer or a byte, just keep us an integer. The problem is that the collected gems is a variable of character, of my character. So I think that it's better to actually change this variable inside of the character. I'm going to do is instead of just in implementing everything there, where I get the collected gems from the character right here. Instead, what I'm going to do is I'm going to create a function in here. And we'll call this the increment jumps from the increment germs. I'm going to get the gems collected, compile, save, and the chimps collected should always be 0. As a default, I'll get the collected jumps. Then we are going to set the actually increment this sold. When we add two pluses, we increment the integer. And maybe you didn't know about this, or maybe you didn't know about this, but you could have easily just added a plus. So add one in here, it's exactly the same, but increments just adds one so it's more efficient. So we add one in here. And after we've added one, we are going to set the gym. There we go, compile, save, and if you want, you can create, create a return value, but I don't think we'll need it for now. We'll make it not private. This is important, so Compile, Save, back in the pickup jump. Just before we destroy it, we are going to access the increment jumps connected right here. Also all let's go ahead and print out the jumps or print. This will not work. Print a string with the amount of chance that we've picked up. Compile, save, and let's see what will happen when we duplicate. These will have four gems. Play the game. First one, there we go, 1234. How cool is that? I hope you understood what I didn't hear. This increments simply adds one to a specific integer, whatever it is. Honestly, I the whole time I was thinking of just adding it in here. But it's very important to understand that variables that are created in my character should be changed in my character. And maybe later on we will create some kind of output to this function so we can access the collected jumps most probably that will be something that we will need to do. Stop. Thanks so much for watching. I hope you enjoyed this video. I hope you did your best and always do your best and the challenges. And I'll see you in the next one. 52. Finishing Exit Door: Welcome back, my fellow game developers. In this video, we finally do it. We finally create our game with a fully functioning work. So as you can see, the door is red. If we go inside it does a stoop pick up all the gems. We pick one. And on the third one, we have all of them picked up. The door turns to green. When we walk towards it, we go to the next level. So let's not waste any more time and let's get started. Okay, so now that we have the mechanic of picking up our gems, it's time to actually open up the door whenever the proper amount of jams have been picked up. Let us go to the door, open this up. The view port. We are going to add a box collision. This box collision, once the player enters through it is going to take him to the next level. So I'm going to make it not so big. Let's just move it up and make it big enough on these axis, There we go. So I think that would be enough when the polar bear comes towards the door, maybe increased a bit more on the y-axis, so we don't have to like put our hand side. This is always a good thing. Maybe actually make it smaller. This is what's making all the videos long. I'm very decisive on these things. So Compile Save. Now we're selected the, let's call it the level. The next level trigger. Next level trigger. There we go. We'll scroll down on begin overlap. We are going to get the other actor and we're going to check if he's the player, outcasts to my character or the character I keep using the player and the character at the same time. We're also going to do this only once. So once we are going to check in here, once we're going to create a branch after it, we're going to check a variable in here which is going to be Open. There we go. If it's true, then we're going to simply print a string. Go next level. And if not, we're going to print out pick up the chance jams, and then we're going to reset the two ones. There we go. Flags similar to this. Just so we can properly see where all of this is going. So basically, let's delete all of this. We don't need it for now. Basically what we do is we check for an overlap, get the other actor is here's the character. Then we will do the ones we don't want to do with melt multiple times. We check on a branch. Can the door open? If it can, we go to the next level if it can be need to tell to pick up all the gems and then we will reset into ones to go ahead and do it again. Next thing we need to do is we need to actually keep track of where the game modes are or where the gems are and how many. The next step that we need to do is we need to keep track of the gems that we have in our level. So currently we have these four jumps. We want to pick each one of them up, but we don't want to really have to force it inside of the level. Maybe we have two jumps, maybe we have one jump, maybe we have 15 jump. We're going to create a dynamic way of keeping track of these. And where's the best place to do such a thing? Well, obviously it's in the Game Mode. If I go to the FPS character, open up the game mode. In here is a great place to keep track of the gems that are in each level. And we're going to make it dynamic. So either least at the beginning play, I didn't want to do that. What I'm going to do is as soon as we start the level, I'm going to add a bit of delay. Why am I adding this delay? Well, because we want to make sure that the, all of the level has started, all of the gems have been instantiated, and then we are going to count these gems. This will be seamless. The player will not notice, and it will help us out in case maybe we don't catch all the gems made it the game mode starts and we have the beginning play. And then the gems start, and then we don't catch all the jumps. So that's basically next we're going to get. Of actors, of class. What class will that be? Well, it's going to be the pick-up pickup jump. Now we get a reference to all the actors of type pickup Jim in the level. Then we will have the factors which are here. Then what we'll do is these out actors, which is an array. We will get the length of that array and we're going to set it as a variable. So we'll right-click in here. Promote too valuable is going to be the required orbs or gems. Required gems. There we go. So now we have the numbers of, number of jumps and we can simply print that out. I'm going to print a string with a number of jumps. So I'll compile, save. And now we have four gems. We should see a four at the top here. When we play the game. There we go. We get for how cool is that if we try to duplicate this one, for example, now we play the game. There we go. We have five, So now we have an accurate counter for our jumps. That's amazing. And we all do this all dynamically. We don't need to hard code anywhere. So again, what's happening in here and the game mode, as soon as we begin play, we add a bit, a bit of delay to make sure all the gems and instantiate, we get all actors of type BP pickup jam. We check the length, we get the array of the actors right here. We check the length four of these actors. And the length of these actors are put inside of a variable which has the required jumps. Now, the next thing we need to do is we need to make sure that we check on the Opendoor when ever we pick all of these gems. I'm going to go into the pickup jam in here. I'm going to get a reference to the door. So on the begin play, Do we have a began play? Nope. So on the Begin Play, I'm going to add a bit of delay. Also. On this delay, I'm going to get actor of class. So get one actor of class. We don't need many actors. We know that there is only one door type exit door. And we are going to promote this to a variable which is going to be our exit door. Great, so now we have a reference to the exit door. The next thing we want to do is whenever we pick up a jam, we want to have the option to check the door. If the amount of gems picked up is the same as the amount of gems that are required. And this is going to be your challenge. First of all, you need to get the game mode and cast it to my game mode. This is all happening inside of the exit door. You'll need to get the player character and cast it to my character. You'll need to access the required gems and collect and collected gems respectively. Respectively, meaning the required jumps on the game mode, the collected gems on the character. Then you'll need to check if they are the same and said the can open as a result. Next, if it is, then you'll need to set also the material. And finally turn that into a public function so that we can call the check door on every single for an all other areas of our game in every other Blueprint. So pause the video right now. Take your time. This is a bit of a tricky challenge and go do the challenge. Okay, So how did you get on with that? I hope I'm really hope that you tried your best. Where should we be starting? Obviously, it's in the exit door. And the first thing that we need to do is we need to get a reference of our player or our character and our pickup gems. Actually not on our character and our game mode. Where should we be getting it? Well, let's do the begin play. The beginning play. We are going to cast. We are going to know actually not guessed. We're going to first of all, get Game Mode. And from the game mode we are going to cast to my game mode. So now we have a reference and maybe we just delay this also, maybe a little bit, maybe 0.2 seconds, that's good enough. Then after that, we are going to promote this to a variable. This will be my game mode. After that, we're going to get player character, get character. And we're going to cast my character. And we're going to also promote this to a variable which is going to be called. It's something my character, I'll compile, say now we have the game mode and we have the character. Now the next thing we're going to do is we're going to check for the open doors. So I'm going to create a function in here that is going to be called Check open door. And from the open door, I'm going to create a branch. Condition on this branch is going to check if the my character gems get collected is equal to I don't know what it puts it in here. Anyways, is the same as the my game mode. Gems get, require the gems. If they're equal. Let's make it a bit neater. Move it up. There we go. If the collected gems on the character is the same as the required the gems on my game mode. Then after it's true, we are going to get the Inner Glow door and we're going to set material. That material is going to be the green, the green glow. And after the green glow, we are going to get the open. And actually we can set the set the get opened immediately from here. Let's see what shall we do? Let's set the can open right here. And the value of the can open will be based on this. There we go. Compile save. And they can open as usually set to false compile save. What else we can do. I'll actually this, this will never be a problem. What I was thinking of is maybe we can in the beginning of the exit door, maybe in the beginning play off the exit door. We can set the material to be red? I don't think so. I think that most probably whenever we have a door, It's always going to be read and will always have a jump. Now if you want to go the extra step, you can set the material here based on the can open. I'm not gonna do that. We'll just compile, save, and we're going to go to the viewport. This is red. And we're going to also make sure that before and after we increment the gym, we're going to get the exit door and we're going to check, open these dots, compile save. And now when we play the game, we should see that our door right there is red. We pick up the first, second, this one. And now when we pick up this one, we should see the green, hopefully. Very good. How cool is that? We finally have a very well functioning game. Let's try to delete two of these orbs and test this out again, make sure that it works always one to bump when we pick up the last one, it simply works. So excited. I've loved when these things work out. I hope you did the challenge. I know it was a bit hard, especially when it comes to maybe comparing these gems, maybe when it came to calling the function. But as long as you did your mess, That's the most important. Think. So. Thanks so much for watching. I hope you enjoyed this video and I'll see you. The next one. 53. Section 11 - Working With Audio - Audio In Unreal: Welcome back, My favorite game developers. In this video, we are going to be delving into the magical world of music and the Unreal Engine. So if we walk around, we don't hear anything but right here, there is a hidden trigger volume. If we walk inside of it, you'll notice that sounds and music starts playing, which gives us much more ambiance. And if we walk outside of it, there we go, you can see that we no longer hear anything. So let's not waste any more time. And let's get started. Okay, congratulations on making it to section 11. It's time to start having more life, putting in more life into our game. So as you can see, I created a new level and the mind first game project. And in here I'm going to talk about the sound waves. This is the audio testing. So first thing first, I'm going to go ahead and select the sound audio filter or soundwave filter. You can find that right here under the sounds and select sound wave. So let's click on that. And in here you can see all of these sound waves, sound waves that we have. We can add the level and play the game. You'll see that we immediately can hear it. So I'm going to select the starter music. You can click right here and preview the sound. When I drag this in here, you'll notice that I've created a new object, which is the pipe ambient sound. And this ambient sound has an old your component on it. When we play the game. There we go. You can see that we can hear the music all the time on this audio component. If we scroll down in the details and then just make it a bit bigger, you can see that we can change a lot of stuff, such as the volume multiplier, the pitch of the pitch of the sound. We can change the attenuation. Attenuation means the way the sounds spreads over a certain distance. We can make sure that we override this attenuation. So you can see immediately we have the sound inside of this little circle which is perfect, and then the sound which is around the circle and the farther you go, the last few here. And finally, when you're outside, you don't hear anything. We'll be talking more about sound attenuation and the upcoming videos. This is very important and we also have the option down here to, let's keep this on to press it out. We also have the way we can do the attenuation. Let's not worry about that for now. And if we scroll down, we can see that we have somewhere here, the ability to, if I can find that so the auto activates. So if I turn off the auto activate and play the game, you'll see that we don't play the sound, so we can choose what we do with this sound. So if I open the content browser up again and double-click on the starter music, you can see that we have many, many more options, such as the MBE sonics. Not sure what that is to be honest with you, the quality. So how much we compress, what is the sampling rate? We can change the streaming so how it sounds, the force of, by the way, I'm no expert on audio. All of these things require a lot of due diligence. A lot of smart people in the audio community, as you can see, I can barely remove the background noise from my microphone. So all of these things really do like, as I've told you, that there is a department for level creation, there's a department for coding, there's the apartment for the views. So how do you add materials, creation of materials and textures? All of these are departments in when it comes to a game, it's almost impossible to create a game on your own. You cannot have that high of a level. Now, it's possible obviously, if you want to be one of those crazy people that sit all day and thus only game development tool you can do that. But as you know, it's like if you want to go for, get a team, if you want to go first, do it yourself. So let's also talk about subtitles. For example, you can add your own subtitles when the game runs, if it has any dialogue or something, this can be used, for example, when you are having a conversation with someone, can also add some analysis into it and a lot, a lot of other options. Now, it's not only that, we also have something called the sound cue, and we can convert this starter music. So now if we play the game, there is no sound because we didn't turn on the auto activate. But anyways, that's not the point. The point is that we want to play the sound. Whenever we actually trigger it in the game. So what we're going to do is we're going to go to Create, go to volume, add a trigger volume. Let's just add it in here. We'll make it a bit bigger. So make the bounding box a little bit bigger. Now we're going to save this. Whilst the holding it will go to the content and in the blueprint and open up the Level Blueprint, it's pretty empty in here. So right-click on the trigger and create a reference. Here we are going to get the actors location. Get actor, actor location. And why are we using this? Well, because we want to play sound at location. Location and we'll play this whenever we trigger the volume. So on are on the begin overlap, so we'll add an event on the collision on begin overlap. It's okay, We will not have to add any casting for now. So compile, save. And what will happen right now is we are going to play a certain sounds and we can select the sound that we want to play. For example, let's say it's the explosion, compile, save. And right now if we play the game, if we walk right here, there you go. You can see that we play this explosion sound when we walk into this area. Now there are many ways that we can play the sound. We can also, instead of playing a sound, we can span an audio component in the level and then play it. Which is going to be a challenge for you to try. Trigger spawning sound. Instead of play sound at location, use sponsor sound location. Then create an end overlap on the trigger volume. Used stop mode. So uncheck the context sensitivity. This is very important because you will not find this top node unless you uncheck the context sensitivity. Then set the target as the audio components bond after we trigger the volume. So it's going to be the return value of this bond sound at location. Okay, great, so pause the video right now and go do the challenge. Hey, welcome back. So how did you get all of that? I'm going to remove this. And I'm going to instead play or spawn sound at location. And the location, by the way, it can be the other actor if you want, you can get the actor location similar to this. It really depends on you. We can try it if you want, but it's going to sound the same. Eventually, the sound that we want to spawn will be the explosion one. Then when on begin overlap, on end overlap. So we'll call an event the collision. And on end overlap, we are going to remove the cost. So if we try to stop sound or something, we don't get it. If we removed context-sensitive, you can see that we can stop. Let's see, stop. One of these. Okay, so I'll stop on the audio. This is what we want. Audio. Let's see. Okay, there we go. This is the stop which stops an audio component. There we go. And now we can set the return value from here. We could have also used this stop. This would have been possible. We can also stop the late. We can delay the stopping, compile, save. And actually instead of the explosion, let me use me use something that is continuous a bit. So this, there we go, stop the music. It's better than that way we really know that. Stopped. There we go. While we're inside, we can hear the music. And if we stop outside, There we go. You can see that we stopped the music and I hope it wasn't too loud. I can barely heard myself speak. Let's try this again. There we go. So as you can see, we are playing the music. We are stopping the music. So thank you so much for watching. I hope you enjoyed this little introduction into the audio world of Unreal. And the next video we are going to be talking about the sound cue editor. So I'll see you. There. 54. Sound Cue Editor: Welcome back, my fellow game developers. In this video, we are going to be learning about the sound cue editor. So as you can see right here, we have two sounds, the collapsed one and the collapsed too. You can set it as the explosion. And we have a random node and we have the output. So when we play the queue, you can see that we play a random sound because of this random node right here. So let's not waste any more time and let us get started. Okay, so currently we have the ability to add sounds. We have the ability to respond sounds and stop them. But what if we want to go a bit deeper? What if we want to change a bit of things and add more variety to our music or to our audio. We can simply just rely on what we have on the options that we have on the sound wave, we need to go a level deeper, and that level is the sound cue. So the behavior of audio playback and the Unreal Engine is defined within, within the sound. And the sound cue editor that you'll see right now is a node-based editor that is used to work with audio. So let's get started by creating a sound cue. First thing we'll do is we'll go into the content browser. And in the contents right here, we'll just, let's remove the sound wave for now. We'll right-click in here. We'll go to the where is it, where is it the sounds? And then we will create a sound cue. We'll call this the, I don't know, just testing underscore queue. Open this up. As you can see, we have this node-based. So first of all, we have the toolbar, the details, the audio graph right here, and the palate where we can select various nodes. So similar to all the nodes that we can select if we right-click on the world. So let's talk about each one of those. First of all, we have the toolbar, we have obviously the Save the browser. We can use the soloing the queue for our ear phones if you have any, any, we can mute the sound, we can play the whole cue. Or if we have a specific node in here, we can play that specific node. You also have the stop that allows us to stop the music. Next we have the Details panel, where the Detail panel displays the properties of the currently selected node. If multiple nodes are selected, the detail panel displays the common properties between them. Next we have the audio graph, and you are now familiar with how graphs work. So the audio graph is located in the viewport panel. This is the view port of our audio cue. Cue sound. The queue displays the audio signal path from left to right to width interconnection, interconnected nodes representing the audio control. And finally, we have this output node that is already here. This always has an image of a speaker on it and it comes already positioned with the sound cue. And this is the output that we have. This will create a combination between the nodes and finally played out, out of this one. So the output's no default has a volume of 0.75 on the volume multiplier and a pitch sound of one. So let's try and play something. We're going to add a sound wave. So in order to do that, we are going to add a wave player. If we add that wave layer, we click on it. We can see that we can create some kind of wave. If we play this wave, for example, we can then set it to the output. And now if we drag this sound acute into the world, you'll see that it also, we add the sound cue, ok, so we play the game. There we go. You can see that this gets played. Who can play this individual node and this individual node, or you can play the entire result, play q right here. But we're not going to test it now because it's going to be the same, because we haven't added anything else. Now let's talk about the various palettes options that we have in here. Obviously, I'm not going to go into every single one of them, but let's just have a bit of understanding of each. First of all, we have the attenuation. If the attenuation is attached like this, you can see that we can change and override the attenuation. So how the sound will be heard over a certain distance. That's the leader. Next we have the branch. The branch, as you can see, it's similar to the branch that we had previously. If we duplicate this and play the collapsed, here, we select the collapsed sound to select it here based on the parameter that is given, the sound will play either true or false. If I connect this one right here and play the queue. There you go. You can see that the second one gets played. If I play this one, there we go. Now you might think that this is very stupid, but if for some reason have one of the parameters between random or something, this can be really fun. For example, if I find a random in here and we set both of these. By the way, even this is not that helpful because if we play the cube, nothing happens. We'll need a parameter. So random. We select this one. And this one, we could just immediately just add this right here. But just for the sake of testing, let's go ahead and add this here. Play the sound. So when we play the queue, the queue, play, play, play, play, play, play. There we go. As you can see, this is the branch. At the same time we learned about the random. How cool is that? Next we have the concatenated. This concatenated is really, really fun. If we add this one. This concatenates two sounds together. So they concatenate or NADH is used to play sounds sequentially, not, not at the same time, but as a sequence one after the other, we start off by dual pens, but we can add multiple pens right here. So if I play the sound cue, there we go, you can see that they play one after the other. Next we have the continuous model it modulator. So the continuous model later node provides a way to control gameplay parameters for the volume and the pitch modulation. So as you can see right here, we can change the various parameter and the minimum, minimum output, the maximum, maximum output in the ***** and on the volume. And we have many things we can select whether the parameter mode is an absolute or direct. I know almost none of these makes sense, but as I've said, these are deep, deep things and I just wanted to give you a general idea or maybe you are very interested in tweaking your sound. This would be really great for you if you don't care and just want to create a game with some sounds, that's also good. That's why we're not hovering over them too much. Next, we have the delay, which is pretty simple. Simply attach this layer right here. And if we click on the delay, we can delay this. We can add a random delay. So the minimum delay, for example, it would be 1 second, while the math maximum they would be two. So now if we play the queue there regards so we had a lay of I don't know what how much what else would we talk about? We have the dialogue player, which is a very fun one. You can see that we can select the speaker and the directed at. And this will allow you like if you've ever played like for example, GDA or not GTA, I don't know which game we should. The key I do. There is also a good example. If you have a dialogue between two people. If you stand behind that person or in front of the person who's speaking, the sound will be different. So this is very important to know. Also, dialog layer can really help. Obviously, you need a dialogue wave, so you can go do that right ear. What else do we have? We have modulator. If we add that, you can see that we can change the pitch and the volume. This is very important. So if we, for example, set the detrital you to be 0.3. And in here like five, we can, This doesn't like, you can't really gauge how different that is, but it adds a little bit of variety. So we can also select the volume 0.2 multiplier and Swann to be three. This one was very low. This one was very high. Pick aka stop. There we go. This is the modulator. Modulator. We have the quality level, the random which we talked about, the switch. That's very nice so you can select between multiple ones. We've seen the switch, and let's finally talk about one that is the Doppler. So if I go into the Doppler and add this one, we can create a Doppler effect if you don't know what the Doppler is, let me explain it to you are very fast. So let's say you have an ambulance coming towards you and an ambulance going away from you. Both of them emit sirens, but you hear those sirens differently. Why is that? Because the ambulance that is coming towards you is admitting the sound waves, but because of the speed of it, the sound waves are, sound waves are getting stuck together and they are route and arrive to your ear more compressed while the one from the ambulance that has going away are slowly getting decompressed Soviet differently. This is very useful if you, if I have a car or you want to create a realistic sounding ambulance, this can be very helpful with all of these out of the way To be honest with you, like sound cues are, for me in this course at least are not going to be that important. So if you are interested, this is a bit of a challenge for you to continue the exploration. Use the following link. It will be also available in the resources if it's not simply search for sound that you reference in the unreal documentation. And you will find everything that you need. Look through the other nodes and the balance and use them and see how they work. If you are interested In tweaking your audio to the maximum, you can do so many fun things with this. I do recommend if you're interested in going through them. But we are going to delve deep. We're going to focus more in the next video on the attenuation because that's where we can really play around. Was like at a distance. So thank you so much for watching. Just go explore if you see interest in all your, and I'll see you. The next one. 55. Sound Attenuation: Welcome back, My favorite game developers. In this video, we are going to be learning all about attenuations, which is really, really, really cool concept. So if I select this guy right here, and we select override the attenuation and we decrease the fall off distance. If we are standing outside of the circle, we can not hear anything. If we step inside of it. We can start hearing a bit. And the closer we get to the source, the higher the sound gets until we are finally inside of the circle and weekend fully hear it. We'll see how we can change lots of things in here. Some things you might think, Well, Michael probably doesn't know. Well, Michael doesn't. I'm not a super expert and playing around with all your so let's not waste any more time and let's get started. Okay, so now let's focus ourselves on the sound attenuation. Sound attenuation is a setting that can control the various aspects of how a sound behaves over distances relative to the listener. And usually the listener is you, the player. Let's talk about attenuation. This section defines how the sound volume is going to be reduced so over a distance. So let's grab one of these sounds, maybe normal or q, that's just add one of the sounds that we have and the sound wave will add the starter music here. Yep, seems to be good enough. We're going to override, override the attenuation. Once we click on it, you'll see that we have many, many, many, many, many options. Now the first thing we're going to talk about is obviously the enabled volume attenuation. If this is not on, you're not doing anything. Next, we have the activation functions, as you can see, we have many of them. So I decided to create a slight function to make you or help you understand button. First of all, we have the linear, this is the default function. When using this function, the volume will attenuate linearly. And so the change in volume is constant as the listener moves towards and away from the source. And by the way, let me just, you probably seen this, but if you didn't pay too much attention inside of the circle, there is no attenuation inside of this inner sphere. While I outside of the sphere, there is going to be attenuation. Let's see if we can maybe just trigger this or if you play the game. I don't know if you can notice. Maybe if you play it on your PC, you can hear it. You can faintly, faintly hear how this is going to change. Next we have the logarithmic, the change in volumes are greater at a closer distance and less at a far distance. We have the inverse. This function is good for sounds that only needs to be just alterable at a very far distance. But that gets significantly louder as the listener gets quite close. As you can see, it never gets to 0, so it's basically infinite. Next we have the log reverse. This function is good for sounds that need to be loud across large distances. We have the natural sound dysfunction attempts to model a very naturalistic fall off behavior to produce something that is more close to reality. This function is the middle ground between the logarithmic and the inverse. As you can see, it's a competent, it's like a combination of both of these. And finally, we have the costal. This allows you to find your own custom functions when none of the ones are provided are sufficient for your needs. You can see that it's similar to the way we change the timelines and what in that, let me show you that we can add points by holding down Shift and plus the record. You can see we can change how the sound changes and how it behaves as we changed the various, I don't know, set points, changing how they behave from point to point and all of that good stuff. Next we have the attenuation shape. So currently it's a sphere, but we can select a capsule, as you can see, now we have this capsule. We have the capsule radius, which we can increase. There we go. You can see, so now it's, everything inside of this capsule will be the highest. Next we have the box. This is very good if you ever want to put the sound inside of a room and you don't want to go outside of that room. Next we have the cone. The cone is really nice because the conc is useful in situations when you want a directional attenuation better. For example, a public address speaker, if you, for example, want to create a game that is centered around a, I don't know what like a very totalitarian. Environment or country. You can then create this slide sound which allows you to, let me show you like for example, everything outside of the circle. If you play the game, you can't hear it. We can hear it at all. So let me, let me try to move this slide here. When we play. There we go. We can see that inside the cone. And the farther we get from the comb, the less we hear of sound. Let's, let's try to move this like this. Now you can hear how it's barely, barely, you can barely hear the sound. This is very cool behind this, you will not hear anything. Anyways, let's take this back to the regular sphere. This is the most used one. Next we have the inner radius, and obviously each of these shapes have their own way of changing the radius. For example, N. Keep in mind that the inner radius can change and that also changes the outer radius. So if we zoom out, we make this smaller, we make this bigger. And we also can change the fall-off distance. And this property defines the size of the outer area of the attenuation shape. This is the same property regardless of the shape that is measured from the, regardless of the shape that we have. And also it is measured from the edge of the inner to the outer. There we go. Next we have the attenuation specialization, which is right here. Obviously we have the collision, the sub-mix, the reverb. Honestly, I don't know what all of these do. I have never dealt that deep into how they work. They are more advanced, but let's talk about the space utilization of it. This section defines how the sound will specialize and the game world. You can choose the method of specialization that best suit your project, as well as experiment with different settings for how your sound will behave as the listener moves away. You can see that we have the planning, the binomial. I think this is the only place where we are going to change things up and play around with them. That's basically at all about attenuation. Obviously, as I've always told you, if you want to go deeper, I really do recommend that changing and playing around with Odeo can really, really, really enhance your game. Don't take it lightly. Happened in here. Did I call something anyways? Okay, great. So why are you doing this to me? Obviously there's something wrong, okay? Anyways, finally, let's talk about actually creating an attenuation asset. The content. We're going to remove this and we can right-click. And in the sounds we can create a sound attenuation, let's call it the sound testing sound attenuation. If we open this up, you can see that we have the exact same settings that we had previously. But the power here is that, for example, let's say we don't want to upper-right this we can simply use the testing attenuation sound, which will take all the properties that are here. Whereas, where would that be very useful if, for example, we have multiple objects of or multiple objects or actors in the world that want, that you want to exhibit the same sounds over and over. This asset can be used and set to all of them without you having to go into every single one and changing and setting the same details all over again. Finally, I'm going to issue a challenge that I will not do with you. It's a pretty simple one. Simply create a separate platform to add sounds on it. Apply the different functions with different attenuation shapes. See how all of that changes. Make sure the sounds are looping because you want to keep hearing the explosion if you have an explosion, also play around with this specialization method, the binaural and the planning. And depending as you can see, how much I really don't understand about all of this music, as well as because we will be using them later. And also some differences may not be clear. Keep that in mind and news extremes whenever in doubt. Take it to the extreme, see how that changes up things. So with that out of the way, I hope this section wasn't too boring. To be honest to me. It was not going to lie to you. I'm going like completely honest as much as I possibly can because music was never my expertise. I liked it even less than material. So thank you so much for watching. Now, don't get me wrong. I love adding sounds to my game, but I don't like tweaking them by playing around with attenuations and adding them in the sound cue. Maybe because I never really delved into that. I just have somebody that does it for me anyway. Thank you so much for watching. See you in the next one. 56. Section 12 - CyberSpy 3027 - Adding SFX to Our Game - Where, What and Who: Okay, So in this video we are going to talk about the various music and sound effects that we are going to use our game. I'll show you what I got. At least I'll show you what I will require and where I got all of my sound effects and music. And then I'm going to show you the website where you can find your own sound effects and music because you might not like what I got. It's perfectly understandable. Let's talk about first of all, the background music. Obviously every game needs some kind of background music just to add a bit of excitement to the, our game is already very exciting, but obviously we want more excitement. Will have background ambiance. This is similar to the birds chirping and the leaves blowing. So this is just adds a second dimension to the level that you're playing gap. Plus, for example, the ambiance can be the same four to three levels, but maybe each level requires a background music or after you, I don't know, pick up a jam or move over a certain area, the background music can change, but the ambient scan depend on the environment you're in. So that's one thing. Next, we will get the getting hertz sound effect. Obviously whenever we get hurt by the spikes or we get hurt by the enemy, we should have some kind of hertz sound effect. Obviously, we also need some kinds of dying sounds. So after getting hurt multiple times, we have the dying sound. We have the pick-up sound effect. Obviously we have the destruction of the actor. Later on we'll be adding this kind of like maybe we'll add a screen that lights up whenever we pick up an item. But we also want to have some kind of sound effect whenever we pick up the jump. That would be very cool. We have the going through the door sound effect. So now we haven't yet created the moving through the door. That's obviously because we didn't learn enough things, but we will do later on in the course. Going through the door should also have its sound effect. And then after it is done, and we move on to the next level. Maybe also we can have like going through door sound effects. You can add a sound effect that doesn't allow you to go through the door. So it's like something. We have the platform sound effect. Hmm. So when the platform is moving in front of us, this is where we are going to use our attenuation. This is where we'll use our attenuation while the platform as far away from us. And as it gets close, we will be inside of the follow-up distance and we will hear more and more the humming of the platform. We will have the jam Hmmm. That's also be really nice, especially if you want to create some kind of mechanic where the Jenn isn't seen, maybe it's a bit hidden or some kind of level where the gym needs to be found after a certain amount of searching. The humble would be really nice. It would be very, very nice mechanic to add into your game and agonize way to enhance your game using only the things that you know without adding anything extra. We will add a pressure plate sound effects when turned on. That's, that would be really nice. The walking sound effect. So this is going to be very simple, just simple footsteps, tick, tick, tick that play whenever we are walking, this will add an extra layer, layer of realism to our game. So the walking right now, not only do we sprint and walk normally, we also move our head around and then we will have steps also. I mean, that will be so cool. We have the enemy sound effect, the enemy as he is moving. This also can have its attenuation. It would be really nice. Jumping sound effect. Whenever we jump out there should make like a sound. Just to show that he's trying to do some effort. We have the two landings on the ground sound effect. You'll see it in the resources that I provided you. We have two landings because in this case I wanted to try out the sound cues just for the sake of using them and our game because we learn them and I wouldn't want to just bury that and information that we learned. I wanted to use it somehow. So the two landing sounds who combine them in an ICU. Then whatever else that you want to add, there is an endless possibility of things that you can add to your game. I don't know what you want to call them. You can have no sound effects when you hit the small spikes. Sounds of facts. When you hit the big spikes, you can have many, many, many sound effects to your liking. Like it's all about where your imagination can take you. Before I go, I wanted to show you this website, which is open game r.com or.org. So this is a website where I usually get everything that I need for my game. Now usually this is more oriented towards 2D art. The 3D art in here isn't that great we honest with you. But still the good thing is that all of this is for free. Now look at the cool part. If you select, for example, music and sound effects, and you search, you'll find that you have over like, I don't know how many in here we have four by 3456, so six by four. Like we have hundreds and hundreds of sounds on all of these can be used in your game. Now keep in mind if you ever want to put your game out there on a store and have people download and start making money out of it. You need to make sure that you understand these licenses. And here, now, the best one is the CCSE, which means that you don't need to mention anybody. And the CC by three. And this one, and some of these require you to mention the artist. It's fairly simple. You can also contact the artist of the sounds that you would like a lot. I'm just asked him if he would mind if you just use a sound or maybe you can pay him something symbolic or give them a very small percentage of your games revenue. So that's what you can do. Anyways, you can see right here displaying one, okay, So 8,391 sounds thought. Some of these look, you have 50 RBG sounds inside this one, so it's much more. I think you have over 16 thousand sounds. And this library, you can download any sound you want. You can find any sounds you want and you can use it if you want. You can also maybe go like do some kind of website other than this, just type in sound effects and just get yourself some sounds. Great. So with all of that out of the way, I'm going to issue you a small challenge. So get yourself some music, compile, compile your own list of things you'd like to add to your game. Get creative, get crazy. So don't just maybe you've added your own mechanic. Maybe you've added a double jump. That would be really nice. Goes through the sound effects I provided you with and see if some of them are not to your liking. So maybe Unlike, to be honest with you, it took me like around two or three hours and just do a three-hour to find the sounds. Like for me, it's just like whatever it cuts the bill, just go for it. Maybe you wouldn't plug these sounds. Let's go find your own. Go through open game art and find yourself some of the sound effects either to replace mine or for the ones you want to add to your game. So with all of that information, thank you so much for watching. I hope you enjoyed the video and I'll see you in the next one where we'll be actually adding things to our game. So see you then. 57. Making Sure SFX Work (Audacity): Hey, So before we move on to actually adding the audios, I just wanted to go over a simple program that will allow you to make sure that the Unreal Engine takes and the audio that you send do it. Because sometimes I faced many problems whenever downloading audio from open game art would like if it's not the proper format, it would not work on the Unreal Engine or whatnot register and the content browser even in this video, I'm just going to teach you a small program or show you a small program and teach you how you can convert any sound effect into the proper format in order to get it. So these are the sounds of facts that I've provided you with. Let's say one of them does not work and I know that a lot of them will not work. If you go and Google just Audacity. You can download Audacity. It can be, I think it works on both and all platforms on Mac, Windows and online. You can download it. It's 100% free, it's open source and it's cross-platform. Now, you don't need to have any magical abilities. I use Audacity for my voice editing. It's not the perfect program. Yeah, but still it's free. It's not even cheap. It's completely free. You can download it. Once you've downloaded it, simply search for all density right here. Once it's open. Let me drag it right here. So you have this screen. Let's say you have one of your sounds. You simply drag and the jump Example. Dragging the jump once it's in here. So you can play that. There we go. This is the verb of the chunk. Then once you have it in here, all you need to do is simply go to Export and Export As WAV. And once you click on that, it should prompt a screen where you can save your sound as a WAV file. And the WAV file always, always works on the Unreal Engine. So this was just a video, just a small tip to show you how to make sure that your sounds or the sounds that you've downloaded now unloaded can and will work on the unreal. So as you can see, because I haven't plugged in my, my I like charger. The world is very slow and lagging, but no worries about that. In the next video, it won't be when I plugged my charter. So remember or density, download it, use it in case the sounds that you have don't work. And you can also do a lot of other things in the butt because the WM VWA v always works on the Unreal Engine. So this is just a small video with a small tip because I've got, first of all, from my own experience, I know that a lot of audios don't work in the unreal. Now everything I've provided you with is WAV and will work, but just in case you got your own sounds. This is a great tool to convert them into working sounds. So thanks so much for watching. And this is the second time, I promise you, but I promise you in the next video, we will be adding audios. So see you then. 58. Adding The Audios: Welcome back. My fellow game developers do the longest video in history. So when we play the game, we can hear the background sounds when we walk through, we start with the music. If we go near this, you can hear it when we pick it up, we have a sound, you can hear we have footsteps when we jump, we have a sound. When we learn, we also have a sound. When we get hurt. There we go. When we turn on the platform. Next to the platform, if we're close to it while it's moving, you can hear a very, very faint sound. And finally, when we die, we die. So let's not waste any more time. This is a very long video. Take your time with it. Play around, make sure that you don't get overwhelmed with the amount of time that you're spending on this video. And you can even cut it out into two pieces if you want. Do the first tab and do the second half or just do it all at once. So thank you so much for watching. I am really sorry for the length. Let's not waste anymore time and let's get stopped. K. So time to actually get into adding our audios. So first of all, the content browser and the content right here, this is where we are going to set the audio. I'm going to go into the file where we have all of our audios and simply drag this audio folder in here. If everything goes through, right, there we go, we should see that we have all of our audios. So Control S or Control Shift S to save everything, or Control S PUT, just save what we have in here or we can click this button or this or whatever. So yes, safe. Next you'll notice I've added this little box right here and the player start. Once we started the game, we can walk out of here into our level. And this has a purpose because I wanted to add a trigger box right here that will start the background music. But before we do that, I want to drag in the outdoor ambient. There we go. So this will be our outdoor ambient. So now when we play the game, there we go, You should hear this kind of waterfall and whatever. I just got this randomly from the website. So it just for funds. So we can set this sense. It doesn't have any attenuation. You can set it wherever we want and we can maybe tweak it, but I don't think it's the details. That's why I didn't find anything. We'll set it at the zeros, zeros 0 location. So Control S. Next we're going to add a trigger volume. And by the way, I know this video is probably very, very long, but it's okay because we're adding all of the sounds and one single video. Once we cross this, I want to play the sounds, the background music. So I'm going to make this box just a little bit bigger. So we make sure that the player, no matter what happens, will cross through this. Move it up just a little bit. Now we'll go to the blueprints, open the Level Blueprint in here. Let's just, let me just delete these. I'm going to right-click called event on the trigger volume on the collision on the beacon overlap. In here, we're going to make sure that it is the character. So gas through my character. The character from the character I'm going to do once on this, do once. I'm going to play a sound, play, sound, play sound that I want. If we go back in here, select the background music, go back into the level and just set this as the background music compile, save. And now when we play the game, we have the background music. I mean the ambience. Okay, great, So there we go. This is our sound. I'm just going to turn down the music that I have on my B C naturally know what, maybe we can just start turning this down as long as we know they work. I don't want them to really interfere me just some reason it didn't. If I open this up, I'll just set this to 0.5. That way we can still hear each other whenever we thought, you know what, let's set it to 0.2. So it's just a faint thing points in the background and this one also, let's set it to 0.5. There we go. Save, save, and close these down. Next we'll want to add these sounds are getting hurt and dying. So where do we die? Let's see. The my character. In the event of graph, before we quit the game, we are going to die. Before the game over. I'm going to play sound at location. This is not a sample D to D, by the way, i'm, I'm not sure if I forgot to mention it, but sound to the means it plays all over. There is no attenuation. It just like a sound all over the world, just as it would be in a 2D world. So there is no extra dimension. The location is going to be on the get actor location. So get actor location. This is where we are going to play the sound, the sound that we are going to play if we go back in here and the audio, we have the player debt. There we go. Click on the player dead and select this little arrow in here. So I'll compile, save. And in the game, Let's add these spikes. Oh sorry, the audio spikes, Let's add the death spikes. So play the game. But the problem is, as you've noticed, that we don't hear anything because we quit the game immediately. So before we quit the game, we are going to delay. And this is why it's so important to always test things out. I'm going to add a delay of 1.6 seconds, you know, 1.6 seconds because the depth sound right here. This has gone to be a long video. Anyway, if we hover over it, you can see that the duration is 1.6, so we have enough time to play. Now this presents another problem is that there we go. It takes a bit of time and weekends still keep on walking, which is not good, but don't worry about that. We will fix it later on when we learn a multi-arm G, because obviously when we lie with Antoine to quit the game immediately, we're going to go into some kind of like spas video bypasses positive view mode. And there we will have the option to either restart the level of the game, so that will be handled later on. No worries. Next we want to add the hurting sounds so in case we don't die after event, take any damage. So in here we are printing out and before the delay we're going to play. And actually, you know what, let's just copy this. Put it right here. And we are going to play sound at location which is going to be the hurt, hurt, what's called or damaged. Getting damaged. So Compile, Save. When we add the spikes. There we go. So now we played the game. There we go. You can hear this small tick. There we go. So we can hear this little getting heard sound. I know it's not much, but it does the job. So next thing we're going to do is we're going to issue you a bit of a challenge to add the following audios. So when the jump is picked up, that's important. When the pressure plate is triggered. When we go through the door. When we jump. Also add an audio component to the enemy, the player controller and the moving platform. These are all important and make sure it moves, moves the object. So make it a child of the component that is moving. So that's very important because all of these audio components will be based or will have their attenuations played around with me. Make sure that the bars, the video right now, The Golden the challenge. Okay. So how did you get on with that? I hope it wasn't too hard. In the Content Browser. We're going to go to the FPS and open up the player controller because I believe the player controller is where we jump. Is it about what did we have in here? Okay, So this is the Start, Stop camera shake. Next we are going to go into, whereas the jumping, we have a lot of things in here that are not done very properly sold. The movement, the jump, the jump. I'm simply going to play a sound. Play sound. We complete either sound to D or play sound at location. It really doesn't really matter. I just want to make sure that, you know, all the different ways we can play the sounds. I'm just going to keep it simple and just a jump. So I'll compile, save. Now when we play the game. There we go. Now the problem is, is that if this is not very good, we do here this jumping sound, but we don't want to keep hearing it if we are already up in the year, we want to make sure that when we are on the ground, then we can only hear the jump. So what I'll do in here is I'll create a branch. That branch condition is going to be if we are on the ground. So I'm going to grab my character. I'm going to get the character movement. From that character movement, I'm going to check something that is called, is moving on the ground. If we are on the ground, if that condition is true, then we are going to play the sound compile save. And if we play the game, if we press it multiple times, there we go, we fixed our big problem. Excellent. Now the next thing is the jump being picked up and the pressure plate triggered. So if I go back in here, this is fairly simple. If we go to the gym, that's fine. The jam, open up the pickup jam. Saw before we destroy the actor, we are going to play a sound sound. And hopefully this will not be destroyed with the player with the jam. And we'll see if that does. So we're going to write in here jam, jam backup, compile, save. When we play the game. There we go. So now we are able to pick up the jam and it sounds pretty nice. What else do we have? The pressure plate that I call it brush pen that I can trigger plate. Let's just call it plate. Activation plate. Okay. So activation plate, when we activate, do once, set the material and the play sound. Play sound to the what is it called? The plate? Let's see, pressure plate. I call the pressure plate. Well, it's based on the players pressure on it, so it makes sense. Let's save everything and let's play the game. Excellent. So as you can see, now we have the pressure late working properly. Now before we move on, let's close down the pressure plate. We won't be using it. And what else do we need to do? Go through the door. The door is what we are going to do next. In the door. Let's find the exit door. I know this is a long video. So as I've told you, you can either create a SAP or you can also create a sound to whenever we are not able to go through the door, but I didn't go to that length. I really forgot about it or didn't really want to do it. I don't know why. The exit door, exit, Let's see door, open door, sound effects, regard, compile, save. And I'm going to go to the other end because we don't have the time. Also this all by the way, I think this will only work if we've actually yeah, this will only work if we actually can't go to the next level. I'm just going for the sake of testing, I'm simply going to let's just keep it in here. I'll just drag the jam that we have all the way to displace. Now on the play button, you can see that we have the option down here to either play on the current camera location or on the default player stopped. The player start is way over there. Just for the sake of testing, I'm going to select the current camera location. Play. Pickup this. Now. There we go. So you can hear how the door opens up. How cool is that? Next thing we're going to do, let me just change this back to the default player start. What else do we have to do? We need to add the components to the enemy player controller and the moving platform. The exit door is done. The pickup jam isn't done. We needed to add one to the pickup gem, right? I forgot to tell you that we need to add one to the pickup jump because we obviously need to have the humming. That's okay. Please don't be angry at me. So let's add an audio component. This will be the jam. Hm. This jam Hm is going to be the sound gem, humming, compile, save. But for now, we're not going to actually play it because as soon as we start the game, we are going to hear it from a very far distance, which is not very good. So let me play. You can hear this is the sound of the jump, but obviously because it is all over the place, it doesn't choose attenuation. We can hear from anyplace in the world, which is very, very bad. So I'm going to select the jam for now just said The whereas the auto activate two off, just for now. Next we're going to go into my player controller will add an audio component in here also, this will be the stepping, maybe as it steps, sound, hit Enter. We'll also get the moving platform and the enemy. So the morphing platform, we'll add a component on the moving platform ground. So add component, the audio component, the platform humming. The sound on it is going to be the hmm, see platform home, compile, save. If you play the game. Go. You can hear this little like some kind of soul in the background. The platform humming. I know this video has been, I think we're around 16 minute mark. I'm very sorry about this is what we do. Now. The platform humming isn't just going to work on all on its own. We're going to make sure that it only works once we have it activated. So after the set activation right here, we're going to drag and the platform humming. We're going to check. That's move this up a little bit. Just to give it some breathing air in the ear, we're going to check and set the volume multiplier. If it's off, we're going to make sure that the volume multiplier as 0. And if it's on hold, excuse me. If it's on, then the volume is one. And here we are going to drag this, so compile, save. And now we should see that we don't have any homing once we turn this platform. Okay, So that didn't work. For some reason. If we hit the F8 key and we check on the moving platform or is it the moving platform? If we scroll down, we don't for some reason do why do we not have we do have it in here. And the volume multiplier, volume multiplier is one, but we don't hear anything for some reason. Well, let me check what the problem is. Okay. Welcome back. So again, after searching for this for like ten minutes, finally I realized what the problem is and it's something that we were going to do later on, but I thought that it can be postponed, apparently not. So if you click on the platform, you'll see that it should be looping. Why does it, why should it be looping and why is this a problem when we turn it on? Well, because the entire sound around, like the duration is 7.5 minutes, 7.5 seconds. Apparently whenever we are setting it right here, it's playing while the volume is done. Once we turn it on, it's not working. So now I didn't change anything. You can see that they are exactly in the same position. Everything is the same. The only thing that I changed as I made sure that the platform humming looping once it's sloping. Now we play. Now we went, when we turn this on, there we go. We can hear it and the background. Now. The things we need to do is turn on the looping on the background music. Turn on the looping on the jam humming. Turn on the looping that I saved the background music. Yes, Control S, getting damage, the outdoor ambience. Turn looping on this also. I think that's all we need to do. Yep. I think that's it. So sorry for that mistake. I I like for some reason I was so confused because as I've told you, I know that this should work and I was like so perplexed. And the other problem is that when I used to turn this on the platform at work, normally solve it was like what what's happening when I change the volume of the multiplier on the platform humming it worked immediately. I was very confused. But anyway, what else do we have? So we've added the platform humming, we've added the jam humming, we need to add the the player character, we've added the jumping, and now finally we need to add the landing and the walking. So let's go ahead and do that. First of all, in the walking, we're going to go where we have the camera shake. And from here we are going to create a sequence. From this sequence, the first one is going to reset the first ones we're going to add the same thing in here. Bam, there we go. And reset this one. The second one we are going to get the steps sound and we're going to set the multiplier on each one. So set the volume multiplier. We go. There we go. And we'll set the target in here. So if we stop shaking, we're going to set to 0. And when we start shaking, we're going to set this to one. So Compile, Save and as the audio steps set up, Nope, that said the steps. Steps, walking. Sound wave for the walking. Let's see. Right here is called the walking. Yes. It's a very faint sound. I think maybe we should play. Nothing is heard. Let's increase it sound of the Walking. Maybe we should also set it to looping. I don't know. Let's try to increase the sound to like five. See if that works or if there is another problem. Or maybe we should set it to looping. Looping, see what happens. Okay, great. Now we can hear the steps, but the problem is that when we are running, It's the same thing. So we're not actually hearing anything when we're walking, when we're running. So we'll go, we'll save this, keep it at five, keep it at looping. And then on the player controller, when we sprint, whereas the sprinting cause movement. Whereas the sprinting. Where did we set the splinting? Okay, there we go. So this is the sprinting will add steps sounds in here. And this time we're going to set the pitch multiplier. The multiplier should give us that nice effect of us running. We'll set the target in here also. This is a bit squished, no worries. Which multiplier when we were just walking should be one. And it depends, maybe you're walking speed is a bit higher source, set it to your liking. And then when we're running, we're going to set this to four. So let's see, compile save. Okay, Sounds great. Actually we might want to make it maybe five in here. There we go. So compile, save. And now we should hear. Excellent, I'm very happy with all of that. The last thing we need to do is we need to create some attenuation. Also the landing, also the landing. In the landing, I'm going to right-click and go to the sounds, whereas the sounds, sounds create sound attenuation. This will be the blending sounds. Notice it's not the attenuation, this is the q underscore pew. Sound attenuation. Oh my God. Sounds. We're going to create a sound cue. And we'll use this name here, this one here. And let's just delete this one. Delete this. Keep the sound cue. I was confused like what's happening in here. I'm going to set this up. We'll select the land one, right-click and we'll add the wave player for the sound. One will select the land to go into the landing cure right-click and select wave player for the land to. This will be our landing sound when we hit the floor after jumping. In here, we're going to create a random. Random. This way we'll keep things fresh. And after the random will also create a modulator. This way we'll change the modulator from the pitch sound being 0, from one, with a pitch sound maybe being 34, maybe. 0.8 to three and the volume mix is going to be 0.823. I don't even know how how this will sound like if let's hear sounds, try to play the queue. So obviously we need to increase this old 0.08. Sorry, I was wondering like why is it? Okay, great. So now when we play the game, we haven't attached to it yet. So we have the sound cue in here prepared. And when we land. So how do we know when we learned? It's pretty easy because we have something called the event land. So when we land land on the van plan on land event, can I find it? I can't find it. So this should be from my character. So let's get the character. Maybe we should do it here. Actually, let's make it in the character. Why not? It's far easier. Saw on land, on event land. There we go. We are going to play sound to the, which is going to be the sound cue that we have. Landing sound, Q, compile, save. And now when we play the game, this will be fun in this case when we jump. Regard. So now we have a bit of like honestly, I wouldn't use the landing zone in any other case if it wasn't just for the sake of using a sound, the queue. Now what do we still have? We have the attenuation, Yes, the attenuation. So this is the longest video in history. Back in the sounds, the sound attenuation, this will be the score. And the mistake that I made couldn't help it too much. So I'm going to open up this attenuation and we'll just do a couple of things in here that I already know. The attenuation function is going to be the natural sound. If the attenuation is going, shape is going to be a sphere. The inner circle is going to be 80. The outer circle is going to be 1500s that we're only when we are very close to, we hear the hummingbird of the various objects. So the specialization method is going to be by neural. That's it, I think so apply, look back at the settings. If you're not sure or if you want, you can experiment with your own settings. I do recommend that. Let's maybe add one neural radius of maybe fifty one hundred and eighty, one hundred and ninety. I don't know. Let's just add 180. See what happens. Save. Let's go into the platform humming. So on the pickup jam, on the jam hmm. We're going to scroll down until we find the attenuation and we'll select the humming attenuation, will make sure that it auto activates, compile, save. And now when we play the game, we didn't hear any of that because I think we turned off the gem harm right here. There we go. So when we turn it back on, this is the radius that we have. 150,500 is a bit big, but anyways, okay, So sounds good enough. I think maybe shouldn't be tweaked a little bit more. Now let's go to the platform. The moving platform. The content that I'll click open it up in here, the platform humming. If we scroll down, we should add the attenuation. Know what I think. Let's just keep this at 0 as it was. Save, think we did some mistake when I changed that. Something is not compiled in here. Let me compile save. So the platform moving or K And what else? Oh, we forgot above the enemy. So many things to do so little time. So the BP enemy, I'm just going to go ahead and add the audio and add it to the enemies bodies so it moves with it and the enemy will select the sound. Enemy. Nope, can't be that easy. Need to go back into the audio and check for the where is it? Where is it? Where is it that walking, jumping, getting damaged. I'm not add a glue. Goodbye that I had an enemy sounds. While should've done that. Anyways, we'll just select the regular channel hmm. I think that will be enough. Jam humming. The attenuation is going to be the one that we created. Compile save finally, the moving platform, everything should be in place. So when we play the game, okay, there we go. Maybe we should make this a bit bigger. Yeah, I think we should make the attenuation on this one a bit bigger. If we go to, we have so many tabs right now. So we'll open up the attenuation and make this maybe 300. Save. Okay, there we go, so we can pick it up. And now when we hear that. Okay, Excellent. So guys, girls, thank you so much for watching. I hope you enjoyed. I know it is longest video and trust me, I've been at the longer than you have. We made some mistakes, mistakes, we learn from our mistakes. I hope you enjoyed this video. Thank you so much for watching. See you in the next one, and congratulations now, our game is much more fun because of all the audio that we've added. See you. The next one. 59. Section 13 - Unreal Motion Graphics UI - Widget Blueprints: Welcome back, my fellow game developers. In this video, we are going to be learning how we can create widget blueprints and the overview, these widgets, widget blueprints on my guy like and talk over our screen. So now when we play the game, you'll see that we have these four images on the screen for some reason, even though they are not part of the game, they just move around. And this is the essence of game development or actually any game in displaced things to the screen. And we're going to learn how to do that. So let's not waste any more time and let's get started. Okay, so time to learn about widget blueprints. So in order to start working with Unreal motion of graphics, which is called the UMG, we need to first understand and create widget blueprints. So first of all, this is annual level. I've created that from the File new level. This is called the widget testing. It's completely empty and we don't need anything in it. So we're going to open up the content browser that we have in here. We're going to right-click in some kind of anti space. And we are going to go to the user interface and we are going to create a Widget Blueprint. So once the Widget Blueprint is created, the Canton browser will close for some reason. And we are going to call this the BP underscore, underscore widget, chipped testing, open VBP widget testing. And here we are. By default, the Widget Blueprint editor opens up on the Designer tab. This is the Designer tab. The Designer tab is the visual representation of the layout. And we'll give you an idea of how the screen will appear inside of the game. Why is this called the designer? While I'm glad you asked, because if we go to the top right, we also have something called the graph. If we click on it, There you go. You can see that we also have a way to code inside of our UMG or our Widget Blueprint. But let's not get ahead of ourselves. Let's go back to the designer and let's talk about what we have here. First of all, we have a menu bar. It's a very common menu bar. We have the toolbar. This constraints the number of commonly used functions for the Blueprint editor such as the compile the same, and all of these other fun stuff. We have the editor mode, which is on the top right. This is called the editor mode, which switches between the desire designer and the graph. We have the pallet on the left upside. This is the list of widgets that you can drag and drop into the visual designer also displays a common classes. So as you can see, we have the buttons, the slider, the texts, and a lot, a lot of, a lot of other things. Next on. Next in here, sorry, we have the hierarchy. This displays the parenting structure of the user widget. You can also drag widgets into this window. So for example, if I add a button right here, you can see it's added. And if we add a checkbox under the button, you can see that there is a certain hierarchy to the widgets that we add. Right here. Next we have the visual designer. This is the visual representation of the layout. We've already talked about that. Next we have the details. If I click on the bottom, you can see that this displays the various properties of the currently selected widget. And finally down here you can see that let me delete the compiler. We don't need it. We have the animations. This is the animation track, the UMG, hence why it's called UMG, which is unreal motion graphics. So there is motion that we can add to this, and we'll learn how these animations work later on. Now, let's talk a bit about the visual designer that we have in here. We'll add a couple of things. And the, and in the upcoming video we'll be delving deeper into every single one of those. First of all, let's see. If we hold down the right mouse button, we can move around. If we scroll with the mouse button back, we zoom out and if we scroll down, we are zooming in. Very nice. We can also hold down both the left and right mouse button and move them up and down in order to zoom in and zoom out very basic things. Next we turn, we can turn off and on the outline. Now this is based before. This is not very important because it will let you or allow you to choose the language that will be added will not talk about that too much. Next, we have the outlines. As you can see, we can turn on and off the outlines. Next we have the slug. So for example, if we have a button in here. Let's say it's like that. We can lock it, which now makes us or does not allow us to choose this button. If we turn off the slog, as you can see, turn it on one of them respects. There we go. Even though this is locked, now we can move the button around even though it's slightly because this allows us, as you can see, enables or disables respecting log. Once we lock it down again, you cannot move this until we unlock it right here. Next we have the layout and render transform. So this is a bit tricky because depends on how the object is inside a certain widget. So right now we are using the widget layout transform. If we select the widget or the adjusted widget render, you can see that we can start moving this around. Well, let me show you a better, better example. For example, if we have horizontal box, I know this is very advanced, but keep with me this is a simple example. We'll add a button into the Horizontal Box and we'll duplicate it three times and we'll make sure that they fill. Okay, So currently if I hold down this on the adjust widget, you can see that I can move it outside of this widget completely. And we are left with only two buttons, and I can not move it back and side. I have to do it manually here on the horizontal box and fill it. But if we are in the render mode now, I don't think that was clear enough. Let me now, as you can see in the render mode, I don't move it outside. I just hovered over and then that's it. So there you go. These are the basics of using either the transform layout or the render layout. Now ninety-nine point nine percent of the time we won't be using the widget layer transform. Anyways, I know that was probably very confusing, but There we go. Next we have the snapping. So just like we have the Unreal Engine in here, for example, we can remove all of these snapping completely and move it around. Or we can add snapping, for example, to make it well snappier. Next we have the Zoom To Fit. So let's say we are right here. We click on the Zoom To Fit and bam, we are back, baby. What else do we have? Let me delete this bottom. We have the switch between landscape and portrait. Well, if you look at the right, let's talk about these. First of all, we have the screen size, so we can use one of these devices to determine the screen size. You can see right here, it's 1280 by 720, which is 69 ratio. If we select a phone, for example, the Apple iPhone seven, and we switch between landscape and portrait. You'll see that it is right now a portrait. If we switch it like this, It is landscape. In here, as you can see, we can switch between those. We can select 700, which was our previous usage. Let me zoom back out. Next we have the flip, the current saves all. Now this is a bit advanced, but basically the safe zones are designed to keep the UI from the splaying somewhere that is, or can technically be used. But the player can see, as I've told you, this is a bit advanced topic, will not be delving too deep into it. And finally, we have the chance to change this from filling the screen. So this will fill the entire screen of our game. Or we can select a custom screen. So custom that regard, we can set the width and the height or we can set it to desired. This is most likely will be used whenever we are putting a widget inside of another widget. This is very helpful. Let's take it back to the full-screen. And now let's go ahead and really test this out and see how it might look AND gate. So I'm going to add an image right here, make it yea, big, compile, save. And now if we go, What should we be playing? We go into the game mode. Let's see what we're using. My game mode. So third-person character, okay, let's find the Actually we don't think to do that. I think we can find him right here. So if we search, open this guy up, the event graph, whereas the beginning play, whereas the begin play. On Begin Play. We are going to create a widget. Create Widget. And the widget is going to need a class which is the BP underscore widget testing that we just created. And we're going to add two viewport. There we go. And target that we want to add is the widget that has been created. So Compile, Save back in the testing, we play the game and there you go. You can see that we have the image that we've added in the viewport or in the Widget Blueprint. With that out of the way, this was a bit of an introduction, obviously later on we'll be delving into every single one of the aspects right here now. Obviously not every single one of them, but the most commonly used. And we'll understand how all of these work and how we can tweak all of the details and properties right here. But until that happens, it's time for you to learn on your own. Now you are experienced, experienced, it's time to explore on your own. So add an image to the widget. I've already done that at a text and white, something to the screen. Experiment with text color, font and font size. Add horizontal boxes and put everything inside. See how that changes things up and add a vertical box and see how that makes things also and also try to change the image colors, try to play around, just try to explore, have fun, thus things out. I'm not gonna do the challenge with you and let you learn on yourself. Just imagine if you didn't have me, what would you do? Thanks so much for watching. Congratulations on making it to the section. It's super important that you did give yourself a pat on the back gravel. I recommend you pause the video right now and go to the challenge, and I'll see you in the next one. 60. Understanding The Basics: Welcome back, My favorite thing developers. In this video, we are going to understand the very basics. We're going to learn about the root component that we have in here, will learn about the Canvas, his role, whatever it is, will also learn how we can resize certain boxes, how we can add sites to content, understand everything in the slot canvas panel and just like layout, the grounds for us to build up, build upon, to understand more and more of the widget, the UMG interface. So let's not waste any more time and let's get started. Okay, so in this video we are going to be understanding the very basics of what we have in this blueprint Widget. Blueprint. First of all, let's make sure that everything is empty so we can start off fresh. So I'm going to compile, save, and make sure we don't have anything weird. Now let's look at the hierarchy and see how it works. It's pretty similar to the way the components hierarchy works or the World Outliner window works. And other blueprints. As you can see, as soon as we started or as soon as we created, we already have this root component and we had the canvas panel. Let's first of all focus on the root component and then we'll talk about the canvas panel and what its role is. First of all, you'll notice that in the appearance we have the color and opacity, the foreground and the padding. Let's say we grab an image in here. So I'm going to look up the image. If I can find one. There we go. We've added an image and you'll notice that the color is white. If we go into the appearance and we select the color opacity, we can change it to red and hit OK, which is very good. But if we go into the blueprint root component and we select the color and opacity and start changing it. You'll notice that the colors on the red star to change as well. Why is that happening? Well, that's because the colors get blended whenever you are changing one of the background or the root components, appearance because this is like a canvas and the color and opacity will determine all other colors. But keep in mind also that a white color, which is this, will focus on or will be omitted if you'd like. So now we can set the color of this image solely through the use of the color and opacity of the road component. Next, we have the foreground color, and you'll notice that it has this little deck right here. And if we take it, let me take this back to completely avoid so we better understand what's happening. If we take it and go back to the image. And we open up the brush in here, for example, where we can also change the color and we click on inherit. This will inherit the color that is on the foreground of the road components. So now if I change the color to, let's say read or orangey red wherever this will change the color on the image, even though the colors of the opacity and the color of the 10th are exactly the same if I tried to change the color from here, you'll see immediately there's this little thick right here. Checkbox is unchecked. So these are just the basic things that you need to understand about how the foreground works with the other widgets that are on the canvas. Now let's take a look at the canvas. The canvas is always added automatically, but you can remove it or add your own again. And basically, all that it does is it allows us for better handling of the components will be one to place in our widget. So I'll just go ahead and delete the canvas. There we go. You can see there are, there is normal canvas. And if we scroll down or search for Canvas appear. So canvas panel we just added, and then we go, we have a new canvas panel that we've added. Now. Whereas the benefit in this, while you'll notice whenever we add any object in here and scroll up, you'll see that it is a slot inside of the canvas panel. And we can have this slot be different than that of a canvas panel. It can be one of the horizontal boxes, one of the vertical boxes, all of that as possible. This allows us to set the position, the size, and the order in which these are sets. Or for example, you'll see we can move the position and that position is based on the anchor that we have in here. Just wait a second. We will talk about anchors, the position y and the size x and y. And all of these are based in side of the canvas. So similar to what we had as a but parent-child relationship between components. We have the same in here, between the canvas and the bottom. The bottom is the size of 902.1344. As a child of the canvas panel that we have in here. If we, for example, add an image, Let's not add it to the bottom. Simply added in here. You'll see that we have something called the z order. And if we change, change this to minus one, you'll see that now the image is rendered behind the bottom. And we can also change the order in which the widgets are rendered on top of each other using the hierarchy right here. So if I move the image above the button. If I move it below the button, this will not affect things because obviously that's minus one. When I put it back to 0, if I move the button under the image, you'll notice that the button gets rendered on top of the image even though the order is the same. But always the order that is on the Canvas slot is more dominant than the one that we have in the hierarchy. With all of that out of the way. Next, let's talk about the anchors and what they do. Basically anchors, which we can change right here. The find a UI widgets desired location on a canvas panel and maintains that location where the varying screen sizes. You'll see that we can set the anchor on different positions of the canvas. We can even stretch it out to all sides and we can slot it down to the bottoms, or we can slot it down to two points in the middle. This is very important to understand and realize how this works. It will also notice that the positions being changed whenever we are changing the anchorage. Because if we send the anchor to be right here, you'll see that the position x and position y are almost is 0. But if the anchor is set to the bottom right, you'll see that the positions are very, very different. And you can see right here, unless this one work, I don't think. Let's try moving it down here. So you'll see right now it becomes almost 0. So it really the location of your widget or the numbers that are determining the location of your widgets are based on the Anchorage. Now I'm going to issue you're a bit of a challenge for you to test out the anchors, but something I forgot to tell you. If you want to play around with the screen size, all you have to do is simply play the game from here. And then you can select this window and start making it smaller and bigger. There we go. This is how you can play around with this screen size. And you'll notice how these are changing. They are either on top of each other, they are far away. What is going on? Well, that is for you to find out. You'll need to test out the anchors. First of all, please, the anchor of an image in a certain position. Then run the game and resize the shape of the game. View. Try another anchor and do the same. See how it changes. Test out the anchor. You are not sure how it would work if we change the screen size and anchor the image to the middle and set the position to 0. This is very important. Is it centered? I don't think so. Set the alignment to 0.50.5 on the x and the y and see why it wasn't centered. So another thing I wanted to add, I just thought of it. You can add several images and anchor them to different positions and then try to test out changing the size of your screen. See how that impacts. Maybe it will help you understand things better. So pause the video right now. Go to the challenge. Okay, so I'm going to delete the button for now. And I liked you a bit because we don't need to run the game. We can actually change the size of the screen from within here. You can see that when the screen was the normal size that we had all along, let me zoom out a bit. We can also move it down so you'll see how the anchorage affects the way this Canvas. You'll see that when I move horizontally, nothing happens. Let me just double-check what the anchorage was. If I set the anchorage, for example, to the right. Now when we move right, Nothing happens. When we move left, it moves left. It stays the same distance. If we move down, it also isn't that effective because it's in the middle. What happens if I set it in the middle? While you'll see it keeps shrinking with the image, with the movement of the canvas. Let's try to set it on all sides. If I start it on all sides, and if I can get a handle of this, so there you go, you can see it shrinks and moves with the size, whether it's on the X or the Y. It's a bit tricky to really understand what's happening in here, but this is how the anchorage work. So for example, if we set the image here, there you go, you can see it's shrinks with the x and y because of the anchors that are on top and on the bottom. And we can keep doing this all day. But just know that this are the anchors allow us to maintain a certain size for the image whenever the screen size is changed. And last thing I wanted to talk about in here was this. Okay, So men, these sites to content. Now it's best demonstrated when we are using a text. As you can see, I can make this box bigger, can make it smaller. But if I click on the size of the content, the box around detox textblock will always be the same as the image that is inside of it. And if I select the text right here and scroll down to the font, and I increase the size of the font. You'll see that the box will increase its size and shrink down with the founder of the tanks, which implies the size to competence. So that's all that I have for you today. I hope you enjoyed these basic understandings as we move through because I remember learning widgets for the first time. They were very, very weird to me. I started working with widgets and I had no idea what's going on. I'm trying to as much as I possibly can take you through every single thing step-by-step. So we grow, we learn, and the more we understand the last sphere we have whenever we're tackling something that is maybe out of our hands. Thank you so much for watching. I hope you enjoyed the video and I'll see you the next one. 61. Widget Organization: Welcome back, My favorite game developers. In this video, we are going to be learning about the various ways that we can align our widgets. So we are going beyond the alignment of the canvas and learning how we can use the horizontal, vertical grid and uniform grid and the widget blueprints. So let's not waste any more time and then let us get started the case. So to this point, we've been using the canvas panel to add an organize our widgets. But this is not the optimal way to organize things, especially when we start having several objects side-by-side. And we want to make sure that the do not overlap and that they always align together. So if for example, I have an image like this one, I duplicate this image now I have another one. I wanted to make sure that I align it. And if you zoom in, you'll see that there are inconsistencies and it's not very fun. So we want to have some kind of way that will allow us to align all of these images together. Well, thankfully, if we scroll down and click on the panel, will see that we have many ways of organizing our various widgets. One of them is the canvas panel, and one of them is the horizontal box. When I add the horizontal box, there are two main ways that we can add it, either by dragging it into the window or simply selecting one of the image, right-click on it to wrap with and select the horizontal box now, but it's wrapped inside of a horizontal box. So I'm going to use this one that we created and delete the second one. Once we add this image right here, you'll notice that it is squished and if we try to move it, nothing happens. Before we continue on, I'll select this image and change the tint to read. Select the second image and change the tint to green, and the third image and changed it to blue. So now we have three different images. So I'll drag the image 12, the horizontal box, and drag the green image also to the horizontal box. Now notice that we have all of these three stack together and the same exact size. I can select the green one and move it one arrow to the left. And you'll notice that we have this organizational power between them. You'll also notice that if we click on one of these images and scroll up, we have this locked horizontal box slope. It's no longer part of the Canvas slot, it's part of the Horizontal, Horizontal Box slot. And with it comes a lot of different options. So if we click on fill on the green one, you can see that it will take up as much space as it possibly can. So it takes up all of this space that is not taken up by the blue or by the RAG one. And you'll notice on the blue, for example, if we start to increase the size image, it starts taking up more and more space. So this is the actual size of the image. It's 32 by 32, but whenever it's inside the horizontal box, it simply takes in whatever space it has. Because if we look on the horizontal box, you'll see right here it is film horizontally. If we click an or if we remove the full vertically and set it to center align. There we go. It just becomes a picture of 32, Bye 32. Now when we increase the size on the y and gets bigger, but it does not go bigger than what is given to it by the box. So I'm going to fill vertically. Now you might be thinking, why is it not filling horizontally while the green one is? Because we've set it to fill while the auto well simply sets it to do whatever should be done. If we select this one and set it to fill, and select the red one and set it to fill. You'll see that these three take up exactly the same amount of space between them, no matter how much we change in these sizes. So let me zoom out a little bit or use this one. Zoom. So now what should we also understand about the filling? If we select one of the images, you'll notice that when we click on the field, we have this little extra space in here that is barely visible, but it has one on it. The second one and the third one all have one in here. And actually this is the percentage. If I reduce this from one to 0.5, you'll see that now the image takes up half of what it used to take, but the green ones and red ones are the green and random image are still the bigger, even though the number right here is still one. And sorry, it's not that visible for some reason. If I change this one to 0.5 also. It will become the same size as the blue one and the green one takes up the extra space. But what happens if I change this to 0.5? You'll see that again, they are all the same. So all of these numbers are relative. It only depends on what the other boxes have a shape in them. So as you can see as then as I said, all of these back to one, they regain their sizes. So these are just things I want you to know and understand as we move on. So we've understood how the horizontal and the Fill works. The horizontal alignment and the vertical alignment. Let's talk about the padding. So if we click on the green one and let's add a fanning of 20. You'll notice that we have this little crust if you want to call it around this green image. And if we click down the banding, you'll see that we can change this so we can set depending on the left to be 0. As you can see, it moves to its side. So that is the power of panning. We can add a bit of light crust or just a little bit of distance between them. This will be very helpful when we start adding images and texts next to. And I know what, whatever you can think of, we start adding them next to each other. So the padding will be very useful. And that's basically everything that we have about the horizontal box. It's simply allows us to better organize our various images, are various widgets. Some reason my brain is working very slowly today. Next we're going to get the vertical box if we can find it. So if we scroll down, you get the vertical box. So the vertical box is the exact same as the horizontal box except that the vertical box actually thus things in the vertical direction. So I'm going to change this to red, changed this 1 second, 1, second 1, blue, the third one to green. Select all three hold down shift and select the upper one. This way we will select everything in-between fill. And there you go. You can see that we add the same exact images but in a vertical direction, compile. Now next we have the uniform grid panel. So if we look for it somewhere in here and the panels uniform, we go uniform grid panel, we expanded this, just simply get these three images, duplicate them of that work. It won't. Control C tried to put them inside. There we go. As you can see, we filled it up with these images, but we'll select them, will add an extra image in here, select all of them, and we'll see what we can do in here. First of all, I'm going to close all of these down. You can see that we have these four images. So I'm going to take this one, move it to the left and move it up. This one, move it to the right. This one, move it down and take this one and move it down and right. As you can see, these four images have taken place inside of some weird kind of a uniform distribution. And if we select all three and set them to fill, and select the last one and make it change its color to yellow. This one for some reason it's still white. Let's change it to red. There we go. We can see that we have an even distribution on all sides of it. You can see we have this Ukrainian flag by mistake, and we have the different colors that we create. So we can also move these around. And if we move it even more to the right, you'll see that we create a third, fourth, fifth. So this depends on how much you want to move this and this will create, this is sort of a combination between the horizontal and the vertical box. So this is basically all that we need to learn about how the organization can help us. You can see that it's very helpful, especially if you have several objects that you want to set on you have will be using them a lot and you'll see how useful they can be an hour game development journey. So the last thing that I wanted to learn about is the grid panel. So if we add the grid panel, you'll see that it's no longer a uniform. It's a grid panel. And you can see from the symbol right here, it's the same, but we can add these, all of these images, but have each image be different in size than the other one. And this is actually going to be part of your challenge to discover the grid panel. At the grid panel to the viewport, which I already did for you. At the same for images or six or ten, whatever. Move the images around to set two rows and two columns. It should be similar to the way the uniform grid panel works. For these images in order to have proper distribution on the grid panel. And the fill rules add two rows and two columns, play around with the index of each and see how they change. And finally checkout the row span layer and the notch. So this is your time to shine. You are already a seasoned in game developer. Well, not yet, but still you have the power right now to go ahead and learn all by yourself. So pause the video right now and go do the challenge. Welcome back. So I'm going to grab these images. I actually know what, let me just copy this one and put it inside of the panel. And I'm just going to duplicate this image 1234. Not four. We just will just require these four images. And I'll change the color to green, change this one to loo k and change the last one to yellow, just like we did before. So select the second image, move it to the right, select the third image and move it down. Select the last image, move it right and down. And as you can see, we've created these four little images right here. So let's select all of them and set them to fill if we can. If we set this upper one, we can set it to row one and spans 0 rows, columns and all of that. Let me just double-check the fill the rules. So I'm going to add these columns. On second one. They are distributed very thinly. So back in the grid panel, I'm going to set the index of the first one to one, the second one to one, and do the same on the parole fills. So now what I'm going to do is instead of one in here, or let's say I select the column and the row, and I said this one to be, let us say we set it to two. You'll notice that the distribution in here is different than the one that we had up in the uniform where we can set each one to have its own size and its own filling. Now you might be thinking, well what if I wanted to make this one a bit bigger? Well, we can simply play around with these values in here and see how we can actually do that until we find the proper. So you can see we can increase this. Or we can also select the image which we want to change. And we can make it column span, so we can make it span two columns or excuse me, this is one column. We can set it to span two columns, but it's behind the yellow ones. So if I move the yellow one to the right, there we go, you can see that we can set this whole behavior or span of roles. We can also maybe select the grid panel, add another filler for the third column and set this to one. There we go. And you can see that these can be played around as much as we want. What else did we say? We need to play with the rowspan, the layer, the layer. I think it's pretty obvious. If we set this span, can we start to be 1.52? No, I don't think so. If we set it to be spanning three, we can set the layer to be one. And now it will be rendered in front of the image that was here. If we set this to one, it's the same because this takes precedence. If we move it up in here, you'll see that it changes the precedence. What else do we have? We want to play with the notch. So if I start playing with the notch on the x, and we can move it to a bit, to the right, a bit to the left, and we can move it upwards and downwards. We can also move this one downwards. And you can see how the uniform or not uniform panel grid can be created. So now that we have all of our panels, we can compile, save, and we can play the game and have all of these magical weird-looking panel. So thanks so much for watching. I hope you enjoyed the video. I know it was a bit difficult to understand how the grid works, especially even for me sometimes is just a process of rediscovering things. Thank you so much for watching. See you in the next one. 62. Widget Customization: Welcome back, my fellow game developers. In this video, we are going to be learning how to customize our widgets. Basically, we're just going to learn the properties that are common to all other widgets and the gain. So then we can delve deeper into individual and important widgets later on. So let's not waste any more time, and let's get started. Okay, so now let's talk about the rest of the properties that we have in the details. In this video, we'll be basically talking about the customization. So I'm going to, if you want to keep these, you can create a new Widget Blueprint. I'm just going to remove these and start new. I'm going to add a horizontal box in here, and I'm going to add a couple of buttons. Just duplicate them. Maybe four. Yeah, sure. Why not? We'll add four and we'll make sure that they all fill. And it will make the horizontal box a bit bigger and maybe add a bit of padding on all of these boxes of like, I don't know, like ten, maybe ten is good just so we have a bit of difference between them so we can see everything properly. So first of all, if we select one of these and scroll down, you'll see that we have the appearance. We've already talked about these. We'll delve deeper into the appearance of the buttons. Now we want to talk about things that are available on everything. So we'll start off by the behavior. First of all, we have the tooltip. This adds a description when we hover over our widget and the game, we can also bind it, as you can see right here, binding means you'll be able to change whatever is inside of this variable or this property by using code. So when you bind it, for example, create binding the record. You can see that you can change things in here so you can play around with the code, maybe a faith or opens, this will change. So there you go, That's biding. I'm going to delete this and we're in the graph by the way. So to go back, we need to go to the designer. Next we have the enabled. So basically this simply makes the widget is either enabled or disabled. If we turn it off and play the game, there's something complication arrow, resolve shortly in the editor, whatever. So you can see that it's disabled, it's favored, It's not like completely disappears, it just is unable to work properly. Let's remove the binding here. I think that was the error. Next, we have the visibility. You can see we have five options in here. For example, if it's collapsed, you play the game, you'll see that it is no longer available there and something takes its place. If it is hidden, then when we play the game, you'll notice that there is. Wait for a second. I'm going to anchor this to all sides so we can properly see what's happening. So now when we play the game, There we go, you can see that one of these has disappeared because, because what? Because if we scroll down it is hidden. So hidden means that it will take, nothing will take its place. Actually know what, let's anchor this to the middle. I think it's better. Anchor this to the middle. Set the alignment to be 0.5 by 0.5 and reset the positions compile save. And now when we play the game, there we go, we can see that we only have three. The fourth one is hidden while in the collapsed, it was taken at somebody has taken its place. We have the non-header, the non hit the ball and the hit testable. This means that we can either click on it or we can't. I'm going to keep it as visible and now compile play the game. There we go. We have four. Next we have the render opacity, pretty clear. We can either fade it out or keep it at once, or if we set it to 0.5, it will be a bit faded when we play the game. There you go. You can see it right here. Next we have the render transform, and I'm going to issue a challenge to play around with these options. So understand the render. Play around with the options. I seriously, I didn't remember that I've written the exam exact thing. Same thing. He was the extremes to see how they are being adjusted. Make sure you also understand how the pivot changes everything. And if you're feeling brave, explore everything else below that. It's very simple, it's very easy. This video is just for me to help you, just to not leave you alone with everything you can explore on your own, I'm sure. So pause the video right now and go do the challenge. All case. So if we select this one and we select the translation, you can see that we can move this around. How cool is that? Next we have the scale. If we select this one, you can see that we can scale in the x-direction and the y-direction. Next we have the shear. So if I play around with the shear, I don't even know what that was, but as you can see, obviously, we can. Play around with this and make it, I don't know, I don't even know what that is. And finally, we have the angle which allows us to play around with the angle. Now let's see what the pivot does. Obviously right now we are pivoting around the middle because the alignment of the pivot is the zeros 0. If I add 0.5 by 0.5, if I then set it to 00, then when I add the angle, as you can see, it rotates around that point. So 00 is the top left. If I add the 11, There you go. You can see that now when we rotate it around the point that is down there. So that's everything you need to understand about the render transform. Let's scroll down. We have the performance is volatile if true, prevents the widget Charles geometry information being cached. Basically, all this does is if it's volatile, that means it might be changed or something we can cache information about this button. If not, if it's never going to change, that means it's not volatile. That means we do not need to check this. And this will increase the performance or at least decrease the amount of resources needed. This is pretty advanced, but just so you know what's going on next, we have the clippings. So if I said the clip to bounds, if we said the clip to bounds, you can see that this will make everything outside of it clip. So this works on the parents. So if I select, select clip to bounds, there we go. Everything outside gets clipped out. When we compile and play the game. There you go. These are our buttons. What else do we have? So finally we have the navigation. I'm going to make this a bit smaller and just move it out or do actually, let's just yeah, sure. Let's delete it. Let's add a another horizontal box, horizontal locks and make it bigger. Let's add button. We'll add spot in here, duplicate it four or five times. Actually know what? Why is it a horizontal box? I don't want it I want to have a grid box. Grid panel, uniform grid panel. Yeah, this should work a lot better. Get the button. Will put buttons in here. Boom, boom, boom, boom, boom, boom. Have six buttons. Move this one to the right, this 12 times to the right. Move this one down, this one down, and write this one down and right. And let's select all of these and make them fill warm. And we'll add padding on all of these. We select the uniform panel, whereas the padding. Why did I forget where the padding is done on the individual buttons. We have the six buttons. Whether this one go, Wasn't there a button here? I'll move this one down right here. For some reason I had lost the padding, so I'm going to add ten in here. So we have a bit of padding between the buttons. So Compile Save. Now, if I scroll down on one of the buttons, you can see that we have the navigation and obviously the events that you can add on clicked on breast will see those later on or in the next video, I believe the navigation you can see, for example, on this button, if we click on the left, we escape. On the right we escape, but we can do something different. For example, we can, on this one, if we click on the right, we can escape or we can wrap. If I click on this ramp, Let's test this out. We play the game, we select the button. And you'll notice to the left, you can see the cursor. There we go. If we click left again and disappears, if we look right and click right again. So These are the way we navigate with our buttons, but it's not very clear. How can I make it a bit more clear? So basically this is how we go from one button to the next. So for some reason this is not very good. Let's try to I can look up and down. Let's try. So there you go. You can see that I can move left and right between those two. But when I click the left again, I cannot solve. That's basically it with all of that information out of the way. In the next video, we'll be delving deeper into textboxes and buttons. See you then. 63. Text Box and Buttons: Welcome back, my fellow game developers. In this video, we are going to be delving deeper into textboxes and buttons. So let's see what we created when we play the game. You will see that we have this text right here with a bit of shadow and are all uppercase. And you can see this button that is currently orange, but when I hover over it, two things will happen. First of all, it will change color and then we will print out Hello at the top left screen. When we press it, it also changes scholar, we get Hello World, we release it, we get My name is N1, we uncover. It is my name, Michael Moore. So let's not waste any more time and let's get started. Okay, so now let's take a closer look at text boxes and buttons. I'm going to go back into my widget testing in here, and let's go ahead and learn more about the texts. So if I open up the commons right here and search for the tax dragged in here, there are a couple of things that we need to talk about besides the obvious slot panel right here. First of all, we have the content which we can add a text too. So I can say right here, hey, there, it's Michael. There we go. So you can see that the text has changed and we can also bind this to a certain function that we then can change during gameplay depending on what we need. Next, we have under it the appearance. Obviously we have the color and opacity so we can change the color of our text. That's obvious. Then we have the font. If I close this down or let's just scroll down, we have the font, obviously we only have the robot for now. But what you can do is go to this nifty website, which is called the font.com. And this will allow you to download any font that you would like. And one that we are going to be using is the cyber spy. Let's see if we cyber, Let's try cyber. One of these and think, I'm going to use one of these in order to add a certain character, a certain feature to our game to make it much more exciting later on in the course. You can also add whether it can be bold, italic. Let me zoom in a bit. We can increase the size instead of zooming in. So we can change this to italic, we can change this to regular weekend, change this to bold. You can play around how much you want. You can increase the spacing between the letters. So it really depends on how you want your game to look. You can also change the material, but keep in mind this is a special material specifically made for one of these. So for example, you can just add the brick. It will not work. So you'll need to add some kind of special material for your fonts. Next we have the outline settings. So if I increase the outline in here, there you go, you can see that we can add some kind of outline and customize it to our, to a certain extent, for example, changing the color to red. So I don't know how that would work, but let's see. There we go. You can change that to whatever you want. Let me close this down. Next we have this strike brush. This is a more of a graphical design thing. It can add to your text using certain images or certain, certain image sizes, certain tents and so on and so forth. We have the shadow, which is very important also, we can add a shadow. For example, if we, let's see if we can add a shadow, the shadow should have a color. Let's make the color red. Let's see how that will look. Still nothing. Let's try maybe we are. So we need to set the alpha 21. There we go. So you can see that we have added a shadow and we can move it around. A shadow is very nice in order to have this some kind of a 3D look. Obviously this is a bit too much if we just, There we go. So we can see that now we have a shadow. Now you might be thinking that text is a bit small. The textbox right here, a small, what you can do, you can either make it like this bigger. We can scroll up right here and make it size to content. So now whenever you change the size, you can see that the box changes with. If we click in here and scroll down, we still have a couple of options, which is the minimum desired width. So if you, for example, at this textbox into, let's say, I don't know, maybe a horizontal box or a vertical box and then the vertical box or horizontal box squeezes the stacks. You can set the minimum desired width to save the integrity of the stacks. So keep this text the same size as it is. So there will be a minimum size. It will not be under it no matter what you do inside of the horizontal box, this can be very helpful. Next, we have the transform policy. Obviously you can set everything to be lower. You can set everything to be upper. Down here next you have the justification. So if you've ever used PowerPoint on or any of these things, you can set the justification of the text obviously in here it will not work because its size to content. If we uncheck the size to content. And let's make this a bit bigger than the text. Actually, let's make the font a bit smaller. So you can see that I can set the justification to be in the middle, to be on the right or to be on the amine, on the right, or on the left or in the middle. There we go. So that's basically it. We still have, That's it. Those are the basic things. We have the wrapping, this is also very important. So for example, we can wrap the text after a certain amount of words have been added. You can see as we increase it, some words should start going next to each other. And there we go. So we can see how the text wraps or you can set it to auto wraps. So now when we close this down, you can see that the words will start to wrap. If it's big enough, they should fit. If we don't have the text. There we go. Auto Rab can wrap text around. It's also a very cool feature that you can play around with, see how you want your texts to behave. Basically. Was that out of the way? Let me just make this a bit smaller. Put it up here. Now let us drag in the bottom and talk about the options that we have on the bottom. So if we scroll down or scroll up, Let's see where all of these are. In the appearance. Obviously we have the color and opacity. Opacity. We changed the color of the button that you have. We have the style which we'll cover in just a bit. But first of all, let's talk about the background color. So if I have a text right here, we can see that we can add it immediately to the bottom. This works similarly to the way the root component works in that if we change the background color to red, are actually this will change the color of the button or the background of the button. Let me reset this. This is not what I meant. I meant to change. If we change this to red, there we go. So I was a bit confused there. So as you can see, we can change the color and opacity and this actually changes the color of any text that is insights are similar to the way the root component has. Its color and opacity will change as all the elements that are his children. The same works for a button where you can change the color. And similarly, the white color will simply be nonexistent, so it will not be taken into consideration. And if you change the color of the text box, the text right here, and change the color and opacity of the bottom. The colors will be blending. Now to the exciting part, which is the style. So as you can see, we have the normal hovered and pressed. And we have in here the normal foreground hover tour ground pressed foreground, and the disabled right here. So all of these are the options for the button as you know, whenever you, let's change this a bit so you can see the difference. If I click, obviously we have the image, image size they tend, and all of that good stuff. So if I change to the normal color to be red, then the hovered color to be blue. There we go. The Press color to be yellow. Now if I compile, save, and play the game, you'll see that when I hover over it, it becomes a blue. When I'm not hovering over it, it's red and when I click it, you'll see that it becomes yellow. So when pressed because there is a difference between clicked and press it and you'll see that later on. These are basically how these work. And we can also add a image to the background of this button and change that image as we move over them. We can also change the foreground color. So if I, for example, select the foreground color to be blue when it's normal. There we go. Then when, and also we make sure that it has an opacity of one. See how that will look. Then change the hovered color to red and chain depressed foreground to green. There we go. So this two Alpha to be one. Here also will set, oh my God, what's happening? To be one. Also, we have the padding. The padding on the normal is 21 plus we can set this to maybe, and let's set it to 70 just to see the difference properly. And we can also add a pressed sound and I hovered sound. So when we compile and play the game, let's see how that might look. So when we hover over it, when clicked, nothing is changing for depressed foreground color. Okay, So I've been trying for some time, but for some reason it's not changing. I don't know. The padding is working a bit because I've added a padding on the press, but for some reason the foreground color isn't really working. I don't know why. I'm really stumped. Sorry. I'm really, really stumped. I think you can see that one of them did work if I try to recover this, but for normal, it should be blue, but in here it's red. So I don't know if it's like merging with something in here. I don't know. To be honest with you, it's very confusing. But anyways, this is how it should be working. It always worked. Maybe there's some kind of bug right now. But anyways, these are the basic things. Now before we go, I need to tell you about these down here on the clicked on pressed or released and on hovered and on Hubbard. So if we add an event to each one of these, we can see how they might change. They can do things if we click on the bottom or if we press on the button, press and then on release or press means that we press and hold down on release when we remove an unclicked, when we just simply click. So the act of pressing and releasing that is the click back down here. We also have the on hovered and on the UN-HABITAT. So keep these in mind because I'm going to issue you a challenge to create the weird at the button. Create a button and take, and add a text as a child to it. Set an image for that button. Make the image when we hover over it and when pressed different. So you'll need three images. Also make sure the text changes scholars and each. Now, if you don't do this challenge, I will not be very angry with you because I don't know, for me, it's not working maybe for you it won't work either. I hope it does, but what can I say, guys? I'm doing everything right. Maybe there's some kind of Bob, maybe we need to restart it. And finally, the most important part is to print out to the screen hello world. My name is, you add your name using the five events below. Each event must print a certain part. You understood what the events are. These are the green little buttons down there with all of that information. Pause the video right now and go do the challenge. Okay, welcome back. How did you get all of that? I really hope you were able to make these work the foreground colors when pressed, I don't know, I'll just reset this anyways. Let's go ahead and do the last part of the challenge because I'm not going to be adding images. It's pretty obvious, pretty easy. You simply add them right here on the style. I'm going to scroll down and I'm going to create an onclick. This is going to be a bit tedious on pressed back into Designer, On released back into the designer, on hovered, back into Designer and on Hubbard. Ok, so now we have these five functions and we are going to or five events that we are going to add a print to each one of these. So the first one on clicked. So how are we going to work this? We should say, Hello, Hello world my name is and your name. So I'm going to start off, first of all, it's obviously going to be the hovered. On the hovered we're going to print. Hello. Obvious. Let's add ten seconds. Do it. Ten seconds. There we go. And let's just keep, Let's make the text read on Howard than on the pressed. We are going to Hello, World. We go on depressed than are actually on the released and then the clicked should be given to us. So once we click in here to Hello World, what was it? Sorry, My name is my name. My name. Let's just add it like this. And then finally when clicked because we release and then we get the click, my name is. And finally the last one when we uncover from the bottom, it's going to be, well, my name is Michael Morell, founder of double m game development. So compile, save, and let's play and test this out. First of all, we're going to hover. Hello world. My name is Michael Moore, so thanks so much guys for watching. I hope you did your best. I hope you try to create the events here. If you haven't, please go back and try to look at them so you can properly understand how each one of these work. So see you in the next one. 64. Binding In Unreal: Welcome back, my fellow game developers. In this video, we are going to be learning about the progress bars. As you can see, I have my progress bar right here. I've angered, anchored to the middle because for some reason by the end of the video, I tried to anchor it in the middle, but it's stayed up here. That's why I didn't quite look as good. So forgive me for that. That will be like eight minutes in the future, maybe nine. So now when we play the game, you'll see that we have this health bar. This represents our actual health. And if we go to the corner where we have a pain causing damage, you'll see that every single second we are losing 0.1 of our health. We are losing 10% until finally we die when we don't have anymore health. And that is now reflected on a Health Bar. It's no longer just some kind of words appear on the top left corner. We have actually created a Hepburn. So let's not waste any more time. Let's get started. Okay, so let's talk about the progress bar. This is very important and will be used a lot in your games. This can be anything from health to magic, to opening doors to getting into cars and whatever else you might think of. So let's go ahead and add one of these progress bars. So if we look in the comments, There we go. This is a progress bar. Once added. It's just a black image, maybe you might think of it, but no, this is actually a progress bar. And you can see it right here on the progress. If we just add the bill of percentage, you will see that we are filling up the bar. So let's talk about a couple of things in here. First of all, we have the style that only has one property which is the style. And under this style we have the background image fill image and the marquee. Obviously the background image is whatever is in the background when the percentage is down. So for example, I can add an image in here, change the image size, and change the tint. For example, I can set the background to be read or to be green, but usually, usually it's either white or dark. Or you can change this from an image to a box, which is basically nothing, or to none which makes it transparent. So this really depends on how, if you want your game to be played as I'm going to set this back from nothing to an image. Next we have the Fill image. Obviously this is what is filling the image right here. But notice that it's white, but in fact it's not white, it's green and it depends. Actually, sorry for that. Let me just restart this. You'll notice that it's blue, but that is because of the marquee image. And we'll get to the Marquee image and just a bit. You'll notice also that we have these lines going around and we can change this to, for example, represent the green or for it to be blue depends if it's magic or if it's health. So I'm going to set this to 0 on the glue one and now it's fully green. Now you might be thinking, what are these lines and why are they? Are they moving to the right? If you look down in here, you can see that we have the enabled fill animation. We can turn this off to stop these lines from moving. Now what if you want to remove these lines where you can see right here and the fill image, the tiling again, click on this. You can set them to be vertical. You can set them to be both. So if I try to zoom in, you'll see how they look or we can set them to know tiles so we don't have any tiling. There's still a thin file right here, but it won't be noticed from a distance. And finally, we have the marquee in here. But before we talk about the Marquee, I think it's better to the Marquee is exactly the same as up here, but let me tell you what the Marquis is a when we talk about the progress down here. First of all, we have the percent, this is how much the bar is filled. Later on we will be binding this to a specific value, which is going to be the health of our third-person character. Actually, you'll be doing that. Next we have the option for the bar field type. We can set it left and right, right to left fell from the center. So if we increase it, there we go, you can see it can get really creative with this top to bottom. There you go. And bottom to top. There we go. So usually it's better capital left to right. Next we have the more key the market if turned on, you'll see that it will use the Marquee image and this percent will no longer work. What is the more key? This indicates that something is being processed in the background. If you've ever seen how the windows, like when you, whenever you have some kind of error or you're trying to close down a certain window, but it's not closing. You'll notice that you have this bar trying to fill, but it's not actually filling. It's just a bond that's going from the beginning until the end. It gives us going around and indicates that something is happening. Maybe I'll, I should have added an image, but I'm sure you've seen it before. It's not a bar that fills from the beginning to the end. It's actually a chunk right here, like a chunk of this, and it's all moving to the right and then again, and then again, or maybe we can have several ones going from one side to the next. This indicates that something in the background is happening, but it has an indefinite time until it ends. That's basically the more key. Finally, we have the border padding, which shouldn't be too hard to understand. You can add a border from the left and a border on the y. And for the bar right now we'll fill on this little side. This way you can add a border, a certain border to your progress bar. So that's basically all of that information. Now, the progress bar is really useless unless we bind it to something in our game. We are going to do that. And actually you are the one that's going to do that by doing the challenge of binding the bar to health. So first of all, create a Pain Causing volume. You already should know how to do that. One of the player into it makes sure that that makes sure we only deal zero-point one damaged per second. You should find that option on the killed volume on the, sorry, on the bank causing volume change the player to health to 10 at max if it's not already. Now in the graph where Widget Blueprint get a reference to our character and stored in a variable. This is very important from the event construct, you can do this. Finally, go to the progress bar and buying the percent of the character than to the health variable. So go to the percentage on the progress bar and try to figure your way through that. Pause the video right now and go do the challenge. Okay, So how did you get on with that? First thing first is we're going to compile this. We're going to go back to the person, character, ThirdPersonCharacter, check the health. We'll set this to one. And everything seems good. Compile save. Now back in the widget testing in here we're going to go to the Create, got the volumes. And let's check for the Pain Causing volume. Let's add it right here to the upper left corner on the side because it's an invisible. We'll add it right here. And we're going to select it in the details and make the damage per 2.1st 0 because, because otherwise it will kill the player instantaneously. So that's all good. Control S. Now back in the widget testing will go to the graph. And down here we're going to find the event construct. And from here we're going to get layer character. From the player character. We're going to gas too. Third-person character. Set it right here. And then we are going to promote this to a variable which is going to be third-person character. I don't know why they added as every single time, maybe because of you cast it as a third-person character. So I don't know, Compile, Save. Now when we go back into the designer, scroll down to find the percent. We can click on this and we can bind it to the third-person character. And if we look closer, we can see that we can bind it to the half compile save. And now what we should see when we play the game is that we have this health part that is full. Maybe this is not the best place. Let's just shrink this one though. So it's nothing the way put it right here, compile, save, and play from here. Still the borrower is very big. That's because we haven't anchored properly. So if we add an anchor to the middle now we compile and save, play the game. Still not that good, but anyways, you can see that we have this 0 right here. The bar is completely full. If we step inside, we should see that every single second, one Mississippi, two Mississippi, we are slowly losing our health. And hopefully when it gets to 0, there we go. We disappear because that's what we did right here. We said that we need to destroy the player whenever we don't have any more help. So thank you so much for watching. I hope you enjoyed this video. I hope you are always doing your best to finish these challenges. We still have one very important video in this section, which isn't the animation, which is going to be a bit long, a bit mind-boggling, a bit hard, but certainly worth. See you then. 65. Animations: Welcome back, my fellow game developers. In this video, we are going to learn how to use animations on widgets and really put the motion and motion graphics. I'm going to play this game and I'm going to walk towards a trigger volume that we have in here. And you'll see that we get these two buttons and the two images that appeared down below. Now, I'm going to warn you, this is a very, very long video and a very, very hard one. I just want you to put your fault concentration capsule and understand that animations are hard to teach, how to learn, hard to understand. But they also require a lot of trial and error and trying and trying again, in order to fully comprehend everything that's around them. I tried to go as deep as I possibly can, sometimes make mistakes around here the challenge is very hard. But this video is like the next step in your evolution. If you can't complete the challenge, you'll be left behind hundreds getting dry your best. Have fun. Enjoy this video and let's not waste any more time. This video is already almost half an hour and let us get started. Okay, so dying to learn about animations. First of all, located along the bottom of the Widget Blueprint editor, there are two windows which allow you to implement and control animations for your widgets. The first one is the animations window on the left, which allows you to essentially create the animations which will have tracks on them. And the second one is the timeline. This is where you will be actually manipulating your widgets, setting the keyframes, setting the timelines, and determining how these animations will be animated. So without any further or new, let's start adding animations. Pretty simple. All you have to do is simply click on the Plus animations. And now you will be prompted to call this animation something. I'm going to call it animation testing right here. Now, when we click on this, you'll see that our timeline is no longer or isn't right now unable and is no longer transparent. So what we are going to do in here is we are going to get some image. So I'll grab an image, drag it into the world, and make it a bit bigger, anchor it to the middle. And you'll see right now when we click on the Plus ad track that we have the option to select the image one, the image one canvas panel slot. Now these are basically the same. This is just like a small shortcut because when we click on this, you'll see that we have the image and we have the Canvas slot, which we can add a track to like for example, the alignment. Or we can add another track which is the ZAB order. And we can change all of these during gameplay. And you'll see that there are little gray like slabs in here created. This tells us that we are able to play around with things. If I move this to the right, you'll see that I have the option to change this. And as soon as I change it, I have a change in displacement. Or a small little red dot in here that tells me that we are changing something. There has been a change. And now if I play, There you go. You can see that this changes the position of our image right here. We can also change these at order. Obviously, we can change everything that we want. I'm going to remove the alignment and these add order by simply deleting them and then go to the canvas panel slot. But there is something that shoe might have noticed that the value in here has actually remained the same. And this is something you need to really take good care of. Because if you delete things like that without actually paying attention to what's happening, you might have a lot of trouble. Animations are a very, very tricky thing too. Fully comprehend and really understand how to move around on. Even me sometimes really get frustrated because I do something, I changed it, and I then come back and it doesn't work properly. Let's now focus on moving this image. I'm going to put it right here. I'm going to add a track. I'm going to go into the transform. And you'll notice that right now, I don't have a Canvas. Let me just show you just so you can properly understand when I delete this, if I still have the image selected and I'll select image, you'll see it's the exact same thing like the Image Canvas slot panel, but without the Canvas slot panel. And if I want, I can simply add the trend here. That's move on. So when I click on the image, I click on track. Click on track. You'll see that I can access the transform, and this is the transform that is right here. And you'll see that I have the same exact options, which are the translation, the rotation, the scale, and the shear. So if I move this down the timeline and add the 2.5th, I'll move the x to this position. Then add another 2.5th and move the y down to this position. Then at the 1.5, I move the x back here. And then the two, I will move it or I will move the y up to this position. If you want to go back to the exact same one, you can simply select these two copy and then maybe at this point, just Bayes them. Let's see if that will work. Nope, doesn't look like it will. Well, you can simply copy the values in here. But for some reason I remembered, oh, there we go. I knew that would work. So there we go. And if you wanted the last frame to be exactly where it started, simply drag these. Simply select and drag these if I can select them to this position, you'll notice we still have a bit of red line in here which indicates that the animation hasn't finished yet. We can select this and hopefully we can move it somehow if it allows us. Okay, there we go. So you need to select it right here. Now when we play, There we go. You can see that we make a full circle and come back to where we were initially. Now if I put this right here, and then we have these values from when I was trying to copy and paste them. And it didn't work. It did, but it took a lot of time. You'll see now we come back to the exact same position. Not quite because this should have been 00. The translation in here is different. But there is something you need to understand when we set this right here, because we're changing the translation when we click in here and select this, you can see that this is no longer where we had the image. It is the image we've selected with the translation that we have. When we set this right here, replay this animation. You'll see that now it's playing right here to the right, which is not a very good thing to do. We need to put this back in here and now play it again to make sure that it plays in the exact same place that we needed to. These are just things that you need to keep in mind of. Obviously, once you start doing animation, it's going to be very frustrating. You're going to make a lot of mistakes. But as you move through these, you'll start to understand better and better What the heck is going on. Now, this was the manual way of setting the transform or the c. For some reason we removed our image. This was the manual way of moving the image around and setting these keys right here. There is also an automatic way of doing this. If we click right here on the key channel. Now whenever we move the image, we are going to set a new key on a certain position. So when I move this, nothing happens. Why is that? Well, because the translation or the transform that we have in here that affects the translation is in the render transform. In order to move this, and we need to make sure that we move on to the adjust widget render transform some. Now, I will move it to this position and nothing would happen because again, I forgot something. We need to make sure whenever we are changing something that we have the proper track right here. So now when I said the transform, hopefully, you'll see, let me just set this right here now when I move to this position and I move the cube, bam, I should see when I play the movement that I have right here, Let's skip it. Skip it right here. Move this to the one, this down. Move this again, this slavery, this list again. And like this. And now when we play the animation, you'll see that we have proper movement of everything. How cool is that? And you'll notice we get two of these because we have selected the top one, which is right here whenever we were moving. So if you want to have absolute movement, so first the x, then the y without the, without changing in between them. What I mean by that is, you'll see if I remove, for example, in here the Y, you'll see that this not only moves in the x, also the y is changing because on this one, the y has changed also. These are also things that you need to keep in mind. There are a lot of things if I need to go into every single detail, boom, this video would probably be 20 minutes. Switches probably will be. For now, let's just focus on the main thing. Let's create a small animation. Remove this image has been destroyed for some reason. So Control Z that regard the images back. As you can see, not very fun and needs a lot of time to adapt to. Things happen, things very weird things happen. What else should I be telling you about? I think that's about it. Oh, one more thing that we need to talk about how to play this animation, because even if we have the animation right here, let me just reset the position of everything. This position. There we go. That we add a track. No, nothing is being added for some reason. Even though we have everything set up properly. Let me remove this transform and see if I can just start fresh again. So make sure we're on the zeros 0, add a track for the transform, select the translation, move this right here, and move this up a bit. So now there we go. The one-minute mark, we move it right here. Notice if we select only the x, for example, and move it like this. Sorry, let me try this again. We select the x only and move it down. You'll see that the Y also has a middle way trigger on it. And then thus the y is also created right here. We have this small animation when we play. If we compile and save and play on game, you'll see that the cube isn't actually moving onto the image isn't actually moving. So what do we need to do is we need to actually trigger that animation. If I unclick on here, select the image and move it to this position. Click on the animations, and now I play it. Everything seems to be good. If I play, it is at the end of the animation. This is not what we really want. Free select back in here. Move this position, select animate. Let's try to do them all of this back properly. Check it. When we play. We should see that it's in its proper position. So it compile save. If we go to the graph after we select the third person, I'm going to drag in the animation which becomes one of the variables in here. So drag it, hold down control, then drag from here and select Play Animation. So as soon as we start the game, we should see the animation blade. So Compile, Save, play the game. There we go. You can see how the animation was played from the beginning. With all of that information, I'm going to issue you a bit of a challenge. Your challenge is going to be one of the really hard one, because you'll need to first of all create two buttons that fly in from a preferred direction of your choice. Next, make two images that will appeal. And now make all of these change colors for a couple of seconds. If you want to keep things simple, simply change the colors of a the images. Finally add a trigger box and the world to activate the animations when you walk through it, pause the video right now, and go do the challenge. Oh, okay. So I'm going to remove these from here. I'm going to go back and the designer, and I'm going to delete the animation in here. I'm going to get this image. So two images that appear, I'm going to duplicate this image and set it right here, so these two images will be invisible. Then I'm going to add a button right here. If I move it outside, I'm going to move these two buttons and have them be outside. And this is best practices because you need to set the widget that you want to animate already in the beginning. So where will it start? That's where you want to set your widget before you start animating. This is for best practices. It's not a perfect solution obviously, but it's the best that we have. It's also good practice book will have that with you. So I'm going to make sure that the translation is 0 on both these images, so we don't have any weird things happening. So I'm going to create an animation in here, call it the button fly. And another one called the image appear. Color on the button fly in. And I'm going to select this one, add a track for the bottom. Add a transform in here. I'm going to move this to position one. Simply drag this over the screen. There we go. Maybe set it right here. Then the bit of movement, set it like this. And finally add a bit of movement it to finally Saturday, subtle in this position. So now we'll see we have this kind of jerky movement. I'm also going to create or select the second button, which is this one, add a track under the name button. Then this position, I'm going to move around. So I'm moving the button one. I want to make sure I'm moving in the bottom to add a track or for the initial button which is called lot and 0, but I call it the button to select transform translation. First, second mark which is here. Or actually, which is right here. So we'll make sure that these are all, they barely touch at this position. Then right here. It moves back. Maybe it's a bit more, more jerky. And finally, right here. There we go. So now when we compile, now when we play the animation, bam, we have all of them set properly. Now for the image appear, I'm going to select these two images, and I'm going to set render opacity to 0. I think this is the one that we'll need to Claire and width add a track for the image one and attract for the regular image. Both of these are going to have a change in the render opacity. Add the second one. The opacity of the image will become one. Now when we play There we go, the image appears for the second one will also have a render opacity, but this one will appear a bit sooner, maybe. Maybe on the halfway there, it will be fully apparent. So now when we play from the start, something didn't quite work because didn't we set this one to have an opacity of 0. Maybe we should set this one to have an opacity of 0. So now when we play, this appears very fast. Okay, So obviously we made them stick in here. So what I'm going to do is select this one and simply delete the whole track. Set this back to 0. Set this back to 0, select the track, render opacity. Move this one to have the time and set this tool. Now we should see that two previous to the beginning, which I'm going to set this manually lay there regards to one appear, appears before the other. And now I'm going to go back to 0. Actually not the 0 at this point when both are fully visible, I'm going to add a track of the image, select color and opacity. So we could have changed the opacity right here, but I decided to just choose how much possible or use them as many options as we possibly can. So at the 1.5, I'm going to set along these two, be 0 except the red. So the image should become, we were setting also the a, so keep it at one opacity. This changes from white to red. Then add the second two. This will change from maybe from red to green. There we go, or too yellow. So we slowly move, then green. So let's see how that looks from this position play seems to be good enough for me. Then on this button, on this image, on the second one, we're going to, you know what? I think that's enough because we already know what's going to happen. So compiles save. If we unclick in here. If we go back and play, there is nothing, okay, Excellent. So back in our game now the next thing we need to do is we need to go into our world. We need to add or create a volume, are just going to be the trigger volume. Going to add it right here. We're going to open up the blueprint. The begin play. What shall we be doing? We should go into the third character. So third-person character, because that's where we are creating. If we go back to our third person character now this might have been one of the tricky spot for you because you might have not known what to do. But what we should do is we should create, promote a variable in here. This variable is going to be our remove this. So this here, this variable is going to be our Widget Blueprint. Also we already have, well, this is one that is not what we need. We need a widget, BP variable, it's on, this is the widget DB variable compile, save. And now when we go into the widget testing, or actually the widget testing which is here, which is our level. On the beginning play, we should get a reference to the player or no, actually not in the beginning play. We don't need that on the trigger volume while holding this will right-click add an event and then collision on actor began overlap. We get the actor will cast to third person. We are going to get Widget. Get which BP. From the widget BP we are going to get. Let's see what was it called, The appear or something. Let's go into the widget testing. See what, okay, So button fly, button, get butterfly. And also the image, something, image appear, color. There we go. So from here, we're going to play, or actually we're going to create a sequence. Sequence. We're going to play animation. Play animation. This up right here, this right here. Attach these. So what happens right now is as soon as we trigger volume, we check, is it the third-person character? We get the Widget Blueprint variable from it. We get the animations. We said that in a sequencer and we block, play both animation, so Compile. And the problem is we need to set the targets obviously. So we'll set the target right here and set the target right here. Now this is something you might not have done. Because in here when we were playing the animation, the target was set as self, but in this case the target, the widget that we're playing it. So Compile, Save. And now when we play the game, when we walk towards the trigger, there you go. You can see that the two buttons flop flight in and the images appeared and change colors. So what an overwhelming thing to understand, what a long video to teach you this in. I know this is a huge, This is very hard for me personally. As you, as you saw probably I made a lot of mistakes. I forgotten a lot of things because animations are really that hard to master. There are many things that we can delve into. Many things that we need to still understand about them. But when, once you learn them, your widgets become much more interactable and much better. Thank you so much for watching. I hope you enjoyed. I hope it wasn't as hard as I felt. It was to teach you. And I'll see you in the next one. 66. Section 14 - CyberSpy 3027 - Adding The HUD - Displaying Health And Gems: Welcome back, my fellow game developers. In this video, we have gotten rid of our ugly printing that we had previously. And now when we play the game, you'll see that the gems that we need to collect or 0 out of one and the health is displayed properly. So when we stepped on spikes out, health is displayed below. And when we pick up a jump, you can see that it is no longer only printed on the top left. It is actually displayed on a widget in front of us. So let's not waste any more time and let's get started. Okay, so welcome back to a new section. Let's get started. In this video, we're going to be displaying the health and the gems. And I've probably said that in the intro. So let's get started. I'm going to right-click in here, create a new folder called a DUI. Open up the UI. I, right-click in here, go to the user interface and create a Widget Blueprint. I'll call this underscore. Discard the UI or general your menu. I, let's call it main UI, or nonetheless, call it the character. There we go. More appropriate. Open this up. Now in here we are going to be creating everything that we need. Now, keep in mind everything that I do in this video, you can fully customize it. You don't need to follow what I do. You can do whatever the heck you want. This is all based on your preferences. So first of all, I'm going to add a horizontal box. Just try to keep up with me. I'm going to add a horizontal box. Next, I'm going to add a text, this horizontal box. Then I'm going to duplicate this text once, twice, and three times. So now we have four texts. The first text we're going to scroll down in here and see where we can change this. We'll call this the gems collected. There we go. Without a space next to the second one is going to be the gong to call this 0. And the one after that we're going to call, we're going to write in it the slash. And the third one, we're going to make it 100. Now, what does this look like? This looks like the 0 is going to be variable and bound to the number of gems that we've collected. The 100 is going to be the chance that are required and the slash is going to separate between them. Let's call them appropriately. The second one is going to be the gems collected. We are going to make sure that it is variable right here, selected valuable. And then last one is going to be the gems required text. And it also is going to be variable for some reason this is very foreign to you. Anyways. Finally, we are going to, finally we're going to select all of these will make sure that they fill. Doesn't seem very good. So I'm going to take them back. And I'm going to instead make sure that all of these have a certain size. Because if I compile, save and also makes sure that the horizontal box is attached to the top. Let's set this in here. Compile save. I want to, I want to go in here and I want to test this out. I'm going to go to the content. I'm going to go into the where's the player? Gems enemy exit door, FPS character. There we go. And my character, as soon as we begin play, There's nothing in here. So I'm going to create the begin play on Event Begin Play. We're going to create widget, and this is going to be the Character BP UI. Then from here we're going to Add to Viewport. There we go, compile save, and now when we play the game, okay, seems good enough. Maybe should be able to bigger. And obviously we should add a bit of space in-between these. We don't want them all squished together. So maybe we'll select these and just make them a bit bigger with a bit of a bigger form. Whereas the font, whereas the font, the font in here. So I'll make these 32. Let's compile, save, and play it again. Excellent, these look great. I'm going to select all of these and I'll add a bit of padding on each, on all sides of 20. Is that too much? I think that's too much. Compile save. All of this video is going to be trial and error. So instead I'm going to add ten. Compile play. Yep, seems good enough. I think, you know what? Maybe let's make this eighth. Compiles HIV. I'm very picky. I think I am. I have a little ADHD, something like that. I think it's called I will also the problem is we're adding eight on this side and eight on that side. So in here I'm going to instead set this to two. And the problem was, let's set this to eight on all sides, but on the right and left we're going to set this to 22. Now there are closer and this one to the left. I'm going to set this to the floor. Let's see how close that is. On this one. I'm going to set to the right, set it to four as well. Let's see, compile save. When we play. For me to be honest, it seems good enough. Maybe we should make this a bit smaller on the font. 30. Compile save, lay, perfect. Okay. Now we have these, makes sure that the collect jumps text and the general required texts are variable. We don't need the other ones to be variable. This is something we did not do in the section where we learned them, but that's okay. We learned as we go. Next, we're going to add our progress bar. So we are going to, or actually I'll have our health law, which is going to be a progress bar. Progress bar. We're going to make it bigger. And we're going to right-click in here and we're going to wrap it with a horizontal box as well. Whereas the horizontal box, horizontal box, there we go. We're going to also add a text in here, the horizontal box. And we're going to move the horizontal to the right. And we're going to set this to fill. This text is going to be centered to the middle, like this. This is going to call the or be, the text inside of it is going to be health. There we go. Let's see how that looks. Maybe add a bit of padding to the right, so I'll maybe a 20. Good. That looks good. I'm going to set this to the bottom. Drag that in here, compile save, hit the Plachy. Let's see. Okay, seems really good. Seems like it is good enough for me. Select the progress bar. And obviously it's going to be valuable because it's going to change. The appearance in here are not going to change it to whereas the actual the progress. Let me increase this a bit just so we can see what's happening. Where we'll add maybe a bit of Borderline. Let's see if we add the 55 just to have this little background. When we compile safe play the game. Yeah, there we go. Just a little bit of background which is like maybe we shouldn't send it. I don't know. Let's see. Well, we'll see we'll see how that looks. Obviously, the bar is going to fill from left to right. The marquee isn't going to anything will not bind that for now, will bind it later on. Or maybe you will bind with labor on the appearance, the Fill Color and Opacity are going to be green because this is the Health. Set, everything to 0, set it to okay. The style, the style is what I was looking for in the background. It's going to be no tiles. The background is going to be white. White, or the full image is going to be also green. So said that the green and the tiling, tiling, and we're going to remove any animations that we have. So Compile, Save, play the game. Oh, okay, seems to be good. Let me check. Maybe we should remove the padding. We can just add do padding. Let's see how that looks. Compile, save. There we go. I think that is good enough. Maybe just change the health favorite. This video is already ten minutes in, and we haven't really done any coding. You could have skipped. What I say should've told you. I'll tell you in the beginning. The font will increase this through 30 to compile save, lay and their results. So now we have the health, the jumps collected. All that is left to do is to actually bind them to something that is going to be your challenge to find the hot to play. So add the WPP for the Widget Blueprint to the new port from the character. I already done that. In the graph of the Widget Blueprint, get a reference to the character and the game mode. This is important. Bind the gym text to the proper variables, and bind the progress bar to the health. Finally, clean up all this screen printing. This is very important because we don't need it anymore. We have everything displayed to us properly. Pause the video right now and go do the challenge. Okay, so I'm going to compile, save and in the graph and the event begin construct. I'm going to get character. I'm going to gas Character BP. Bp, my character. I'm going to promote this to a variable and call it my character. After that, I'm going to get Game Mode. I'm going to ask to my game mode. I'm going to promote this to a variable which is going to be my game mode. Compile save. Now back in the Designer, I'm going through this very fast because I feel like we've done this so many times. I'm going to select gems collected, scroll down to the text, had the bind. So these are the jumps collected. So we're going to select the My character and the collected jumps. Next we're going to select the chance of required. And in my game mode, this is going to be the require the gems compile, save. Then go to the progress bar and scroll down until we find the percent. Select my character, and we're going to select the health compile save. And now when we play the game, we should see that we have 0 out of one jumps collected. And one we pick up the gems. There we go. How cool is that? The final thing that we need to do is to make sure we don't have any printing anymore. So in here on the Health, we are going, oh, we forgot to test it. The half. There we go. We get it whenever we are standing on the spikes or get damaged. So I'm going to remove the printing in here, lay the sound and remove the printing from here as well. Just drag this up like this. There we go. This is the first thing we are going to remove and we have anything else in here? No. When we pick up a jump to take a bit of time in the gems, the content, germ, pick up jam, printing in here. Do we have any printing leaves? No. No printing apparently. Not sure about that. Let's see. I hit the F9 right here, so this is pretty simple. So print, no good and fine print. Back in here. What else do we have when we start the game? Okay, so when the game mode, Let's find the print. Print string. Remove that. Do we have any other prints there we go. Normal prints for you. And we're going to move this as well, compile, save the character and the VP, my character and on the gems and three hit the Enter key. Let's see. Yeah, I'm pretty sure we didn't find anything. We still have something whenever we okay. So jams collected there we go. Compile save. So now neither the health more or the gems are displayed when we play the game. There we go, we have a much cleaner world. And when we pick up the jump, there we go. Everything is working fine. Thank you so much for watching. I hope you enjoyed the video. I hope you'll add your own touch to this. And if you haven't already, this is the perfect time to leave me a good review if you think I didn't do a good enough job, I'm wondering why you got to why you've gotten this far in the course. But if you do think I made some mistakes, something that you need me to improve, please contact me and I will try to change it. My goal is to always keep your satisfied and provide you with the best learning experience possible. Thanks so much for watching. See you in the next one. 67. Creating a Main Menu: Welcome back, my fellow game developers. In this video, we are going to be learning how to create a main menu. Right now when we start our level, we are again, we don't just start at our level. We start in the main menu where we can quit the game or we can play the game with a very nice-looking fall. Obviously these UI elements of the character we will need to remove later on. But if we had the late game, you'll see that we go to the level 0 that we always had. And if we quit the game, we quit the game. There we go. Let's not waste anymore time. I know this is a very long video, but you can really, you can skip the parts where I create the UI elements and do your own if you want to, or you can just get a couple of ideas from me. So let's not waste any more time and let us get started. So time to create our main menu. The first thing we need to think about is the background of our main menu. So whenever you start again, you always have some kind of background to represent what the game will look like. Now this can be several things that this can be an image, this can be whatever you want, but I prefer to do is have the game that we are actually going to play to be the background. What I'm going to do is I'm going to go to the content, select the level 0, duplicate it, and call it the main menu level. I'm going to go to the main menu level, Save Selected. Now in here I'm going to choose some kind of direction to look at. Now, a couple of ideas that you can do. You can, for example, select removal of these, select a couple of moving platforms and set them to be moving that way. When we start the main menu you have the platform is moving with spikes on the ground. Or you can set that to be looking at those cubes in this ominous way. Or you can just have everything together looking like some kind of like this angle, for example, in the game view. So it really depends on how you want your game to look like. That's it. How you want to remain money to look like for me to be honest, I think I'm going to choose some kind of angles similar to maybe like this. Just have a general view of everything. Moves the platform right here. Move these to the side like from here to maybe hear something like that. And just set the platform to be on. And that's it. I guess this is how I would like to see it. There we go. We're going to start from this position, this exact position. We are going to go into the content browser. We're actually, what I'm going to do is I'm going to get the, there we go. So select the player, start, right-click on the player, start and pilot the player stopped. So now we are flying the actual player start, which is going to set our game exactly where we want. Once we set it in here, then we are going to click on stop piloting, and now we will have our player. Now the problem is when we start the game, you'll notice that we fall down, which is not good. We don't want that to happen. So instead what we'll do is we're going to get one of these platforms and move them to be around here somewhere. I'm going to simply maybe move the gems to one of these, setup it right here to be in front of the player and let me remove the spikes. I'm going to move this platform to be under the player whenever we start so that he does not fall. And you'll see why, because later on our player is not going to be moving at all. So there you go. Let's see how that looks. We don't want him to fall at all. Move them up and move them to the side. There we go, so we don't see the ground whenever we start playing. So now when we play the game, There we go. This is how we will see our level. Excellent. Control S to save, Control Shift S to save everything. And now we're going to go in here, go to the content, open up the UI. We are going to create a new Widget, Blueprint, which is going to be called the WB P underscore main managed. By the way, I forgot to do something. This should not be called the BP, this should be called the WPP. Maybe I did that before. Whenever you are creating a Widget Blueprint, it's called WPP Widget Blueprint. So open up the Widget Blueprint menu. And in here I'm going to do a couple of things a bit fast. First of all, I'm going to get a blur, background blur. I'm going to set it in the middle. I'm going to set the anchors to be this one on the left and right. I'm going to reset the positions on the x and y. I'm going to reset the offset on the Right and the left. I'm going to see if I can change the size of the sea, of the x, the y, and that's not what I wanted to do. Maybe the position on the y is something that I wanted to do. Increase the y as much as I can, change the offset to be 0.5 on the x and 0.5 on the y or key seems to be great size on the, why? Is there more size on the x? C offset to the right. Okay, so there we go. We set this to 0, and now we have the Sway. We can increase it a bit. There we go. We have the blog blur. Next, when we scroll down, we should see somewhere that we can change the blur, the amount of blur. If I can solve their strength, I'm going to set this to maybe 0.8. I think eight. Let's see, compile. Okay, we can't see, we can test this next. Later on. We'll test this. I think this is fairly four will be fair enough and maybe increase the y a bit. Actually, no, what? I have the value in here somewhere. So 0.3 should be a good one. Inside the other, the blur, we're going to add an image. So I'll drag the image in. The image should be completely dark. There we go with an alpha of 0.3 head. Okay? Next we're going to add two more background blurs. Background blur. This one is going to be anchored to the top. We're going to reset the offsets on the right and the left. Make sure that this one is 0 and set the size to be much bigger. And reset the position and set the size and the y to be a big just to cover everything else, this blur is going to be a bit less than the one that we had in here. So let's just set it to 0.5. The one that was here was let's set it to two. I don't know. I'm not sure to be honest with you. Pass these out. These are the things that we can change. They're not that big of a deal. They just add a bit more authenticity. Reset the position on the y, and we're going to set the offset on the y to be one. There we go. How perfect is that? And the blur is good. Compile Save. Next we're going to add a bottom. There we go. So add a button in here. So we cannot add it to this image. We will simply add it to the canvas. We're going to set it in the middle, recently positions and reset the alignments to be 0.5 by 0.5. So it's completely in the middle. Let me zoom in so I can grab the edges a bit. There we go. So this is our first button. This is going to be the play button, and I'll duplicate it and this is going to be our IT button. And maybe I should put them in a horror and the vertical box. But for now I'm just going to leave it as it is. And I'm also going to add a text in here, and this is going to be our title, the title of our game. There we go with added on the canvas panel. We'll also set the alignment to be 0.50.5 with an anchor in the middle. Reset positions with a bit of a bigger, oh, actually that's size to content. Let's make this bigger. And actually we won't need to do any of this because we are going to be adding our own thoughts. So I'm going to show you where I got the Cyberpunk font. Go to fonts for free and you'll get the Cyberpunk. You can either use this one or use one of these on the Cypherpunk on the left, fund.com. So I'm going to go back and non-real the Content Browser and the content. I'm going to go to the resources that I have in here and drag this one. It will ask me to create a font italic. Yes, please look, create a font for me. So now we have this font back in. Let's close this one down back in the main menu. The font, we're going to select the cyber punk. How cool is that, ladies and gentlemen, Now, this is what I call a freaking game. Looks amazing. This one is not moving for some reason, so I'm going to reset the position on the x and reset it. Let's keep it for 120 and move the note. No, no, no, no, no, no. Let's make this for 2069. They really do it for some reason. It is the perfect number, 420 and our case, I mean, 69. And let's move the position down here, and let's select this one and move the position on the y that I make something wrong. The position on the y down here, there we go. This is our texts. We are going to the typefaces the same. The size as 94, I guess that's okay. Maybe move the position that a bit up. Like this. We're going to change the color to be this kind of yellow. Okay? And then we will add a bit of shadow which has, which will have the color red. And we'll add a bit of offset to it. So an offset to the right and opposite down. And we need to set this one to 0.5. Yep, there we go. And now we need to adjust the offset a bit. So there you have it, ladies and gentlemen, How cool is that? Now we have this nice tax that is in the middle. And we're going to change this text obviously to as the game called cyber spy 3027. Okay, So obviously we don't have numbers in here anyways, let's just call it cyber spy. That's okay. You'll forgive me for that. Compile, save for some reason the numbers just didn't work. I tried my best. Cyber spy, 2037, so we still can't see anything, but this is basically how everything is going to look like. Next, we're going to add a text block to the Play button, a textblock to the Quit button. And this textblock and this textblock are going to be both cyber spy font. Both will have the yellow color. Both will have a shadow offset of 0.8 and being completely red. And we'll add a bit of shadow offset in here. Maybe. What was the shadow offset on this 1910? Let's just set it to 99. These texts. Text. Who both had a shadow of 99. How does that look too much? 33. There we go. Or maybe we don't need any shadows on this one, or maybe we should make them completely black. There we go. I guess that's good enough. So they regard the text. The text on the blocks look good enough for me. Now, the next thing we need to do is we need to actually set this in the view, or sorry, we need to change this to lay this one to quit. There we go. So the queue is very ugly by the way. And maybe we should make this a bit bigger. So maybe change this to 30 to their records or compile save and this font also I feel we can make it a bit bigger. So 110, compile save. And now I'm going to issue a challenge to send the main menu. So add the main menu to the viewport in the Level Blueprint makes sure when we press the button and we could again, also, you'll notice that we still move around once we click stub that when WPP is constructed and get the player controller and send the input mode to UI only and the widget to focus on self. Finally, we need to see our mass simply acts as the player controller and shed set V, show cursor to true. So pause the video right now. This challenge will have multiple nodes that you need to discover for yourself, but I'm sure you can do that. Pause the video right now and go do the challenge. Okay, So in the main menu, I hope you did the challenge. I hope it wasn't too hard. We're going to open up the Level Blueprint. And what do we have in here? We don't need the sound at all. Yes, we're going to remove this. Almost this as well. We're going to begin play. Scroll down. We're going to create the widget. So create widget. We're going to create the main menu. And from the main menu we're going to add two viewport. There we go. Compile save. Now when we play the game, there we go. We can see our beautiful new screen and I think we need to add a bit more blurred. So on this one will make the blur maybe five. On this one, I think the eight was a proper value. This one will set the layer to be. Let's see how that looks. Play the game. That too much. The black isn't black enough on the image I feel anyways, we're wasting a lot of time. And I'll just keep moving. Compile, save, and we'll sort the other things later on. Next we need to set the Quit button. So I'm going to click on the button and clicked in here, we're simply going to quit game. That's it. Bile save, play with the game. There we go. It works. Now. The next thing we're going to do is we're going to actually set the input mode. Because when we play the game right now if I click in here, you can see that I can still move and I can still fall down, which is something that we don't want. Plus we are no longer able to see our mouse cursor, cursor. Let's solve these things in the Main Menu level in here, in the Event Begin construct. So do we have it not be gone. So begin construct, construct, cos truck. Oh, I'm looking in the wrong main menu levels. The onclick event construct that was like. So. I will try to cut that out to not look stupid. Anyways, in the Event Construct, we're going to set input mode UI only and the player controller, we are going to get layer controller. Now if you want in here, you can cast this. I do recommend that you cast it, but honestly we don't need to. We only have one layer Controller. Next thing we're going to do is we're going to set the mouse cursor. So from here we're going to set mouse set moles, okay, but this will not work. We need to get the player controller set mouse cursor, cursor, cursor. There we go. Show mouse cursor. Set it to true. Will just there, the butt right here, just so we can probably see everything. Move this a bit to the right. Finally, we need to select the widget to focus on. So this is going to be the Self. Why is it the self? Because we are focusing on ourselves. We are working in the main menu widget and we'll focus on this one. When we play the game, you'll see that even when we click around or we tried to walk around, it does not work. We can play the game that doesn't do anything and we can quit the game. Now, let's finally create the play buttons. In the main menu designer go to the button, which is the Play button. And by the way, it's better to call them. So instead of just bottom one to four discovered the Play button. So unclicked. In here we are going to simply first of all set the input mode, set, input mode game only. So it's no longer because keep in mind when we are in the main menu, we are setting the game mode to your eye. So now we need to turn it back. Get player controller. There we go, compile save, and we are going to open level. So open level, we can either set it by name. That way we need to get the string reference, we need to copy the level name. Or we can open level by reference where we can set the level to open, which is going to be level 0. So we'll compile save play. We can't walk around. We hit the play button, and there we go. We are in level one and everything works perfectly fine. Thank you so much for watching. If you have any problems, just adjust them. Make your design as best as you want it to be. Sorry for the long video of these things take time whenever we are creating widgets. Thanks so much for watching. See you in the next slide. 68. Creating A Pause Menu: Welcome back, My favorite game developers. In this video, we are going to be creating our pause menu. We walk around, we pick up stuff, but then all of a sudden somebody comes into the room or your mom calls you and then you're like, Oh wait, let me pause the game. When you pause the game, you'll see that we can no longer move around. And we can either go back to the main menu, which takes us to the main menu, or we can, for example, go and resume the game. When we resume the game, we continue on playing as everything normal. So let's not waste any more time and let's get started. Okay, So in this video, we'll create the pause menu. Let's go ahead and get started. We're going to first thing is we're going to set the first level that we load into the main menu. So I'm going to go into the file, I mean in the edit and the Project Settings. And here we're going to find maps and modes. And we're going to change the editor Startup to be main manual level and the game Default Map to be Main Menu level. This should be saved without us pressing anything. Now let's actually move on to the main. Actually, no, not the main manual level. What we are going to do is we will go into the content. We're going to go into the UI, select the Main Menu and simply duplicate it and call it the pause menu. So WPP underscore pause menu, open this baby up. And it's going to be pretty much the same except for the cyberspace in here is going to say game paused. There we go. On the Play button. The word play is going to be called the resume. Resume game. And instead of quick game, we're going to quit main menu. Let's see how that will look. Yep, I knew that it's going to look that good. What we'll do is we're going to, so you have two options in here. You can either make the button a bit bigger or make the font a bit smaller to fit inside of here. But what I'm going to do is I'm going to change this to main menu. So much simpler, easily handled, and everything should be good enough. So Compile Save. Now the next thing we need to do is we need to actually make the game unpause and go back to the main menu. But before we do that, we need to actually pause the game. And if I remember correctly, I think we already created in the Edit Project in the inputs. Yep, There we go. We already have a pause button set up in the action mappings. So I'm going to go to the character controllers on the content in the FPS character. The BB, my player controller. In here, we should create input action mapping for the pause. Let's see bars action, pause, event. No, we want the event. That's it. This was the one that we were looking for. I'm going to set this up somewhere in here. When pressed, we are going to set again, paused. There we go. We're going to check this to be true. This means that the game will be paused. Then we're going to create widget. The widget will create as the pause menu. We're going to add it to the viewport. Viewport. There we go. Now we compile, save. And when we play the game, when we're walking around, when we hit the P key, we should see that we have pause the game. We cannot click anywhere, and we can only either resume the game or go back to the main menu. But obviously, these buttons do weird things. So for example, when we resume the game, we start from the beginning because the resume game actually still has the same functionalities that the late game had, which takes us to the level 0 and the main menu quit the game. So it's time for a bit of a challenge to resume and quit. So first of all, instead of quitting, we want to go to the main menu. And when we resume, we want to do the following. First of all, we move the widget from parents, so basically removing it from the viewport, but we use the Remove from parents. Next, we will set the input mode back to game mode only. We will hide the mouse cursor. And we are going to unpause the game. Pause the video right now, and go do the challenge. Okay, So I'm going to go into the graph. In here we have the quiz game. This is the button that will take us to the main menu store. So instead of quitting, I'm going to open level and let's just use the reference by name for now, even though I don't recommend it that much. But we'll use this one since we've already used the get object by reference, we'll use this by name. Whenever you are handling string references, you always need to make sure that you go into the levels. You hit the main manual level head F2 key in order to change the name, copy, then go back in here and based in here, so make sure that it is exactly the same. If you don't, if you have some kind of different, like if we forget the e For example, example or set the L2 not be uppercase. This will not work. This will cause an error. Compile, Save. Now the next thing is in here. Whenever we resume the game, this is going to be the Resume button. I presume. I think that's pretty much it. What wasn't here? Set game. Okay, so there we go. That is it in here. First thing we're going to do is we're going to remove from parent. This will remove our widget. Because we are targets the self. That means it's targeting the widget that we are working in right now. If we didn't, if we weren't working in this widget, we needed to have referenced the widget that we want to remove from Parent. Next, we're going to set input game only. That way we know that we can only access the game. And we're going to set the player controller. So get player controller. And as I've told you in here, it's preferred to use the casting to make sure that we get the proper player controller. But for now that's okay. Just to save a bit of time, actually meet explaining to you this doesn't save time, but that's okay. Next we're going to set mouse cursor. So we're going to get it from here. Set mouse, cursor, mouse, cursor. Know this is the widget, this is not what we want. Let's see. Mouse cursor. Okay, So get sacked, mo, sorry, sorry, sorry. Set mouse cursor. There we go. Set show mouse cursor. As you can see, I'm also making mistakes sometimes and we're going to uncheck it that way. We no longer see the mouse cursor. And finally, we are going to set game balls. We're going to keep this empty. This means it's false. That means we un-pause the game. So Compile, Save. Now when we play, we walk around, we'll hit the P key. There we go. When we go to the main menu, there we go, we come back to the main menu level. We play the game, we pause, the game, will resume the game, and we continue walking around, hit the P key again, presume the game and everything seems to be perfect. Thank you so much for watching. What I want to do is I want to remove this little edge around the Sun here in the next video, I shall remove the edges around this Health Bar because they launched really look nice. I thought it would look much nicer. So thanks so much for watching. I hope you enjoyed the video and I'll see you the next one. 69. Damage and Collection Effects: Welcome back, my fellow game developers in this video, when we play the game, when we go to pick up the gems, you'll see that we have this flash of the yellow playing. Now, not only do we hear the sound and we see the jumps collected, owe collector. That's a mistake I made. Sorry. Not only do we collect gems at the top, but we also have this flash of red and flash of yellow that gives us a better indication of what's happening. So let's not waste any more time and let's get started. Now when we collect a jump or when we get hurt, all that we have is a bit of audio, which is good, but it's not enough. I think we need to have a more, let's call it a more physical way of understanding what's going on. Maybe physical is not the right word. I don't know something that is flashy, that's the right word. So first of all, we're going to create the damage effect. So I'm going to go into my character, into the contents FPS, and open up my character. This is where we are collecting gems and getting hurt in here in the Event Graph. First of all, I'm going to create a variable in here, which is going to be show, damage, effect and compile. And this by default isn't going to be false. And whenever we get damaged, where do we get damaged? When? When do we get damaged goods, game play sound okay, getting damaged. So in here, just before we delay, what I'm going to do is I'm going to set the show damage effect. Let me drag this in here. So write like this. We're going to set it to true. We're going to add a delay of 0.3. And then we are going to get the show damage again. And we're going to set it back to false. So it's that simple. As soon as we get hurt we hear the sound will show the damage effect. With delay 0.3, we turn off the damage effect, so we, we no longer see it. And then we go back to doing what we were doing previously, which is resetting the damage that we can take. Excellent, so Compile, Save, That's all that we need to do. Next, we're going to go into the character UI. I'm going to close down the player controller and the bars manufacture now go back and the character UI. We're going to add a border. This border, we're going to anchor it to all sides. So on all sides, we're going to reset the offset to the left. We're going to reset the offset, the top to the right and the bottom and make sure that all of these are 0. So we cover the entire screen. We're going to set the z order to minus one. So everything is in front. While actually, yeah, everything is in front of the border. Going to change the color in here to be completely red. There we go. That didn't do anything for some reason or case over changing the content that's inside, we're going to change the appearance. So we are going to turn it completely red, but we're also going to change the Alpha to 0.2. So we have this faint red color. Next we're going to bind the visibility. So if we search for the visibility right here, compile save, we're going to change or we are going to bind this to a certain condition. And that condition is going to be the damage whether it's true or not. So we already have my character in here, somewhere. There we go. This is my character. We're going to get it. We're going to show or get show damage effect. Show damage effect. There we go. And based on that damage effect, we're going to create a branch. On that branch will add the condition right here. And if it's true, it's going to be visible. And we're going to create another return node. If it's true, is divisible. If it's false, we want to make sure that it's not hidden, that it's collapsed because we don't want it to be in front of us. We don't want to have, whenever we click on the screen to have it in front of us, we wanted to completely almost be not there at all, not just hidden. I'm not there at all. Compile, save. And now let's see how that looks when we play the game. There we go. You can see we have a bit of a flash whenever we get hurt, let me turn down the sounds in here. There we go, so you can see now we have a better indication of what's happening. We get this flesh flash of red on the screen, which really indicates that we are getting hurt and we need to get the heck out of there. Next we're going to create the gen effect. So back in the character UI designer, I'm going to call this. Damage read effect. There we go. I'm going to duplicate the damage rate effect. I'm going to call it the gem collected gold effect. I'm going to select this one and I'm going to change it to the color of the jam. So what was the color of the jam? If we go back and the content, search for gem, that's open up the goals so we make sure that we get the precise scholar that we have in here. So it was yeah. Okay, so 1.90 O goes down again. No need to change anything back in here. I already forgot the values. Anyways, let's just set it manually. There we go. I think that's perfect. 0.9. That's our goal. Okay? Now what we'll do in here, instead of using the same exact method, we are going to create an animation and then play it whenever we collect a jump. And actually I said something wrong, we are not going to create an animation. You are going to create an animation. Make the jump flash, so make the flesh last 1 second and total at the zero-point to add a bright flash of alpha may be 0.3, depends on you. At the zero-point for add a thymine to 0.1 for the alpha at 0.6, add another flesh and finally take it down to 0. So pause the video right now and go do the challenge. Okay, So how did you get all that? I'm going to add animation in here called the jam lash effect, or jump pickup effect. More, better, pick up effect on the timeline in here. Let's make this a bit bigger. I'm going to make sure I'm selected the gym collected at a track. Let's go ahead and add jump collected effect at a track. What do we have in here? The render opacity. So before we continue on, let me go to the render opacity in here and make sure that it's 0 always. Then at the first, at 0. What did we say we wanted to do? Let's see, at 0.2, we have 0.3 alpha, 0.2. We get a 0.3 alpha. There we go. So now he 0 at here we have 0.3, then 0.4 with the mid back to one represent 0.30.40.4 with the mid back to 0.1, the Alpha. There we go. And then 0.6, we take it back higher, higher did you say yes, 0.3. Know what happened in here? 0.3. Finally, at the 1 second mark, we take it back down to 0. So now we have this kind of little bit of flashing soap compile save. And now we need to actually call this animation. I hope you've tried to, I hope you tried to do this on your own. I'm going to go to the pickup jump in here is where we are going to be playing the animation. First thing we need to do is we need to get a reference to the gym being picked up. How are we going to do this? Well, we are going to, while there are obviously many ways that we can do this, but one of them is like looking for the get actor of class. So from here I'm going to get widget. You can see that we can get all widgets of class. Now this returns a, an array of all the widgets that we found off type character UI. So what we are going to do is we're going to get a copy was the reference 0 because we know that we only have one. So we're going to get the first element that we find. And then I'm going to promote this to a variable. This variable is going to be our character. You are widget. There we go. So now we have a reference and let me just it go over this one more time. So when we begin play for every pickup, the gym, we are going to get all the widgets of class because we can't just get one widget of class. We will have to look through all the widgets off glass WPP character. Once we find an array of them, maybe there are ten. And because we know that we only have one, we're going to get the first reference in here if you just want to make sure 100% that you're getting the character. Your eye that you need, you can simply gas this to your character UI. That would be a great idea. And finally we promoted to a variable. So Compile, Save, now we have a reference. The next thing we need to do is whenever we actually get picked up in here, before we destroy the actor, we should play the animation. So what I'm going to do is I'm going to instead of play the animation here because this is not the pickup gems job to do and the character UI in the graph, I'm going to create a function. What is this? Get visibility. This is the, okay, so we'll call this function flash damage. Flash effect. There we go. Or setting damage, flesh effect. No, I don't think that's the proper name for it. We should set the set damage effect, visibility, better name. Then I'm going to create a new function. And this function is going to be the play JAM, flash or pickup animation pickup. Mention. Here. All I'm going to do is I'm going to get the pickup jam and to lay animation. And the target is going to be the self. So compile, save everything in here should be good. Now back in the pickup jam before we destroy the object, we are going to get the character widget UI. And from here I'm going through Play Animation. No, not like that. We're going to lay animation the function. So play, play jump pickup animation. There we go. Set it right here. There we go. Compile, save. And I hope you understand what's happening in here. So first of all, we got the character UI widget. By using the get all widgets in the character UI, we created a function that will play the animation pretty simple. Why did we do that? Because we need to make sure we could have just simply play that in the pickup Jim. But it's better to understand how high-level programming works. Whenever you have something that needs to be done, it's better that it's done. It's proper place. So we don't want the pickup Jim to handle playing the animation, even though it's almost the same amount of nodes. But still, you need to have a proper hierarchy for what everything does. Sometimes we want, we might not do that, but it's always better to focus on having these good programming habits. So we play the animation function where we call this function right here just before we get destroyed, whenever we get picked up by the player character. Compile, save. And now when we play the game, we should see that when we pick up the jam. Nice, How cool is that? We get a bit of animation when we get damaged and when we pick up jumps. So thank you so much for watching. I hope you enjoyed the video. I hope you did the challenge and I hope you are sometimes trying to do those things without me telling you to do, such as playing the jump animation. That's what they have been really cool. Thank you so much. See you in the next one. 70. Death Screen : Welcome back, my fellow game developers. You might be wondering, why does it take so long for us to die? Well, because there are, or there were many things that we need to handle when we died. Right now, we walk around, we jump, we do whatever we want. But once we die, there you go. You can see we have a bit of a shake. We have the screen flashing slowly in front of us using an animation and we get the text down here, press Space to restart level. When we hit the spacebar, we are back. And also notice that we cannot move anymore. So thank you so much for watching. And I need to say that at the end of this video, let's not waste any more time and let's get started. Okay, so let's go ahead and create a death screen. I'm going to go into the content browser in here, and we're going to go to you. I will select the pause menu, will duplicate it, and we'll call this the death menu. Open up the menu and the game post. We're going to change this to die. There we go. You died. It doesn't look that pretty. I think it does the work for now. And in here we're going to create one button that's going to be main menu and the resume unlocked if you want to have like a two buttons or one button. This one will be the restart game. Restart level, actually restart the level. The one down here might be a main menu. If you want to return to the main menu, I think that's a good idea. So I'm going to select this text in here and make sure that the justifications are in the middle so it doesn't run, run out, Compile, Save. And there we go. So we have the restaurant level, which is a bit bigger than the buttons. So I'm going to make this button a bit bigger. Let's see how big is this button. Scroll up. Again, wasting a bit of time. That's so K, so it's 574. Okay? This one shouldn't be 574. We no longer have our magical numbers, so Compile, Save. Okay, so now let's go ahead and change everything that we have in here. First of all, we have the background blur, which is on the top and on the bottom. That's good. The image right here, I think we will maybe change this a bit. So I'm going to make this whole thing completely red and maybe change the opacity to 0.5. There we go. And we'll increase. Okay, thank you. That's good enough. And you know what, let's delete this background blurs. Let's anchor this background blurred to all sides. Let's reset the position of the top and the bottom and move this one up a bit, maybe make it a bit bigger. Let's see an increase the font size. Yeah, you got extremely scary. And the buttons that we have in here, we'll just keep them in place and I think that the background isn't good way. Second, there we go. The opposite on the bottom should be 0. I'll move this down a bit so we can properly see what's going on. Okay, so there we go. You dive either we restart the level or we go back to the main menu. And maybe I'll just move these down a little bit. No, it doesn't work like that. No, not like that. Maybe move this right here. This button right here. So the main menu button will stay the Main Menu button and we will not need to change anything. But obviously the resume wasn't needs to be changed. Or actually know what. Let's try something different. Let's remove the button completely. Go back into the graph. Remove everything relating to the restart button, compile save. And instead the designer, I'm going to also let's remove the main menu. I won't need it. Why do we need it? We'll try something different this way we will learn more. Take advantage. So you died, Let's duplicate the EU died. In here I'm going to say press Space to restart. Level. There we go. That's a bit big, so I'm going to make it big and the background, we need to change the shadows on this. So color and opacity, that's the same. Whereas the shadow, the shadow should be completely black. There we go. So set everything to be 0. And this one as well. The shadow should be 0. Everything, there we go. So now you died. Press Space to restart, compile save. And if you want, you can wrap this. I'm not going to draw that. I don't want to waste anymore time, compile everything and save. Now back in the graph. You might be thinking, well, okay, let's just get the space-bar pressed and whatever and we can continue on, but it is not that easy. What we need to do is we need to get layer controller from the player controller we are going to set this was, was input key just pressed. And there we go. And that was just press the space bar. We're going to create a branch. From this branch, we are going to attach it right here. Let's move this down a bit. We have a bit more space. This right here and the event thick. So like this. There we go. So on the branch, if it's true, then what we're going to do is we're going to do once. Just think is. So we press this multiple times by mistake and we're going to get current level, current level name. There we go. We're going to open level by name. Nope, I wanted to do it like this. So open level by object reference. Let's see what that work. No, it won't. Try. Another way. Open level by name. Let's see if we can convert this. Yep, there we go. We can. I think we had that before, but I just chose to ignore what's happening in here. We get the player controller. We check if the space bar where we selected right here, we check that the space bar was pressed. If it was, that means this one is true. That means we will do once get the current level that we're at. This will give us a string value that we are going to put inside of the name and we are converting it because this takes in a name, not a string, so we'll need to convert it. So Compile, Save. We will not be able to test this. Now, what we want to do is we don't want to just have this flash in front of us. We want to have some kind of animation. So let's create a new animation in here and call it the depth screen. Appear. On the depth screen appear, I'm going to select the canvas and I'm going to add a track for the canvas panel. It's not going to be anything too fancy. Simply add the render opacity and from ended will take us about 0.8 seconds, maybe. From the 0 in here, we're going to set this to 0. And at the 0.8 volts, set this to one. So there we go. We will have this you compile save. And we'll just click and see you on the canvas panel later on we should set this to 0, maybe on the render. We'll see how that will look. Let's also create a camera shake when we die. So back in the level 0, the content, Where should we create this? The spikes, maybe in the spikes. No, spikes is a good place. Let's see, let's see, let's see where should we create a square that we create this shape. Let's see, shake, shake walk. Whereas it, whereas this, it's in the blueprint class FPS character. Yeah, I think that's a good place to do it because the FPS character is the one that's going to shake. So I'm going to duplicate the WPP or the BP walk shaking and call this the shake. There we go, the death shake, open this up. The oscillation duration should be 0.5. There we go. 0.5. Blend in. What's going to be 0.1. The blend out should be 0.4. And by the way, I have all of these values. I'm not just playing around. I've already tested a couple of these. Maybe we'll change them up. Now we'll add a bit of rotation. So on all sides will add four and forty. Four and forty and we'll use the random. And we can also set this to Perlin noise. There we go. Let's set this to Berlant noise. That way we have a very shaky world. You know, it's going to be chaotic when we die. And then we'll also add shaking on the x and y. X and y on the amplitude and frequency. Oh my God. Okay, so that's our settings. If you want to go back, you can use your own and you can test this out. Finally, we need to actually add this to the viewport, so I'm going to save this. Let's keep it open. So in here before you die, if you remember, our death has been very anticlimactic. So when we die, we actually save for 1.6 seconds to hear the sound and then we quit the game. Well now we will not be able to put the game. We will have to restart. This is a bit of a problem that I just thought of. What if you want to just quit the game after you die or go back to the main menu. This is able to have a problem, but for now, let's just focus on what we have in front of us. In here. We are going to first of all, remove any delay because we're not quitting the game. We're going to play the sound, but after that we are going to disable input. So disabled input on the player controller. Do we have a reference to the player controller on my character? There we go. We use the player controller. We do something wrong. Ok, Know was on the other script will disable the controller, disabled the inputs on the player controller. We're going to create a widget. So create widget, which is going to be the death menu. There we go. We're going to add it to the viewport, viewport compile save. And finally we are going to start the camera shake. So I'm going to get flare camera or manager from the player camera manager, I'm going to start camera shake. There we go. And the camera shake that I want to start as the death shake. There we go. That's all that we need to do. I think. Now if we go ahead and play, we should see that is everything good? And let's just make sure I feel that there's something missing. Missing that we did not do. Okay. Play the game. Now when we die. Okay, so I suspect that this would happen because it did not just play the animation. Hey, welcome back guys. So there were two problems with our deaths. First of all, when we play the game of weight, because I changed things. So first of all, I'm using this gap player controller. We will be using this one happening in here when we compile, save and play the game. I am walking and I'm dying. We have the camera shake, but we don't have the slow animation playing for the UTI. This is the first thing we forgot to play the animations, but there's an even bigger problem. And that is that we have this mouse cursor. If we go back to my character, first of all, let us go back to the test menu in here, you'll see that whenever we are dying, we are actually setting the input mode to you. I only we don't want to do that. We're going to delete all of this. And instead what we're going to do is we're going to get the depth screen appear. And we're going to play the animation. There we go. We simply, as soon as we create this event construct, that means whenever we create the blueprint of the desk menu on the event construct, we are going to play the animation. So Compile Save. Now when we play the game, should see when we die we have this fading in, which is very nice. But the problem right now is that we are no longer setting the input. We still can walk around, even though in my character we've set the input to be disabled. Now, the thing that I didn't do properly here is that we need to also connect the player controller to the target because this is the object that needs to have its inputs, the stabled, because otherwise the target is the self, which is the actor, which is the character. And we are not doing anything in here. We compile, save now that we have the target set as the player controller when we play, we should see that we are still moving. But this time when we go out, we get this error. This error does that. We've access none trying to read the property of the my controller blueprint. And if we go back in here, you can see that it's in my character and the graph node in the event of graph and the disabled input. So if we click on the disabled input, this is the one. Why is this happening? Because my player is going empty. Why is that? For some reason, the player controller in here, I'm trying to find it, but we cannot find it. So it's in the FPS, my character, but we are not setting it anywhere. We're just using it. Maybe we created this variable somehow and we are not using it. So what I'm going to do is instead I'm going to whenever we begin the events. So on Event Begin Play, we set the viewport and we're also going to go ahead and set the player controller, which is going to get layer controller. We are going to gas to my player controller. We go, I forgot that we also need to have this connection right here, so I'm not sure where we did that. Maybe I should go back and watch a couple of videos just to make sure maybe you do. I really hope you do. If you have any questions, please leave them down most probably I'll find them. Maybe I'll add another video to explain why we created this variable. But anyways now what we should see is once we add this to the target, and we add this to the controller, we compile, we save, we play the game. We go outside, we die. There we go. We can no longer move. We can no longer walk around, but we, if we hit the spacebar, will restart the level. Now, you might have noticed something and that is that we are still walking. So I'm going to issue you a challenge. And your challenge is going to be to stop the camera shake. That's it. That's all that you need to do. So pause the video right now and go stop the camera shaking. Okay, So it's pretty simple. If we go back to the my character in here, the game over when we disabled the inputs, we can also let me just move these. And since in the player controller, if we go to the player controller in here, player controller, we have this stock camera shake events, so we can call that immediately from the player controller. So stop camera. Shake. There we go. Attach it like this. Up, set it in-between, Compile Save. Now when we play the game, we should see, there we go. We don't have any more shaking, but you can here we still have the walking. These are things that you might not suspect are going to happen, but they do. So what do we have in here where our replaying the walking, so input actions sprint, the steps sound. What I'm going to do is I'm going to, where are the steps sound? Let's find them. Steps sound. Let's see. In the event the graph gets step sounds, set the volume, Okay, and in here also the whole component. Okay, great. So what I'm going to do is I'm simply going to create some kind of add custom event. Steps, sound, kill steps sound because I'm very angry and I want to freaking kill them. Get the step sounds. And we're going to set volume multiplier 0. There we go. Compile, save. Whereas it in my character when we die, we also want to kill. Please freaking kill it. We can add a sequencer in the year, maybe. We'll add a sequencer. Sequence. It's not necessary, but just to have a proper flow. What a sequence is a very bad idea. We're going to add this in-between stopping camera. There we go. So as soon as we die, we disabled the input. We kill step sound, we stop the camera shake, we compile, we save and replay the game. And hopefully right now, we got, we have the perfect death. When you hit the spacebar, we restart the level. Thanks so much for watching. I hope you enjoyed this video. Sorry that it was so long. Sorry for a couple of mistakes and things that I forgot. If you have any questions, please leave them down in the Q&A and the discussions we or you can ask them over the Discord server. Thank you so much. See you on the next one. 71. Fade In And Out : Welcome back, My favorite game developers. In this video, we are going to be taking our game a little bit to the next level and the aesthetics world. So as you can see, we start our game. We can either play or quit. And if we play, you'll notice that we have this deeming and then fading. And wherever. When we play, once we die, there we go, we die. We press the space and it's not immediate like we had before. Now it takes its time. It has a fading in and fading out. Everything is good, everything is amazing. Congratulations on making it to the last video. Let's not waste anymore time. Let's get started. Okay, so now that we have everything set up, almost everything is finished. We need to focus on making our game a little bit better by adding a fading in and out because I don't want to just start the level immediately or when we die, just restart the level immediately. I don't like the short. It's better to have like a small fading in and fading out. So let's go into the UI. And in here we're going to create a new blueprint Widget. Blueprint will call the WPP underscore, fading. In. Hit Enter. Open this one up, and we're going to go ahead and add an image in here. This is going to be pretty simple. We're going to anchor it to all the sides. We're going to set everything to 0, suddenly fill it up all the way. Going to make this completely black. And then we'll add a second image and we'll make this one completely white. So we'll have to failing in or actually know what we will not require. The fate will only need the black image. So we're going to create two animations in here. First 1, first 1 is going to be fade in black. The second one is going to be fade to white. On the fade to black, I'm going to add a track for the image 0. This is where we are going to select the render opacity on the timeline and we are going to set it at the beginning to be completely 0 and add the one mark we are going to set it. Should we set it? Or maybe you know what, the fate should be a bit faster. So at 0.6, we set it to one. So that's pretty good. That's pretty much everything that you need to see where we can. For example, restart the level and we fade to black completely excellent. Next we are going to select the fade to white and they track for the image. What will happen on this one. We are going to start at one and then add the 0.6. We're going to set this to 0. So what happens in here? We start off the level and we've paid from black to white. So Compile, Save. Now we have these two animations, but we also want to have something to do at the end of a fade to white. Because we are going to be creating the switch that we are going to be setting it to the viewport and we're going to be walking around. This widget will be in our face. So what we need to do is by the end of this we're going to add an event. So we'll click on the track. We'll add an event which is going to be a trigger on this event at the end right here, we're going to add a little plus. We're going to double-click. And now we will have this event on the image. So let me go back to show you what we did on the image. We added the track, we went to event, we selected eight sugar. We had this new track and we double-clicked at the end, or actually we clicked on the end whenever the image appears. And we clicked on the little plus button right here. So we created this trigger. And now when we double-click it, we open it up so we have a new sequencer event. We'll call this the remove widget. Remove widget. There we go. We are going to simply remove from parent. There we go and we are going to remove self. Now we have this image right here as a variable. I don't know why that was created, maybe because I believe let me just close this down. Because I believe we made the image for some reason variable and it came on here, but that's okay, no worries about that. That's no problem as long as it actually removes, removes the widget. Now, the next thing we need to do is issue you a bit of a challenge to create and play. First of all, create two functions that we'll play the animations of fading in and fading out. Next in the character, character blueprint. And begin player create the fading and widget, add it to the viewport and fade to white. You use the animation variables on your left. When we die just before restarting the level, we need to fade to black. And finally, finally remember to delay before going to the next level. So the fade to black animation has time to play. Pause the video right now. Go do the challenge. Okay, so in here in the graph, I'm going to create first variable, which is the first function which is going to be fade to white. This fade to white, or simply grabbed the fade to white. And we're going to clay animation. There we go. We play the animation. Now what we could've done, we could have just selected the same animation of fading and then play it backwards. But because I want to have the fade to white to self-destruct at the end. That's why, by the way, you might be thinking, Well, why are we not self-destructive and the fade to black? Well, because the fade to black is usually used before we move on to the next level, which will effectively just simply delete the widget and start all over again. Let's create another function, just going to be fade to get the fate black. Clay animation. Attach this right here, compile, save. Now let's go into the character viewport in here. And when we event we can play before we create the widget in here, we're going to create another widget, which create widget, which is going to be the fading in and out. Let me just move this a little bit, right? And from here we're going to add two viewport. From the Add to Viewport, we are going to also select the return value right here. And we're going to fade to white. There we go. Attach it, set it right here. Double-click, so we add a layer of indentation, have everything clear. There we go. So Compile Save. Why did we use the return value in here? Well, because it turns whatever class we've given the right ear, we add to the viewport, we have the fading to y. And because the fading to white as a trigger event on it, it will simply struct and it will not be in our way. Now, let's go into where we die. So Compile, Save. Where do we die? Where do we die and the game over. So we play the sound. But this is not actually where we want to set it because we want to set it in the desk menu that we say we want, we need to set it. Let's see when we die just before restarting the level. Okay, So in the death menu, see how cooler challenges are. So right before we restart the menu. So this is where we restart the menu. Let me add a bit of space in here. We're going to create widget. Widget. This widget is going to be the fading in and out on the return value. I'm going to add viewport. There we go. Let's move this a little bit to the right. We'll use this to fade to black. No, this is not what we need. We need to fade to black the function call. Yep, there we go. So attach it right here a little bit. Finally, we need to delay, if I remember correctly. Yes, remember delay before going to the next level, okay? So I'm going to add a delay. But how long should this delay beat? Well, should I set it to 0.6? Well, what if for some reason it's longer than that? Well, what we can do is we can get the fade to black. From this fade to black, we can get the time, get this n time will get us the end of the animation and we will set it as the duration. So as soon as the fade to black ends right here, this will delay until the end of the fade to black, and then we will go to the current level and restart. This is when we restart the level. So that's pretty much it. Maybe we can do it also in the menu. So we have a lot of things in here. I'm going to remove the dust shake the character is getting a bit overwhelming. So in the level, where is it? Where is it The main menu? When we play the game? In the graph when we set input CO2 level 0. Okay, there we go. So it's in here. Should do the exact same thing that we did previously. And death menu. Before we restart, I'm going to select all of these. Yep, There we go. We'll copy them. We'll go back into this one and we'll paste them in here. No, wait, paste them in here. There you go. Add a bit of distance. Actually set input mode game only. There we go, That's it. That is it. There we go. Now in here we could have maybe created all of this in some kind of function because we've used it too many times. Two times is too many times, but that's okay. So we'll compile save, and let's go ahead and test all of this out because we haven't tested anything. So when we play the game, how cool is that we fade to white? Now we can click around, we can walk around. And when we die, now when we press the space, we fade to black, we fade back. How cool is that? How much more impressive and you feel that you are actually in some kind of real game. Let me go back. Main manual level, play the game. And here, let's play the game. And obviously there is something that is not working in here when we start the game for some reason because we're fading back in, failing from white. But we are not able to play or click on anything on anything. Hey, welcome back. So your boy was out there digging for a solution and I finally found that it was very weird because I didn't really have this problem when I was creating the course. But for some reason now when we play the game, you'll see that we cannot hit the Plachy, we cannot hit the Quit button. But the thing is that I never encountered this problem before. And then I noticed that I have the health and the jump collections very obviously in front of me. Now, this is not something new because we always had it because whenever we didn't like, add any conditions in here where we don't create widget character or the WPP of the character you are. It's always there. And I remember like we use this main menu again and everything was good. The problem was, and I suspect what happened is that in the character UI, once we added these borders, it was no longer viable. So if we play in here, I remember I looked back at my old project and I solved that the health and jump collections were blurry. That means they were behind this image. So we have two viewports on top of each other. So how are we going to solve this? Well, because I found this problem, I think it presents us with a very good opportunity and that is in the main menu. We don't want to see the health or the gems that needs to be collected. So what I'm going to do is in the character right after we fade in, I'm going to check if we are in the main menu level and if we are, then we are not going to create the character UI. So in here I'm going to get level name. From the level name, I'm going to create a branch. If it's false. So it's not going to check order. It's true if it's false. True. Let me just move this down like that. Almost. After we get the name, I'm going to check if that name is equal to. What we want is the level menu. There we go. Copy this back in the character applied right here, set it in the condition compile save. So if the current level has a main menu level than we are not going to create. So if it's equal, then it's false. If it's true. If it's true, then we are going to know if it's false, then we are going to create the character your eyes or compile save. And now when we play the game, There you go. You can't see the health, but you can play on your buttons. If we quit the game, the game, if we play the game, we start off and we have the health, We can die, we can't move. We restart the game. We have the fading in, We get it. We pick up jumps, we have the yellow color, the doors open. Everything in our game is perfect. Thank you so much for watching. Congratulations on making it to the end of this section. Give yourself a pat on the back and give me a good, nice, fat five-star review. A couple of nice words because it helps me out a lot and it keeps me going and let's you let me know or any other platform you're watching this arm that this is a course worth watching. Thank you so much. See you in the next one.