Unreal Engine 5 Mittelalterliche Welten mit modularem Kitbash bauen

1. Blender & Unreal Engine 5 Massive Medieval Stylized Kitbash: Step into the world of your own creation with this groundbreaking course, building standing medieval world is with Unreal Engine five, modular kid bash, instructed by Luke from freely tutor, whether you are uninspiring game developer or just looking to learn unrelated five for the fun of it. This course has something to offer with over 250 modular assets you can bring to life year medieval fantasy world filled with bustling towns, majestic castles, and intricate canal systems. In this course, you will learn the unique techniques needed to create stylized structures using modular assets and modelling modifiers. You will also learn to setup functional water system with directional waterflow, submersible boat assets, and of course, water wheels to bring your water body to live. Enhance the nature side of the world. You will learn how to populate your own world with Panamanian night enabled foliage. This course is the ultimate one-stop shop for mastering Unreal Engine five. It covers a vast array of topics that will guide you through every aspect of game development. You will learn how to build entire towns and blacksmith shops with ease using the massive modular pack, which you will then be able to visualize it with smaller detail for somewhat a close-up shots as well. You will create not only your very own town, but the environment that surrounds it. You learn how to build lush forest, rolling hills and upper small detail that make all the difference in the world building. In addition, you'll learn how to create your own custom prop collections using blueprints to make your own world come to life. This includes iconic shop windows, moving flags, banners, market stalls, and cobbled streets. You will work on Castle composition to set up a medieval structure that looks amazing from a distance and up-close. The course also covers the creation of a fully functional open world system material, including distance-based Blending, noise masking, and automatic material transitions. You will work with multiple preset camera angles to get the best composition out of your castle that looks great from any angle. Moreover, you will learn how to plan out and create large-scale series. On the go, you will work with modelling mode, the deformer collection of modular assets, such as merging bridge pieces and bending bridges using curved deformer. By the end of the course, you'll be able to create your own functional medieval world and immerse yourself and the player in a world of medieval fantasy, you can choose to build a small village or an entire city, and the possibilities are endless. Join me on an inspiring journey for limitless world of Unreal Engine five and unlock your creativity in ways you never thought possible. 2. Creating New Project & UI Basics: Hello and welcome everyone to building, sending medieval world with Unreal Engine Pi modular kit bash. In this lesson, we're going to learn how to set ourselves up with a new project from within Epic Games launcher. We're going to be using a version 5.1, but everything above 5.1 is also fine. So if you're not seeing this kind of version, just go ahead and use the plus symbol over here, which will give you a new window to prompt up. And then from within this menu, you'd be able to pick the version that you need. Basically the reason we're not using anything under 5.1 is the launch version of 5.0 was kind of a bare-bones version of Unreal Engine five. And I'm actually just going to close this down. And by 0.1, what happened with it is they added all the necessary features that were missing otherwise with pipeline zeros. So e.g. non-IT, the foliage is working now. Water functionality has also been improved in regards to their reflections to it. And so let's go ahead and launch this right away. I'm just going to start up on real project browser. We're going to create ourselves a new project. Let's go on to the game template and we're going to get a third person template. This way we're all going to be able to run around freely within our world. And we're going to make sure that we are setting it up as blueprint. The other settings don't matter as much. Let's keep it as default and maximum preset or the starter content. We're going to be able to import that in manually ourselves whenever we need to. And then we have project location which we can change by clicking on this button over here. Let's go ahead and do that. When you go into located within this folder, click Select Folder and change the project name as well. We can't have any spaces within this name. So let's go ahead and just call it the castle. Castle good bash, horse, like so. And we can just click Create once it's done loading up and it starts preparing all the shaders, we just need to wait a little bit to get everything processed for the engine. And once it's done with that, we're going to get this result. Now, before doing anything, I'm going to firstly introduce you to the basics of Unreal Engine. And then afterwards, I will show you how to migrate the assets onto our newly created project. Now going to play introduction video for the entire overview of the uy. And then afterwards in the next video, I'm going to introduce you to the controls of the viewport. So without further ado, let's get started. Hello and welcome everyone to Unreal Engine five, basics tutorial video, in which we're going to introduce ourselves to the Unreal Engine pipe software. So Unreal Engine pipe is an engine which was personally developed as a game engine. These days. It's been widely used within other creative fields as well. But just Architecture and film industries. But even with all this versatility and design changes to appeal to other industries, a lot over the core design border layout has been kept as the game engines. And right now we're gonna go through to set layout code would be easier to follow along the future lessons. So first things first, we're going to start off with the upper-left corner. And within it will find the Save button, which we can use Control and S to save our project. This however, will only save the current level. And if we're making changes outside of the level itself, Let's say we're having a material or an asset edited. We'd have a different window that we're working on. And we'd have to save this independently. So it would have a save button or we can click Control and S. And that would save the window that we're working on. Only though basically, if we're working with different window, we need to make sure that we save that out. And then afterwards, if we're making changes or the level itself, we need to save this out afterwards. So if I were to change this, we can only have it saved by clicking Control and S and save it out. You have made a new level. You'll be prompted up with naming it and selecting for where your location is going to be four level. Then afterwards we have select mode. By default, you're going to be within a select mode, which you'll be able to use to make selections for within your asset. You can also go ahead and use this to change it into landscape, Polish, mesh, pain, and other types of modes. Just to change up your workflow depending on what you're working on. But by default, most of the time, let's say 80% of the time you'd be working on a select mode. Moving on, we have quickly add the project. This button will allow you to add more assets into your project. The simple default ones that you'd normally get in within that any type of rendering software. So basic light shapes and such. And we found here, if you wanted to search within it, you can click on it and search for light, e.g. this way would be able to see all the assets with light within its name, which you need to keep in mind though, is that when you click on it, you need to make sure that your mouse stays the same within this icon over here. Otherwise, if I were to e.g. drag my mouse to shapes and then search for lives. It notice that it only searches it within the shapes location. Whenever you're searching for an asset from within this bar, just make sure you keep the mouse stable within this icon, like so. Next up, we have an icon that if we were to click on it, would be able to have some options for creating Blueprint Classes. Blueprints works similarly to a sort of a prefab. However, for the sake of introduction to Unreal Engine five layout, we don't need to get into it too much. So the next one we have a level sequence and masters sequence. And we can add from this button over here. This is used when we're going to be needing to set up our project to be rendered out. Again. Let's move on with the rest of the layout. We have a Play button. This will just start off the project. And if you have a third person template, e.g. like I do, and it'll just set off your character to be played out. It'll also start up all the simulations and whatnot. So this makes it real nice to just check out your project and why don't we click Play. We get to be loaded in within our level. And now we get to walk around it and actually experience what it's like to be within our building level. We can jump around, we can run around the way we wanted it to be. And it's actually quite nice to see what we're like within our own built level. We also have this three dots over here, which if we were to click on it, we have some additional settings, like simulating the entire project. This will just allow you to hit Play button, but without actually needing to lose control over the edit mode. Again, we don't really need to go too much into it. But basically this section over here, we'll play and stop your project. Then afterwards we have platforms. But this is only for when we're breaking out our entire package as a game. And we don't really need to worry about this. So let's go ahead and move on. Afterwards. We have a settings button. This will include a sort of settings like Project Settings and plugins, which can also be found within this upper-left corner over here. So basically this just makes sure that everything is in one place. We don't really need to go through it because they're usually not needed for when we're creating or seen. Anyway, moving on the outliner. Outliner we'll have everything that contains within your level. So it will have all the assets within it. And right now, if I were to select any type of an asset from within this level, like this one over here. It will right away make a selection within our outliner as well. After which, we have Details tab. Details tab will give you all types of options for your selected asset. So it will include all the type of information that it requires to be placed within the world. So e.g. firstly, we have transforms and this will include the scale, the rotation on location on this specific asset. We also have the type of static method uses, as well as the materials. Each type of asset will have its unique type of information set within it, which can be found from Details tab. After which, if we go down to the bottom left corner, we get ourselves going to draw our output log. And cmd quantum drawer is by default hidden. But if we were to click on it, we get it opened up. Now if we click on anything else outside of the content door, by default, be hiding it away. We can also open up the cons and drop by clicking control and space to give us an easy access to where our files are located. But the content rover is basically a file manager. You keep all your folders, all your assets for not only the level, but for the entire project of the Unreal Engine Pi, we can also dock the contour by clicking this button over here. By selecting it, we simply make sure that they're always going to be within dislocation. And even though we click Off, Off the content drawer, that is still going to be within it. Now we can easily undo this step by simply clicking on undisclosed minor tab. And we can open up the country and Java just like we used to, like so by clicking control and space and output logs are pretty useful for whenever we want to find out some information. If something is giving us errors. If our work is not focused on coding, we don't exactly often use this. So let's go ahead and close this down. Dmd is useful every once in awhile for whenever we want to make a command. Right now I'm not gonna go too much into it, but we can make use of it and do things like taking High-quality screenshots or getting a different type of view within our viewport. Ok, so now we walked all the way around our window. Now we're finally gonna go ahead and talk about what's in the middle of it. By default, we're going to get ourselves a Preview. Going back to the content drawer within it. We need to enable certain settings. By clicking on this button over here, we'd be able to view the type of different folders that we have. Usually I recommend you to enable the show edge and content and show plug-in content. You ever get more? You get more out of our Unreal Engine pipe. So after you enable it, you get yourself a folder other than the content folder, which has engine. So this will have all types of presets and plugins which we can make use out of and speed up our creative process. Something to keep in mind though, is that this is not part of our content. So basically, this is already within the engines folder. And if we were to change any one of these folders with basically be changing it for entire Unreal Engine five. Meaning that even if you create a new project, the things that we changed within it, within this section are coming to be changed throughout the entire all the other projects as well. That is why by default in a set of hidden to make sure that none of the content that is set by five itself is changed in any way and messed up throughout all the projects. But we can avoid this by simply knowing that we can't change anything within the Android folder itself. And it's better to, whenever we make use out of this content folder, is by simply making a copy out of whatever is inside and then dragging it out onto your content driver. Just to make sure that all that we use is only set for the project itself. This way, we can make as many changes that we want without ruining the entire Unreal Engine to Pi of content files. And that is going to be at four Unreal Engine, the UI introduction guide. Hope you got a lot out of it and will be quite useful to you going forward in the future for your Unreal Engine projects. And now let's get back to the course. Alright, I hope that the video has been productive, takes so much for watching. And then in the next lesson we're going to continue on with the introducing to the viewport this time. So, yeah, thanks so much for watching and I'll see you in a bit. 3. Viewport Basics: Hello and welcome everyone to building standing medieval worlds with Unreal Engine five modular kit bash. In the last lesson, we started off by creating ourselves a new project and going over the basics of us for the unrelated five software. And now we're going to continue on with the course and actually familiarize ourselves with the viewport itself and how to control and move it around it. So I'm going to quit. Quickly play a video about that. And I'll see you in a bit. Hello and welcome everyone to Unreal Engine five basics guide for the camera motion. And we're going to start off by introducing you to the camera type of motions within Unreal Engine five in order to help you and follow along the lessons easier to start off within the middle section of the software, we have a perspective camera view by default. And using this, we can move our camera around. The main thing that you need to remember for when you're moving your camera around is that by holding Alt and evil one of the mouse buttons, you'd be able to make a certain motion. So e.g. by holding Alt and left mouse button, you'd be able to rotate your camera around like so. By holding Alt and middle mouse button, you're able to pan your camera around just like that. And finally, by holding Alt and right mouse button. If you were to scroll up and down using this motion, it be able to zoom in and out of your view. Alternatively, you can simply just scroll your mouse wheel and zoom in or out of the project like that. Now, if we want to zoom in towards the selected object, what we can do is if I were to select this box over here, e.g. I. Can click the letter F and it will zoom in right onto the object. Now we can use this to rotate our camera around and simply sea level with the object selected as the center. If we were to select a different one and click f with zoom in onto our asset. And if the asset is larger, like this ground plane over here, e.g. if we were to click F, it would zoom out and make sure that the camera view as the entire selection within our view. But this is pretty good for whenever we want to zoom in onto our selection. However, you do need to be careful, since if we e.g. were to select the sky and click F, would zoom out all the way. And we don't really want this to happen. So make sure that before clicking f though, your selection is not something like a sky sphere. Now, if you want to have more control over camera, and let's say you want it to be similar to your first-person game. Which you can do is by holding right-click, you'd be able to enter a sort of a camera movement mode within your editor. Right now, if I were to hold right-click, I can simply rotate my camera as if this was a first-person game. Now, what's nice about it is if we were to hold right-click and use WASD, we'd be able to move around our asset like so. So by holding right-click and W would be able to go forwards. By holding right-click and S, we can go backwards to go left and D to go right. And also, if you want to go up directly or down directly, you can use the combination of q and E. So by holding right mouse button and holding Q, I can directly they send out their level. Similarly, by holding right-click and holding E, We can go up to level just like that. Now, if the camera is a little bit too fast or too slow, we can make use out of this icon in the upper right corner, which says the camera speed. If we were to click on it, we can use the slider over here to set the speed of our camera. So e.g. if I were to set it to one, I'd have a really slow motion. And we'd be able to have a really fine control over where our camera with an editor mode is. Where to set it up to eight. Be able to go really fast up and down just like that. But by default, it should be set to something like four. There is a value underneath it which is set to one. If we were to set it to e.g. this will multiply or for speed to be all the way to eight. So right now, if I were to go up and down, you notice that it is way faster. So this is quite useful for when we're working with different scales. I personally only recommend you to use this value or when you're going up and down in scales. So e.g. if you're working with planetary scale of scaling, we'd want this to be increased to resemble like 14. And then this way we'd be able to go all the way out real fast out of a level. But by default keeping it at one and simply scaling this up and down will do just fine. Now within the perspective view, we also have couple of our perception modes. And those would be on the upper left corner of the window for the perspective camera. Right now we have set it to perspective. We can change those to be top, bottom, left, and right. What this would do is basically it will help you get different types of use for our level right now because I'm set to bottom. If I were to set it to left. And if you don't see anything, we can always make use the letter F and go back onto the level just like that. So this is quite useful for whenever we're creating environments and assets. And we just want to make sure they look good and proportional to the rest of our level and from all sides of angles. Again, by default, this will be our perspective. If you do want to change it to be into a multiple cameras though, and you want to see multiple of them at once. We can click on the upper right within our view mode button over here, you click Maximize the restore viewpoint. So this way we get breed different viewports, all from which are different types of perspectives. Now, other than a perspective, all the other ones will by default be set to wireframe. If you don't want this to happen, we can always set them to be lit, especially when designing a level. This sort of a view might be quite handy to go back onto one view, what do we have to do is locate our perspective camera and click on this button over here. We've been this perspective view. We can also change the way our camera perceives the entire level. And right now it is said to be default of lead, which means that all the shading would be seen with proper shadows and whatnot. So in order to change that, we'd have to click on it. And if we want to e.g. select unlit, which will show you all the level without any types of shadows. We can go ahead and do that. We get this result is also something like a wireframe which should see an alpha cameras. If were to click on it, we'd see the types of geometry that we'd have. Those quiet, nice to know, especially if you buy accidents, sometimes click on one of them and you don't know how to get out of, can always go on this button over here and select lid, after which we also have show icon over here. This one will get you a different types of visualizations for your respective camera. But what you need to know though, is if you have something that's a little bit off, like e.g. I. Have my grid right now, which is barely visible, but is often quite useful for when we're creating or level. But if this is not visible, e.g. if I have this turned off with this button over here, and I want it on, but I don't know which one exactly it is. We can always go ahead and click Use Default. This will bring back all the selected defaults that is usually set up by the default template. And that's pretty much all there is to the camera controls. I hope you enjoyed the video. And now let's get back to the course. Alright, I hope that the video has been informative and you've learned a couple of new things that will help you along the way of this course. And then in the next lesson, we'll learn how to set ourselves up with migrating the resource pack into the project. Thank you so much for watching. I'll see you in a bit. 4. Introduction to the Modular Kit Resource Pack : Hello and welcome back to Brown to building standing medieval world with Unreal Engine five modular kit bash. In the last lesson, we introduce ourselves and with the view port for Unreal Engine five. And now we're going to continue on working with this and set ourselves up with modular kit bash resources. So let's go ahead and get right into it. If you were to download the resource pack, you'll be able to find yourself a modular kit zipped file. And this is a version that's been set up for Unreal Engine marketplace. So whenever you buy yourself a marketplace item, you probably get the same kind of layout because the quiet about that. But if, let's say you end up buying it from another store, another website, you'd have yourself a zipped file, which you'd have to then migrate it into your project. And we can do that by firstly and extracting the file. So let's go ahead and do that. I'm just going to quickly do extraction and just wait it out a little bit. Since it is, I'd say 600 mb and we're going to get ourselves a folder within it. We're going to get ourselves content config and you project. We could technically just launch ourselves. They project from this one over here by just double-clicking on it. But often times when you're working on your own personal projects, you'd want to ideally migrate yourself an entire project or all of the items on to them, the one you're working on at the moment. So I will show you how to do that right away. So to do that, we will actually need to go into the project itself. And we can just do it by double-clicking on it. If we were to click on it, we'll be able to load ourselves up with this project itself. So let's go ahead and wait it out a little bit, which we're going to get this sort of a result. And the only thing that we need to do now is basically select the folder itself, Right-click on it. And let's make sure that we basically migrate this entire project like so. We're going to click Migrate. And we're going to get all of these items. Let's just make sure that they are all selected. I'm just going to scroll quickly through all of them like so they seem to be all in order. Let's go ahead and click Okay. And then we're going to need to find ourselves at the project that we're working on. So this is the one that we're working on. We'll need to select content folder itself. So let's go ahead and do that. We're going to click Select. And then after that, migrating all of its older items like so, we can pretty much close this down and go back onto our previous project. So let's go ahead and do that. I'm going to close this project for the castle modular kit assets and go back onto the project or be graded. So this is the project that we created. We can now see that we have Castle Git Bash folder. And within it, we can see that we have all the folders already sorted in the reset order. And yeah, most of the items, if it was set up for Unreal Engine marketplace will have this type of an order. And within it, you usually have yourself a map, especially if it has an asset preview type of a map, you'd have yourself a map seen that we'll be able to show you the exactly the type of assets that it has. So let's go ahead and open that up and we have map item renders level. We can just double-click on it to load it up within our scene and see how it looks like. It will take some time to prepare all the shaders. And we can say bottom right-hand corner, it's preparing them like so. So once it's done loading them up, we get this sort of a mess. Right. And how it is, the reason it's being like that is because this specific castle Git Bash is using UTMs, we need to make sure we enable virtual textures for that, which then will allow us to actually make use out of them. So for us to do that, we're going to click Edit top right-hand, top left-hand corner. Sorry, we're going to click on project settings like so. Once we open this up, we're going to search for a virtual. If we were to search for virtual, we can scroll down a little bit until we see virtual textures. We need to make sure that we have the virtual textures enabled, like so. And another thing that we need to set up is we got to make sure that we change the virtual textures, the Automatic Virtual texture size, to be a little bit higher because automatically, I think by default they should be set as 2048 by one is set as 49 is six. So that's alright. And basically what this will mean is that every time a new textures place, it'll try to convert it automatically to a virtual texture, which is basically to make use out of just more space than simple as zero to one type of a texture space in uv coordinates. It also lets us blend in textures or whatnot. But anyways, we just got to make sure that not all. Textures are setup as virtual ones because otherwise there'd be a lot of performance issues or whatnot. But yeah, we're just going to come back to the performance in a bit for now though, let's go ahead and just make sure this is set as for k. And after we're done with that, all we gotta do is make sure that we restart ourselves. A project bottom right-hand corner, we can see that a restart is required to apply new settings. So let's go ahead and do that. We're going to restart ourselves this project like so. I'm going to wait it out a little bit until it's done loading. There you go. We can close this down. And actually we can go back onto the map item renders just to see how they look like. Let's go ahead and wait it out a little bit like so. And yeah, there you go. We can now just look around this area, I think. Yeah, the post-processing has been applied. If you don't want to see it, we can totally turn this off and see all the items that it has. And in short, usually the type of items you'd have. Everything should be presented within one map and we can make use out of it and actually just view over all of the assets so we can see the type of variation that we have. Yeah, the reason we're doing this usually before starting out the project is to familiarize ourselves with all the items that it has. And to be basically able to make use out of all of them in as best way we can. So right now we can see that we have a couple of light sources will be able to make use out of them, although they don't have any of the particles setup with them, but they do have a mission. I can see that they have a mission if you look at it from an oversight like it might be a little bit easier to see the glowing a little bit. So the reason for that is because they set up with some nice emissive type. We can see that we have some flags that up. It says with clock physics, we can try seeing how they look like by just clicking on these three dots over here and clicking simulate. We can see how they look like. And yeah, there you go. We see them moving around, so that's good. But the difference between a simple meshes and once we've caught physics is usually they're set up as skeletal mesh. So e.g. if I were to select this lambda1 over here on the bottom right-hand corner, we can see that it's set up a static mesh. And on the flag, if you click on it, we can see that they are actually set up as Skeletal Mesh. This is something to keep in mind while working on it because in the future will come in handy when we want to make quick access to all of our items later on. Then we have other things to consider is the variation of the same type of assets. So e.g. what I mean by that is, right now if we look at the end bits of these roofs, we can see that they are exactly identical. They're the same size, but they have some variation within them. So that will also come in handy when we're working with our assets. As in, will be able to quickly replace and change between them to get ourselves nicer type of aesthetics when working on creating ourselves somehow seeing and whatnot. And yeah, let's go ahead and check this. We have bridged part of the world, so this is going to be connected. I can see that we'll need to work on certain parts, but that's okay. We're going to make sure we basically combine them all together. And one final thing that we need to consider is how those pieces are going to be connected. So e.g. right now, the modular pieces can either be freely moved as in, you'd have to combine them and connect them manually yourself. So it's, in most cases, when it's done like that, it will, you'd have a lot of freedom to control exactly how each one of the pieces would be. So as an example, I'm just going to grab, let's say these couple of pieces. I can see that these are castle wall foundations and castle wall. So this will go on top, making sure I'm having them both selected by holding shift. I have the most selecting. I selected them all. I'm going to hold Alt and drag them out like so. And yeah, what I mean by really moving if I were to have all of my snapping disabled. So on the top right-hand corner, I'll have them stable. We could totally just move them around ourselves manually. I just kinda combine them like so, and we can move them slightly in words outwards, have them kinda messy position like so, and that would totally be fine. That would work just as well, but it would be a little bit time-consuming for that reason. Usually with modular pieces, we have either snapping two vertices type of a mode or snapping to grid. Snap it to the vertices will basically mean that the pivot point would be e.g. at the very bottom corner of an asset though, e.g. if I were to hold the V, which allows us to get the snapping two vertices enabled. If I were to hold V and then drag it up, or sorry, I'm just going to make sure I hold Alt and then drag it out. Firstly like so. Then if I were to hold V and then snap it downwards, we can see that we start getting ourselves snap two vertices mode enabled. And by just doing that, by having our mass position to the top of the vertices like so, I can simply snap it right on top of it like that and it will work just as fine. But again, because it's not set up at the very corner, not going to work exam exactly as well. If I want to just move it to the side, e.g. you can see that it's just not going to look quite as nice. Or if I want to move it to an edge, it's just not going to give us the right type of results, is going to give us some gaps like this. So the final way for how modular kids are set up is using grid mode. Let's go ahead and make use out of that I'm going to hold Alt and actually, by enabling grid mode, will be able to snap all of these assets like so. So e.g. if I were to select this one over here, or actually this bottom piece over here and hold Alt. I can move them and you can see slight jittering when moving. And actually, I think they need to be a little bit more larger actually is. But in essence, if I were to connect this, you can see that they connect perfectly just like that. But if I were to make this from ten to think, Let's try 100. If I were to do that, we should be able to just move around them. And while holding Alt, we can just drag them out and they will automatically get snapped right into the area. One thing to consider though, when using the grid mode is how the assets are positioned before using the grid mode. So e.g. this one is not going to be connecting as well like so, but we are going to come back to that when we're actually building ourselves up with the assets. For now though, we basically introduce ourselves with the modular kit and we learned a little bit about how modular pieces are created. And now in the next lesson we're going to continue on and actually start on working with a new level. So, yeah, thanks so much for watching and I'll see you in a bit. 5. Setting up Large Scale Scene: Hello and welcome back everyone to building, studying medieval worlds with Unreal Engine by modular kid batch. In the last lesson, we introduce ourselves with the modular kid and now we're going to make use out of it and actually set ourselves up with a new level. So for us to do that, we're going to click on File, new level, like so. And then we got a couple of options to go for. The one that we're going to be using is actually going to be open world. Let's go ahead and click on it. So this will give us a basic type of a landscape to work with. Let's go ahead and click Grade, like so. I'm going to not save this level. So it will keep the original kind of a setup for the previous type of a thing for the kid bash and how they go, we got ourselves a new level loaded up and we can look around. And actually, the first thing that we should do is actually go onto our content folder like so and click Control and S to save out the level first. So we're going to do that actually. We're going to call this one a castle. We can call it a castle underscore scene, like so. I think that's going to be alright. There we go. We got ourselves a new level setup. So now whenever we make changes, we can click Control and S to save it out and it'll work just fine. Another thing that we need to do is actually sorted out. So whenever we open up this project, it'll actually load up within this project itself. So for us to do that, we're going to go on to edit project settings like so. And we're going to search for mapper. For a search for Matt, we should be able to find a day ago default map. So whenever the editor starts up, we want to make sure that our castle scene is being loaded up. So let's go ahead and actually do that. We're going to click on this window over here and actually search for castle scene like so. We're going to find it, this one over here, and actually we're going to change it for game default as well. So if we were to build ourselves game, we're going to load up with this as a default scene. And we can close this down. I click Control and S just in case again. And we're going to be going over this entire setup. So if I were to move around using the right mouse button and just clicking W2 move. We can see that as actually really, really slow for a moment. The reason being is that this world is quiet, large so far as to speed it up. We could either change it on the top right-hand corner for the camera speed. But if we're going within working with enlarged scale and go in-between objects, sometimes they're going to be closed, sometimes they're going to be far away. It's going to be quite a hassle to be going through this menu itself. So instead, we're going to, while moving just a use our mouse wheel like so. So again, while holding right mouse button and clicking w, I can use my mouse scroll wheel to go upwards. And that'll increase the speed for me to go down and to go up in regards to how fast I'm going and vice versa. If I were to use my mouse wheel to scroll down, I can actually slow it down all the way to like so. But yeah, anyways, going back to this project, regardless of a large world already set up for us with world partition. So we're not going to be touching that, but we're going to set ourselves a camera to be around in a center, like so. And I think that's going to be quiet. Okay. So we have couple of things to consider first though. The first one is going to probably be a regards to the scale and how large the items are. Although we have mountains in the background already set up for us, it doesn't give us a good reference to the scale to how larger castle is. So what I tend to do is usually when working on new projects is get myself a human reference. First. Do that. We're going to simply click on Add and we're going to add ourselves a starter content that's going to help us out with that. We're going to click on Add feature or content. Within our content browser. We have a third person already set up, but it also creates a character folder which makes use out of the meshes for the ThirdPersonCharacter. So we're going to open this up and we have mannequins. We have couple of options for mannequins. I'm going to open one of them up, going to go to meshes like so. And we have, there you go. We have a Manny and we have a queen. So these are the character references that we can make use out of. And I'm just going to drag one of them in. And it doesn't matter which one we use actually, we can just drag either one of them. They have the same measure density, so I'm not worried about their complexity or anything of the sort. I'm just going to Wagon Queen and there you go. We got ourselves a simple character setup. And we can move it sideways. We can rotate it around. I'm just going to click E and just rotate this within my gizmo like so. For now, I'm just going to click W, move it to the side like so, and leave it as is. Then. Another thing that we need to consider is in regards to working to large scale. We're going to have couple of issues. So the main issue is that we'll need to go between the main scene setup and we'll need to go between the cameras for closer shots. And basically we'll just need to be going back and forth within our viewport. And for us to fix that, the easiest way for us to do, to kind of go back and forth between close-up kind of editing and just checking the overall scene is by setting ourselves up with a camera. If I were to click Control and one, we can pretty much save out the cameras setups. So now if I were to move my camera to the side, we can now click one without the control. So just clicking one, we'll put our camera back onto the same position that we saved it out. So again, glucose control one, we'll save it out and moving the camera to the side, clicking one will reposition it to that saved out area. We can do the same thing for pretty much all the numbers control one, control 2345, so on. And yeah, we can pretty much set ourselves up with a nice camera like so we can click Control one, and then we can move inwards. I'm going to scroll in a little bit to go a little bit faster than scroll out to slow it down. And I'm going to then click Control two. And there you go. We got ourselves cameras that go back and forth between those views. And another thing that we need to consider is in regards to the sun lighting setup right now are our light is all the way in the back and we can click and hold Control and L. And we get ourselves a moveable at gizmo for the sun because it's already set up or the atmosphere. We're going to change that up in a bit in the future to make it a more of a day-night type of a cycle. For now though, we're going to set ourselves up with a default type of a lighting that will help us out in regards for that scene. And one more thing to consider is if I were to move my camera to the side like so, we can see that we have a lot of artificial shadows. The reason for it is basically because this entire terrain, if I were to go under it, is actually one-sided. Now, the downside of it though, is that you can see the shadows aren't working quite as well when it goes under the mountains. When the sun goes out over the mountains, because these boundaries are actually positioned in the way that we'll be cutting it off like so. So when the sun going from the left hand corner hits it on the side like so it just passes through it and gives us those really bizarre type of shadows. So let's go ahead and fix that right away actually for that, we're going to go ahead and select the landscape. We're actually going to go on to the details tab. So we're going to search for shadow, like so. And there you go. We gotta cells an option that says shadow two-sided. If we were to click on it, we're going to get ourselves a fixed, but actually we need to do this for all of these areas over here. So the scroll up onto the landscape, we can make this smaller. We can see that everything within this is actually just chunks of this entire terrain because it's split into multiple pieces, into multiple groups. Set up for large-scale world, we can select the first one, then scroll all the way down to the very bottom of the one or landscape streaming proxy. We can hold Shift and click on a final one. And this should select all of these chunks like so. Now within the details tab, if we were to look at it, we have a minus symbol. That means that it has multiple values. One of it is TikTok and other ones are ticked off. If I were to just simply with everything selected to, just click quickly, click it off, and then quickly click it on. We'll have ourselves a fixed type of terrain, so that'll help us out in the long run. Although for now though, I will say that we should probably set ourselves up with a lighting that's a bit nicer to that. And the easiest way to control it, the easiest way to know it, because if we were to click and hold Control and L to get that gizmo up. It might be a little bit hard to control, but what you need to consider when working with this sort of a dismal, if I were to just position my camera a little bit, a better like so actually, I'll just position it closer to the mannequin that we have. The easiest way to remember the controls for the camera, for the camera, for the lighting is when holding control. And L, If I were to move it left and right, it will erect position of the sun and then moving it up and down, we'll bring it, bring the sun direction up and down basically. So it's, the gizmo itself is quite useful to visualize it, how the sun is looking in regards to their position. But whenever you're trying to look at it and position it, the arrow itself might behave quite weirdly. Again, moving left and the right will position the sun and moving it up and down, we'll control its angle and I'm just going to position it like so kind of get it from the top right hand corner from this sort of an angle like. So. Just again, as a default, light source which we are in the future are going to replace anyways. Yeah, for now, that's going to be from the lesson. In the next one, we're going to start working on the landscape itself. I'm going to make sure I clear out the search bar over here. Otherwise it's going to be applied on whenever we're selecting the different meshes. So bottom right-hand corner within the detail step, let's make sure we clear out this search bar. And in the next lesson we're going to set ourselves up with the landscape. Thank you so much for watching. And I'll see you in a bit. 6. Landscape Mode Basics: Hello and welcome back everyone to building, sending medieval world with Unreal Engine modular good bash. In the last lesson, we left ourselves up by creating ourselves a new scene that has an open world type of a system. And now we're going to start working on it within the center of it. Philosophs, a castle. So for that, we're going to go on the top left-hand corner. We're going to simply open this up and we're going to click on the landscape. Previously, we already set ourselves up with a couple of camera options. So by clicking one byte, we can go on to wide camera and by clicking to, we can go onto the close-up AB type of shot. And yeah, we're going to wait a little bit out there because we can see top left-hand corner and bottom right-hand corner that it's preparing shaders, which is causing us to slow down the scene. And one thing I should tell you while waiting, actually, if we were to click on top right-hand corner, we can click on engine scalability settings, which by default it's set to epic, which will give us a really good quality. If a Froude, the entire setup, your computer is slowing down or whatnot. You can take this down and then bring it back up easily, so forth. To change this to medium, we can see that after we wait a little bit to change it down, the scalability to medium, we can see in the top corner that it's set to scalability medium. And pretty much where we can just go through them and change it whenever we want to get ourselves a better performance. I'm going to set myself up to epic quality for now. And for some reason, I don't know why they did it, but whenever we set it back to default, this kind of option disappears on the bar over here. So we'd have to go for the Settings again and change engine scalability within this area as again, yeah, going back to the landscape, we have a couple of options and by default, it set us scalp height datum, which essentially will allow us to bring ourselves up with a mesh. We're not going to work too much at the moment, or it's going to set ourselves to kind of, uh, basics of this layout or at the very least the front section of it. Because there are multiple ways to work with a landscapes. For environments, we have e.g. you can work with the landscape at the very start when you generate the entire landscape. And then you work your way down with the castle, with the building's itself based on that kind of a landscape. Afterwards. There is also an option to build landscape as a last thing. So e.g. you already have a layout for buildings and assets and using a 3D modeling program to just kinda build everything out. And then you just sculpt the entire landscape around it. It's especially good when you're working on miniature kind of level designs and so forth. But we're going to go something in-between when we are working on this level. And basically we're going to build ourselves and environment as we go along in regards to this entire castle setup. So yeah, going back to this, we have sculpt which will give us just bring up the height. Holding shift is going to lower the side, like so. And yeah, the shift just basically inverts the values and gives us these kind of results. For now though, the best way to control it, because this terrain of sculpting is based on height values, is essentially to move between Sculpt Mode and flattened mode. But flattened mode will do is if I were to select it, we can just click and hold and drag it from the area that's setup by default, kind of a height. And then we can just bring it downwards like so, or actually just looking on what's going on over here. And it seems like it doesn't. I think it's because it's affecting with multiple layers. I'm actually just going to click controls that real quick to undo my steps to not overdo it like so. First things first, what we need to do is just scroll down on the very bottom. We can see there are options for edit layers. What this means basically is that this entire terrain is built with multiple or higher level data information. And we can see that if I were to take the I4 flat middle, we can see that it's actually looking more like this for this entire area. The reason being is that it just has default noise applied and then on top of it, it applies another information that basically flattens the middle area like so. So that's quite helpful to know. But when we were working on it, by default, we had base landscape selected. And because flat middle is being applied on top of it, we're going to get wrong kind of results. And what I recommend to do is just lock these layers, both of these layers up like so, and actually create a new layer on top of it. So we're going to right-click. We can click Create Layer. And I'm just going to make sure that if that's applied on top of the flat middle like so. And yellow layer one is the one that we're going to be using for sculpting. So let's go ahead and make sure we left-click on it to select it. And we're just going to start by making your side of it to sculpt it up a little bit, like so. So when we're designing, design, like in the tire level or setup for a castle, e.g. you don't want to kinda get an overall setup all the way around, which you want to do is start building up from one coordinate, slowly, gradually building it up, and then leaving some space at the end. To make sure you have some flexibility in regards to the scaling or proportions of like your streets and whatnot. When again, designing the architectural setup for your castle. And we're just going to use the scalp like so we're just going to drag it out a little bit and flatten going back to flattened by the way, we can now click and hold and then drag it and kinda bring it back to default flat that we had previously. So I'm going to go on the scope. And what we're going to do right now is just, we're going to set ourselves up with a basic Hi of a i. And I think that's going to be quite alright. I'm going to click on flatten and I'm just going to get ourselves this kind of a height. And I think the character is in the back. I'm going to go back from landscape onto selection real quick. Select my character and bring it out. Words like so, just so we could see him a little bit more and go back to the landscape. The main thing that we want to make sure we set ourselves up is a basic kind of a hill that we can start, or cells or building the castle. I think that's going to be quite alright. And not only a hill will want to have a small type of a river going sideways. So for that, we also have controls, by the way, on the brush itself. If we will look at the tool settings, we can see the type of options that we have built our brush settings. And actually we're going to use these ones throughout, the entire setup. But for now, brush size is going to work just fine. By allowing the brush size, we can see the entire brush changing and this is the type of brush you want to have. And the flattened tool who essentially picks the data of the original click. So if I were to click over here and just applies this high data on the rest of the area. So we can just quickly sculpt this out like so. Where to click and hold on this area over here. We can see that it's being shaped up like that then yeah, I think by default that's going to be our right. Like so. We'll want to have a small kind of a river going downwards and then expanding over here. And I think I'll want to have a bit of an extra kind of a lower area over here as well just to kinda ease off from here and go into a lake area. Like so I think there's going to be quite alright. We're not worried about like aesthetics of the moment. We're just thinking of the planning stage, essentially how it's going to look. I think that's going to be quite okay. And again, because we are going to be building as we go along, That's going to be fine for now. Might extend it a little bit more. And again, I lost the character, so I'm going to click Control Z, actually two, I think. Yeah, let's go ahead and leave it as is. We're going to be able to fix that up later on and think you're going to keep something like this in a shape of a river. Maybe I'm going to click Control Z and fix that up a little bit more like so. Bit more of a curve for this area. Like so. Like the way it turns up, there you go, something like that. It doesn't matter. Again, too much in regards to the overall type of a setup as we can adjust it as we go along essentially. But for now, once we have this entire setup, for us, essentially, we can go on to selection and we can work with the castle parts. So we're going to go onto content. We're going to go onto cattle, the Git Bash, and we're going to find ourselves meshes folder. So this meshes folder will essentially have everything that we need to have for our castle. We have each one of the folders setup for us to work with. But right now we want to find ourselves a castle walls. If I were to look at it, this should be Castile stronghold castle walls they go and yeah, I think that's going to be quite alright to work for us. But I think we're running out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching and I'll see you in a bit. 7. Creating Entrance for the Tower: Hello and welcome back around to building a stunning medieval world with Unreal Engine phi modular kid bash. In the last lesson with after all, by familiarizing ourselves with a little bit of the environment setup using landscape tools. And now within the selection mode, back onto the selection mode, we're actually going to start building up some of my castle. We're going to start off by getting ourselves and entrance ready. And I'm going to click one just to see how it looks like in regards to the scale of a character thing that's going to look quite right actually. Let's go ahead and move it back in. And I'm going to lower down the sensitivity for camera just to slow it down a little bit like so. Alright, so, okay, we're going to make use out of a castle. Let's see what we have. We have a couple of castle stone walls. We have shorter one, we have longer one, like so Stonewall, Stonewall B. And we have we should have at least the Stonewall bottom. There you go. So that's for a longer one and that's for sure. So yeah, we're going to start off by actually getting ourselves in the longer wall. We're going to start by making sure that actually we have a grid enabled and set it to a hundreds. So this button over here and set it to 100, like so. So this way, when we are dragging the wall in, we're going to drag the long one in like so we can see positioned automatically within this area. So now when we hold Alt and we drag this to the side and we can see that they automatically stack. Basically. The reason we got to make sure that the grid lock is set up automatically enabled a straight off the bat is because if we have this disabled and we drag this in, like so, the next time we want to realign these two pieces to one to another, we could click Enable. And if we were to try to realign it, we can see that they don't exactly match up. The reason being for that is basically because the way the grid snapping works is it picks the original location of an asset where it was originally positioned. And whenever it moves it, it just moves from that original position like so. So because this, if we have a look at it, is placed originally to the exact grid location. It's going to help us out in the long run. When we're trying to move out, our assets are like soap, e.g. if I want to position it to the side, we can do so. And it would essentially enable us to work with the acids to kind of sticking them together easily, like sort of lego pieces or somebody who is sorted. So yeah, Essentially that's why we want to, whenever we're replacing the larger pieces are the ones that start. At the very least. We want to make sure that the grid snapping is enabled whenever replacing them out as it will affect our workflow in the long run. And we're going to start off by just grabbing the long piece of a wall, clicking E, rotating it. But for rotation I'm also going to make sure I enabled napping to angle like so. By default it's set as ten degrees, but that's not what exactly we want. Because if we were to move this out sideways, it's going to move it binary Greece, which is great if you want to just have it set as 90 degrees, essentially turning our entire object like so. But if we want to have more of a diagonal piece, we noticed that it's only able to do it at 40 degrees, so it's not completely perfectly diagonal. What do we wanna do is, if I were to click Control Z, what do we wanna do is essentially we want to keep the angle rotation as 15. Most of the time. It will allow us to not only rotate this back and forth like so. It will also allow us to get us a nice fortified degrees and a perfect diagonal type of a position. And I'm going to click Delete now. And yeah, let me just go ahead and position this with the snapping to grid and angle accordingly and it's rather easy to set it up. We got ourselves a castle wall and I'm going to add a foundation as well. Rotate this around and we should be able to, if we were to select this click w. And I'm going to move this essentially onto the top of the castle just like that. And I'm going to click G just to avoid the highlighted areas just so we could see how it looks like. It looks quite nice. But we have some bit of an issue where we have a bit of a gap on the top. That's actually quite okay because I think by default, these castle walls are going to be a little bit too large for our liking. We're going to make them a bit smaller. So let's go ahead and actually just drag them all the way to the bottom floor. Like so. And I think it had Sega. There we go. That's going to look much better. We got some middle way to break off the bottom surface. While at the same time keeping that nice kinda look for them. Though, we can select both of them while holding Shift, select them both. And we're going to hold Alt and essential dragging outwards like so. Or alternatively, to make it easier, I'm just going to click Delete and I'm going to select both of them holding Shift, like so. And this time I'm going to click Control G. Well, Control G, it essentially does, is it creates a group actor. What this will mean is basically when we have it selected, if you want to select it, we can click on one of those pieces and both of them will now be selected essentially working as one object. If you click G, we can even see the boundaries of this group selection like so. Essentially showing us how many pieces are selected at once, which is actually quite useful when we're working with multiple assets in the long run. So for now, we're going to hold Alt. We're going to drag this outwards like so. And I think for now that's going to be good enough for us. We want to essentially create ourselves and entrance at the very front. And for that, I'd actually like to make use rounded tower areas, tower structures. I can say that we have some square ones and I can't find the ones that I'm looking for. I'm actually going to go onto the meshes. And I'm just going to search within here tower, like so. And there we go. We've got ourselves some tower pieces to work with as well. And yeah, For this particular one, what I like to do is I see some of them have some stairs sticking out. We don't want to use them. We want to use maybe circular tower C. Let's go ahead and drag this out and see if that's the one that we want to use. That looks quite well actually, let's go ahead and make use out of that. So drag it onto the scene. And then I'd say we can also add a bit of a foundation. I'd want this tower bids to be sticking out a little bit higher than this over here. So for that, I'm going to add this one over here, circular towel short. Then what it's going to position one with the other, like so. Drag it above, just like that and it should be attaching nicely with one another. And I think, yeah, just like we did previously, we're going to drag them downwards like so into the floor. I'm just wondering if by how much it actually depends on how tall the towers we want them to be. So this is good. Just going to be for the entrance. It all needs to be granted or anything. You just need to look like a type of post, a guidepost for the entrance. So I'd say that looks quite well actually, let's go ahead and keep it as is. And then where you want to make sure we have a bit of what's the thing called the entrance. We can make use of a sort of an arc. And it might be easier instead of, instead of just going through each one of the folders to simply grab all of the assets and visualize it within our content browser. First three that we're going to click on this button over here to open Filter menu. And what this essentially let us do is select all the assets based on their classes. And the ones that we want right now is essentially going to be a static mesh. So that is going to be this one over here, static mesh. So let's go ahead and just click on the box over here. And you'll see that we get ourselves Filters tab over here which essentially show everything within the meshes folder for all of these assets. So every static asset right now, it's visible to us, which is actually pretty nice when we're working on larger type of modular pieces, modular kids. We can also disable that by clicking on this one over here. But you can see now we have our cells filters tab enabled and essentially it will help us to enabled and disabled static meshes preview, basically. That's quite nice. And remember when we looked at the flags, we also saw that some of the flags are not static meshes, they're skeletal meshes as well. So we got to make sure that we see them as well. First, we're going to go back onto the filter. We can see that static measure is already within this button over here. We want to make sure that the Skeletal Mesh is also enabled for that. So if we were to click select on it, we're not going to see anything. Because I believe if we were to select that this is only for the meshes itself. We can go on to the castle Git Bash and we can see all the folders. And within it, yeah, there you go. This is a separate folder for them. But essentially what we can do is click on the castle Git Bash, select Static Mesh, Skeletal Mesh, and now both of them selected, we should be able to see essentially the flags and the static meshes. So that's my preference. I'm working to be honest, that's up to you on how you set yourselves up in regards to their workflow. It's all about finding the right type of workflow for you. In the end, we're going to find ourselves there, go Castle bridge, that's the one where we're looking for. We're going to drag this into the scene like so. And we're going to click E, rotate this around 90 degrees, and we're going to position it accordingly like so. And I think, yeah, that's going to be a little bit too tall. Let's go ahead and actually grab the mannequin that we had over here. We're going to position it close to the entrance of our flower. Like so. And actually I'm going to turn off the grid, going to position it like so. Now we're going to click G and see how it looks like. We can click one to see it from a distance and that might be a little bit too far off or camera, I'm going to reposition my camera again, like so click Control and a one, and you go. Now we can click one and essentially change up the camera angle. And I'm also going to go closer to this entries like so click control too. And we can go back between those two angles. So I'm going to quickly duplicate these two by actually selecting them, clicking Control G to make sure that they are grouped up the foundation of the tower and the tower. Then hold Alt and drag this out onto the other side. Like so. That's going to look quite right, Diego. And essentially for now we're going to leave it as is. Then in the next lesson, we're going to continue on with building some extra powers and some walls or the startup of our castle built. Yeah, thank you so much for watching and I'll see you in a bit. 8. Creating Curvature out of Stone Walls: Hello, Welcome back everyone to building, studying medieval worlds with Unreal Engine by modular kid batch. In the last lesson, we left it off by setting ourselves up with a basic entrance or our castle. And it looks quite nice from a distance, but it does need some extra detail to go along on the front line. For us to do that. We're going to grab a couple of extra towers. And in this occasion, I think are going to use square towers instead of off the round wants just kinda rounded up and get some extra variation out of this entire setup. For that. We're going to search for our search for that and we should be able to find it like so. And yeah, let's go ahead and just drag it out and let's see how this would look like. It looks quite nice. It should have a base as well. So let me just go ahead and search for that. I don't seem to be able to find it, which is totally fine. We can also go within the folder itself and it should be part of it. So I think we can just click on this button over here. If we go ahead and select the tower itself that we just dragged out, we can click on this button to go onto Content Browser for the folder where it's located. If we were to click on it, it'll automatically de-select or filters like so and put us in this same type of a folder. So we have couple of options. We have some wall basis and I think this is the one Stonewall bottom b. Let's go ahead and drag it out. It's going to look quite nice. Let's put our tower on top of it. I'm going to put a tower like so. Very top of it. And I'm just wondering, you need something extra or not. And it looks quite nice. I might just rotate this tower a little bit, actually, Excel 90 degrees and reposition the tower itself just like that. And the frontal declarations look quite nice, but the area for the top doesn't look quite nice. I think it just wouldn't quite fit if we just simply had these type of towers at the very top front section in comparison to the watchtowers over here. So what we're going to do is actually we have couple of options for the stone wall tower top. We have a simpler, simple type of tower roof and we have, I think yeah, we have more room type of a declaration. So let's go ahead and drag it. And it should automatically puts itself on top of this type of tower. And I think we just need to put it on and it seems like it's not quite right. Maybe it's because we changed up the angle. I'm just going to go back onto this. And I'm actually just going to copy the angle that we have over here and I can see that, yeah, there you go. Not set to 90 degrees completely. For starters, I'm just going to change the rotation to 90 degrees. I'm not sure why that was the case. If an AI transformations tab, we have some controls that we basically have affected when we move or rotate or scale or object. And we just rotated this by 90 degrees. I'm actually, instead of just mimicking this, I'm going to right-click on a rotation like so click Copy, go on to the tower itself, and paste this same value over here and see if that fixes it in regards to placing this object on top of it, and there you go. That seems to fix it. So I'm not sure why that was the case. I think that was some rotation offset, but all these areas seem to be working quite well. So sometimes it's going to be the case where the wall or something of the sort is not going to be rotated in the same angle and it looks like it should fit but it does not end. Yeah, they're gone out for it's perfectly so we'll just make sure that sometimes the rotation and the scale is aligned to the objects like so. Yeah, there you go. We have ourselves a tower. We can actually combine all three of these pieces. Click holding Shift, select them all, click Control G. And now we have hi tower selected. And I think I'm going to write a quick wall over here on the side, like so by just selecting it, holding Alt and dragging it out to the side. And it's going to work more or less like Lego pieces at this point. We're going to build it up just like that. And I'm wondering maybe that's a little bit closer and debts needed like so. And yeah, we definitely need to bring this back. Actually, this tower is a little bit back, just a little bit like so. There you go. That's going to be looking much, much better. They're going to be forming a nicer type of a pattern, maybe this one out to the side. There you go. Okay, so now we have a nice wall, but if you look from a distance, maybe it's a little bit too straight in regards to this overall of a design. So what I think we should do is actually we should just end up moving and rotating these a little bit off to the side. So I think so. Yeah. Let's go ahead and do that. For starters. We're just going to grab all of those, are going to select them like so. And I'm not going to group them up because we don't need to. At this point, we're going to click E and we're just going to rotate them by 15 degrees. I think there's going to be quite alright. And I'm going to connect them like so. Now if we click one, we can see it has a much nicer flow, although. I will say that we have a bit of an issue with the wall itself right here in the corner. I'm just wondering because obviously they are not straight. They are going to be connecting a little bit differently through this entire setup. We can either drag them in closer, like so. Or alternatively, I think we're going to do it another way in which I'm going to click Control Z, have this everything selected and move it a little bit to decide actually in this occasion, like so. And in this case that I've just doing it with the walls that we have with the larger world. We're going to make use out of a smaller bowl. You connect this smaller piece in between the tower. So for that, we're going to go ahead and grab ourselves to stonewall, a Excel. We're going to grab the base for it, which is going to be Stonewall bottom. See, there you go. We're going to put them one on top of the average, just like that. And right away I think we can just have them both selected like so click Control G to have them connected. And there you go. We should be able to just quickly slide it in because we're still using the same rotation and grid type of snapping mode, you should be able to have it easily set up within the same height variation. And I think we can just move it inwards like so. I'm just wondering now what we can do in regards to this area. I think we don't want to say have it entire section like so. We can even bring certain pieces into the tower itself. So if I were to just put it like this or a bit extra outwards like so that might work out. No, I want to, I want to have a little bit more inwards like so and see how that would work. Like, I'm going to grab all of these pieces just like that and move it a little bit closer to the wall, bring it upwards. And I think that's going to be quite alright. Maybe actually I'll bring it, act like so. Yeah, okay, Let's go ahead and leave it as is. Then for this piece, we can actually disable the grid snap and angle snapping and just kinda move it manually to decide and the thing that's going to work just as well. I don't want this piece to be rotated actually, I'm just going to put it like so we should get ourselves this type of a result, which is looking quite alright for the front or the back toe. Going to, might want to read just a little bit because we can see that the pattern of a stone is not as nice, perhaps looking, but actually from a distance looking at it, it's not quite as bad. So yeah, I think we're going to leave it as is. We're going to have a nice curvature for the wall. That's what matters most when we're looking at overall image. Most of the time when we're setting ourselves up with large kind of projects, we got to make sure that first and foremost, the overall image looks quite nice. Then we gotta come up with some problem-solving in regards to how it would look like nicely in regards to the upfront. So in this case, we got ourselves a nice curvature and kinda stretches out for the castle over here, where it has a nice straight line and then kinda starts rotating to the side and making it look really nice and somewhat organic, I'd say even the castle. And I think I'm going to grab one of these areas over here. I'm going to hold Alt and just put them off to the side. I of course, I'm actually forgot to turn up the grid snapping. Let's go ahead and click Control Z real quick. I'm going to turn up the grid snapping and angles snapping and hold Alt. But it up to the side like so. And I think in this case, yeah, we definitely want to add some what of a curvature. We want to have actually this tower sticking out. So I'm going to pick E, rotate this to the side, like so put it off to the side. And I think we could have this tower sticking out a little bit more, although from this angle, here, from this angle even it looks a little bit flat. So I'm actually going to bring this a little bit more throwback, like so. And even rotate it just a little bit more. And let's see how this would look like. There you go. That looks much, much better in regards to the wall over here. Okay, so we have ourselves like this. We might even need to actually accept this entrants a little bit. I think the easiest way for us to do that would be to kind of stretch it out and I'll turn up or turn off the grid snapping and just kinda reposition a little bit to go inwards because this is going somewhat more for angle a piece itself, the tower. It's not quite made for rounded direction. And I think it's going to look much better if we just work the slightly stick it in just in case so we wouldn't have any of the gaps in-between. So there you go. Now, we're going to be working on a bit of a couple of extra towers over here. We're going to continue on playing with the landscape as well, but that's going to wait until the next lesson. So, yeah, thank you so much for watching and I'll see you in a bit. 9. Building Archway within Inner Castle Walls: Hello, Welcome back everyone to studying medieval world with Unreal Engine phi modular kid bash. In the last lesson, we left it all by setting herself with a bit of an extra curvature for the castle walls. And now we're going to continue on working with this edge over here. We're going to continue expanding slowly but surely with this entire castle. And then making sure of course, that it looks quite nice from our main camera short, which by the way, I'm just going to readjust that real quick. Again. Make sure that the angle is better than click Control one. And they go, We're going to get ourselves a much better shot. I'm going to click on to, to go back onto the closer shot. And let's go ahead and move on with building these extra bits. Yeah, let's go ahead and set ourselves up with an extra tower though Stonewall. The perhaps, yeah, this one is the one that we're looking for. I'm going to drag the foundation as well and just position one on top of the other. Like though. Just like that, we've got it sells both of these pieces. We're going to elect them. We're going to click Control G to combine them both and we're going to attach them like so. Now, because we were using Angular and grid snapping, it's actually rather easy to combine them, even if they're both at an angle. We're going to position them like so. Be quite alright and we're just going to pop them in just like that. Might need to get a bit closer. Excel. You go just like that. And I'm going to actually move a little bit above the camera and position of my camera, just like that. And there you go. We're going to attach them just like that. And the next one that we need to set ourselves up is going to be perhaps a wall that's going inwards. We want to make sure that this stairway is connecting it somehow, but I don't want it to be just a closed-off type of space when we enter through this castle. Instead, what I'm want to have is for us to have a sort of a walk walkway through this area. But actually let's go ahead and fix that up and get ourselves a different type of way. There's a bit of a world that has that arc way and I'm actually just going to go on through castle kid bash, going to select the Static Mesh and skeletal mesh within this folder to see everything that we have. If we were to scroll through them and see all the assets, by the way, if you want to make them smaller within the list, we can hold Control and kinda scroll it up to see a much larger amount like so and actually just going to scroll through them. Bill, if I were to scroll up to see more of larger pieces and ago that yeah, that's the one that we're going to be looking for. Castle Bridge. Although this is made for a bridge piece which we are going to be setting it up over here. We are going for now to just quickly drag it into the world. And because they have pretty much the same type of a setup for the castle to make use out of them, to grab ourselves, to make ourselves real nice type of a setup for this arc wave or the pathway basically. Yeah, let's just go ahead and just build it out over here and then we can bring it inwards. We're going to start by just grabbing foundation as well, actually, right next to it there should be this bridge E. And we're just going to slightly position them accordingly like so. I'm going to drag it inwards a little bit. I think. Or maybe they're not need it. And that's going to look quite well. And we're going to just slightly over one as well. That's not going to look quite as nice and over. So I'm going to rotate this actually 180 degrees position is like so. And I don't like how they're not stressed out. They're not giving us the right kind of an angle for this bits, I think for now, I'm going to disable the grid snapping, just kinda move them outwards like so, maybe even bring them upwards like that. And actually I'm going to click Control Z. Bring this outwards like so and then hold. Make sure to have them both selected so we can move them both simultaneously. Wants to make sure that the same height is being applied for both of them. And looking at it, it might look quite nice. But I will say that we should probably add a bit of an extra detail and we can just use the British parts as well. I'm going to bring this upwards like so. In this occasion, again, we're just going to manually positioned them like that, hold Alt and bring it to the other side like so. It's actually quite nice. Let's go ahead and actually see how it looks like we're going to combine both of them. Everything, all at once. We have everything selected and holding Shift Control G and that's tried to move it outwards. Everything is combined and actually I forgot one more piece. I'm going to select one or basically Control G. Now everything should be combined and we want to make some readjustments. I did forget to mention that. Make someone readjustments to bring it out from your group that area beginning click Shift G, and this should get us out of the Group, we can now just make a selection and it'll give us the nice kind of reflection to readjust our assets a little bit. But anyways, that's what we removed the group, but once we have it selected again, where everything is moving in the same accord, we're going to click Control G and move this to this side of our area. Let's go ahead and position it like so. That's actually going to look a real nice just like that. And I did actually forget to go into, I'm just wondering if we should use the grid. Might just want to reposition this manually because this was obviously for a bridge, might not quite fit in as nicely. So just in case I'm going to position it like so. I'm looking at the bid for the stairs. If we want less, there's e.g. we can just raise this up a little bit higher just by one end we're going to get less, look like so and that might actually be quite fitting for this area. So let's go ahead and keep it as is we want now to attach a, I'd say, let's attach this tower is going to look quite nice. We're going to select this. We're going to hold Alt and attach it over here. Let's see how this will look like. Going to slightly move it to the side, put it on the angle of course, and then drag it downwards like so. Again, not too worried about the grid snapping at the moment because this was done separately. I'm just going to move it upwards a little bit like so. And at this point, we do want to fix a little bit of this landscape. So let's go ahead onto the landscape mode. We're going to make sure we have flattened tool enabled introduces, going to drag it out words just like that. For now, we're just going to drag it out like so again, we're going to be building with the landscape tool as we go along. And that's going to give us much nicer results overall. And having some creative freedom also helps us well, I suppose. But for now I do want to check if we actually have a nice working setup for this width of our angle of our Parkway. And yeah, looks quite alright. Let's go back onto the selection mode. I want to check if I can see that this bit, if e.g. is a bit outwards, but it might actually be okay. Once we set ourselves up with stairway, I want to have some stairway going upwards and that goes along the side of the world, e.g. or a path, a walk. So that's going to give us a really nice type of result overall. Let's go ahead and set that up actually real quick. We're going to actually search for stairs, Excel. And those are the sounds we want to use. We're going to actually enable the grid snapping mode. We're going to drag one and think, I'm going to click are just tried to extend them. They don't look quite nice. Extended. I'm going to instead go click W, hold Alt and just drag it out words to reposition them like so. They might need to be repositioned manually. I'm actually just going to turn off the grid snapping at this point, went to position them like so. And this might look quite nice, actually leg up, might need to bring it inwards a little bit, just a little bit like so, and they go, Okay, I quite liked this result. Let's go ahead and select them both. You will make sure we make use out of them. And we're going to click Control G to group them up. And now we're going to position the stairs to be on the side like so. Let's actually see if it's usable within our firemen. I don't like how high this is. Actually, I do want to lower this down quite a bit. And although they look quite nice, I don't like how tall this is, so I will yeah, let's go ahead and lower this down. Just a bit too tall. But even so this is still quiet at all areas. So I'm thinking that maybe going to bring this up a little bit like soft around this amount and then click Alt and drag it onwards. But before doing that, we might get ourselves at different gizmo because this is a world gizmo, what this will mean is that a matter of the rotation of our object is still going to be facing the same way based on the world. And instead, we're going to make use out of the gizmo to be changed from a world space to local space. By clicking this button over here, we can do so. And then we can see the gizmo has changed so we can hold Alt and move it outwards like so. And actually that doesn't seem to work quite as well. So I'm just wondering why that is the case. So it might be because of the Group Selection. I'm going to click G actually first, then hold Alt, and then move it outwards and how it seems to work fine. So I'm not sure why that is the case. Sometimes. It just doesn't like to be used like that. So I'm now going to click, Make sure reposition the stairs actually like so. That's going to look quite nice actually. Let's go ahead and keep it as is. And I think that's actually quite nice. Even you might want to bring it in words. I don't like how straight the look, so I will change that up actually a little bit. I'm going to rotate it a little bit like so and it go having a bit of an angle adds to the look. We need to fill up this whole real quick. I will make use out of one of those stair blocks. I think that's going to be quite alright. And they are quite chunky, they're quite blocky and I think that's going to be perfect for us. Let's go ahead and just put it in just like that. There's going to be quiet, okay. Okay. That's makes sure that it actually works. What we need to do is actually set ourselves up with a third-person play a bullet system real quick, although it's already using the template, we've got to make sure that it is bonding character where we want it to be, but we're going to do that in the next lesson. So thank you so much for watching, and I'll see you in a bit. 10. Building Staircase and Fixing Collisions: Hello, Welcome back everyone to building standing medulla worlds with Unreal Engine five, modular kid bash. In the last lesson, we set ourselves with a basic stairway and our query. And now we're going to test it out how it actually works within our setup. And for that, we're going to make use of a third person template, the one that we created, created the project prompts. So all we gotta do is basically, we gotta make sure that we have a player start the area enabled. And if we don't have it enabled, what will happen essentially if we click Play, we are going to four-stars. I have it set a simulation, so I'm going to change it to play from within, like the viewport, I'm going to click Play. And essentially, if it doesn't find an area for Player Start, it'll create a player start within where we have our camera facing. So e.g. if we were to be placing our camera in this area over here, we can click Play and we should go, we should be able to do it like so. And now the stairs are not usable. The reason being is that sometimes the collisions are not quite fixed. The insert and the meshes. We're going to make sure we fix them up real quick. So for that, we're going to make some adjustments within a collision itself. And before doing that though, I'm just letting you know that the controls for the characters WASD space to jump around. And yeah, that's pretty much it. Essentially the simple, basic per person mechanics of a character. Okay, so to fix up the stairs, it's actually rather easy to do. We're going to select the stairs that we have over here. We're going to go onto a static mesh bottom right-hand corner within the Details tab, we're going to double-click on this over here to open ourselves up with a static mesh editor. And the easiest way to fix it would simply be for now, to go ahead and change this up from a simple mesh which ends up being generated if we were to look at click on a collision of a year and actually sorry, not collision. If we were to click on the Show, we can select Simple Collision to see how the collision is being set up by default, this is the setup for the stairs. It looks quite basic and simple and it's quite a ride, but the steepness, it doesn't let us go climb up the stairs. So we're actually going to be fixed in that. So yeah, let's go ahead and change up this simple collision. What we're going to do is actually we're just going to make use out of a collision option. If we were to click on a collision, we can click on Auto convex collision. Click on this, and we have couple of options how count maxillae vertices hold precision. I'll count essentially, what we'll do is try to find all the holes within a match and apply it. We can just simply see what it does first, the default options, and we can click on defaults to make sure it sets it up to the default options. And now we can click Apply. And by choosing this, we can see that it converts it to the similar kind of looking mesh, but it obviously is a bit different and we can see how it behaves within our scene. So yeah, I don't think this will still help us to climb up the stairs. We need to increase the amount of vertices is being used because right now It's, I don't think there's enough, so we're going to increase it and it'll give us more points to work with. I'm going to change it up to 26, something like that. Let's click Apply, see what this does. This will give us more vertices. You can see that some of the areas already are trying to be applied for the stairs, but it's still not quite enough. So we're going to increase the whole count and this will again check more for holes. There is hope precision, the difference in how precision is basically how close to the mesh these gaps, e.g. In-between you want them to be. And by increasing precision, usually it increases the processing time by quite a heavy amount. So I usually tend to keep this as is actually increase the whole count. Instead, I'll change it to 18. Let's see how this will do. And we're going to get this result. Let's see if this will work. Actually for us. It might get away, but actually will increase this to a much higher result. Let's see how this will apply. There you go. So we're going to get this sort of result and it's still not quite the same. I'm going to actually close this down, see how this will look like if we were to hit Play there, can we climb up the stairs? We can actually climb up the stairs now, so it is working just like that. I will show you though the other way of fixing collisions in this short bit because we cannot access this arc way over here. So we always need to fix that. An easier way to fix it rather than generating collision manually. What we can do is if we were to select it and I think I'll need to take it out of the group they go because we can't exactly select multiple values. We're going to click Shift G to make sure we ungroup them. We're going to select this arc. I'm going to go on to the static mesh for it. And instead of using it, although we can click Apply, just see how it goes. We can see it's not going to give us the right results for our query. We might. Not like it. So instead, we're just going to use high topology for a base of a mesh. We're going to go ahead and simply search for within the Details tab. We're going to search for complex. I think if we're to search for complex, there you go. Collision complexity. By default, it's set as the default. If I were to set it up from use complex collision as simple, essentially, basically you have two collision boxes. One is for simplicity to help out with physics and whatnot within the engine. And the other one just uses the mesh as a collision itself. So if we were to use the complex collision as simple, we can now if we were to close this down, technically, we should be able to just walk through this area over here. So that's quite nice. And yeah, essentially both of the collisions are being used. So even though we're walking up the stairs like that, we can see that legs are being placed directly onto the mesh for the complex collision. So even if we have collision that somewhat wonky, it should still give us the right results. So we can have, we can see e.g. here, I were to click Show simple collision, that this is not a perfect type of a collision. We have a lot of gaps, but even so for the feet, because they are being placed directly on the mesh collision of this complex collider. It will work perfectly, exactly as it should be. So as long as you're able to walk up the stairs, they're going to connect to those steps manually themselves. And it's going to work quite nice overall. I think all in all, that's pretty good. Let's go ahead and continue working with this. I'm actually just going to select these steps. I want to drag them in words a little bit more like so. And I want to continue working with these steps. I'm going to select them both. I'm going to drag them upwards like so. And I'm thinking if I should have a bit of a transition for this area or not to have a straight kind of a hallway you work with. So we can ever get ourselves one of the cubes and one of the blocks like we had previously, or alternatively, I'm just going to grab both of these stairs, hold Alt, drag them to the side, and actually just move them a little bit off to the side. And because they are going to be hidden off, we don't need to worry about them too much. And I think if we were to select them, I'm going to right-click on the stairs, select F9 write enable is enabled by default for this measure is nitrite is enabled, which is essentially like a sort of automatic LOD system. So it helps us to save up on performance. And we can essentially have the same mesh as many times as we want essentially. And based on the camera perspective. Nine, I will do most of the heavy lifting for the performance of when we're placing all these meshes. So we don't need to worry about how much of mesh we are having within this area. So yeah, by just dragging these outwards like so we're going to be able to have a straight kind of a corridor. We're going to have some steroids and I'm going to check if that's actually enough for our setup. If we need to drag it upwards, but we fit just right in and I quite like this type of a look, so we're going to keep it as is. Then we have a bit of an issue over here. You can see that we have sort of an issue that I forgot to move this out of the way a little bit. Like so. Yeah, I just wanted to hide the blank a little bit. Just like that. I don't want to worry about it too much for this. It's such a small piece and I might even have some barrels on the side. It's not going to be visible. We don't need to worry about small micro detail when working with such large projects as more often than not, you just got to work on a time management who has been working on such large projects. And yeah, I'm going to select these two staircases. I'm actually going to enable the grid snapping. And while holding Alt, I'm going to drag them outwards. And we're going to create ourselves a couple of large staircases like so. I think we want to actually overlay them a little bit. We don't want them to be completely trash out, so I think that's actually quite alright. There you go. We can leave it as is. And even I would say that we could rotate them by 15 degrees. That's going to look quite much nicer. It might not quite give us a nice kind of results. I'm just wondering, instead of 15 degrees, we're going to click Control Z and changes up to five degrees. So we'd have more control, more fine-tuning over this entire section. And I think five degrees by switching it over, it gives us so much, much nicer or failed look, these staircases. And I'm still gotta consider myself how it's going to be built up in regards to these staircases, because we've got to consider the grid of angles for the structure itself, how we're going to be making use of the grid. We don't want to just ruin this entire grid setup. But for now though, because these are the staircase we can overlay certain areas and I think it's syllable work just as well. I'm going to continue building up with this. And I still think I'm going to rotate this by five degrees, a little bit more like so. It's going to give us a nice bit of a curvature like this. Then the next one, I want to pretty much do the same thing or maybe straighten this bit out actually, like so. Or this might be a little bit too much. I think I'm going to delete it and keep it as this amount. And now we can click Play and see how it looks like. And that's actually going to be it for this lesson. We got ourselves a nice staircase set up, which is going to give us a nice result. It's not going to be visible from the main camera shot, but it's going to give us ability to work with levels in regards to building up a castle, which we're going to talk about it in the next lesson again. So thank you so much for watching and I'll see you in a bit. 11. Working With Vertical Slopes Of Castle Walls: Hello, Welcome back everyone to building a standing medulla worlds with Unreal Engine five modular kit bash. And last lesson we left off by getting ourselves with stairway up to the side off or castle. And it doesn't look quite as much on the side if we look at our main camera, but it's going to help us out and building some elevation for the castle itself. Because what essentially we want to do is get ourselves a nice castle type of a silhouette. And in which instead of the castle itself just being completely flat, we'd have some towers at the top, almost reaching the sky and whatnot then. That will help us to essentially make the entire castle look more grand. When working with castles. Obviously, if it's the gameplay, we want to make sure that we have a grant type of a look from certain viewpoints. But all in all, they gotta look realistic or say believable in regards to restructure for, from different angles essentially and look nice from the bottom angles from when a character is walking around as well. But that reason, we are going to start setting ourselves up with some nice decorations on the side over here. And yeah, I'm just looking at this real quick, making sure it looks nice and maybe we do actually want to extend this a little bit more. I would say we can do we can totally do that. Let's go ahead and do that. We're going to just drag these stereotypes are words like so and that might look much nicer in regards to that. And I will straighten them out, actually, be quite straight legs. So that might look much nicer in regards to that thing that's going to look quite okay. And this also gives us a nice kind of a curvature on from the top. If you look at it, it goes sideways, sideways, and then it goes back along this line. Okay, so for this, we're going to make use of arc. Let's try actually search for arc if that's going to be it. Yeah, there you go. Arc declaration a, B, and C. We need to make use out of all of them. So let's go ahead and grab them, put them up to the side like so of course we have to make sure that the grid is turned on and essentially we have three pieces, so let's make use out of them. We have essentially an arc like so, and we have a piece that allows us to combine them. And if we duplicate this, e.g. we can raise it up a little bit. And I think though in this occasion, it's actually, it actually fits quite nicely for this area. But for this particular case, I want to lower down a little bit and have a little bit more of a control while still having that bit of a grid control for the snapping. So instead of 100, I'm actually just going to set this up to ten. And in this case, if I were to actually, sorry, I clicked W on the search bar. I'm going to make sure that it's still set as arc to see us the same model that we have. So with this set, a standard, we can lower this down a little bit and we can see that actually works quite nicely in regards to the overall setup. So we don't even need this e.g. in this case, we can just set it up like so, and it would still join quite nicely together for a nice arc in which we can make use out of this specific situation. Although in this case, I do want this to be part of an arc like so. It's going to look much better in regards to that. We're going to actually grab all of these items like so holding Shift. We're going to put them up on the side. And again, we're not worried about the terrain itself at the moment that we can have floating stairs if we so desire to. And I'm just going to make sure we have some real nice type of an arc way covering up the side a little bit. We don't want it to be covering it up completely, but I think we want it to be just hiding the stairway, I think like so. So it would look like railings as opposed when walking upwards from this angle. And this is when we need to start setting it up with a if I were to grab this out of the way, actually, I'm just going to keep this floating out and about so we can actually make use out of it. Same thing goes for this. We're just going to keep it up just in case so we can see what kind of parts we still have. And I think for these particular ones, I am going to rotate them a little bit more like so and push it up to the corner just like that. And I think that looks Much better like this. Making sure there are no gaps. Because of course we need to make sure that it connects nicely with the rest of the items. Finger, we can just grab them up like this and just push them up like so. Should fix this, should go it doesn't need to be exact. We can overlap the stairs. We just need to make sure that it doesn't come out from the edges are angles like so. And I think this looks quite nice actually. Let's go ahead and keep it. So next one is going to be, we're just going to grab these ones over here. We're going to expand it like so, and we're going to raise them up. Again like this. Just to get more of a variation of these railings, I suppose. And then we got to grab them again and push them up on the side. Except in this case, I think what we're going to do is we're going to rotate them to the side because we can totally make use out of them and actually set ourselves up with a nice type of a setup for the angle. So I'm going to rotate them nine degrees. Let's see how this would turn up to be like. So, so this is looking quite nice. And I think this is actually looking quite alright. Let's go ahead and fix that up real quick. The terrain, we're going to select, the rain, go onto the landscape mode, and use a sculpt tool to bring out the highest point, actually like so. And yeah, we can just bring it up all the way to the top, like this. A little bit too much. I'm going to click Control Z. This is, I think quite alright, let's, let's make use out of the flattened tool to just fix up this real quick. And we have some issue in regards to how it's being overlaid now. So I'm actually just going to use Latin tool to lower the strength. Actually, for the tool strength, if we were to lower this down, we can have a much slower type of type of a transition. So if I were to position my mouse and where I think the area for the height should be. So e.g. over here should be lowered down. So we can lower this down. And I am going to lower down the brush a little bit so we can just basically control how high up this section is. I think this section is actually going to be quiet, okay? Now, for this area, we obviously need to lower this down. So again, I'm pressing in the area where I think is going to be the lowest point and kind of readjusting the overall section of this terrain. We don't need to worry about it too much though at this point and we can always come back to it. But I just wanted to make sure that our angle for the cliff edges are going to be quiet. Okay. And I'm actually just going to lower it down just a little bit more just to make sure that we're seeing those bits of pieces at the bottom over here. I think that's going to be quite alright. Again, we're not worried too much about it because we're going to come back to them later though. Yeah, I think we can just keep it as is. We're going to have a bit of a castle extra here. We can click one to see how it looks like from a distance. Again, it's not as visible on this edge, but that's actually perfect for us because we can continue working and slowly build up the castle from this kind of a quarter. So for now, we're going to add a solid foundation over here. We're going to go back onto the selection mode, like so. And I'm just looking for what we can make use out of in this area. We might use our castle wall, e.g. let's go ahead and search for wall and we are going to make use out of yeah, let's go ahead and make use out of I'm looking for the specific one, actually, the one that we use for a castle base. So this one over here, and they go, stone wall bottom B, that's the one that we're looking for. Let's go ahead and add it onto the side over here. We're going to need to rotate it a little bit like so. At this point, it might be okay to actually increase the snap to a 50, I'd say make use out of that a little bit larger. And although at this point, I didn't set it up to be dragged out. I'm going to delete it actually and just drag it out again because we have a different grid snapping mode turned on. We're going to position our angle x, so drag it to the bottom. And now we have a nice kind of transition foundation for this piece over here. Although I will say that maybe for this particular case, I might need to change back to a snapping off ten and just make sure that it kinda slightly touches the top. Like sodas is going to look much nicer overall. Like this or maybe like this. Yeah, there you go. Let's keep it at this. Then we're going to grab a couple of wind stairs from here. We're going to drag them to the side, rotate them by 90 degrees like so, and drag them outwards like this. And I will say, we don't necessarily have to make use out of the entire of the scale staircase. I'm going to make use out a couple of steps only. So I'd say 1,234.5. Let's make use out of five staircase, stairs like so. So it's not going to be as high up. And I think that's going to look quite nice. And I'm just wondering if we should have some of the cells sticking out towards like Soviet. We will have some other stuff sticking out like so it would be more obvious to where to go. We're going to hit play and see how this would look like e.g. and it is going to be more visible when we're walking upwards and seeing where the character needs to go. So yeah, okay, we can have a pathway like this and we're going to drag this outwards as well. And I can see there's a bit of an issue in regards to this platform sticking out. So I'm actually just going to move this backwards like so hide it behind a wall and see how this would look like. And I don't like the way it's giving me those bit of an angle. So I'm going to click Control Z right away actually. And there you go. I think that's going to work much better actually, like so. We do have some bit of variation for the pillars coming from the side. But I think for this particular case, I think that's going to be quiet. Okay. So I'm going to leave it as-is or alternatively, I will actually drag this out. Words like soda go that might actually be more fitting. It does have some nice way of breaking up those surfaces, but we do need to fix this over here as well. So I'm just going to drag this outwards a little bit like so. And there you go. You're going to have ourselves some real nice type of a setup, which I quite liked. But we just got to fix up these sections over here and just make sure that they look the same. So because previously we did it lightly erasing it up from here. We're going to do the same thing over here as well, where we raise it slightly above the staircase and yeah, there you go. That's fitting. And I think we can actually add that castle tower. They want us over here onto this section. Over here. We're going to raise it. I've actually like so, so much more and that's going to be more fitting. Going to click G to make sure it looks nice and it's not sticking out enough. So we can just select this. We can drag it outwards like so. And there you go. We now need to readjust the landscape slightly ahead and do that. I'm going to just slightly increase this from the bottom like so. We're going to obviously have some cliffs at a base. We're not going to be worried about it too much. I just didn't want to see the castle itself the power to be floating in the air. Alternatively, we could add, we could have added some extra towers, but I reckon that would have been too tall for this specific watch tower over here. So we're going to keep it as is. And I think now that we have the base of the wall set up, we can see that it has a nice kind of look over here. We're going to work on the castles in the next lesson. Thank you so much for watching, and I'll see you in a bit. 12. Building House Base: Welcome back everyone to building, studying medieval worlds with Unreal Engine five, modular kid bash. And this is where we left off. We basically create ourselves a nice wall that has some bit of a curvature, has some better ways to break it off and actually did forget to delete these couple of floating pieces. So let me just go ahead and delete them. And this time we're actually going to move on and start setting ourselves to inner parts of the castle. And for that, of course, we'll need to build ourselves a couple of houses and yeah, we're just going to move it off to the side like so we're going to find ourselves the pieces for the houses. I'm going to delete the wall search bar over here. We've got plenty of areas to work with. And we're actually just going to set ourselves with the layout from the original resource pack. And I think I'm going to go on to the content browser. Let me just turn off the filters like so. Let's go on to Castle Git Bash and we're going to open ourselves up with map. And let's click on it to make sure we go into it. Make sure to save everything out first for the scene, for the map. Yeah, once we get into this area, we're just going to grab the whole layout so it'll be easier for us to work with the House parts, especially to actually grab the entire selection. We can't make a box selection within a perspective view for us to do that, what we need to do is actually we need to go onto a different report. So let's go ahead and get onto a different viewpoint. We're going to grab the top view port, but we can exactly see what's up with this one. We're going to select one of the items. We're going to click right mouse button, like so. And then once we have the camera moving within a top view, we can click F, which will jump to our selection like so. Now I'm just going to zoom out from the selection. We can see the entire interview. And the first thing that we need to do is like if we were to just simply make using left mouse button, make a selection of a box like so we'll select everything. And the first thing that we should consider is to remove the selection of this text over here, I'm going to click on one of them. We can see that it's within the preview item text is actually nicely sorted. We can just close down this folder and hide it away by clicking on this icon over here, which if I were to click on it, again, we'd be able to unhide everything. But for now, again, let's keep this text hidden like so. And we're just going to make a box selection again lake, so we can now see that it actually selects all the items and not only items that selects the base itself. So what I like to do is if I were to go to maximize back onto the viewport with this selection, would like to do is just simply click f to get the focus of the entire selection. And because there's a massive box of a selection, sometimes it's a Skybox as well. We can click Control and we can select it on this type of a massive foundation to make the selection. Now we can click f and see that everything has been selected is only within this area over here, which is exactly what we want. We can now click Control and C to make a copy. We can go back onto our level Coast Castle scene like so. And if I were to click Control and V to make a paste, we should be able to get this entire selection, paste it in like so. Now I'm just going to move it up to the side legs so we're going to be able to work with it all over here. And I'm thinking that maybe we should make a rotation for it right away, but probably not a good idea. Let's keep it as is actually we're just going to leave this entire selection as is, everything should be fine. And again, I just want to make sure that we are evident make if we didn't make a selection with the snapping. So it's going to be a little bit off. I'm going to click Control Z, control Z, control Z real quick. And now I'm going to make sure that my snapping is turned on. Click Control B, since the paste should be the same. And here we go, you'd have everything, paste it in properly with the right type of a setup or layout. Let me just go ahead and check real quick. So there you go. You can see it's dead center within a grid. I can hold Alt and just drag it out and it'll be the same. So that's good for us. Okay, So what do we need to know is basically the variations of the house and what did we want to start with? I think we're just going to start with these type of basic walls over here on the left-hand side. There are a couple of ways to actually start building houses within Unreal Engine using modular kit or any other 3D modeling software. That is, we can start off by creating ourselves a base of a house and then kinda working upwards from that. We can also add in detail, one by one kind of peace and slowly going all the way around it. Or alternatively, we can start from e.g. from the roof itself. And we're going to work on multiple processes just to familiarize ourselves with. Ups and downs of each one of them. So let's go ahead and just grab ourselves. House wall. We're going to hold Alt and we're going to drag it out to the side like so. Just to start building it somewhere off in an empty area, we're not going to be using blueprints for this specific for the specific houses to be a sag. Because usually what I tend to find is that for larger parts, blueprints don't quite work as well, especially if we want to make readjustments or whatnot. I tend to make blueprints only for smaller pieces. So when we're going to start working on the marketplaces for these, we're going to set ourselves up with some nicer blueprints for them. Yeah, for now though, we're going to just simply create ourselves a simple base for the house. We're going to start it off by dragging it out couple of times and see how that will work for us. So yeah, we're going to hold Alt, we're going to drag it out, hold Alt, drag it out like so. And maybe one more time. Let's go ahead and do that. That looks like a decent size house. We're going to start with a somewhat of a large house actually. Then afterwards, we're going to work on a smaller house as well. But usually I tend to notice that small houses sometimes are harder to read, especially for working with modular pieces because there's so many restrictions with when you're working with those modular pieces. So, yeah, we're going to start working on this. We're going to pray. I'd say three of the variations on the side. So we're going to hold Alt by selecting freedom of the wall. So we're going to move them to the side, hold ie, not hold a tap E and then rotate them like so again, both of the snapping for grid, snapping for angle is thick tone and at the moment it's set for the angle to five, but we might change that later on depending on how easy which bind this. And so yeah, we got ourselves this house area side over here and this area for the house as well. I reckon we can just simply like all of them like so. And hold Alt, move it up to the side like so. Click E, rotate this 180 degrees associated be completely flipped. And now we can try and pushing them to the original places. Like so. Just like that, we're able to get ourselves some walls on each one of the areas. And it's already looking nice for the base. Of course we're going to be setting it up a little bit more. But for now though, let's say if we want to make a bit of a larger wall, we can do that as well. And we of course, will need to make some variations for these customizations for these areas over here. But we're going to do that in the future for now though. Let's go ahead and set ourselves out with a base and yeah, working from the foundation all the way upwards, we're going to be able to create ourselves some interesting aesthetics, let's say. And this time we're going to grab ourselves one of the larger walls. Again, we're not too worried about the variations of each one of them's. Just wanted to make sure that we have a general size for them set up. And this time we have, we're going to just apply it onto the top section like so. This is going to be a much larger piece. We're going to do pretty much the same as we did for the other one. Like so. Then move it to the side. Click E, But it to the side like so. And actually, I did have my scalability set alarms going to set it up to epic Excel, which will take off this hopefully this type of texts from over here. Once it's done preparing the shaders, let me just go ahead and wait it out a little bit. Doesn't seem to be the case. It's saying that there is a multiple directional light sources are competing. So let me just go ahead and see the light sources. I think I think I copied by accident the entire directional light sources and whatnot. I'm just going to delete them because yeah, when I click Control C, I didn't check for those smaller ones. I'm going to make sure I have them selected, delete and then post-processing folder delete it as well. So this entire thing is gone. So that's why it was behaving in a weird way. Again, I'm just going to quickly set the base for the house like so and move on from there. And we're running out of time. So we're going to finish it up by quickly grabbing these walls over here, putting them to the side, rotating them 180 degrees, and reattaching them back onto the house, just like that. So yeah, we've got ourselves a base or the house to work with. We'll add some customization to this as we work alongside it. But for now, thank you so much for watching and I'll see you in a bit. 13. Adding Roof to our 3D Hut : Hello, Welcome back everyone to building, studying medieval worlds with Unreal Engine pipe modular kit bash. In the last lesson, we started off by creating ourselves a house in which we started off from the base and just got ourselves a real nice type of a setup. But of course, we'll need to break it up a little bit. But before doing that, I reckon we can just get ourselves a roof at the very top. Actually finish off this top section built. Though. For that, we're going to grab ourselves a nice roof. Let's go ahead and see which ones are available. So I think I'm just going to grab all variations of these pieces and grab this one as well. So actually sorry about that. I'm just going to grab this larger one, this shorter one, because these should supposedly connect. And I'm going to grab one of the variations for the NPS. And I think this one is if I were to just drag it up a little bit and we can see that this is actually an eyepiece as well, so we're only going to need one of them, like so. So yeah, three variations of those. We're just going to drag it out like so and see what we can do with them essentially. And we're going to rotate them for starters, I'm going to rotate them 90 degrees and I'm actually just going to change rotation to 15 degrees, so it'll be easier and faster to rotate them like so. We're going to start off by getting ourselves the areas properly set up. And we're going to start off by getting this roof properly placed. And yeah, there you go. It's going to look quite nice like this, although it's not going to help us out in regards to getting it nicely varied. Say, we can start by breaking off the top section of the roof. It starts getting a bit more difficult once we actually have sections of the roof where it's not properly fitting in, but it does help to break off the surface a little bit in regards to that, as you'll see later on. And actually, I don't quite like this roof. I will sorry about that. I will delete this. I think there is a better version for our use and I'm just checking the ones they use. There you go. That's the one we're looking for, and that's the one we're going to use. Going to be perfect. I think it's also a bit wider as well. So let's just have a look real quick. If it'll fit. I'm grabbing pretty much essentially the same pieces, but another variation for that. And yeah, let's just put it in and see how it looks. I'm going to grab a larger piece. We're going to put it in like so. And yeah. So going back to the ups and downs on the building from the bottom up and going up to the top is that the roofs are going to look a little bit interesting and I'm going to fit completely well, especially once you start breaking off the surface of the house. So e.g. right now, if I wanted to, I could technically extend this entire section and make it look nice and getting so I can just extend it all the way up like from this angle like so. Then it all the way up. But it's not going to look as nice. It's going to stretch out and whatnot. Alternatively, we can actually make use out of this and set ourselves up with more broken up pieces of the roof. So what I mean by that is if I were to also, I'm going to make sure I have snapping to scale enabled over here. So now when we are snapping it like so we're going to extend it just by a small amount, then that's actually going to look quite nice for our overall a roof setup. And we're going to make use out of this rubric, going to hold Alt, and we're going to extend this out like this. But this is a little bit too low. I want to kind of break off the house roof over here on the side. Think for Saturday stuff. We're going to connect the base to the house. And I'm just going to check if this is connecting. Well, we do need to drag it out a little bit of an extra. Or maybe I'm just going to see how this looks. I think it looks alright, actually, so worried about the tiles being overlapping. But if I was to not overlap them, they might not look quite as nice for that occasion. What I'm going to do because if I were to extend them out like this, we're going to have a bit of a trouble with this as well, in which we're going to essentially have to log ends over here. And that's not going to look as nice soft thing. I'm actually just going to delete this over here, go back, turn on my grid snapping tool. And I'm going to position this over here on the edge. Since I can see that this doesn't have a log n, it might actually be quite helpful to us in that regard. And hago, it actually is quite fitting, or should I say, I should probably extend this a little bit. A gonads quite nicely fitting within this section over here. And we're not going to have any overlapping edges, although there are small gaps which we might need to fix. Later on, I'll see how that goes as we go, but from a distance, it might be quiet. Okay. We do have some small gaps and whatnot, but this is how it works. Usually when we're working with stylized. If it's a modular piece, it's not going to be completely perfectly fit, or we can overlap them slightly. But again, it will come at certain costs as well. I think now though, we're going to keep it as is, we're going to move this to end piece like so. And we're going to see how well this will work out for us. So I'm going to move it like so. To extend this, of course, a little bit over like this. If this will fit in and it's not fitting in, I'm just wondering why that is the case. Maybe I just need to drag it out like so, but that's not going to look quite as nice. And I'm just going to go to Details tab see how well this is. This is extended by 1.25. This is 1.25 and they'll not fitting. So first things first I'm going to try to do is actually, I'm going to see if I can make it, make this entire piece rotate. Maybe it will look better on the other side and maybe it's meant to be on the other side like so if I were to put it in, we can see that it actually fits much, much nicer right now, put the downside of it though, is that not visible from this angle. So an easiest way, the easiest way to fix this kind of result is basically flip this around and kind of mirrored at first. To do that, we're going to go click our code to scaling mode and just use this button to kinda flip this around. We can see in the value when we drag this around, we change this y to negative one and essentially put this in. And it will work just as well for us. Although we might need to flip it out a little bit more, but I think that's okay for now. So I'm not sure why that's not going in properly as it should. And we need to bring it out words. Or actually I'll switch this to a value of ten snapping and just readjust it a little bit like so. Hey, go by slightly adjusting it and were able to fix it just as well. And now we're just going to move this to this area like so avid hanging a little bit and maybe even drop it down a little bit like so we're not going to play around too much with it, which is making sure that from different angles it'll look nice like so. And maybe it to the right. Okay, so now what have we have this kind of a roof. We need to set ourselves up with this cover section as well. And I'm just wondering what we can do for this area over here. On this particular case, we might need to lower down on the area for the house. So for Cyrus, I'm going to what I'm going to do is I'm going to find the right roof. And the roof that we are going to use in this particular case is going to be this one over here. And this is a nice roof. So going to hold Alt, drag this out a little bit and position it to the side of my house. So click f two, re-scale, refocus my camera, that is, and kind of position my angle. So you get a nicer type of a roof for this particular section. But I don't like how this is being. Of course it will need to raise this up as well. So let's go ahead and do that right away. By just this amount, I'd say. We're going to fit in a nice small height for the side of the roof. Make sure there are no gaps. So we're just going to make sure we do that as well. Go overall basis of this kind of a building is essentially to make sure that the top of the roof is getting broken up. Enough of a variation, I'd say. I'm going to make sure that this is fitting as well. They go, alright, and I'm also going to move this off to the side. Again. We're going to replace a lot of pieces and bits. We just now need to make sure that the top of the roof actually makes sense. Or the South and then later on, it actually gets much easier to work with. I'm going to lower this down to this amount. This looks quite nice. I'm going to drag this to the side like so. Right? And there you go. Alright, this is looking quite nice. Small wondering Maybe I should probably change this snap size to 50. After changing it to 50, it'll be much easier to snap to grid to the n bits. And I don't want this to be just completely going all the way to the back because I don't think it will look as well. What we are going to end up doing is actually we're going to raise this entire house a little bit more. But now that I look at it, these pieces are not looking quite as nice. Main reason for it is basically because it's the same width and I don't quite like it. So we're actually going to do is we're going to find alternative pieces to make use out of. But this is a nice piece to use and this is a nice, this is the original for large. Actually this is a large piece. Alright, so we can check how large this is based on the square. So this is going to be four by four and we wanted to replace it with I'd say three. Yeah, we can replace it with free. And I think that will give us a better type of results for this type of a roof. And I'm actually going to push it down a little bit. Here you go. That's a perfect type of a squishy thing that's going to look quite nice. But again, this is a little bit too long in that regard, so yeah, let's go ahead and fix that up. Or yeah, we're going to use three by 1.3 by two. These are the nice type of setup. Let's go ahead and drag this out and see what we can do essentially with them. Going to drag them off from the side like this. And yeah, we're going to try to replace them. Let's try moving this to the side, moving them 90 degrees, like some moving them to the side, putting them up like so, and loading this entire section just like that. Now with this up a little bit higher and a little bit high-end Diego, it fits nicely. And we can essentially do the same thing on the other end as well. But before that, let's make sure we drag this entire thing a little bit to the back just like that. And it fits in nicely the roof on and is quite nice as well, although it's a little bit too much, I reckon. I'm going to turn off the snapping mode for this particular case and I'm going to manually within lake so myself, just like that, going to turn off the grid properly as well actually, and just raise it up manually just like that. And again, the roof is the most complex one when we're building it from scratch, from the ground up. Because we need to make sure it fits in nicely while at the same time it breaks off the surface. But yeah, once we have the basis set up, we can turn on the grid and we can just duplicate it and get the nice kind of result for this type of a roof. I think there's going to be quite alright. Let's say we can also make sure that we duplicate this one more time actually. So, and this'll, this'll make sure that it'll look quite nice overall. I think I'm overlapping this a little bit, so I'm going to change the snapping to ten lecture, have some fine tuning or it, and add them up just like that. If it doesn't quite work out like this, as you can see here, we can just grab all of these roof tiles like so click R and then kind of squish them all at once. And now it'll in much nicer for us just like that. Alright, so I think this is looking quite nice. Again. We're going to make sure that this is being folded upwards, like so. But I'm going to basically flip these around, going to select them all, hold Alt, drag them around and click E, rotate them around as well. Like so we're running out of time. So I'm just going to position them in the same exact spots as the other ones and just delete them. And there we go. We've got ourselves a nice type of a setup or rubber. I'm just going to make sure that we have some more variation. So I'm going to put them up by switching them around just like that. So basically the ones that are going to be shorter are going to be in this corner over here. And I think that's going to look quite nice. And we'll have couple of options to work with. So, yeah, we're going to continue on with this in the next lesson. Thank you so much for watching and I'll see you in a bit. 14. Breaking up the Surface of a Digital House: Hello, Welcome back everyone to building, sending medieval worlds with Unreal Engine by modular kid bash. In the last lesson, we left it off by creating ourselves where each type of a house, which of course we're going to be fixing that up right away. So for starters, we're going to give it some elevation. We haven't finished off the roof over here because we want to make sure that we get we give some height to it. And so for that, I reckon we can make use out of some of the already existing areas, e.g. we can go ahead and make a duplicate out of this roof over here on the side of the wall. And I'm thinking that maybe we should do the same for this one over here. Let's go ahead and raise it up holding Alt, of course. And let's go ahead and make sure that we have the same elevation. And I'm going to increase the snapping to 50 like so. Which by the way, we can use shortcuts to increase and change snap sizes whilst just clicking, close the brackets, square brackets, not quite sure what they're called. They're found next to enter a symbol. So by just doing that, you can see the number increasing, decreasing. And yeah, just like that, we can change the snapping of the entire grid snapping. So yeah, going back to this, we're going to set ourselves up with a nice roof on the side. And I'm going to grab this time, this sort of a roof. Let's go ahead and make use of that. I think I'm just going to grab all of these pieces like so just like we did previously, we're going to grab and take them out like so. We're going to rotate 90 degrees like this. And yeah, I actually grabbed the wrong piece. Sorry about that. I'm going to grab shorter roof tile over here as well. I'm going to grab them out. But it inside like so. And rotate them 90 degrees just like that and put it onto this area over here. Some reason they're not connecting and I'm not quite sure why. I'm going to go on to the folder itself. Going to just drag it outwards like so and Rag, this longer roof as well just to see if it connects with AD Connect. So I'm not quite sure why not connecting over here. And I'm actually going to try find that out. Why I think the easiest way for us to fix that would be if I were to select this roof, we're going to be the coordinates and then go on to this roof and paste them in like so. And there you go. Now you're going to be connected perfectly. We can attach them like so and they should work just as well, just like that. So yeah, I think it's because originally they were placed fine grid snapping for the presentational purposes. So they're not going to be white as versatile, but it's okay because we can easily fix that up. And I'm just going to make sure I grabbed this roof, put it up to the side. Not sure why exactly. I made a duplicate more like if we need those kind of pieces, we can just copy it from up here. So I'm actually just going to delete them like so and see how this would look like actually of a year. And we might need to grab yeah, we definitely need to grab one extra piece this time. We need to grab a small piece. And I'm just wondering if we can grab a two meter by two meter, this one over here, we're going to grab it like so put it up to the side of the building. But at night degrees and I'm just going to click F, go onto the site. And let's see if this is the right type of a size. I think it actually is. I might be wrong though. I do want to check if that's the case. When to lower down the snapping mode, napping size and kind of attach it gently like this being how this looks like. This looks alright. I'll let me check if there is an alternative to that. There is a two-by-two. It seems this is three by two. And I think you might get away with it actually, I'm going to go back onto it to see how this looks. Yeah, definitely It looks quite nice, but I definitely need to need to fix up some services for starters though, let's go ahead and make sure that the roof is well set up. So I'm going to increase the scale or the snapping going to put this up all the way to the top. Like so. There you go. And now we're going to click W hold Alt, drag it to the other side like this. And of course we need to rotate this around so we can either rotate it 180 degrees or alternatively, what I'm going to do is I'm just going to actually need to move this a little bit more to the side. To do that, I'm going to delete this because I can see that I didn't position this properly. I'm going to actually wrap the previous piece over here because again, we copy this entire set from the previous and I'm going to set up properly. I'm going to right-click on location, click Copy. Go to this one, right-click on a location for transformation, hit paste. And this should give us a nice kind of a setup. There you go. It should be properly in. Now this time. I'm just looking from both ends. If it looks nice, Let's seem to look quite nice. So I'm actually just going to make use out of that. I'm going to maybe turn down on the snapping to bring it backwards. So some of the tiles would be, as you can see, overlapping hanging from the side. This looks quite nice. Let's go ahead and just quickly duplicate it to the other end legs. And click r. And this is where we need to basically rescale it. So I'm actually just going to use the value over here, click Minus one, and there you go. Perfect. Mirror. Like this. We can have more of a hanging area over here just to kind of break it up the surface a little bit more. And we're going to make sure that some of this is overhangs a little bit more. I'm just wondering how we should do that over here. I don't like leaving the gap over here at the top. So I prefer to actually start changing the shape itself at the very bottom. Just by having some different pieces. And think what I'm going to do is I'm going to delete these, all these pieces. So for here actually, and I'm going to just grab this one. I'm gonna increase the grid transition, going to hit W Alt, hold Alt while dragging it out. And we can just simply replace all these parts like so. This is looking much better already. And if we can make sure that we have somebody who speaks and delete it as well. Make sure that this is looking quite nice. I do want this roof to end over here where the rest of it is. I'm just wondering what we should do in regards to that. And in this particular occasion, I'm actually also going to extend this a little bit as well, so we want to leave any of the gaps. And yeah, we could either Yeah, I think we're going to basically move this entire house roof of the house to the side, then use the smaller wants to extend them out nicely like this. Although we need to make sure that the grid snapping is set to a lower size. And there we go. I'm going to now move it nicely to the side. And also a might need to, then it wants more. How this looks. I don't quite like how this turned out. So I'm thinking that we can get away probably by just simply extending this aisles. We got to make sure that we don't extend it too much. Otherwise, they're going to look too stretched out. But it was such a small gap that I reckon I can just get away by doing that. And I'm also going to extend this over here a little bit as well. Just to kind of break off this surface, make sure there's no gap over here. And then what's what's left for the rest of this area is to simply increase the snapping scale for the grid to 100. Going to click W, move it to the side, ended up 90 degrees. And this is going to look quite nice. So you can see how easy it is to build a house basically from scratch. But because we started from the base up, although the starting point and was rather simple and easy, we're going to start struggling a little bit when we're setting up such hairiness essentially. And I'm probably going to grab these ones over here, going to move them just to fill in this bit of a gap. And although it's overlapping, as you can see over here, doesn't cause much of an issue for us because we're not going to see these areas on the side. So I think that's actually quite nice for us. Although I can see that we need to perhaps bring this up a little bit like so. And I'm actually just going to do the same thing for this piece over here, since I see that not as low down as I fought they are today go we've got ourselves a nice setup for the house. And finally, we got a couple of extra pieces to setup. I'm actually just going to make sure I have a higher set for snapping grid, going to move them upwards like so. And this piece is done. Now we just got to make sure that this side is done as well. Let's go ahead and actually move that. Try seeing how this would look like. It doesn't look quite as nice. And we didn't need to have this roof going the other way, like so. I'm going to click are and then flipping this scale of one. Let's see how this would look like a go. That's looking quite nice, although it needs to be definitely needs to be going outwards a little bit more like so. I'm actually just going to bring this with small snapping value up like that and maybe even get away with just stretching it out. I think that's actually looking pretty nice. We just need to finish it up by having this small piece at the bottom again, because we need to, we need to make sure essentially that there is no gaps on this. But this one, if we want to have a bit about overhanging area, we can do that as well. We're going to simply hold Alt, drag this out like so click E and then rotate this downwards. Although it's not looking quite as nice and I'm just thinking what we can do to fix it. So one way would be to just simply bring this inwards and we might get away with that. I'm going to bring this upwards like so as well. Seeing how this would look like. This is looking quite nice with the hanging over, overhang like so we might actually leave it as is, as I do like this setup. But usually what I would do is I'd bring this in even more. But I don't quite like this actually, I'm going to click Control Z. I do like this overhang. But as you can see, this flat area is barely touching the edge, so might not even be touching. It might be something worth to consider. Although for this piece, I'm going to put it aside. I'm going to delete this actually, I'm just going to duplicate it so there would be no extra edges are visible. And just like that, I think were able to fix this piece. I don't I'm not quite sure about this wall hanging out like that from the side, but just looking from the bottom, it doesn't look quite as bad. And from the side of these hanging areas definitely look much nicer. But yeah, we're able to now break off the surface of the house. We're going to add some additional detail in the next lesson. So thank you so much for watching, and I'll see you in a bit. 15. Creating Variation out of Modular Mesh: Hello, Welcome back everyone to building, studying medieval world with Unreal Engine by modular kid bash. In last lesson, we'll after all, by breaking up the surface a little bit in regards to it being vertical. And now we're actually going to continue on with adding detail to this type of a structure this time, however, we're going to start off by breaking some of that edge. In regards to making sure that we don't have simply some of the walls that are just going straight upwards. And for now though, let's go ahead and fix this over here where there is no wall at all. And I think I'm just going to drag this outwards like so. I'm going to actually delete this and make sure that my grid, my grid snapping is a little bit higher than that. I'm going to do it something like this. And then I'm just going to try and get this sort of a look. There is a piece that needs to be filled in, so I'm just going to use this from the corner and actually use it to fill in this gap over here. Just like that, we're going to get ourselves this type of a look and it's already looking much better. You might need to get couple of extra ones on the side as well. So let's go ahead and do that. We're going to move it to the side. And just like that, we're able to get ourselves a nice type of a chunky house. But again, of course, we need to fix up how chunky it looks. And I'm going to fix this right away, actually going to use the same method that we had previously. We're going to grab this outwards like so and just set them up just like that. And for this, we're going to thinking that maybe there is, yeah, there is a shorter one. Let me just go ahead and hold Alt ravenous out of the way and put it up to the side like this. And we got ourselves a couple of minutes wasted within a lesson. Well not wasted. We refined ourselves the main structure which we now can break down and make sure that it doesn't look quite as the basic. I'd say. Let me just go ahead and lower down this grid and make sure that we have it set up in the same area. And I might need to even think I can just squish this down. No, that's not going to work quite as well. Is there a broader version for this? Even should be a shorter version. I'm just wondering where that is. I'm going to actually go into the folder itself to see what kind of options we have over here. So we have, if I look at naming, we have e.g. for the shorter ones we have free by one, we have to buy one. E.g. let me just go ahead and drag this out. And actually, yeah, there we go. Going to be a shorter one. So I'm just going to drag it directly from this area over here. And there you go. So this one is going to be bidding us quite nicely in regards to getting that gap filled in anything that's going to work as workout much better in regards to that. Like so. Alright, so now we've got ourselves a nice type of a setup for this area over here. Little bit higher up. And yeah, okay, going back to this section over here, we're going to actually break up this entire surface. I don't quite like it how it looks like even with some extra windows or whatnot, it's not going to look quite as nice. So what are we going? What I'm going to do is I'm going to move this to the side. I'm going to delete this actually and just grab this, put it over here, or actually increase the grid scale a little bit, then just redo this step over here, over this 90 degrees and just like that. And we got ourselves a real nice type of setup. We just need to fill in the whole set a top and a bottom, which we can do it just like that. So doing it like so and grabbing some extra over here, we get sideways and just like that we're able to set it up just like that. Maybe we might need to do it in more of a corner just like that. So I'm just rotating this just to make sure that the logs that were on the edges would be able to support this top section like so. And now it's already looking much nicer. Although I will say that it's hanging so much that the weight would not be supported by this. So we're going to find ourselves a nice pillar. There you go, That's a nice pillar. We're going to make use out of it and we're going to put it up on this side. Just like that. Just wondering though, if it's going to be okay in regards to the scale or size, not going to be too big or too small. I'm actually just going to use snapping scale to kind of make this a bit smaller and increase it just like that, just to kinda make The thickness of it, a lot less visible, or otherwise, it won't look quite as nice. Okay, so this is looking quite nice, although right now it's standing on top of just a simple wall. And in this case, we're going to learn how to set ourselves up with more detail out of our walls. So essentially, what it is is if we select one of the walls, we can click on to the static mesh to browse it within a content browser. And we can see all of it's similar variance. And all we gotta do is just select evil one that we'd like to use. So e.g. within this middle one, what I'd like to set it up as it's going to be. If we were to look at it over here, we can set it up with the one, let's say this one over here. This looks quite nice. Now click on this button over here to use selected asset from Conger browser to essentially replace this Static Mesh with the selected one. And essentially that's replaces our own mesh. And with this, we can pretty much replaced anyone that we'd like. And I'm going to e.g. selected and the one underneath end. If we were to replace it with the wrong scale, what will happen is essentially it'll create a bit of a mess, will have a mesh that doesn't quite fit in the right scale. So we gotta be careful when working with them. And for that, the best way is just to simply click on the election for the codon browser and see which one is that it has. So e.g. this one would be a wall four by two and then this one before by two as well. E.g. we can just hover over and see it a name. They should have matching names if they are of the same variant. So let's go ahead and e.g. use this one over here. And I can also do the same thing, which again gives us this sort of a result. So by doing this kind of a method, we can just pretty much get a lot of variation out of our house, even though they're currently using the same type of a modular piece, essentially. So I think I'm going to use the same one that I just used like this. And for now, I don't quite like the way this is still on the concrete, so I'm actually just going to make use or the logs that we have over here, I'm going to hold Alt and make use out of it in order to stabilize the overall structure for this blanket, say, for this pillar. Just by doing that, we're able to sort it out like so that's going to look much nicer. I'm just going to drag it backwards and put it down like so. And that's actually looking quite nice. We might need to get it a bit close to one another. Maybe that's going to look better. Or alternatively, I can just extend this a little bit like so. And that's also going to look quite interesting as well. Although maybe I think I'll leave the gap is and have it slightly extended just like that. Yeah, that looks quite nice. I quite like the way this is set up. So it looks like some of the logs that are smaller are going on top of this. And in turn, it's actually looking quite nice. Or alternatively, I can just bring this a little bit forward, like so, make this log a little bit shorter, like so, bring this closer, bring this upwards. And now it looks like it's part of this kind of a structure like so. And I think this is looking quite nice. Maybe even bring this outwards like so, there you go. I've quite like this result. Okay, so going back to this overall structures, we've got to make sure that we set it up in regards to the variations, e.g. these variants, they're not looking quite nice. Let's go ahead and fix them up real quick. So what we can do is actually we can locate this type of a chunk and we can try to replace it with a therein, that same height. So if we look at it, it's going to say two-by-two. So we're looking at a three by two this time. So think is going to be three by two and this is going to be three by two. I'm going to click on it and there you go. That's actually looking quite nice. Raise a variant to it as well. So I'm just going to make sure to make use out of that Lego. And I'm going to bring this entire section a little bit more to the front. Just like that, we're able to make some expansion to this room over here. And I'm going to make some essentially additional variants out of this, these techniques. And so for this, I'd like to add a bit of an extra support over here, or this one. Perhaps we can get some more decoration out of this. So maybe this is going to look quite nice. I think that's going to look quite alright. This is not looking quite nice as it is two planes. I'm going to add some variation to that as well. Maybe more of the beam select this. I'm not going to add additional beams over here. I'm planning to have a door over here as well as over here on two ends. The reason for it, we're going to learn it in a bit. And I'm just going to fix the fruit because I can see there's quite a bit of a gap actually over here. Go That's going to be much better. So we're going to continue on with this in the next lesson. Thank you so much for watching and I'll see you in a bit. 16. Adding Smaller Detail to the House: Hello, Welcome back everyone to building, studying medieval world with Unreal Engine five, modular kid bash. In the last lesson, we left it off by getting some variation out of our heart by changing and replacing some of those modular pieces. And now we're going to continue working on it. And afterward done, we're going to add certain window bits and additional props to our setup for the house. So to start off, we're going to quickly search for variations for this area over here. We're going to replace it. And typically what I like to do is actually I see that there's a bit of a gap over here, so I'm just going to fix that up real quick. There you go. While moving around and seeing angles, different angles from a variety of perspectives. We can see that the certain areas, certain bits might not look quite as well, are certain times we need to slightly readjust them to make it more fitting. So this one was alright, but I'm not sure why the other one was off. Anyway. So while going through the module pieces, just make sure to keep an eye out on certain bits that don't seem to be in the right position and then tweak them out a little bit afterwards. So again, going back to the pieces and whatnot, I tend to change them up based on an angle. So e.g. on this angle will have this type of pattern and this angle would have another type of a pattern. And usually what happens is that we tend to rotate the house and reusing it oftentimes. So it tends to help to get variation within the setup of a city, e.g. it looks unique and the style definitely helps to bring that type overlook this one. This piece is another type, so I'm just going to quickly find it. I'm going to replace it like so. And this looks actually quite alright. Let me go ahead and just check our pieces. So e.g. these ones might look a little bit too similar. We're going to go ahead and use a different one. So maybe this one over here might look nicer, but this one was actually too similar to the one that was right next to it. Not think all in all, looking at the pieces, they look quite nice. I'm going to actually leave it, maybe this one, I'm going to replace it as well. This, and perhaps this one, we might want to replace it as well. Use something a bit more interesting, maybe. If something like this and this to this, yeah, just a varying, varying the modular pieces also, we got to make sure we understand how the windows are going to be placed in as well. For now, I'm going to switch out certain bits. So e.g. this, I don't quite like, I'm going to change it up. This and this will also give us some bit off a piece to work on our Windows as well to add some smaller details and decoration. So yeah, Well, I'm working with such areas. We've got to make sure we consider that as well. So this e.g. I don't want to add any Windows. I'll just add more of a density for the logs. And four here, I will add a window. So I'll keep that empty. And I think all in all this is good for us. We can work with this actually. So let's go ahead and move on. We're going to get stairs. Let's go ahead and search for stairs. And I can't seem to find it. I'm just going to go back onto castle kid bash folder, going to enable both static and skeletal mesh, then going to search for stairs. Like so. That's some serious over here and actually rotate them around 180 degrees. But it's up to the side, like so maybe more to the corner. Just like that. I think that's looking quite good actually. Now we're going to be adding a doors. Doors should be. If I were to look at over here, you should have some connections over like so. For starters, we're going to add in the bag more metal looking door. And at the front we can add this type of doors. So I'm going to hold Alt, move them to the side and they seem actually by looking at outliner, they have multiple objects. So I think we can actually adjust the way the doors are closed and open. We can do that later on. Once were added these into our houses. And I think just by looking at it, I can see that they're not going to replace our objects as we can. We're going to need to slightly tweak certain debts. But we're going to do that right away actually. For Zara's, this part is not going to be as large as the previous part. It's made for replacing off. If I'm not mistaking, it's going to be this piece over here. This is a wall that's free by free. You can see it on a text over here. And this is also great to be identical size. So what this will mean is basically we just need to quickly readjust the way that we have those pieces over here, which is actually going to be quite fine. I'm just going to search for these kind of areas and lightly add in the detail myself, essentially. And yeah, that should actually work out quite as well. Again, we're not worried about things that go in that are going inwards and whatnot. We're just hearing about the outer appearance. If we were to be making something that's inside of the house, that would be a different story. But for now though, it's actually going to work out quite well. And I think I'm just going to duplicate this on the side, but it's a corner like so and just bring it all the way back like so and make sure they fit in quite nicely with one another. Again, because we're using the snapping mode, this shouldn't be too difficult to realign and so forth. And just like that, we're able to get this result, which I'm wondering if it's actually good because there is no frame support at the corner in the end. I don't quite like it, so I think I'm just going to replace this one, it like so and actually, yeah, that works. By adding the one that has more dense, more density within the frame. We can just add in such detail and that works quite well. Actually, I don't think I'm going to bring it in outwards like so. And yeah, that works really well actually. So for the door over here, we're going to want to kind of add, we don't want extra detail at say something like a roof might work. And I'm just looking at the roofs that we have. We have a variety of different routes actually. We just need to consider two. Which one we want to use. And I think I'm going to use this one over here as it looks quite nice. Let me just go ahead and grab this, put it to the side, rotate this around 180 degrees. And again, I hold Alt to make sure it's a duplicate so we wouldn't get rid of that piece. And yeah, let's put it up for this group over here. So it's going to look quite nice. Bring it outwards and we might even squish it in a little bit. I think that's going to look yeah, that's going to look quite nice like so. And let's go ahead and search for window like so over here. Make sure we are within a case gasoline Git Bash folder by clicking on this button over here. And now we can just start adding some windows. So e.g. over here. And definitely don't like the way this looks. So I'm going to add a window over here. If you don't see any window, make sure to click E and rotate this 180 degrees around like so. So it's already looking quite nice. And I'm going to add a window over here, a different type of window this time. I had this sort of a window and I'm just wondering if it's actually okay or the size of this entire setup. Actually, I need to make sure that I rotated by 90 degrees like so. So I don't think this is the right scale. I'm going to make the scale a little bit lower by 0.25 degrees, so you get 2.75. Again, I'm holding, making sure that the snapping scale is also enabled and that seems to help us out quite a bit. And then afterwards we're going to just looking for the square window that we had previously. They go that's a square window I was looking for. I'm going to add it to the side like so. It looks quite nice. It's wondering, yeah, I should probably make it smaller. And I think all in all for the windows will be adding them as smaller windows. Maybe this one is going to look quite nice over here. Circular one. I quite like it over here. Let's just check how this looks like. Maybe I'd actually quite like this. And we can add a square one over here and rotate this 18 degrees. And yeah, this looks, this looks actually quite nice. To make sure that we're consistent with the scale. I am going to make this window smaller as well. And yeah, we are going to I think make sure to set the scale for all of them to be consistent. Though, if we look at the overall setup where the windows, they all have more or less the same scale. But once we start scaling them down, if we have most of them scaled down, the ones that aren't scaled out are going to start popping out a little bit and in the not so nice of a waste, so e.g. the frame of the windows aren't going to have the same density and it's going to look quite a bit off. And things like that just need to make sure we have this somewhat of a consistency. In regards to the scaling. And looking at this area, we might need to fix it up, but yeah, that's how we essentially add Windows. We're going to get a bit more in-depth to finishing off the declaration for the overall design of the house in the next lesson. So thank you so much for watching. 17. Customising 3D House Using Props: Hello and welcome back in from two buildings standing medieval worlds with Unreal Engine pipe modular Git Bash. Last lesson, we left it off by getting ourselves up some nice windows and some doors. And now we're going to continue working on editing the detail onto our world. So let's go ahead and get right into it. Actually. I'm going to firstly see how it looks from the side, from this angle over here. It looks quite nice, though. The other side looks quite lacking, but let's go ahead and complete this area over here. This roof looks quite nice, but we can actually make use out of some additional details. So e.g. this one over here, I really quite like this additional add-on to modular piece as it helps us to break up the roof a little bit more. So let's go ahead and do that. Actually, we're going to add it onto the side of this roof over here. And I'm even thinking about adding it on this side over here, but I don't think we'll at the moment, though. I just want to make sure that we have some additional detail to make use out of. And then just looking at this, it looks quite nice, although it's not extended properly all the ways. I'm just thinking what we can do to fix that. I'm just thinking if we can ever added a little bit lower, like so, have the house a little bit closer. Or alternatively, we can check if there is a way to extend this piece. I don't see, I don't see any way to do that. Actually, there's nothing around it and that would fit. So what we're going to do with this one is actually we're just going to hold Alt, duplicate it, and rotate this around 180 degrees like so. We're going to just attach it from the bag. Just like that. We should be able to get away with it. We might need to overlap them a little bit like so. And just wouldn't actually it looks quite well. I quite like it sometimes it's that ends up being that the areas for some e.g. this over here, That's a great example. It ends up being overlapped and starts, the face starts glitching out. So what I end up doing sometimes in such occasions when I'm overlapping them like that, one of the objects, I end up changing the scale 1-0, 0.0, 0.99. And that will fix the issue. And I do that for every single one of the values for the scale. And just by doing that, we still should get ourselves a nice results. Sometimes it still looks a little bit too off. So 0.99, actually, I'm going to lock this down in regards to ratio. So this button over here, if you were to click it, it's going to make sure that the ratio gets locked out throughout the entire section of the thing. And in this case, we're going to get a valid That's even closer to that. So 0.999, I'm adding an extra nine and there you go. It'll change the value to all of them to 0.999. And just like that, we're able to fix this sort of an issue and still keep the same kind of attachment. Look. And that's actually exactly what we want in this occasion. And I think yeah, I think that looks much nicer right now with in regards to the house, we do need to add an extra window. I'm just thinking what kind of window we should add. And I think this time, or we can add a window that has more of an arc. I think that looks quite nice. Again, let's make sure that we are consistent with the scaling up is 0.75 for the Windows. And maybe lowering this down a little bit as well. Very bottom of it. I think that looks quite good actually. Let's keep it as is. And just thinking if we need a bit of an extra window over here, what we can do as well, by the way, we can just make a duplicate of one of the windows. And for this particular window, what I think would work is if we were to just simply rotate this 90 degrees, but it's sideways. And now we have ourselves a horizontal window, like so. And yeah, it looks quite nice actually, I quite liked the overall setup. And this wall is way too open, so I'm going to go ahead and select it and then change it to this one over here. Yeah, this one looks quite nice. Let's go ahead and readjust the windows, make sure it fits a little bit more to the overall setup. There you have it. Alright, so we have ourselves some nice support, some nice declarations from this entire section. Section. It looks quite nice from this angle. And we can actually even start adding a couple of supports for this area. I think we have some supports over here. If we have a look, there you go. We have a couple of supports and actually it's going to go grab all three of them. We're going to just move them out onto the house like so and see how we can make use out of them. So this one over here, I definitely like that is a nice Hyper-V support. I think we can make use out of it onto our roof and just attach it to the side. And we might need to make this a little bit shorter or smaller. I'm going to enable the scale again or the snapping, and I'm going to make it smaller like so. And this looks quite nice actually. So let's go ahead and just attach it to the wall and see if it works out. And it might need to be going upwards a little bit, like though, that's a little bit too much. I'm actually going to turn off the snapping and just manually move it myself into the position and maybe even squished down this section. There you go. That looks nice. I quite like it. It's more squarish. In this particular case. It definitely looks nice. I'm going to hold alt, duplicate it, put it on the other side, and there we go. We ourselves some nice supports, although I'm going outwards like that, I don't quite like so I'm actually just going to move this entire roof a little bit more to the right like so. I'm enabling grid snapping by the weight back on. Make sure it looks nice. It doesn't look quite nice to click Control Z to undo it, and I'm going to click OK. And one more thing that I forgot to mention whilst scaling, something worth knowing is that it always scales from the gizmo itself, from the pivot point that it originates from. So right now, I know this side is not going to move, but by simply scaling it outwards like so it'll extend it onto the right-hand side and it's actually a little bit too much. So I'm going to disable the scaling snapping and going to do it like so, then re-enable it for our future uses. Okay, So we have some bits of support over here. We might need to add some supports over on this end as well. I'm going to actually use this bit like so. And I'm going to add it onto the sides just like that. And we're going to start adding a lot of detail right away. I think we can speed up the process a little bit. It's slowing us down if I'm explaining every single piece I think. But in short, what do we need to consider when working with modular pieces than whatnot with the structures. We just got to consider essentially how the house is built, how the house is broken apart basically in regards to its edge flow. And probably the most essential thing to consider is if, what kind of salary want basically. So right now I'm working more towards them. I'd say if I were to explain it more attachment type of a house. So if we have a look at the structure of this, we have some bit of foundation for sure, but then we also have a lot of attachments added to the sides, the house. So e.g. this one over here is like a missing piece. This bit over here is also kinda almost floating, I'd say. So that helps to make it look up. I'd say more magical in regards to that overall that out for the house. And I'm just wondering if I could add this kind of a setup for a building support over here. And I think that works out nicely as well. I'm just wondering if there's a bit of a gap over here that I'm not able to fix. Maybe I can just add it to fix it. There you go. That seems to fix an issue. So yeah, this It's also quite small, but I think we can get away with it being small. I don't like it being so big. I'm going to turn off the snapping scale, going to manually ALA down. I didn't quite like the overall scale because the proportions were a little bit off. I want to have somewhat of a similar width on both ends in regards to how they are being placed. And the window should have the same ratio as the areas on both ends. I think that's going to look much nicer. So by just clicking G, we can de-select our selection or game mode and we can see how it looks like from our ads. So again, we can fix this area over here now. So for this area, we can start by probably adding a, Let's go ahead and add a door over here. So for that, we got ourselves this store that we just left it off on the side. We're going to add it onto this other area. And I think we definitely will need a second lesson to make sure that all the detail looks nice overall for this entire house. And we're going to do that with another video. Thanks so much for watching, and I'll see you in a bit. 18. Modelling Complexity to our 3D Hut Using Kitbash Assets: Welcome back everyone to building study medieval world with unrelenting by modular kit bash. In our last lesson, we started off by getting ourselves more detail onto the other section, but we just started Grove and we are just getting a door in first and that's the door that we're having. I'm going to click Control Z to put it back in its place. And now let's see how we can actually attach it to this area over here. So for starters, we got ourselves a couple of issues and one of them would be that it doesn't exactly fit within this part. So let's go ahead and see what kind of options we have for this type of a section. I think that we can replace the top with a smaller piece of this. And I think that might work out better for us. Let's go ahead and try doing that. We're going to grab the three by two type of a wall. Let's go ahead and see how this will fit in into our house. Like so. Just by doing it like this, you can see it's looking quite nice. We can delete this larger piece and now worry about this part over here. But I think we can just actually grab or cells one of those we have over here, I think we had a short and small one. There you go. That's the one we're looking for. Let's go ahead and hold alt, duplicate it to the side, like so. And put it at the very top of our house. We're not worried about the aesthetics of it. We're just making sure we're fitting in the blocks together because we can always replace the type of blocks that we're now having properly set up. So this is looking quiet, okay, we might need to extend this. I'm going to turn off the scaling snapping and see how this will turn up B. And yeah, this looks alright. We just need to figure out what to do with this part over here. I think though, we can actually clean this up. Be a different type of a block. I'm going to try making this out of this actually going to put it up on the side like so and see how this would help us out. But this is the type that we're looking for. It's actually going to give us a nice type of a result if we were to replace all of the blocks over here. So I think that's what we're going to do. I think we're going to take out these drugs over here and replace these like so. And we should be able to get actually a real nice type of a setup like that. Yeah. Looking at the top, if it actually fits and it does seem to fit. So that's actually really good for us. Now we just got to make sure that we change this up a little bit. We're going to go on to the blocks and we're going to start adjusting them. Two are basically whichever way we want. And we can make use out of them to add an extra window over here. I do want a window on this section over here, so I'm going to leave it as is. Or we might add a window over here. So yeah, let me just go ahead and change this up. It'd be something like this and it looks quite nice although I'd prefer if they go more consistent with the supports that might yeah, there you go. That looks really nice. Let's go ahead and add some windows. We're going to go back onto the castle Git Bash folder. Search for Windows, like Windows. Search for window. Here you go. We're going to find ourselves some nice windows to work with. We're going to turn on the Scaling snapping. We're going to make sure that the scale for this window is set like this. And this is looking quite nice. We might even add a window over here. Even I'd say that would look quite nice. Let's go ahead and do that. We're going to add a word to search for Windows. Actually, I'm going to select the previous window. Search for a windows like this. And I'm thinking that, yeah, I quite like, I quite like this design, but I'm going to actually shove this entire thing all the way through back like so. And that's going to give us some quite a nice result. I'd say just scaling it down a little bit like this. And I go, it's going to give us a nice result. I'm going to make sure I scroll all the way back and pick a small type of a roof for us to use. Like so. And so yeah, Essentially the reason we're doing two doors on a house is because if we were to rotate it on one end is going to look like an entrance. If we were to rotate this entire check it over and it's also going to look like an entrance so we can rotate them around and make them look like unique houses within the same street essentially. But that's going to be quite useful. We're making sure essentially that we can reuse the same house in as many times as we can, basically. Yeah. This is looking quite nice. This is looking quite nice. This might need some bit of an extra work. I don't want some windows here because we already have a window over here. So I'm going to actually add some couple of extra support just to make sure that it looks quite nice. I'm going to add a window actually over here. Let's go ahead and add a small window over here, makes sure that it is scaled down to the right type of a look like. So this is looking quite nice already. We have some bit of a roof support. We have some window over here. And I don't like how small this window is. I'm actually going to make this quite a bit larger. Although again, we might need to consider ourselves how it is with, in regards to the density of the bars. But this window is quite isolated. I think it's going to be quite okay. We're going to add a couple of windows over here, Reagan as well, like so add another window over here. It gets smaller. And this is going to look quite nice and it's going to justify why there is a bit of an opening over here. So basically to let in some light onto, into the rooms. And I think all in all it's looking quite nice. We might need to make this a little bit smaller because it's over overlapping like so. It is a bit smaller as well. There you go. We usually wouldn't need to do this, but we're not using this roof to its full extent. Usually for the top sections, we need to make sure that they have a bit of a nicer type of setup for the roof and I'm not sure why this roof is not working properly. Perhaps we needed to mirror it the other way. But all is, well, I think that's looking quite nice actually. Let's make use out of this time to actually add a bit of a more detailed to the overall setting. We're going to add couple of windows over here or I can, let's go ahead and do that. Make sure that it's not as flat looking for a section. So it's not quite like how this is set up. So I'm actually just going to make another additional setup for this similar to what we did another side with this attachment. We're going to just replace this one and I'm going to look for what we can replace it with. I'm going to search for a smallest type of a replacement Diego. That's actually going to be perfect. We're going to make use out of that. You kind of reattach the house a little bit. And yet it's already looking quite nice. Going to make sure that we push some malls onto the back. And I'm just wondering what we can do about this top section missing. We can probably just raise this up all the way to the top, like so. Yeah, we're going to grab ourselves a nice log from here and essentially attach it onto the house. You go. So now it's going to look like it's properly supported. You go, alright, that's actually looking quite nice. And let's just make sure that these are properly attached into the house. No no gaps left off. Paint extended just a little bit ago. And maybe I'll extend this a little bit as well. And yeah, just make sure that we complete this part. Just like that. I'm wondering if that's actually okay. I don't quite like how far off this is actually, so we're going to fix that up even more. I'm going to search for the smaller pieces. And actually we do have, though, he says that I was hoping for, we have the ones that have more detail onto the side of them you can see over here. So what we can do is actually make use out of it. We can bring this in. And for these pieces. Thanks. Yeah, we have we have larger walls that's actually fitting in perfectly. We are quite lucky with in regards to that. So a bit of a problem-solving when we're working with houses in regards to break it off some surfaces in regards to making sure that they look quite nice overall. But all in all, that's pretty much what it is in regards to the setup. And I'm actually adding couple of attachments in pretty much finishing off this house, So yeah, that's going to be in regards to that. All depends on you with certain parts, but you just got to make sure that when working with such structures, we are consistent throughout this entire setup. So e.g. when I was working on this, I wanted to kind of detached part of this house over here. But over on this end, it looks way too flat for a house. Both of these walls, as you noticed, look too flat. So we ended up adding a bit about that attachment to it. Even if we had this part over here, it didn't look quite as nice. We could have added a bit of an extra roof to it as well, that I could have probably fixed it. But we went the hard way to be honest and got ourselves a nice setup. And that's going to be it for this lesson. Thank you so much for watching. And I'll see you in a bit. 19. Working on a Small 3D Hut from Roof Downwards: Hello, Welcome back everyone to building, studying medieval world with Unreal Engine by modular kit bash. In our last lesson, we left off by completing ourselves a nice art to be used within our castle. And now we're going to continue on with it. And as a starting point, I reckon we can just make it into a group, make sure that all of the assets are grouped up so we can move this entire house freely. Though. For us to do that. We're going to go on to viewport settings. We're going to make sure that we go on to the top view. And let's make sure that we have one of the assets selected. Now we can go on to the top view, click F. And there we go. That's our object. We're going to drag it across like so, make sure that it's the only thing selected. So what we're actually going to go back onto our perspective view port like so. Now we're going to click F to make sure we zoom out. And we're going to de-select all the things that we don't need to be selecting. So holding control, we're going to deselect the sky sphere because it zoomed out all the way back onto Cloud sphere. So just like we did previously, we're going to click F and make sure that we focus on are entire selection, which this case is the terrain itself. We're going to hold Control, tap on it and make sure that we click F again. And now we can see that only this selection is being made. So now we can click Control G to group everything up. And there you go, we have ourselves a house. Let's make sure we move it around and everything is attached properly, which seems to be the case. So now we can just move this house on to the side and continue essentially working with more complex houses. Or I'd say in this case, we're going to work on a smaller hut, smaller house just to make sure that we are getting some nice variations are off or scenes for us to do that. We're going to start off by getting ourselves a roof to start working from the top down. This time, I'm going to grab both of these items like so. And then we can just hold Alt, move it to the side. I think this thickness is good enough. I'm going to click E, rotate this 90 degrees and work in this area over here. So this time, I reckon we can just start by duplicating the house roof and putting it up to the side. I think there's going to be a good thickness. We can just barely reattach it like so that is looking like a good roof. Let's make sure that we are attaching also these smaller pieces on both ends. Like so. So making sure that nothing is out of the ordinary in regards to some pieces being sticking out of the roof. And this time, I'm just going to make sure that this is ticked off and now I'm going to set it up as minus one. And there we go. We've got ourselves a nice roof as a starting point. For now. I'm just going to select it all. Click Control G to make sure everything is grouped up. And I'm going to increase the scalability for my grid and drag it all the way up. Not sure how much at the moment. But for now it is looking quite right. So yeah, we're going to start off by getting ourselves and nice door and think. But this one, we can grab our cells. This one I quite like this design. Let's go ahead and use it. And I haven't shown you how to rotate the dorsum, just agreeing to do that real quick. So because this is essentially a rotatable object or the door and it's set within a group that item. So we can click Shift G to ungroup it. Now we can select the door and you can see that the axis is set around this hinge over here so we can rotate it, opens and closes as much as we want. And I'm actually just going to select them both again and click Control G. And now we're going to have them both selected, or I should have them both selected day ago. Now it's going to be fine. And just making sure that this only once elected. It is. Okay. So now we're going to set it up with a nice type of a setup. So I like the original point of this, but I'm going to move it out on the site. Actually, we're going to start by just building it downwards from this angle over here. We're going to grab a large piece of paywall, not worrying about which one I grabbed us in an ordering, which variation, but I wanted to grab the largest one we have at the moment. And we are going to attach it up to the side to see how it would look like just attaching it likes this, seems to be giving us the right results now we just need a smaller variation. I think this is the one perhaps, or even smaller one. And this is going to be two-by-two. And there you go. We're going to move it out and on the side. Like so clicking E, rotating it around. And one building with the roof from the top-down view. We're going to essentially run into a different issues for Cyrus because the roof is going to be more of a planar type, it's not going to be able to natural just kinda get those attachments on top of the roof like so it's going to perhaps look a little bit more plain for certain people. But for me personally, I quite like this. The sign when, especially it comes to smaller hubs. It gives us a nice pattern when we're building out the streets. So that's something to consider when working with those kinda roofs. Just wondering if we should slightly to the side, maybe not. I'm going to actually make sure that my snapping is lowered down like so. This is looking quite nice. Now, I personally prefer to add a bit of more width to it. So I think I'm going to use these walls over here. This is going to be free by two. It's going to be a nice wall. We're going to add it to the side. This is again, more of a personal preference because we already are using somewhat of a squarish walls that are front. I personally like to kind of break off the pattern a little bit of those squares and get ourselves more of a nicer width. Let's say something like that perhaps is going to give us a nice type of a result. Let's go ahead and make use out of that. So I think that's going to be quiet well, make sure it fits in nicely and I think it needs to be a little bit forwards like this. Yeah, there you go. That's perfect for us. Let's drag it down. And because we're working with actually I'm going to delete it and I'm going to increase the snapping grid to 100. Now hold Alt, and there you go. It's going to be much easier with that. Going to do the same thing on the opposite side, going to grab both of them, going to hold Alt, going to move to the side. And although we could mirror it on the other end by just changing the scale to negative. I'm not going to do it. The reason being is essentially I'm just going to rotate it 180 degrees and move it to the back. Essentially is the reason being is because we're going to go with the pattern all the way around and we're going to reach it with another wall from this end. It's not going to attach within this l kind of a pattern like it is for this one. But that's something to consider basically when working with such pieces, how they're going to be attached, and how you want them to be flipped or rotated or whichever way you prefer to be honest. But yeah, it's just going to the workflow is going to be sped up a little bit if we're going to keep it in the same regard. So this one is looking quite nice, but I think it's a little bit off. And again, the reason being is because essentially we are copying from this entire pile. So they're not set up with the grid to be working in mind? I don't think so. We're going to slightly fix that up. Actually, we're going to quickly select this piece, right-click Copy, select this larger piece, left, right-click paste, and then move it out to the side and egg are perfect fit. There you go. Alright, so we got it on here and now I'd like to ideally think we can get away with these smaller pieces over here. I'm actually just going to move them to the side like so. Rotate them 90 degrees, just like that. And again, they're not going to fit. So I'm just going to paste in the same location that already have for value and move it to the side and they go easy, fix. All right, cool. We are good to go. We have a nice setup for the house. Just wondering if this is actually okay. Because obviously this is slightly sticking out, which I think I'm totally okay with at the moment. So let's go ahead and leave it as is. We just need to make sure we now finish off this piece over here. So the way we're going to do it is essentially, we're going to grab, wondering what's the best way to do it. We could grab the same pieces over here from the back, hold Alt, bring it to the front and rotate them 180 degrees, move them into the right places. And again, it doesn't seem to want to fit in within this particular area. So I'm just wondering why that is the case. And yeah, it seems like doesn't want to fit in because again, it's slightly off, but I think the easiest fix would be to just simply grab them both. And if I were to grab them all, actually, I'm going to upscale them without the snapping Scale enabled, slightly upscale them, lower down the red, napping and actually move them all a little bit to the side like so. And that's going to be much, much better in regards to the overall setup. So in total, we have a length of six units, which we need to fill in. And that's essentially going to be for this corner over here and the other side over here. So six units, and this one is four by two. So we can grab this one and we can grab a smaller where I reckon that's going to be a write them out, both like so, and reposition them accordingly. I'm actually just going to paste in location again of the previous, of the original one that we just copied and kind of move them out like so. Or alternatively, I'm going to click Control Z Real quick, upscale the grid. And now moved about. There he goes. That's going to be speeding up our workflow a little bit and just thinking how we can get ourselves a real nice type of a setup. So I'm going to grab the smaller one, going to bring it out. By the way, the one that's highlighted is usually is always the one that's going to have a orange highlighter. And when they are overlapping, I tend to just click on the area where I know they are. And the way the art usually overlap is some of the pieces would be slightly sticking out, especially for our word parts. So I can see that this piece is sticking out so I can click on it and just slightly move it to the side. And yeah, that's pretty much it in regards to that. We can just now change it up like so. And that's going to give us somewhat of a nice result. Alright, so now in the next lesson we're going to continue on with this hand build downwards for this hut. So thank you so much for watching and I'll be seeing you in a bit. 20. Adding Door and Overhang to 3D Small Hut: Hello, Welcome back everyone to building, studying medieval worlds with Unreal Engine five using modular kit batch. And the last lesson we left it off by setting it up some walls and some roof for a small hut. And now we're going to continue on adding detail to this type of a small house. And I forgot to mention why making a bit more of a squarish type of building. And there's a reason for it is because when we're working with this, we can also attach a multiple of buildings, one next to each other and they're going to look so much nicer if they don't have a lot of areas for where they're being stuck out from. So e.g. for the roof, we're not going to be adding any attachable over here because we want to be able to attach those houses, small houses, closely to one another. And that's going to help us in getting some really nice type of streets and alleyways later on. So we're going to work on that. We're going to now make sure that we have set ourselves up with some real nice type of a house look. And I'm thinking that maybe in this occasion I do want to actually, I have a larger type of a plane over here. We're actually going to do that. I'm going to remove this entirely. We're going to add a nice dipole of a large plane like so. For this, we can actually replace it with two smaller ones. I'm just going to try to add couple of walls over here and maybe I haven't replaced it. I'm not sure why that is happening so easily being replaced or it is being replaced, but I have not noticed that in the back. So I'm actually just going to drag this outwards like so. And going to drag all of these parts outwards as well, just like that. And this is going to give us this sort of a hanging area which I think I'll be fixing by just extending this entire roof. I'm going to turn off the grid snapping for this occasion, going to put it to the side and going to extend this just a little bit. It actually going to cause us issues because we have group selection enabled. I'm going to click Control Z. I'm not sure why the group of men and work create groups. It gives us some issues when we're scaling them up. So I'm going to hit Shift G to make sure we ungroup them and now it fixes up the scaling issue that we had previously. So just putting that we can adjust our roof a little bit like so. And ever going to get ourselves a real nice hanging over hype, like so. We know it's going to be quite alright. Okay, so now we need to fix this other piece as well. So again, we need to replace this with larger variance, like so. We're going to now basically extending our house. And we're going to make sure that the grid selection is on and just tap it back. This kind of a look. Alright, so I'm quite liking the way this is turning out to be. We're now going to grab everything like so. I'm actually just going to go onto the top-down view, making sure that the top section of the roof selected clicking f, selecting this entire house, holding Control, D, selecting the terrain. But I think it'll go into select the entire skybox holding Control D selecting the Skybox itself. Now we have this entire selection. I'm going to click Control G to make selection. We're going to grab yourself an extra bit holding Alt. We're going to lower this down and add another floor, essentially the ground floor onto it. And yeah, I think we can just grab these ones over here, do the same thing. And I'd like to ideally them a bit different. So what I'm going to do is I'm going to make a duplicate and just replace how they look. So in this area, e.g. I want to have a window. And we can totally do so by just changing the frame and having more space to work with for that window. And for this, we can leave it as is. We're going to come back to that later. I don't quite like how flight this house looks right now. I'm just going to make sure I grab everything like so. In regards to the rest of the walls. And we're just going to duplicate it for now. And see how this goes ahead and do that. Then, there we go. Alright, so this is looking pretty nice, but again, this is a little bit too flat, so we're going to be fixing that. Although for now, I would say we should probably consider how we're going to be placing those doors and walls and whatnot. So let's go ahead and grab this this type of door that we had previously prepared and attach it to the side. And again, It's going to look like it's not quite fitting. And actually I'm going to select this, right-click, copy the location, paste this in to here. So it should give us the right kind of look, which is not giving me the right kind of look. So I'm just wondering why that is the case. And it's yeah, it's obviously because the door and the hinge is separated, so I'm going to have to move it in manually with a low type of a grid snapping. And this is going to look quite nice. Just going to replace couple of parts. I'm going to search for a for this one. So this is four by four. I'm going to look for free by three. I think there are some options like that. There you go. We're going to grab one of the areas and we're going to replace it and it's actually looking quite nice. But I think what we can do is actually we were to look for one of the areas of two-by-two. Let's go ahead and actually make this much smaller, like so. Now we can just simply actually drag this inwards and get ourselves a real nice type of a, if I were to increase this bill for the grid. There you go. We're going to get ourselves a real nice type of a setup or the hanging areas. So I'm just wondering if that's actually okay. We need to make sure that we are attaching the walls, wanted each other. If we were to extend this house, e.g. it a bit outwards, then becomes quite obvious if we're to have some of the piece e.g. going outwards like this or something of that sort, they're going to be overlapping quite a bit. So we don't want this to happen, but we can totally just get some attachments going inwards while still keeping the same kind of a style by having those attachments kind of overlapping with one another. Overlaying in regards to how those modular houses are being built. In that sense, we're just going to scatter ourselves couple of pieces set up. I'm just going to make sure that we are attaching those type of bits in the right way. So this is not quite working out. I'm going to paste in the value for the one that'll be copied and it should now fit in perfectly just like that. Alright, so this is looking quite nice. It's looking quite nice and we might as well just add this piece to the back. Just like that. We obviously need to have some bit of a support. So I'm actually just going to grab that a bit of a support from here holding Alt, I'm going to Put it over to the side like so. And this is obviously to fix. So I'm going to let r go to scale and just scale x and the y axis, NOT z. So I'm just going to squish it up. And actually I'm going to make sure that we have scaling snapping so you can squish it up. And I think that's going to be looking much nicer overall. Am going to slightly take off the grid snapping so we can just do it this amount. I think that's going to look much nicer. And of course, let's not forget the top section over here as well. Let's go ahead and quickly fix that hanging empty space. Like so we're going to rotate this in this kind of an angle because the reason being, as we want someone that frame to be visible over here and I think that here you go, it was a right kind of a wall. So it's going to give us a real nice type of a result. So, yeah, this is looking quite nice. We can also add even more detail to this and add more windows or whatnot. I think we can continue on with this in the next lesson though. Thank you so much for watching, and I'll see you in a bit. 21. Adding Detail To Small Modular Houses: Welcome back everyone to building, sending medieval world with Unreal Engine Pi modular kit bashed. In the last lesson, we left it off by setting ourselves up with a nice side, but it's still lacks a little bit of an extra detail. And we're going to start off with just setting it up for the frontline. And I'm actually going to set ourselves up with a camera just to speed up our process by going back and forth whilst editing some of those extra details. So I'm going to set my camera like this according to click on controlling free to set a new camera essentially. And that'll give us a nice perspective of this house. So now we can just go in, search for some windows. I'm going to go onto castle kid bash, older, going to search for window like so. And yeah, the ones that we're going to use is we can start off with like a square one over here, e.g. and I'm just wondering if we should into rotated right way around, like so. I wondering if we should change this entire section like so, which we probably should. So let's go ahead and do that. We're going to go actually onto our planes were going to serve for the one that we want. Maybe not like this. I don't want it to be completely plane. Something like this would do. And now we can just put this window in here and scale it down to a value of 0.75 to keep it consistent with the rest of the housing type of setup. So this is going to look quite nice like so we might even lower down the gridlock and make sure that we have to position the camera position or window a little bit more inside the middle. And now we're going to go actually back on through windows. We can probably press this button over here and there you go. We got ourselves with all the windows inside. We can just position any window that we want and we're going to get some really nice results. Like so I encourage you to just play around the design a little bit yourself as well. Just make sure to break up the surface a little bit. So e.g. we don't need something in the middle because we already have something on both ends. And because these two are different width in regards to how the planks, how the frame is set up. I reckon having a smaller window over here will do us quite well. So we're not looking for symmetry. We're actually making sure that the entire building gets more asymmetrical or whatnot because it ends up looking more a hand-built, I'd say. We will set up symmetry in the grand scheme in regards to the entire buildings being set up one with a number. But we're going to do that later on as we build the entire section of the buildings. Again, for this one, for this piece, we're going to set ourselves up and probably get away with just having a plain one on here and having a larger window. Reckon. I'm actually just going to do that. I'm going to grab a window or the other one. Something in them as a part way, like partially circular, partially not. And I'm just wondering if that's actually going to be okay because when we have multiple houses stacked together, they're not going to be out of order in that regard. I think they're going to be quite okay because this window is going to be hidden. We just need to make sure that the roof at the top has the triangulated shape and most of the items don't go outside and we don't have any attachments to those top sections of the roofs. I think that's going to be okay. Yeah. For this part, we can keep it as, I reckon, we could totally change this bit. But honestly, we can probably change some iterations for this area over here, and that should give us some nice results. Go ahead and do that. Or I can, we can actually even change some bit of consistency. For the sake of consistency, I'm going to keep some same variation at the very bottom. So not every block has to be different. But we, by adding some variation to it, we definitely at some bit of that extra touch to the style of the entire house. I'm going to click free just to see how it looks. And the frame looks nice. But I don't like this. I don't like these words over here, so let's go ahead and change them up real quick. And I'm going to change something like this sideways and the other one. Hi everyone can probably be maybe something like this. Quite like it might try to change it to a horizontal as well if that would work. And I don't quite like it. So I'm going to change it to a plane one, we don't need to overly exaggerate every single section for it. We have a bit of a window on both ends for this empty area to be quite viable if, let's say. And yeah, we can go ahead and check it from the other side. Now I think this looks quite fine, although we do have a floating window, so let's go ahead and delete that first. And check how this looks. And yeah, we definitely need to fix up the area to break off this top section of the doors. So usually adding a roof will work just as well. Let's go ahead and find ourselves a roof over here. And there should be some they go roof sections. And there is a small roof over here. So I'm just going to hold alt, duplicate it and put it next to the house, like so. Alright, so we got it set up next to the House. Interior wrote rotated 90 degrees and place it right above it, just like that. And that's going to work quite well for us. Maybe even higher up because I want to match those seams, those logs with one another a little bit more. I think that's going to be better. Actually. Looks pretty good. And you know what, we can actually change up how this looks as well. I think we can make use out of another window, which will work really well for us. Let's go ahead and make sure we set ourselves up with a plane of a wall and then go back onto our Windows. We're going to put it in the window for a curvature. I think that's going to fit in quite nicely. Actually. There you go. It looks like it's a bit of an extra extension for this, which actually works really nice. Let's go ahead and check how this looks and we can already see it getting real nice type of a shape and I'm quite liking that. So let's go ahead and just positional camera to the other side and we're going to click control and free. It will go back to this kind of view. So that's pretty good. And yeah, a couple of detail that we can add is for so all I'd like to get ourselves a bit more of an extra detail within this. I'm going to increase the gridlock a little bit, like so. And I'm going to just drag it back just like that. Going to get those smaller ones were ones like so. But it next to the side rotate at 90 degrees. And we're going to get ourselves a bit of that extra type of way to break ourselves down with this wall. So we should probably change up. This seems so we're going to use this one instead. There you go. That looks way nicer. We're going to just make sure we set it up like so. And otherwise, Heaviside as well. Let's go ahead and select both of them holding Shift and clicking E, rotating them around 180 degrees, clicking W, putting them inside just like that. And this doesn't seem to want to work as well. So I'm just going to take down the gridlock a little bit, just kind of manually put in. Just like that, Just wondering if that's going to be arrived, just going to put it as much as they can without it going outwards like so. And I think that will actually work quite well for us. Alright, so for this, we can add now a couple of supports, couple of windows bits, and that will work quite well. And actually next to this area, I can see there are support a, B, and C. I like the support C wants. So I'm going to make use out of them, although I'll make them a little bit smaller and fit in a little bit better, like so. And just putting in them or putting them in like so will work quite well for us. So as you can see, just like that, we're able to break ourselves to entire surface. It's not going to look entirely quiet, just a square. And from an angle we can see that it actually gives a nice kind of what our query look. Although the top needs to be fixed. So let's go ahead and do that real quick. And I think you can just make use out of this one over here. Just kinda put it to the side, turn it 90 degrees, and just bring it all the way back. Just like that. Now, there might be a problem where it doesn't have a frame over here. We could totally put it in, but I don't think it's going to be quite as visible over in this angle. I think we can just leave it as is even. And it will work quite well for us. So for this frame though, I do want to add an extra window, I'd say. And I'll see if I can get away with this type of a frame. We can get away with this type of frame. So let's go ahead and do that. I'm going to go back on through window section, which is this one over here. And we can add this window over here just because it's kind of an arc away already looking type of a location. We can just make it, make it a little bit smaller. And I'm worried that it might be a little bit too small. So I'm going to take off the scale for logging and I'm just going to fill it in just barely just like that. Yeah, that actually looks quite nice. There you go. I'm going to turn on back the scale snapping so we wouldn't forget and add couple of extra windows. So for this area, I can totally just add this type of a window. We're not quite seeing it because we need to rotate it around 180 degrees. And they go basically diagonal, horizontal type of a window, working quite well for us. Let's not forget to scale it down by 75. Like so. Adding couple of extra windows. This one over here, going to scale it down straight away, 2.75. Although we're not seeing the window, we can see the bottom right-hand corner, the values to be changed. So that's good for us. And just going to rotate around and actually might just duplicate this on the top, like so. I'm going to look if we can break off this area over here, which we can, I think this actually has pretty good with that. And I'll just do that for both of them. Maybe the top section, maybe I'll just change it to another one. A go that looks, that looks quite nice actually, I quite liked the overall design. So over in this section, I'm thinking that we might get away with adding a bit of an extra attachments. So even if we are attaching some extra houses sideways, I'll show you what I'm talking about in a bit. We will want to add a couple of extra windows, but I think we're running out of time, so we're going to continue on with this in the next lesson. So thank you so much for watching and I'll see you in a bit. 22. Composition Patterns from Modular Houses: Hello and welcome back everyone to building setting medieval world with Unreal Engine by modular good batch. In the last lesson we left ourselves or with a nice setup for the Windows and we're pretty much done, although I would like to break off the surface a little bit over here as well as it currently stands, is a little bit too plain, especially since these frames are taken up so much space is actually not enough of detail for such an area. I think we can do a little bit better with that. So we're actually just going to do that. I'm going to grab one of those longer wants to three by two type of a wall. I'm going to just drag it outside like so I'm going to delete the larger one over here and replace it with this one. It's like that to make sure it looks quite well because I forgot to make sure that napping is set to a higher value, but I think that's actually working out quite well for us. So what we're going to do now is because they were too large walls, we can just actually lit up into two parts. And instead of just doing that, even actually did forget to increase my value of snapping grid. Instead of just attaching one to a number, I'm actually going to lower this down like so. And the large one in the middle like so. And we can even, we can even add a bit of extra touch with a nice window in a middle thing that's going to work quite well. And then we're going to be able to check how it looks like in regards to if I were to lower down is snapping. In regards to how it looks like when they're actually attached to one another. And this doesn't look quite nice because it looks like it's just floating on the wall and obviously needs some supports. Though I think we can search for a couple of supports. I don't want to use the same one, so I'm actually just going to make use out of this one instead. Let's go ahead and make use of that. Going to lower down a little bit like so. And that actually will work quite well for us. We might need to lower this down a little bit though. Go ahead and do that. And yeah, quite like this setup. Actually maybe we need to get it a little bit closer to the edges like so. All right, so going back to what I was saying, now that we have ourselves a setup for a basic type of a house, medieval house now to check how it looks like when the multiple houses next to each other. What we're going to do first is we're going to make sure that it is grouped up. We're going to go onto the top-down view. So let's go ahead and actually select one of the pieces going to hold, right-click to move around in a top view. F, then select this entire thing. Now go back onto the perspective view. Click F, hold Control Tab on the Skybox open. Click F again. How controlled tap on the entire terrain. And this should only leave us with this sort of a selection, which is pretty good. Yeah, we can click Control G to group it all up. And now if we were to move it, it's going to move it all around. Okay. So we need to check to make sure that it is being nicely stacking one to another. So if I were to 0, I'm just going to click Control Z. If I were to hold Alt and just move this house that aside, which doesn't seem to want to move. There you go. I should be able to position the houses like this. And they should look quite nice together. So you can see the type of pattern I was talking about. Even e.g. later on we will be rotating. It likes something like this. The pattern for the roofs and whatnot still keeps the same n. Alternatively, I'm just going to delete them all. When deleting the groups, it will ask you if you want to delete everything within the group as well. So just make sure to click yes to all that. That'll solve the issue. And alternatively, we can just make sure that they also stack up in regards to just having it like so. And for some reason, holding Alt and moving out of the way doesn't seem to work. And I think maybe it's because it's set to local gizmo. I'm going to try changing that first, changing it to a world gizmo, maybe that will fix the issue. There you go, that fixes it all. Or alternatively, we can just simply click control C, control V. And that will also make a duplicate out for us in the same exact spot. So we can see that this kind of way also seems to work, although we might believe in a couple of gaps here. So I am a little bit worried about that. And I'm just thinking what's the best way to get away with it. But looking at it actually, even if the roofs a little bit are overlapping, I think that's still okay for us. We can also increase the scale a little bit of these values, which I'll show you in a bit. Or actually I can just do it right here. So if I were to change it to 0.999, like we always do, and just by changing everything, slightly offsetting it, it will accept a glitching is over here. And just looking at it from this, you wouldn't be able to see that kind of a siem anyways. So yeah. All in all, I think that's actually going to work well for us. And was worried about those kind of gaps like here. But just by stacking them all closer together, we can see that they will actually work out quite well for us. Yeah. I'll change this to 0.999 just to make a quick check. And yeah, that's not that's not going to give us too much of a trouble, okay, we're going to delete the duplicates now after checking them and move on to writing a final type of a house that's going to use a bit of a different method as well in regards to the modular pieces. And actually before doing that, I'd like to talk a little bit about in regards to the roofs themselves. So e.g. this one does not have a chimney. And if I were to look, we have couple of variations of chimneys over here. We have couple of stones as well, which we are going to make variations out of the houses. But right now we can just focus about just talking about chimneys. If we were to set ourselves up with couple of Ginny somebody over here, it does give that bit of an extra touch, bit of a nicer look to the overall design of the house. But looking in the grand scheme, if we were to start duplicating the house cinema not you see there look identical now. And even if the bottom e.g. work pretty much the same in regards to the overall pattern because they were small pieces and we can see where somewhat isometric as well, that helps to kinda break off the surface, but with the chimneys that doesn't quite work out as well. So my usual method for adding those chimneys is to add them later on as a last sort of a result. And I'll be adding them as like every other house. And that usually helps to break off the entire layout and composition in regards to those familiar patterns and whatnot. But now though, for the next piece, we're going to make a bit more accustomed type of building. We're going to set ourselves up with a centerpiece of a house, and we're going to learn how to do that in the next lesson. So thank you so much for watching and I'll be seeing you in a bit. 23. Creating Grand Building Using Freeflow Modular Building Technique: Hello and welcome back everyone to building a stunning medieval world in Unreal Engine five with modular kid batch. In the last lesson, we left it off by setting herself with a nice house that we're able to basically replicate it and get ourselves some nice type of patterns out of it. And now we're going to continue moving on with a bit more of a unique type of a building. We're going to set ourselves up with a water mill at, say, I'm going to move this building off to the side a little bit like so deliberate going to grab ourselves a nice type of a modular piece for a door. We're going to pick it up and actually we're going to set ourselves up with a larger type of a position, the snapping grid snapping. We're going to put it at 90 degrees like so. And we're going to do it essentially differently in regards to how we're building it as in, we're going to basically have a couple of parts built separately and then we're going to combine them afterwards. That the reason for it is usually it helps to get some nice complicated pieces. And then in regards to how you combine them, they don't look too out of the ordinary when you put them together. For now though. Let's go ahead and get ourselves to this roof. I reckon we can. Rabbit lake. So we're going to set ourselves up with a nice frontal section just like that. And we're going to actually put it at the top, like so. And maybe, yeah, in this case, we're not going to worry about it too much in regards to how we're building with the grid or the scale and whatnot. So we have more freedom, we will have more freedom in regards to that. So I can make this much smaller, which will affect the frame by the way, and will affect the pattern for the aisles of a roof. But I think all in all you get to that will not change it to match our alternatively, I'll turn off everything pretty much except for keeping the grid set to a low value. And the angle can also be turned on, although I'll change it to a phi value like so. So this way we will have a minimalistic type of snapping within our sections. What is going to help? But it's going to help us maximize the overall freedom for our creations. And we can actually even make use out of different areas. So this entire building is going to be so close to the water that we might as well get some quite a bit of foundation of a stone. And this section, I'm just looking for the one that I prefer to use. We can probably make use out of this actually over here. So let's go ahead and grab this block. We're going to hold Alt, drag it out to the side. And we can just kinda rotate this around. So 90 degrees. For this we can just position in life, so upscale it a little bit in all directions. And let's see how this looks like. Again, this whole process is going to be quite a bit slower, especially because we turned off our grid lock and that makes it so it's not as much of a building just blocks Lego pieces together. It's more, it becomes more of a custom creation and schist, a lot blurrier. But again, it's, it might be a little bit slower if you're not quite as used to it. So we're just going to familiarize with this workflow. We're going to, they stretch it out a little bit, putting inside and now we can hide the ends with logs that we have over here that I remember we used before, which were were to zoom out a little bit. There you go. These are the ones that I was talking about. I'm going to grab a thinner one that's also quite lengthy, going to put it up like so. And the type of building that we are currently making, his going to be mainly the watermelon, but also is going to be attached with a clock tower. So right now, we're going to start off with a clock tower itself. And I'm going to actually just squish it down a little bit like so. This actually looks quite nice. Let's go ahead and keep it as is then. And then for the next piece, actually this is already looking quite alright as its own kind of a section. I'm going to quickly go on to the window. So I'm selecting what are the windows over here that I know it's going to be within the same section. And then going on to the folder that has all the windows and think I want to use a circle on one leg. So I'm going to just set it up nicely within the middle section. And just by doing that, we've got ourselves a nice type of a chunk. So this is going to be attached onto the clock tower. We can leave it as is for now. Let's look at the type of pieces that we can work with. I can think we can just grab ourselves larger pieces over here. Going to hold Alt, move it up this side. A, click E, rotate it 90 degrees, like so. And yeah, we're just going to put it off to the side for now and then attach them later on. So it wouldn't restrict our movements as much. We're going to find them together like so. Just wondering if I haven't rotated I'm completely night degrees. Luckily, there is a grid and it helps us to kinda get it more aligned, the proper world axis to be a bit more straight. And we're going to just duplicate this as well. Going to put it next to each other. Just like that. For next one, we can grab ourselves a smaller piece. Maybe this one over here. Yeah, let's go ahead and grab this one over here. We're going to put it up to the side as well. Just like that. And let's see how this looks like. So this is a shorter one on which is actually okay. Sometimes when you're working, you just want to kinda get it a little bit more randomized and a little bit disorderly. And so even if you don't grab a complete full length e.g. of a piece, that's totally okay. Sometimes it can make use out of it, especially when moreover stylized type of a house. So right now we have a bit of a gap left. Just wondering what type of a piece we can make use out of it to fill it in. And actually you add one to, add one to make it a bit lengthier. So I'm going to use an alternative. I think I'm going to make use out of this one over here. And I'm just going to grab both of them even like so going to grab both of them just like that and see how this would look like. When you click E, rotate it 90 degrees, and position them like so. And I think this is the same length as the previous one. So I'm just going to grab this one out of the way. And I am going to simply have the shorter one in the middle and do lengthier ones on the side, like so. Then afterwards, we can probably make a duplicate out of it. Actually, I'm going to delete the shorter ones for now. If we want to get back, we can do so because the reason being I wanted to have a bit of a lung wants is mainly because we should have a bit of a window over here. And I think that the shorter ones that are a bit too short for that. So there you go. We're going to now add a couple of extra longer ones. We don't need to worry about it too much. Again, it's just a creative process. Just use the chmod as much freedom as you want. We can now change up these walls a little bit. And again, because this building is only going to be in the city once, as it's going to be super unique, is going to be standing out too much. So we'll make sure to add detail only where we need to. E.g. over here, we can add some bits that are a little bit different. So something like this resemble will work well. And I'm going to grab actually a window to check where it is in regards to the entire folder. I'm going to grab a window. That's maybe something like this. It's going to look quite nice. A position at 90 degrees, like so. And make it smaller. Now, by default, usually we use a value for the scale of 0.75, if you remember. But now we're scaling it just a bit smaller. And I think that actually still works out quite well enough for us. We can check it in comparison, e.g. that our houses by zooming out. And it's still looks quite nice. So it's not too much of a difference in regards to that. Now we just need a bit of a roof added in. In this particular case, I'd like to make use of not only this roof, but this one over here. So I'm actually just going to grab these three pieces which were to hold Alt, make a duplicate out of it, is going to be these ones over here. And I quite like this design or a roof. I think that'll work really nice first, let me just go ahead and attach them up real quick. We can just simply drag them inwards. If we didn't change up the position in x axis, it should still give us a nice kind of look, but it seems to be a little bit out of position or maybe not. Maybe you need to get it closer and they go with it actually works out quite nice. Alright, so we've got ourselves a nice roof. Let's go ahead and see how it works in regards to our setup. To change this 180, going to put it up in here, like so. Alright, making sure that the other side is not being moved out too much. Just like that. So this side is fine, the side is fine, okay, Overall, the bytes. So we can now actually click Control G to group them up temporarily and see how this would look like when I'm placing it on top of our site if it's actually good length or not. Even if it's not, it's actually fine for us. Because in this particular case, what we can do is just we can, we don't need to worry about too much stretching them out. So we can see that the proportions of them are actually lowest enough for us to just be able to grab every single wall. Just like that seems to be all of them except for the middle one. Now, I'm going to move them all and that seems to work. Say I'm going to click our and I'm just going to stretch them out slightly. Like so. As you can see, doesn't change too much in regards to the overall setup for the frame, since they are somewhat like man-made, hand-built type of a structure. It's not going to affect us too much in regards to that. But all in all, we got ourselves a smaller section. We got ourselves a starting point for a clock tower or free type of building. And we're going to continue on with the next lesson. Thank you so much for watching and I'll see you in a bit. 24. Creating Clock Tower: Hello, Welcome back everyone to building standing medieval world with Unreal Engine five, modular kid bashed. In the last lesson, we left it off by setting ourselves up the base of a clock tower, which we're going to set it up as a custom type or a building. And what I think I forgot to mention is in regards to this window over here, because we stretched out this entire wall, this might give us some bit off stretched out type of a look. I'm wondering if we should put it back a little bit like so or if we should just keep it as is. But because these planes are somewhat for horizontal, for the windows themselves, I don't think it matters. It will wait to be honest. And plus, we haven't stretched out to the point where it's too important. I'll say that as well. If we look at the wall e.g. you can see that it's been changed by 1.15, which is totally okay. I usually go by the rule of if it's a scaled under 1.1 for free, sorry, if it's scaled under 1.3, it's going to give us a nice kind of a stretch. And it's not going to be two important within those sections. But it all depends to be honest on the resolution of a texture and pattern that it has. So if we're stretching out a face, e.g. even by a little bit, because humans are able to recognize the faces and whatnot we're pretty good at that. We'd be able to notice that straight off the bat, that it's something wrong with it. So yeah. Again, it all depends on what texture. But for now, because this is a simple type of setup, actually works out quite well. Now for us, I'm going to grab all of these, going to just simply click Control C Control V to make a duplicate, I'm going to push it all the way back. Click E are rotated 180 degrees like so. Move it to the section that it needs to be just like that. I think that's actually quite fine. Let's go ahead now and set ourselves up with the middle sections of the roof and think we can set ourselves up with some bit of a basic type of a setup. I don't think it's going to be quite as visible because we're going to overlay couple of other roofs. And next week we're going to attach couple of our buildings. So we're just going to get ourselves very basic type of a wall. And let's go ahead and grab this one, hold Alt, move it to the side, and let's reposition it essentially like so again, because we have grid lock pretty much turned off, it's going to be a little bit harder to align it just like that. But all in all I think it's going to be quite alright. And I'm just wondering, maybe it's a little bit too big for a wall. This wall over here, I think it's going to be quite okay. Let's go ahead and hold Alt the side and see how this would work. And I'm just wondering if it's actually good for us or not. And this might actually be quite okay. I'm going to delete the old one, the one that was larger, and that's actually going to work quite well. Let's make sure that it's aligned perfectly to the grid. In regards to the angle, we're going to now move it up to the side. And just a bit short. So I think I'm going to upscale it. I usually tend to wherever it's upscaling or down scaling, upscale it. In regards to certain aspects. It makes sure that there's not too much noise in regards to the overall setup. Otherwise, sometimes when you're done scaling a lot of assets, when you look from a distance, it's going to just kind of look a bit scrunched up and just too noisy overall. But the downside of it is if you get a bit too close, you might start seeing too much of a resolution for pixels and whatnot. But yeah, it's all about in regards to the preference, I think All-in-all. Let's actually go ahead and just quickly make duplicates out of this. And we're just going to do it multiple times like so. I'm wondering if freeze enough or if we should have a fourth one. Or alternatively, I'm just going to copy a section from over here. So I'm just going to myself, what are those? Going to put it to the site? 90 degrees. Make sure it's 90 degrees, which by the way, you can see while rotating, there is an angle that's shown next to it. It gives more as well, just letting you know as a quick tip. And yeah, let's just put it up to the side, going inside of the building, anything that's going to look quite nice. So this is quite nice. This is quite good. Maybe it's a little bit too big, so I'm just going to again squish it in a little bit and push all of these actually a little bit to the back. You can see they're a little bit going outwards too much, going to push it in. And I think that's going to be quite nice. So what am I can change this usually, you don't want to make sure that all these changes are actually set up in a way that's not much outgoing. So e.g. you wouldn't be just changing this one type of a wall. Otherwise it's going to straight away stand out from the overall patterns. So that's just one thing to consider while working with that. And I'm actually just going to grab all of these walls again. Like so going to this question back. Down even more. Going to check how this looks like. So this is slightly going outwards, wondering why that is the case. We can just pushing it again. This is why working with such a free type of going workflow is usually a bit slower because you'd get a lot of small details that are slightly sticking it out and whatnot that aren't looking quite exactly the same. And I think all in all this looks good. Let's go ahead and put it on the other side, which I can see there's going to be a problem. I'm going to talk about it in a bit. I'm just going to grab all of this. Hold Alt to the side like so, rotate this 90 degrees. 180 degrees, sorry about that. There you go. Now, we have ourselves this bit of an issue which is actually quite easy to fix. I reckon. We're going to grab all of these from the top. We're going to put it to the side. 90 degrees. If you could, just like that. And it's not quite as visible, but just in case I'm going to go ahead and change this pattern to be blank, like so so there wouldn't be too much of an issue in regards to that to bring it forward a little bit. And I think that's actually quite alright. We just go ahead and squish it down a little bit to the side. And I see this is overlapping a little bit too much with that one. I think this is actually a quite alright. I'm just slightly disposition them as well known. I don't quite like that. Yeah. Again, it's all about personal preference in regards to when it comes to such a free flowing building. It's a matter of scaling it up and down and making sure that I'm more or less the parent, especially for the brain, is going to be somewhat consistent. So even though this is a bit stretched out and this is a bit stretched out, overall, the pattern of a wood is still pink cap the same than other. We're done with this. Let's go ahead and actually get ourselves and nice clock tower. So for that, I'd like to get, first of all, let's find the clock. I know there's somewhere. There you go. That's the one we're looking for. Let's go ahead and hold Alt, drag it out to the side, position it a 90 degrees, like so. And we're going to actually grab ourselves a square root. So I think, yeah, This is the only square roof that has blue tiles. We have these options over here as well, which you could make use out of. But the overall idea is that the stronghold, the stone walls would make use out of the orange tiles, whilst the bits, the huts in the middle, we'll make use out of those more of a purplish tile. And yeah, we have ourselves a square roof, but it doesn't doesn't exactly fit. That's it. So we're going to make sure we scale this down by little bit. We're going to just slightly squish it in. And one thing to consider while doing this, especially going to be the overall scale of tiles. And it's quite a bit smaller and quite a bit worried about that. So what we can do one way to fix it, I suppose we could just slightly stretch this out. Words like so. As you can see before, it was kind of squished in and was way more obvious that they are smaller tiles in comparison to the rest e.g. of a year. I'm not sure if it's visible in the video, but if we were to stretch it out slightly, although the width of those cells are going to be the same, the overall pattern in-between them, they're going to make it look like the scales are somewhat similar kind of ratio, I'd say, yeah, just by doing that, we're going to be able to get ourselves this result. Yeah, well, let's just go ahead and fill out the sides now. I'm just looking for the right type of a pattern. We have couple of options essentially that I'm thinking through right now, trying to figure out in regards to the problem-solving, we essentially could grab ourselves a larger piece and the clock on eight on top of it, essentially like so within the inside of it. Which would be a great solution in regards to the tower as well, for the tiles, as it would make sure that the tiles are too small. But It's going to be surrounded by quite a bit of a frame. And I don't quite like that. I'd prefer to keep it the phenotype of a frame. Alternatively, we can just grab ourselves a smaller type of an edge. We can make it a similar type of size and we can just fix it afterwards. So yeah, let's go ahead and do that. Actually, I'm going to shove this entire piece a little bit closer into it, but before doing that, going to upscale it outwards like so, and shove it inside just like that. It's going to be quite alright. Don't want this edge of a log to be visible. So I'm actually just going to be putting it in words like so. And let's just make sure that this edge is not being visible over here. So it is highly visible right here. I'm actually going to turn off the grid completely now to do small tweaks for this type of a section. And that's actually quite okay. Yeah, it's okay. I think in this lecture we'll quiet works from a distance. It, I'm worried about this log being sticking out a little bit too much from a distance. It looks like it fits quite nicely. Maybe we can even just drag it out where it's a little bit like so so it's looks like it's the same thickness. But at same time, if you get closer, you can see that the art, they're made out of two separate logs. And I think that actually works really well for us. So let's go ahead and make use out of that. We're going to just go around this entire tower and make sure that essentially we are building around it. So yeah, this works quite well. There you go. We just built a simple square. We're going to readjust the top section a little bit like so. Making sure that from a brand perspective is going to look quite nice. We can actually make use out of our outliers as well. So within here, if I were to click F, we can see how it looks like and it should give us all the right type of perspective, although the right side, I'm not sure why, but it's not showing us up. I think it's because the houses are overlapping, but that's okay though, because you just fix it from here anyways. I'm just placing the night off the roof in the right area and I think that's going to be it pretty much from that I'm going to do right now, is quickly raise this up and make sure that essentially we are leveling this downwards, like so. I'm going to continue on with this in the next lesson. So yeah, thank you so much for watching and I'll be seeing you in a bit. 25. Creating Water Mill Using Free Form Modular Modelling: Hello and welcome back everyone to building stunning medieval worlds with Unreal Engine Pi modular kit bash. In the last lesson, we set ourselves up with a nice clock tower, but it's a little bit too short for us for our liking. So let's go ahead and quickly customize that. We're going to select all the back faces except what a clock tower itself. We're going to hold Alt and just drag it down all the way, like so until we attach to the very bottom. And of course we're going to make sure we have ourselves a nice piece at the bottom as well. I'm actually going to click Control Z and make sure we have some snapping enabled for this piece. Although we'll drag that down manually for this occasion where we are going to be making use out of it. And let's make sure that we only use when we're dragging this gizmo, only y and x-axis and not z of y is the height would be a little bit different from the upper ones. So, yeah, and I'm just going to select everything at this point, going to hit Control G. And there we go, we've got ourselves and our peace with that. We can put it to the side. And actually we can start setting ourselves up with this larger piece. And the way we're going to do it is essentially we're going to savage just simply push this up on the side just like that. Because we pretty much have ourselves a nice piece for the top section of this building. Can just position it in the middle. And it's going to look real nice for us like so. And then for the space, let's make sure that we have everything combined. So I'm just going to actually go ahead and do our previous method where we select everything. We go back onto our perspective mode. Click F, hold Control, D, select this entire box, hold control these selectors. And click again to get our focus back onto the position of our house. We're now going to go back and move this slightly to the side like so click E, rotate this 90 degrees and push this off to the side. And it doesn't necessarily need to be in the middle. We can put it either on the side, we can put it in the middle. But I think yeah, flexion like so. And yeah, there we go. We've got ourselves a nice type of building made out of free, essentially three parts of a building. And we're just attaching them together like so. And yeah, in essence, we're going to do pretty much like that for the rest of the building. We're still not quite done with this because this is going to be attached to our water mill in which we are going to put it basically next to the river. So let's go ahead and move on with that. I'm going to grab a couple of parts from here just to speed up the workflow. And yeah, let's do that. Actually. Going to just select some bits on the side, some bits at the front, like so. And actually, yeah, we're going to just select all of these pieces. So essentially, this is what we have. We have walls on the side, wall sort of front and we'll set aside with the roof on the top. I'm going to click Control Z to make sure we don't actually take it from this already graded structure. We're going to click control C, control V to make a copy out of it. I'm actually just going to rotate this a little bit just to make it easier for us to work with Robert because I'm planning to have a bit of a wider building going in the shape of an l is going to be much better if we were to just set it up right off the bat in 90 degrees like so going to put it off to the side just like that. And let's go ahead and realign these ones real quick. I'm going to drag them upwards like so. To do the same thing for the bag, just like that. And first thing that I'd like to do is actually, I'm going to probably stretch these out just to fit in with the rest of the level just to make it easier for me. But as you can see, if we were to do this for this particular block, what will happen is this, this edge kind of a corner that goes diagonally might not quite work out as well. And I go straight for the, the entire grain of the wood might still look okay, but the diagonal one, I think, definitely stands out a little bit too much so far as to make sure we grab ourselves a nice one. I'm going to just grab the plane one and just replace it like so. For now it's going to work quite well enough for us. Actually. Let's go ahead and fix this roof. I don't quite like this particular roof. I'm going to hit Shift G to ungroup it. Going to just select this, delete it, and I'm going to replace it with this piece. So let me just go ahead and hold Alt, but it's up to the side. And another thing I should probably mention is while moving around, while holding shift, if you are to move it, you can see the camera move with it so it snaps the camera to the motion. And that kinda helps us, especially when working with larger scales to get ourselves a nice position onto our asset essentially. So that's quite useful to know as a quick tip. And we personally like to use that often, but when I do use it, it's actually really nice and simple to make use out of it. So yeah, going to grab just like so. Let's go let's go ahead and hold Alt. This downwards and although we have our blocks to use, lady stretch them downwards like so. And I'm just going to check the scale itself. So it's 0.75. It's in regards to what I was talking about, the scaling. If it doesn't go above 1.3, it's fine. If it doesn't go under 0.7, it's also usually fine. So I'm just going to make sure I click Control Z to make sure that we get this selection back, I'm going to click W and just drag it upwards like so. Now let's see just in case how the pattern looks all the way around. So the main things that I'm worried about a little bit is going to be these blanks over here. They look way too thin for the bottom. But in this particular occasion, I think that's actually going to be okay because the reason being is, I want to add some stone foundation for this particular piece. For this particular part is going to be somewhat submerged in water. So we can just have those walls to be submerged in water. We gotta have nice stone foundation to make it look more believable that it's actually built around the world section. So let's go ahead and do that. I'm going to find the stone foundation that I'm looking for. So we will make use out of the bridge actually for this particular case. But right now, I just want to grab this actual stone variation. River used this one over here or this piece over here. But all in all I think this is a little bit too small for us, so we're going to make use out of this. And we'll be able to make use of it nicely, combine it plus it has a real nice type of decoration at the front or back. Back also has a nice decoration. This is not going to be visible though, because the reason why we're using it is going to be just simply attaching this section. We will need to build couple of stone areas for this particular case. But all in all, we essentially are going to be attaching them like so. And let's see how this would look like. And yeah, I think that's going to be quite alright. Just like that. I'm wondering that maybe we should stretch them out so they could fit nicely with one another. So this needs to be a little bit stressed. A stretch back, just like that, not too much. It's sort of a gap, might be a bit annoying, so I'm going to stretch it just a little bit more. It just looks like and now it's overlapping. So I'm going to click controls that actually leave the store of a gap. And I think from a distance, it's not even the visible, so it's actually working out quite well now for us. And yet we have ourselves a nice pattern. So let's now think about how we're going to set it up in regards to the rest of the stuff, how much do we want it to be submerged in the water and whatnot? I think Paul, that I'm going to herself as a simple cube just to kinda help us visualize it for that. So sometimes I prefer to just have a bit of a platform, go on the side and then kinda see how this immersion would be. So it's not going to be completely 90 degrees of an angle. It's not going to be as sharp obviously, because it's going to be an edge and whatnot. But we can work with this essentially. And I personally prefer to have something like so. And then there's going to be water a little bit as well. So actually there's going to be water wheel over here. So let's go ahead and grab the water wheel and just put it out on the side. Again. I'm holding Alt. You grab it. And let's make sure that it's actually positioned nicely up on the side, like so. It's going to be attached something along the lines like this. Lower, perhaps, something like this. So the base is actually, it's going to appear at the very foundation of the base. I think that's actually going to be quite alright. And that's going to be quite the depth of a river actually. I think that's going to be quite okay. All we got to now figure out is how we're going to set ourselves up with the rest of the bid. So e.g. over here, the platform might be a little bit lower, let's say. So. Yeah, it's going to be around this amount. I'd say it's going to be much nicer and we are able to now fit in a little bit of that extra area over here. I think I'm just going to hold Alt, drag this down and I don't want this to be as high. I don't want it to squish it up even more. So I'm going to go on to the folder, going to make sure that we find ourselves smaller walls. So this is three by three and we need to find ourselves free by two, maybe four by two, or negative three by two. This one over here. Let's go ahead and replace it. And this should actually naturally just give us a nice replacement. This is four by two, so we might actually get away with setting it up over here. And I think we will get away with setting it over here, but we do need to lightly stretch it out a little bit like so. And yeah, it's looking quite nice actually. We might need to replace couple of them actually. But all in all, this is looking quite nice. And finally, this piece at the back. Of course, we need to fill that in with a nice setup. Just like that and 180 degrees. But it all the way in the back, like so. And I'm still not quite sure how we're going to be attaching them perfectly. So just in case essentially filling all of these Bax Lake. So just to make sure that we're not just leaving them hanging as is, although most likely this that is not going to be visible. But again, just in case we're leaving it as is, and we can always come back to it and attach some of those extra details. So right now we're pretty much done with setting up the main item. We just need to make sure that for the windmill, we add a couple of windows and we will have a bit of an L shape coming to the side. But that's I think we can just set it up as a separate structure and then afterwards attach it later on. So I think we're going to do that. So yep. Thank you so much for watching and I'll be seeing you in a bit. 26. Extending 3D Water Mill & Creating Custom Attachments: Hello and welcome back everyone to building, studying medieval world with Unreal Engine by modular kid bash course. In the last lesson, we left it off by setting ourselves up with a nice base for a windmill. Of course, we need to add a bit of an extra detail for us to move on. We're going to actually grab ourselves this roof over here. And I think the second one over here hold Alt, drag them outwards like so. We're going to connect this to the back just like that. And then if we were to search for, we're going to grab ourselves a simple plain, going to attach it to the side. Again because we're using such a low snapping is going to work quite as well for us. Let's just try putting it in like so and it seems to be a little bit off. I'm just going to squish it up. Just a little bit like so. And that's going to work much better. Okay, so now that we have it like so let's go ahead and raise it up a little bit. And we're going to grab a couple of basic walls. And the walls are we going to use, are going to be these ones over here. Let's hold Alt, push them to the side, and put them over here. We're now going to grab these couple of roofs. Let's make sure we grabbed at all. So there you go. Okay, now I'm going to click Control G, and right away I'm going to click R and scale it down. Then I'm going to move it closer to the side of this wall. And yes, again, let's make sure that when scaling it downwards, I'm going to click Shift G. I'm going to select one so we could see it's already quite a bit smaller in regards to the scale. So I'm actually just going to scale it upwards actually, just by a little bit, like so. And yeah, 0.7 is going to give us a nice kind of result. It's not going to be two smaller Akin. So let's go ahead and keep it everything together. I'm going to click Control G. So this whole thing would be nicely grouped up for us. We're going to lower this down. And let's see what we can do with this type of a roof. So I can see that already. We might as well stretch it out a little bit like so. And that's going to work quite alright for us. And we're going to get this result. Although I will say that we should probably, yeah, there you go, something like that. It's going to give us a nice result. We didn't need to make sure that we are placing it in the right area though. Something like this perhaps ago. So by doing these kind of works, workflows, we can see that we are already changing the frame, e.g. the thickness of it. But in this particular case, I think that's okay because we can totally get away by using a thinner type of a rooftop frames because there'll be naturally lighter. But if we're working on an hour piece, e.g. where the bottom pieces are lighter, they're not as thick. We might not quite like them as much and then they might not look quite as good Basically. Alright, let's make sure that it's set up straight though. There you go. Alright, so now we can pretty much grab every single one of them, like so. And I'm going to raise it up just like that. And for the bottom pieces, we also need to make sure we fill it in. Although I see that this one needs to also be going outwards a little bit like so. And I think it's not straight enough, so let me just straighten this up. Go. Now it looks a lot better actually. No, it does not look a lot better. I'm going to go ahead and click Control Z real quick and see how this looks and they go, alright, so now for the bottom pieces, we just need to quickly Control C, Control V. But a friend's section just lower this down and let's check how this looks real quick. Probably change this y value to minus one. That might work. There you go. And we might even need to stretch it out a little bit extra. It goes something like that. Again, it's only a base, so it doesn't exactly matter too much for us how this looks for the bottom, as we are not going to see it as much. But although I will lower this down by quite a bit, that I think that's going to look much better. Okay, so now we have it set like so we're going to attach a window on top of it. We're going to just click on the window at the back. We're going to go onto folder for the Windows and search for the type of window that we'd like. So personally, I prefer this type of a window over here is getting a nice type of attachment. And I don't think I'll add any type of windows on the sides. So instead what I'm going to do is I'm going to switch this to have more frames like so. So it wouldn't look quite as plane. So just like doing it like so we're going to get a seltzer real nice type of attachment that we can make use out of. And I'm actually just going to select them all. And click Control G to group them up. And yeah, we're going to make sure that we are attaching it onto our windmills. So let's go ahead and do that. We're going to click E, rotate this around 180 degrees, like so, and put it up to the side. So let's see how this would look like. So I think it's looking quite nice. Although I will say that this front wheel is a little bit too much to France, so I'm actually just going to put it to the back. A little bit more like, so this is looking pretty nice. We might need to raise it up a little bit though, like so. And all in all, it's going to look pretty good. We now need to I personally prefer to have a second one over here somewhere close to the upper one. But this is not quite large enough for a roof. So I'm actually going to extend this overall design. I think a little bit extra. I'm going to select all the pieces at the front, just like that. So just selecting everything at the front and including this one I think as well. Although I'll leave the base for the stone like so. And I'm going to just move it outwards. Actually, I'm going to click Control Z, makes sure that my log with the grid is scaled up a little bit. There you go. Now we're going to move it like so. We're going to put in a roof beforehand. We're going to hold Alt, select the top one and put up the roof. Now realized that it might not be quite enough just yet. So I'm going to re-select all the pieces real quick. Or actually instead of doing that, I'm going to click Control Z to go back and make sure to go back all the way to the selection where everything was selected and then move it once more. Now, if I should click control C, control V to copy it, put it to the middle, and it works well. So just simply get ourselves a couple of extra type of walls over here, see if that works. Might even extend it a little bit. Just a quick fix, like so works well enough for us. If it works, it works. We're going to leave it as is essentially. We're going to make sure that we duplicate this stone as well. Just like that, it might, we might need to lower the grid, so I'm going to lower it down and something like this and maybe extend it over here a little bit. And of course, make sure that we get the wall over here as well. We do that than it does a little bit if you need it. If we need to go, we just extend ourselves a house for the windmill. We now of course need to continue working with it. So e.g. for a front section, it's not looking quite nice. We also could add an extra window over here. So I think I'm going to do that real quick. I'm going to go onto the folder tab, just going to select the Windows, click on a browser, go to Content Browser and put in a nice window over here, although I don't think I selected right. There you go. It seems to be two folders, one for the SLO windows, one for the house windows. And we're going to use the ones for the house windows. Mainly. Put it over here and lower down the scale to make sure let's, let's make sure to lock down the scale as well. Lower 2.75. So that's the good looking window. And then I think this is quite done. We need to perhaps change a couple of bits over here. Let's go ahead and make sure we add a bit of an extra detail just like that. Somewhat of a bit of a pattern, but not too much. And that's going to look quite well enough for us. But it's area. We can add a bit of an elevation to our area. We're going to make sure we use stairs. I'm going to go on to the castle bash folder, search for stairs, should find something. There you go. And we're just going to attach it onto the side, rotate it 90 degrees, put it up to the side, just like that. And I think that's going to be quite alright. So we still need to add a bit of a door and a couple of extra touches, but we did extend this place and we'll be able to add a final piece of a house in a bit. So we're going to do that in the next lesson. Thanks so much for watching, and I'll see you in a bit. 27. Building Base For River Pass House: Hello, Welcome back everyone to buildings standing medieval worlds with Unreal Engine five module can bash course. In the last lesson, we left it off by adding some extra detail for the front and extending this entire building or a water mill. Now we're going to add some bit on the back as well, so that's actually going to be quite visible. The overall idea is to have a bit of an extension that works from the left side and have a clock tower building, which is this one over here to be on the left-hand side, whilst leaving a bit of an alleyway over here. And then we're going to have a sort of an L shape where the river is going to be down over on this end. And essentially, we're going to make sure we combine all of them together. So without further ado, let's continue working on with this. We're going to start by adding ourselves a nice type of a door. Just wondering which one would be nice as maybe the more fortified one. This is going to be also not only sort of a water mill, it's also going to be like greenery since you can use a water mill to grain, flour and whatnot. And I think that's going to work quite well enough for us actually. And I'm just wondering how we can do in regards to the overall scale. So I'm just going to look quickly through the type of building parts. And probably what I'm going to do is I'm going to grab both of these and I'm going to bring them down, see how that would work out. If it would work out or not. I think actually that does workout. So right now, we are overlapping this section, e.g. with this over here. So we do are we are getting a bit of an issue in regards to that. So I think we can fix it. If we were to find the two-by-two meter long, we can just go ahead and simply Miami selected. Let's go ahead and go back on the two-by-two or a simple type of a wall and click on it. And I'm also going to, when we scaled it down, scale that up and down, we left the transformations and all sorts of places. We can click this button over here to reset it to its default proper state. So we can reset all of its values for the scale and we get this normal type of a setup ban. It's already looking quite nicely though, I reckon. We can actually get away with putting it back, maybe, no, that's not going to give us a nice result. I'm going to set it up, something that is so Diego, the wall by a three-by-three seems to work just fine. Maybe we need to squish it down a little bit. I'm going to turn off the scaling mapping. We can just scale it down a little bit and we do have a curvature over here. So I don't like that. We need to make sure we have more of a, maybe these diagonal ones would actually work as well. And I think they do. I quite like this overall style setup. So let's go ahead and leave it as is. Let's add couple of windows, couple of setup for this as well. And I think we can have a bit of an extension to this area as well, but we can come to it in a bit. For now though. Let's go ahead and add a couple of windows. So again, I'm just going to select this one over here, go onto its folder, and there you go. We've got a bunch of windows to work with. We're going to add a window perhaps over year, even one over here. I'm worried about this one because it looks like it would usually go on the base. I'm going to check if it has a foundational wise. It might be see-through and that's okay because we can totally fix it, but now it doesn't seem to be the case, so that's everything. Alright. If it did have a see-through type over floor, if it was made just for ground level type of a window, what I would do is I would simply make a duplicate out of it. Turn this around a 180 degrees. And let's scale this into the point where it's barely touching it and they go, we'd be able to fix it just like that. Of course, there'll be two assets in one and we might even need to drag it backwards a little bit like so as well. And it is not a perfect solution, but this is like a quick and nasty way of fixing it and still getting a nice visual results in case we would need to. And going back to Windows, let's actually add a nicer type of window over here on the side. We're going to simply drag this out and I think I'm not mistaken, these ones should also go over here. There you go. We can add one to one side and another one and another side. Although we need to make sure we flip it around. So I'm going to click are. Just to visualize the gizmo can see this is the red one over here. So the red is going to affect us for this flip. And we just wanted to make sure that it's going to be negative one a day ago. We can now partially open them as well. That's also fine. And that would be pretty good like this. And I think of them are gonna be fully open just like that. Alright, so now we can also add quick window over here. Perhaps. I want to leave some space over here because we're going to add a bit of an extension in regards to that. And once that is set up here is done, we just now need to make sure we set ourselves up with the main part in the back over here. Essentially what we want to make is going to be base part, where the flow of the water goes through. So we're going to click E to rotate them around 90 degrees like so. And started off, we can just grab this one out. This is going to be the base piece. And I think we can also connect these ones on the side as well. I'm going to increase the grid scale to make sure that's snaps a little bit better. And it doesn't snap exactly. So I'm going to quickly cop, copy the location of this one and paste it in for here are hopefully we'll fix it. And although this is more of a free-flowing type of a setup, it'll help us right now to kinda get it on both ends just like that. And I'm just wondering if that's actually going to be a nice, or maybe we need to add these bits as well. I'm going to lower the snapping mode back to Tam, going to hold Alt and add them up to here. And then, yeah, we just need to consider how we're going to set them all up. Cyrus. I want them to slabs to be a bit more visible. So I'm going to put it in like so. That looks actually quite nice. I quite like this pattern. We're going to have a base of this entire building over here. And of course, this type of setup is not meant to be used buildings, it's more meant to be used for bridges, but we can totally build it on top of it. This way we'll have some real nice patterns as well as a nice foundation. Or like rivers and water bodies and whatnot. And it actually works out quite well. I'm going to set up the same kind of a base, add an S for this one. So I'm going to select this hold Alt, drag this out. Let's see how this would work out. And maybe a little bit too thick. I don't like it. Let's see the other side. That is like that. And I'm just wondering if we were to go back onto the cubes onto the ones that we had previously. Yeah, I'm looking that we not only have this, we also have this one over here. I'm actually just going to copy this one over here. The reason being is because there is a finer amount of more basically off the pattern that I quite like. And if you look at the overall setup that's underneath it for the bridge, we can see that it has more or less like free areas for the pattern itself. And if we were to use this type of pattern, it would create three areas. But the free, the third one, the one in the middle would be a little bit too wide, too large, and would be I think, a little too obvious in regards to that. So what we're going to be doing is basically we're going to have the same pattern twice for the top and we're going to meet it up in the middle. So this way, when we have it like so you can see that it is a certain amount of pattern. It doesn't stand out too much in regards to the comparison or bottom pieces where it's just two small ones on the side and one in the middle. This one kinda compliments the overall design. And as an extra, we can put in something nicer as well. Although I will wrap this ones and put it to the front like this, I think this looks quite nice. Actually. Maybe drag them out words even like so or squish them down just a little bit. Yeah, there you go. That looks really nice actually because the overall base is quite good for a real Berber Foundation. And there is a lion's head actually over here. I think we had a duplicate over here. There we go. We're going to grab the lion's head and we're just going to put it in the middle, right in the middle over here, something like this. Maybe even drag it upwards and put it like so. So this is going to be a nice focal point for the fridge, for the bridge. Might even consider putting small versions on these areas over here. But you gotta consider how close we are going to get us a player. We're going to consider how camera is going to go within like cutscenes and whatnot. And because this is going to be a river, and if you don't have a swimmable character or whatnot, you're probably not going to go all the way. And unless you wanna go under it, think that's more than enough detail. Otherwise, it becomes like mixed up in too much of a noise. And we've got to also consider when working with these as how much we want to push it basically how much detail we want to add in comparison to everything. So I think we can delete everything else from this area over here. Just leave the base. Now for the base itself, we're going to set ourselves up with some nice details. So let's go ahead and do that. I'm going to look for something nice. So there you go. This is a nice foundational piece that we can work with for the base. I'm going to put it up on the side and right in the middle. I think that's going to work really well for us. Like so you go. And now I'm thinking how far we want this to be outwards. Right now it's sitting on top of it, but we can be slightly going outwards. So sum of the log would be sticking out towards the end. It might give us a nice detail, but personally I keep it as is in. It's actually plenty of an edge, just a bit enough to make it look like it's been handmade. And then I'm going to actually duplicate this to the side like so. And probably replace this. I don't want this unique pattern to be mixing up on the side, going to replace it with this or even with less amount, just like that. I think that's going to work quite well for us. And now I'm thinking how we should do it about the site. I'm actually just going to hold alt, duplicate that aside for this pattern. And I'm going to just change it up within this area over here. So this way we'll avoid any snapping issues that we had previously set up. And I'm just going to do it like so. Maybe grab something like this. And for the bottom, I will want to have more frames so we could put in an extra window actually. And I think we started off with a nice base, but we still have quite a bit to go for this particular piece of a building. So we're going to continue on with this in the next lesson. Thank you so much for watching and I'll be seeing you in a bit. 28. Building Modular Hut for River Top: Hello and welcome back everyone to building setting medieval worlds with Unreal Engine by modular kit bashed. In the last lesson, we left it off by setting ourselves a nice foundation for the underwater to go for the river to be flowing around. And now we just need to make sure we build ourselves a nice house on the top. And for that, I'm looking at the top foundation on what we can do with this. I'm actually going to copy the roof from this one over here as it'll make it easier for us to rebuild it later on. So I'm just going to hold Alt, drag it out and actually I used the different axis, so I'm going to click Control Z. And essentially we just got to make sure that we hold the right type of access to, drag it out words because when we highlight this square root over here is going to be between x and y. And it's not going to affect the zed axis at all when we're using it. So we can just drag it horizontally across like so and get ourselves some nice results. And essentially what we're going to do is we're going to set ourselves up with a nice foundation. I'm just wondering what we're going to do in regards to these gaps over here. We could either a, extended a little bit or B. We could actually make it more to the side. And I'm just wondering if that would be the best solution. Or alternatively, we can actually make use out of four by one. We can put it on the side like so, drag it 90 degrees. And then we can just simply rotated sideways. And that will give us a real nice type of a result on both ends. And I think we need to pick it up a little bit like so. And I think that's good. Let's go hold Alt, put it on our side like so. And we do need to fix it though. We're going to click our makes sure that we check the axis so it's blue axis Mu need to make sure we set it up to minus one. And it should give us the right type of result over here. And just looking at it, it might look quite nice. Might not. Ends on our perspective. I am going to turn off the grid for this one. And I'm actually going to hold both of them selected so we can move them both downwards leg so make sure that they're both sitting on the ground nicely. Just like that. Yeah, I think that's actually quite alright for us. Let's make sure we add the end pieces to this area over here. And I'm just wondering what we can do. A kind of want to have a bit of an extension actually hear not going to lie, will change this. I will end up changing it. So I'm actually, we'll delete this one and change it to a smaller type of a cube over here. Going to actually select this right-click on entire. Where is it? Location? There you go. Click Copy, select this, select this. Right-click on transformation, click paste, and rotate this around 90 degrees. Just like that, we'd have a nice bit of an extension. And actually I will turn on the grid just to make sure that we snapping it nicely. So threads, just like that. We're going to get ourselves a nice type of a setup. I think it's going to be touching the edge of the roof. So I'm just wondering maybe we should extend this entire roof. I'm going to select this entire roof just like that. Like so. And I will like, are slightly extend this over like this. We might need to readjust the bits at the end though, which we can totally do so but easily like so in this one is alright, actually. Ok, so now we're going to simply add the middle section and then finish it off by getting some of the bits at the back. And of course we'll need to get ourselves. So one of those type of walls were going to drive them out. We're going to rotate it and we're going to belong kid underneath just so we wouldn't be seeing it. Anything that's underneath basically like so it will give us a nice kind of allege to work with in it's actually going to be quite alright. You go. First, we need to finish off the edges as well. And I'm just wondering what's the best way to do it and probably just getting a couple of I'm not sure how we did it for this back. Yeah, we just grabbed a couple of the large ones and replace it essentially. So we're just going to do exactly that. I'm going to grab this one holding Alt that is Diego, going to click E, rotate it around 90 degrees and be placed nicely. I hope a go. Alright, so now we're going to hold Alt, but it's another one in, like both of them click are just going to scale it down a little bit, squish it up. Again. It's going to give us a bit of thinner type of beams, but hopefully that's not going to be too much of an issue because we have so many beams on this area, so it's going to look believable enough. And I'm just wondering the roof itself probably move a little bit to the side. I'm wondering in regards to that. But it might be okay. And yeah, it's all about small tweaking sometimes. And I think, yeah, we are moving. We're going to click Control G to make sure we group it up and slightly a little bit to the side. There you go. We still have a bit of an extra gap. So the easiest way to fix it would be obviously to just grab all of these at once, like R and then scale it outwards like so although we need to readjust this a little bit just like that and individually move it upwards because the reason being is the, are, the scaling is basically. Always scaling up based on a local axis. So that's sometimes problematic, but usually it helps us out speed up the workflow. That oversight can be quickly fix that. We're just going to grab all of these pieces. Just like that. We're going to click WW. We're going to move it outwards like so we're going to click E, rotate this 90 degrees, 31, 80 degrees like so. Move it to the side. And hopefully, if we have a look at it, we're going to get ourselves a really, really nice type of a bag. Although I will say this, we don't need to worry about the bag too much. And don't forget to select this one. We're going to hold Alt, move this suicide note, this backstory, going to delete it. I like this one. This little piece over here. Hold ultimate sort of back. Click E, rotate this 18 degrees because I totally forgot to select this one. And we're going to fix it real quick and reposition it in a nice area, like so. Then I'm going to click our, makes sure that we select this has a negative like so and reposition it like source of the edge, the border would be what a frame would it be still here? Yeah. That's pretty much it in regards to that, we're just going to select this entire piece. We're going to hold Alt and we're going to duplicate it. Actually, I think that's all we need to do for this particular piece. Reason we're doing this is essentially because this is going to be burned to the ground. This entire thing is going to app of water basically flown in underground or so we go to sort for now though. Let's go ahead and work on Windows and set ourselves up with those. I'm going to select one of the windows from here. So I will grab all of them like so hold Alt. And actually I'm going to click Control G and then hold Alt. Makes sure to move them to the side. And this is going to look quite nice. Just like that. I'm putting them in. And that doesn't seem to give us nice results. I'm just going to squish it down a little bit. Again, the values is over 0.7, so that's okay for us to put it in like so. And see how this would look like. And I think it looks, it looks quite alright. I'm not sure. I might just go ahead and click Shift G to go out of the group selection in that kind of fully open the windows over like so. And this will look pretty good for us. Then I'm going to add another type of a window over here. So I'm going to add it just like Dad going to rotate it 180 degrees and see how it looks like. We do have a border going in the middle, but that might actually help us out to make it more believable in regards to keeping its weight intact. Although let's make sure that it actually a setup properly. Not overlaying too much pink. It looks slightly off. I don't like this type of a setup, to be honest. I'm just thinking what we can do and yeah, just realized that it's because the middle section is off because it's made out of two different planes and might cause some issues. So what I'm going to do is actually I'm going to select this one and click are and just extend this out words that hopefully will fix an issue, but it will give us this type of hanging over a bit. So I'm just going to slightly, only slightly do it like so. And that should give us better type of a result. We might even actually bring it backwards a little bit and then extend it even more. So it looks a little bit more like it's in the center, doesn't have to be completely 100% accurate because it's more of a handmade type of buildings in medieval era. So we've got to make sure that we have some leeway with that as well. And this edge, I'm not sure about this edge. We need to set it up. I think we're getting to do is essentially we're going to grab ourselves partially made a building with some stone. So, yeah, we're going to do that in the next lesson, and we're going to finish that up. May have some couple of extra parts essentially. So thank you so much for watching and I'll be seeing you in a bit. 29. Combining The Modular Collections for a Grand 3D Watermill: Welcome back everyone to buildings standing medieval worlds with Unreal Engine five modular kit bash. In the last lesson, we left off by setting ourselves up with a nice hat on top of a river. Although we don't have a river yet, we will be placing within our castle area. Now we're going to add one more missing piece to this overall design. And we haven't added any of the walls here yet, because the reason being is that we are going to get ourselves one of the stone buildings setup first. So there's going to be a stronghold type of an area within our castle as well, which we're going to be setting that up. But for now though, we're going to start by just easing into it and setting ourselves up with some basic castle walls. So let's go ahead and do that. We're just going to be grabbing one of the roof. And I'm just wondering which one would be the best for us. I think the pin one is going to be quite nice for us. There is a bit of a variation to that top section over here. So we're going to use one at the very corner. We're also going to grab this large, small and this largest though. Sorry, I'm going to click control set to make sure I select an hour thing. I'm doing my selection, I'm going to hold shift and select this one for decoration. Then we're going to just simply click W, hold Alt and drag them outwards like so. I'm just going to drag it all the way to the side. Just like that. We're going to start building them up. Going to start by simply raising this all the way to the top, holding Alt and kind of position them 12 on average, just like that. That's looking quite nice. Let's go ahead and make sure we attach this one to this wall just like that, just by placing your downwards. And let's see how this looks. This actually looks pretty nice. Let's go ahead and make use out of it. Select both of them by holding Shift, click E to rotate 90 degrees. And of course, we are going to rule over this entire roof, just a good habit, the very base of it, just like that. I'm wondering how this would look like in regards to the world's setup. So we're going to attach it to the very edge of it, like so. And we're just going to duplicate this one. It's more just like that. We can also grab the whole the whole thing and extended slightly just like that. Although it's meant to be used differently, we are going to learn how to make proper use out of it later on. For now though, this is more than enough for us to make use out of, maybe drag it out to the side, get that bit of an extra overhang to get that nice shadow on the side to highlight the overall shape. And we're going to actually grab all of them like so hold Alt With them out to the side. We can't exactly flipped them by scaling them. So we're going to click E, rotate them on Edit degrees. So we could have a nice type of an edge or this pillar over here. But it up to the side, reposition them and put it under this type of an overhang. And I think we can just grab this one over here and slightly put it next to the edge of the wall to kind of finish off the building. You're going to set it up like that. I'm just wondering if that's actually going to be quite okay. Or maybe we should lower that down a little bit. I don't mind lowering this down quite a bit. Actually, I'm going to grab this entire thing with the wall and lower it down. Like so. That's going to be quite okay. Maybe we need to raise this roof a little bit higher up. Just like that. There you go. I was seeing some overlapping bits over here, but now that seems to fix the issue. We'd hold Alt, move it to the side, click E, rotate this around 180 degrees and put it up to the very edge, like so. So the reason we're doing this type of a different structure instead of just continuing on with the huts. Is this area at the back where we're building our area next to this water male is going to start transitioning into the stronghold. But that's the overall idea for the castle. And right now we're just going to make sure that the middle section over here is going to be huts and taverns and whatnot. And then at the very back of the castle, that's going to be more of a royal type of a place where the military stronghold is set up. So this is going to be part of that building. And it's just overseeing the, I suppose, the overall system, I suppose. And I'm going to go onto the top-down view real quick click f while selecting the top view. Make sure we have this entire selected going to holding control and left mouse button. And we're going to click F. Refocus, makes sure that we don't have anything set up other than this one selection. Going to click Control G, make this a proper selection. And now we can finally start setting ourselves up with a nice setup for this entire structure. So I'm going to, I'm going to go back to the top down. We actually going to click F Ns real quick, going to select this entire section, make sure this inner thigh had this selected. Going to click F and then just deselect everything by clicking f on it. Again. I guess selected something extra. Diego. Want selection. That's good. I'm going to click Control G to make a selection, to make a group. And then I'm going to go on to the other asset over here. Yes. Essentially. We're just going to be doing that. And I'm going to quickly just go between them. I think that's pretty much it. Going to click Control G to make a group. And this is the final one. So let's go ahead and quickly make a selection for that as well. Deselect everything like so. Go back onto the view. Click Control G. Now we have essentially a couple of parts to work with. And yeah, Right now, once we have those assets pretty much already setup, we can slightly tweak them and adjust them and see how they would fit together with one another. So e.g. right now, if I were to just move this over here next to the Water Mill, I might see that it's a little bit too close, so I'm just going to put it off to a little bit more to the side like so. Something like this. I quite like this overall result as it's not too close, not too far off from the wall are quite like it. And I might move this later on for the overall windmill itself. And I think I need to actually lower this down a little bit late. So I actually, I'm looking at the base. I can see that it's going to be still touching this water area, but I don't quite like it. So I'm going to increase this a little bit. And I will actually extend these structures a little bit downwards afterwards, after a bit. But we'd have to essentially ungroup this entire part. And then we'd have to re-select it and then group it back up again, which would take a bit of an extra time. So we're going to leave it for the last minute essentially. And what's nice about having those kinda buildings already set up or making a structures that because we're like that we can essentially not worry about. Now angle of our buildings. We can slightly have them rotate it like so. And it's going to add a bit of an extra custom touch to our entire setup. This stronghold is going to go on to the very back like so. And I think it's going to, it's going to definitely go outwards a little bit as well just to kinda jump out. And also when we're looking from the side, we can see that it has a nice flow to the overall structure of this base. Essentially. I'm just thinking what we can do in regards to this final finishing touches. And I actually do want to have this clock tower a little bit closer forwards. Look at it from the side. It looks much nicer. Maybe rotate it a little bit extra, like so. But that's looking quite nice. And now we essentially will want to connect this with the building over here. You have a sort of an attachment to both of them. So we're going to do just that actually. We're going to make sure that they're nicely protected. And before doing that, I am going to grab this overall struggled. Try to extend it a little bit, doesn't seem to work. So what I'm going to do is I'm going to click Shift G to ungroup it now and slowly ended out reside. Going to make sure that the front and the back are de-selected so only the areas in fancy exactly the one at the inside. I'm going to click Control Z real quick. Make sure that the entire selection is like that. To de-select the front and a back, basically only the sides for them to be selected. And I see that there's one that's not been selected. I'm going to click Control Z real quick, make sure that the entire selection is selected, is selected and run back except for the front and back the selected like so. And the thing that's going to be the top now is deselected. And essentially once we linked with controlling, then move that aside, did get ourselves this sort of a result of bully. Just checking and yeah, it looks, it looks alright. Okay, so now we can click our Gaillard upwards scale to reside. And these don't seem to want to move sideways much. I'm not sure why that is the case. I'm going to have to manually essentially do them, which is okay. But it is a bit of an extra hassle I supposed to do that. I'm going to make sure that both ends are selected on both sides. Like so click are and just kinda extend them like that. And yeah, that's pretty much it. In regards to this. That's not over-complicate it. I just wanted to make sure we have a bit of an extra extension to this. Again, because it's a type of a free-flowing structure, we're going to have some bit of an extra work for us, essentially because each time we got to make selection and whatnot. And yeah, that's going to give us some bit of extra work to do. And for this, I think I'm just going to select both of these on the end, like so. Or actually I'm just going to select this one over here and extend this like so. Do it for this end as well. But first of all, we gotta re-position this entire structure a little bit more to the side. And they go up because the PowerPoint was on a corner, we had to make sure we get it from this end. So now that we have, so to go back onto the type of group that we had previously, we're going to click F. We're going to go back onto the selection click F again. And we can see that because these structure is closer to the entire other areas, we're going to have to manually select all of them. And I'm thinking seems like they don't want to deselect as well. I'm not quite sure why that is the case. You will have to definitely just manually kinda deselected like so using Control click. And essentially, we just want to make sure that the building is not too close, otherwise, it'll be hard to select. And now the rehab would like so I'm also going to make sure we deselect the Skybox. We don't want it to be out of the group. I'm going to click Control G to make sure we group it up. And it should give us a nice result, though, I'm seeing that now everything is selected, so I'm not sure why that is the case. I'm going to make sure everything is selected. Now there you go, Control G. Everything's selected, attach to the back of the building. And there we go. Alright, so now we can make a quick over our king way. And then we're going to be placing that into our area, into our scene. That's going to have to wait though for the next lesson. So yeah, thank you so much for watching and I'll be seeing you in a bit. 30. Creating Roof Archway Attachments For Custom Buildings: Hello, Welcome back everyone to buildings standing medieval worlds with Unreal Engine pipe modular kid bash in the last lesson right after it off by setting ourselves those smaller pieces and combined, combining multiple parts of a building into one larger type of a building. So this is already looking pretty nice, but we do need to get some extra parts out as well. And for starters, we need to combine this overarching wipe. And also perhaps make sure we have some arcane way over here and ask for this area over here. I think we're not going to be touching this as it is for now because we're going to work with some bit of an extra elevation. And in that regard, we're going to basically add some afterwards. And I think that'll work out well enough for us. We did forget to adjust this a little bit in regards to this watermelon. So we're going to do that. We're going to act very happy with the overall position. We're going to hit shift in G. And essentially we ended entire group. So it's going to make it a little bit complicated for us if we wanted to a change or readjust the overall building. So make sure you only do this when you're happy with the overall setup. And I'm going to now slightly move it out of the way. And actually, you know what, I will hold Alt and just kinda slowly get these pillars on the side just in case. So it would be easier for us to work with later on. And the reason I changed my mind is basically because we don't want to, even if we're working with terrain, we don't want in this area to have too much of a leeway in regards to how how the slope is or if there is a dirt or something of the sort that we're not going to want to do much work on us in regards to that. So I think we can just do it like so and it'll work well for us. I'm wondering about this and I'm probably going to delete it and make use out of this couple and just extend that leg and put it up wanting to I never just like that. That's going to work well enough for us. And at same time we might as well just put them in the back as well. Hold Alt, but without outwards like so. If you drag it inwards so it wouldn't overlap just like that. And maybe one more smaller version just like that. We don't need to worry about it too much in regards to how the backside looks, I think it's going to be quiet. Okay. And I can see that there is a bit of aversion at a bit of an issue in regards to this kind of a wall, we're going to fix that. I'm going to hit Shift G and fix that up manually, like so. That's a nice dark alleyway that actually might work out quite well for us. Although we will need a bit of extra wall in the back. So I'm going to do that real quick. Like so 180 degrees. And it might look quite right. It might not. Just wondering what happened to the wall. There you go. That looks nice. We're just going to put it up front a little bit, make this smaller. And I think that's actually going to work out quite well enough for us. It's going to make sure that we just rotate it a little bit to make it sure we straighten that up. And that's a nice dark alleyway. We actually have I'm going to make sure that we keep it as is. Maybe have some lower elevation to make it even nicer. From the front this looks like gets attached, but there's going to be a bit of an extra part where it's just detached like so. And I think that actually works out really well for us. And went back to setting everything up. Let's go ahead and add a smaller details. And we're also going to be working on the detail overall as individual building because we have a certain amount of leeway when we work on individual buildings and we'll talk about it in a bit. But for now, I'm just looking for these, these particular ones. Over here. We can see that we're just going to grab all of them. The ones that we can find for the archways, going to hold Alt, bring them out words and see what's up with them. And they seem to be perhaps attaching them to the top. Let's go ahead and check. I'm actually going to increase my grid lock, see if that works out. And that seems to work out quite nicely. So yeah, there you go. We have some variation for them and probably was looking at the way it's looking. So this one is going to be going through the side and the other ones. So this is pretty much the same as that except there's no extra log on the edge, which is totally fine. We're going to essentially create ourselves a nice setup. We're using them. And yeah, let's go ahead and start right away. And I'm thinking maybe these need to be switched. Perhaps. Let's go ahead and start setting them up. I'm going to just move them over to the side like so. And to position them in the same area. Just like that doesn't seem to want to apply it very well. So I'm going to copy the location of this one and just going to kind of reset the location for both of them, then move it out to the side and grab the roof outwards and see if that maybe helps us out a little bit. It doesn't seem to want to work in regards to that. I'm just wondering why that is the case. Maybe we need to rotate it. I'm going to rotate it 180 degrees and see if that would fit in. Sometimes when it doesn't fit in, when it's intended to, sometimes they're just not rotated properly and there you go. That seems to be actually fitting in quite nicely to us. So let's go ahead and use that. We're going to essentially copy multiples of these and see how that would work out for us. And I'm going to just rotate all of them like so. And yeah. Essentially we're just going to place it at the top of this section over here. I'm actually going to click Control Z, make sure we have a default. And I'm going to click Control G to make a group hold Alt and make a duplicate out of it. So we'd be able to reuse it later on whenever we need to. And we are going to essentially make some more arc we're going across over here. Maybe even scale it down. Like so, not too much. Again, we're looking at the pattern on the roof tiles and making sure we don't go over or under 0.7. And think something like that is going to work out quite well enough for us. Actually. I'm trying to figure out what I wanted to attach it and it's going to be a Diego, it's going to be over here. So if we're not having enough of these, we can probably wrap up a couple of extras. I'm going to click Shift and g, grab the roof graph. The attachment makes sure we are from the world. Gizmo to local gizmo data will allow us to move it in the direction that it's facing, essentially holding Alt now should be able to move it like so. That actually fits in quite nicely for us. So yeah, we're going to keep it as is. Or alternatively, I'm going to actually delete it and grab the one on the side. Like so, maybe move it a little bit to the side, to the edge. Now I'm going to grab it like so and just move it like rabbit 180 degrees. And essentially what we're doing is creating a nice arc in the middle. And that will help us out quite a, quite a bit nice. Essentially, I'm going to turn off the grid because we're working with angles like so. It's a little bit more difficult to realign them. But all in all, I think that's, I think that's quite alright. Actually, we've got ourselves a nice angle. And essentially, I did forget about this bit over here. I see that this is meant to be the base of the floor. And this house, on the other hand, is pin placed, not the base of the area. So what I'm going to do right now is I'm going to quickly use a nice shape or just to kind of visualize where the floor is or where it should be on this level. Like so. Because I'm going to be readjusting certain elevations around this area. And I'm just going to select this entire thing because it's still grouped up. It's actually rather easy for us to do and I'm just going to raise it up just like that. And yeah, we pretty much have ourselves a nice setup. Everything looks quite well enough for us, and we might grab ourselves or make ourselves a simple roof area over here as well. Just looking how this would look like. And yet Let's go ahead and do that. I'm going to grab or selves couple of roof pieces from this area over here. And some walls as well might as well. Just like that. And not growing, not going to grab it too far out, just going to grab this small section and attach it onto our already existing type of a house. So we can just simply grab any pieces that we want from already built ones. Reattach them essentially, and I'm just going to make it a little bit smaller, not too much again, because we want to make sure that the same pattern for both the wood and for a Ford, the pattern of the tiles. And I think that's actually going to be quite alright. I'm going to make sure I grab these ones at the side and just kinda move them sideways, holding Alt. Hopefully that will help us to reattach them. They go to actually looks quite nice. And finally, we just need to make sure that it's attached with in regards to the roof. And they go, That's looking quite nice. Maybe we also need to grab a bit of an extra over here or not. I think what I'm going to do here in this occasion, I think I'm just going to move it inwards like so that'll make it look like it's attached, but at same time, it's not going to be too worrisome for us, but we do need to fix the bottom piece. So I think we're just going to select this. And actually I'm going to click our TA can extend this house and a little bit. We're going to select all above them, like so we're going to simply click control C, control V and rotate them 90 degrees like so. Click our, makes sure we check which axis is, which is a y. And just change this value to essentially negative. And they go and we're going to extend it and we're not going to worry about R-squared for this one, it's going to be such an alleyway that it's not going to be quite visible, but from a top, it's going to look so much better like so. And I'm thinking that we're pretty much done with this. We do have couple of extra options to work with. We have a couple of extra prompts that I'd like to talk about, which I think we're running out of time, so I'm going to have to leave it off for next lesson. Thank you so much for watching and I'll be seeing you in a bit. 31. Adding Water mill to the Centre of a Castle: Hello, Welcome back everyone to building, sending medieval world with Unreal Engine by modular kit bash. Last lesson, we pretty much finished a nice water mill to be placed within our area. But we still need to consider a couple of extra things. So e.g. the small detail that would usually be putting in after we're done with the castle, we can be placing it right off the bat into the area. And the reason for it is basically because this is the new building. We don't have to exactly worry about it being repetitive in regards to the smaller details. So we can actually put those details in right away. So I think we're going to do that actually right off the bat. And for us to do that, we're going to get ourselves a couple of barrels, couple of extra things to work with. And I'm just going to actually go back onto meshes folder within the castle Git Bash and Margaret props perhaps. They go, We've got a couple of barrels over here, so I'm just going to be putting that up. And I'd like to place couple of next to the door, e.g. over here. But that's not going to be looking quite as nice. And I think, yeah, before doing that, I'm going to go into the selection for the top view. I'm going to make an anti selection like so. De-select everything of course, like so. Click F, go on to the main focus point. Click Control G, and then kinda lower everything down. Just like that to ground level. You don't need to worry about the water mill now being overlapping like sort of thing. That's going to be quiet okay. At the moment. And yeah, going back to this, actually need to raise this up a little bit higher. There you go. We're going to place a couple of barrels, couple of boxes and creates just like that and corners and just slightly customize them essentially. And I think you're going to make it look quite a bit nicer for us. I think they are a little bit too large for this particular case, I'm going to make them lower, a little bit. Smaller. Data is going to be much better. We're going to essentially grab this one and hold Alt, drag this outwards and see where we can fit this over here. And I'd like to ideally fit it over in the corner, but at same time, I want to have a bit of an extra overhang over here. And for us to do that, we're going to actually grab something like this e.g. that's a nice platform for us to use. Let's go ahead and make the best use out of what we have essentially. And let's put it over on the side like so I'm making sure I'm grabbing, by the way, the one that has wood on the corners. So I think that's going to give a nice aesthetic to us. And maybe putting it in words a little bit more like. So. Yeah, that's going to look quite nice. So now we can just pretty much make use out of it and place couple of barrels, couple of areas just to again, live and up the entire scene. We're going to place it like so and kind of start making use out of them in order to build ourselves up with some nicer setup. So what I'm doing right now is essentially making sure that whenever I'm having some variation, some of them are a little bit broken down. E.g. over here, we have some barrels, we have some crates and they're mixing up nicely together in this section because we're having just multiple barriers like so. Instead of just having them exactly duplicate it, I'm rotating, I'm slightly, or like tilting them sideways completely just to make sure that they look interesting in its overall form. So from a distance, it's still actually looks quiet conform. So I'm going to rotate this diagonally like so. Put it a little bit to the side, just like that. And maybe now it is look better. Let's go ahead and give it a look from the side. And yeah, that looks, that looks quite alright. Actually might want to even do it like so something like that. Even my work going to rotate this a little bit as well to make it look like it's actually been placed on the side of that. Yeah, there you go. That looks really nice. Actually, I quite liked the way it turned out. Going to put a couple of barrels over here as well. Some larger ones, some larger crates and whatnot at the very corner, like so. I'm going to make sure that we have some variation within them, some rotation and whatnot, to make sure that they're not looking, ask some conform pieces and they don't need to You don't need to look like they just been duplicated. They have some variation within them and we're trying to make best use out of what we have to make sure that they look interesting right now, e.g. I'm rotating this completely sideways, mainly because of the edges of these would. And they're going to help us get some nicer results. And the bid and the coroner, we're just starting up some creates. What's quite nice. And I think we can start building up our area. Although before doing that, we'd rather do some preparations. I'm going to quickly just group everything up first. But its entire selection like so, making sure we deselect everything just like that. Going to click G, control G to group everything up. There you go. And actually forgot one more final thing, its sign. So this is going to be part of the Water Mill as well as grain kind of a thing. So we're going to be selling grains using this sign essentially. And I think we can just Attach it to the side of the wall just to make it look a little bit nicer like so. So with, in regards to science, ever like to do them completely 90 degrees. Or if I'm doing them at the corner, in the corner, I'd like them to slightly rotate them like so. And I'm actually going to make them a little bit smaller to a value of 0.75, something of the close values. And just by doing that is by having that extra angle in the corner, I think it adds so much more that overall design and income going to leave it as is. Although I would also say that we should probably add some extra bits of fortification for the bottom pieces perhaps. But you know what, we can leave it as is and we can come back to it later on. Because when we're going to be building the houses next to the water, they need to make sure that they have some stone fortifications again because they're going to be partially placed in water. So yeah, we're going to be working on that on that in a bit. We're actually going to be replacing the not replacing, but addicts are variations on the houses that we already have. And I'd say just as an extra touch, we're going to add some. You can see we have couple of bags over here. We do have some nice green look to these bags. I think we can actually put them like so and it'll work out really nice for us, I think. And yeah, we're just going to place couple of them in. We are going to work on setting ourselves up with some of our own. I'm going to go back to the world Gizmo to place it nicely like so. Yeah, we are going to be working on our own preposition for the prefabs. But what is particular case? I just wanted to make some extra touches, the overall setup and all in all, this is looking quite nice. Again, I'm going to go back to the top view, going to make sure that we have everything selected like so, making sure that everything is like so looking F, making sure that nothing that's out of this building is selected and clicking Control G to make sure that we have everything grouped up. And yeah, let's go ahead and straight away, put this into our area. I am going to hold Alt and just drag it out to make a duplicate out of it. Actually, we are going to keep this as a preview, might as well. And then later on we're going to delete it. I will show you how to set ourselves up with a duplicate out of a level. And it's actually rather easy to do, but we might as well just keep it in case we need to reuse e.g. certain parts. So it's always better safe to be sorry, I'd say. And let's go ahead and see how this would fit in e.g. within this area, I'd like to ideally have some elevation, but that's actually going to be later on. So for now, I think I'm just going to make sure that we are fitting it within the ground level of this area. Like so maybe a little bit more just like that sitting right on the floor of this area and yeah, I think might as well grab it a little bit more throwback. Just going to move it a little bit more throwback. We're not worried about how it's set up at the moment in regards to this. But yeah, let's go ahead and fix this entire river a little bit. We're going to go onto landscape. We're going to make sure that the stool strength is we can keep it actually at the same value. So I'm just going to reset it to default to strength of 0.003. We're going to change the brush size so over and using the flatten can if I were to go down, if you're not able to use it, Let's just make sure that we have layer one selected and now we can just move it outwards like so. And it should be nicely connected and attached. Or I'm just checking at the overall setup, we might need to increase it and yet Let's go ahead and raise the level a little bit for this. I'm going to use a sculpt to kinda raise it up to where it's barely touching the edges of this building. Then we're going to start flattening and flattening it and seeing how this looks like. And also just for quick reference, I'm going to might as well bring a person, a character, out onto the side, going back to selection. Otherwise we can make a selection. And I'm actually just going to drag this over here to the side like so. And seeing how this would look like this on the side. Now we can go back onto the landscape and it looks, it looks deep enough for a water or a river. I think it's going to be quite alright, so now we can just flatten this area and make sure we have a nice type of a riverbed just like that. So we can work with this, I reckon, going to fix up the height for river itself though. So I'm just going to quickly go ahead and actually click Control Z, going to go over this entire area. And again, it's just a base, kind of a setup. We're going to work on the river itself in later videos. So yeah, for now, the elevation looks nice. The waterwheel is a scraping off the bottom, barely, which we can actually fix. If we were to go to the selection. I can just slightly raises above and I think or maybe not. When we're happy with overall setup, we can actually click Shift G and kinda perhaps raise this up a little bit or raise it down for the water wheel if we're not happy. But I think we can actually lower this down as well. So going back to the flatten, I am going to actually slightly lower this area, e.g. so I'm just going to hold Shift and just kinda slowly, slowly lower down. So use flattened to flatten it out. And there you go. We're going to get ourselves a real nice type of a setup or the area in the river, basically. Something like that. We're going to add a couple of extra buildings over here, but we're pretty much done with the main building setup. This is not going to be duplicated and we are going to need to make couple of adjustments, couple of tweaks for those buildings that are over here, which we are going to be doing in the next lesson. So, yeah, thank you so much for watching and I'll be seeing you in a bit. 32. Creating Hut Tower Extentions Using 3D Modular Pack: Hello and welcome back everyone to building standing medieval worlds with Unreal Engine five, modular kid patch. In the last lesson, we left off by setting ourselves up with a nice castle type of a hut right in the middle, in the center of the castle. And just by looking at it, it looks quite nice. Although one thing to know is that we actually started doing it like more of a center type of an area. So this is actually quite a bit of a mistake because the reason being is if you want to add couple of houses at the front, e.g. and we don't have enough space, we'd have to essentially forces to move a little bit backwards like so, which is why I recommend you to before continuing on to make sure that this is grouped up and everything can be easily just move backwards like so. And this way, whilst we're going to be working with couple of houses in this area over here. They're not going to be restricted simply by this small space. And if they need it, they can be close a bit further away and so forth. All depends on the type of perspective that we get from our main camera, which is this one over here. By clicking one, we can see that it's actually already looking quite nice. We have a tower Bell. We have the clock tower that is, and a water mill on the side. So it's already looking quite nice and this area is just a bit empty. So yeah, we're getting into it. I would say that we can actually start by making some variations or the house already that we have. So now that we have just built a free setup of houses using different techniques, we're actually just going to get more variations out of them. And for solder is though, we'd like to ideally create a quick tower, square root type of a building that would be able to, that we would be able to attach onto the top of any house essential that will help us to break up the surface of buildings and structures. And actually it's going to be rather easy to do. It's going to be a fast process. All we got to do is just grab the largest piece that we have. Hold Alt, drag it out and grab the square root roof and then put it up to the side as well. And I'm actually just real quick going to make sure that we have a larger type of grid enabled. But it up to the side like so make sure that it's actually in this area like so. And actually it's a little bit off from the grid. We're going to take off the grid lock, going to put it right in the area for where the pivot is to be right in the center of this grid, increase the grid lock. And now it should be in the right area, which it is. And I'm also going to make sure that we have a smaller piece because I can already see that we're not going to have enough space. I'm actually just going to copy location of this, going to paste the location for our piece, for the top. And I'm just going to drag it up and it should automatically be nicely attached, which it is with a large grid is actually really simple and fast to do. I'm actually going to copy this Control C Control V, make a duplicate, paste in the location and doesn't seem too, I'm not sure. Oh, sorry about that. It's because I need to click Control Z because I already copied the location, not co-location. The prefab of this, I'm going to copy location points of that, going to paste in the value like so. And now we're going to have it perfectly attached to the side like so. So just by doing that, we're able to get ourselves some nicer breaking points. Essentially for this type of tower, I'm going to essentially make use out of it, put a nine degrees and set it up like so in the corners. Now that we have it like so we can click control C, control V, make a copy, rotated 180 degrees and put it in the right area like so we have the right type of snapping. It's actually really easy and simple to do so that we have it like so I'm actually just going to select it all just like that. I'm going to click Control. I'm actually just going to click Control Z to make sure that only the walls are selected. So we're only selecting the walls, making sure that everything is selected, which doesn't seem to be the case, or it is actually the case. Okay, I'm going to click Control G, going to essentially select them all. Now going to move them up, select the walls themselves, click control C, control V, and put them down, ones like so. Now we have two height of a power which we can essentially make use out of n. Before doing that though, I would actually like to, yeah, I will actually go back click Control Z. The reason being is I would like to make some variations first and I would ideally like to great to variations out of this tower to get more, better results. So I'm going to click Shift G to ungroup everything. Going to start creating some variations out of this. So for now I'm going to add some windows as well. And just quickly going to grab one of the windows over here, grab some windows and put them on the side. So for this one, we can just ended up with this one over here, 180 degrees. Let's make sure we turn it properly and scale it down a little bit. I'm actually just going to lower down grid lock like so a little bit so we can have ourselves a nice type of a window, just like that. For this, we can probably change them up to be maybe something like this. And then we can just go ahead and switch them around basically in any way, shape, or form that we'd like. So I'm getting some bit of variation. Some of them are similar, some of them are not. And for this one, e.g. I. Can see that this one should be yeah, four-by-four, one over here. It looks really nice. Then we can also, for this one, we can grab something like this. And I'd say, I don't quite like how this is e.g. if I want to get myself a longer window. So I'm going to go onto Windows section and add one to grab. Let's say something like this. This isn't going to look quite as nice. I'm actually just going to turn on snap size, snaps scale. And for that reason, I'm actually just going to delete this one. I'm going to go onto the walls and tried to find myself. The one that says this is two-by-two, I'm going to find the one that says two-by-four are actually in the search bar. I'm going to search for a two by four, which doesn't seem to be the case. Two by three, maybe. Four by two, then there you go. Okay. Four-by-two is an option and I'm going to replace it this by that. So yeah, let me just go ahead and replace it and I'm just going to simply rotate it 90 degrees. And this should give us a nice result. Lick our mixture, this is blue and blue scale is going to be negative one. We're rotating it around and making sure we get the right type of result out of this. And it's still not giving me the nicest type of a setup. Obviously, it's not meant to be used in this type of a rotation, so it's not going to be fitting in perfectly, but we can manually put it in. And I think this is looking quite nice now that we have it like so we can just get some supports which are over here. And I'm just going to put them in real quick. Like so I'm going to make them quite a bit small actually and thinner and just brush them out actually. Quite like this type of a look. Going to put them too like so. And yeah, I think that's going to look quite nice. Just like that. There you go. Alright, so I don't quite like how this one is some screen to try to move it, even with smaller gridlock. There you go. Now it looks quite nice. And on other side, we might as well also add a bit of that extra touch. And we might also add window over here. So I'm just going to grab a quick small window, square window, which should be a 0. That's the one. I'm going to add it over here. Like so make it smaller. And I think that's going to be quite okay to take down the grid, lock like so increase it back up. And yeah, that's actually quite okay. Maybe we want even like a frame here to make sure it supports it. Again, we're not going to spend too much time on it, just making sure that everything quiet just fits in together with one another. And this looks a bit quiet of an empty spot for a frame essentially. So we're going to change it to have some bit of a frame, like so. And yeah, one more thing that I'd like to add are those couple of bits over here. I'm going to hold Alt, move them through our side, and I'm not even going to rotate them. I don't think I'm just going to lately take off the grid, lock and Bailey, push it outwards and we're doing that. We're going to get ourselves a quick fix for the support of those windows. And we're done with this variation now we're going to simply select them all and I'm going to go onto the top-down view. I'm going to take all the top-down view, going to click F, makes sure I go onto the selection. And then I'm going to just deselect everything like we did all the other times. We're going to hold Alt, make a duplicate out of this, bring it all the way to the top, like so. Now I'm wondering what's the best and easiest way to get ourselves this second floor essentially, I'm going to just make a copy out of all of them just like that. Except for the Windows. And go, that seems to be all just going to move it downward, see if they all move control C, control V, make a duplicate, move downwards like so. And I'm even probably going to replace couple of them just to have some bought more of a variation essentially. But this one replaced. We don't want to have too much in regards to the similarities, so you're not going to look too similar to the previous pieces, e.g. and we also need to consider how this one of a variation looks like. So we also have to make sure that we don't have too much of against similar looking pipe. So this is looking quite nice. It heads up that v-shape upside down and it goes into one beam. That's actually really nice type of setup. And I might even grab more beams out of this. There you go. Actually looking quite nice. We might even move some of those a little bit to the side. Like so, That's looking quite nice actually. Yeah. Alright, so these ones though don't look quite as nice. Let me just go ahead and fix that up. I'm going to just add variation and go. That looks better. And maybe for this as well. This and this to something maybe lane and add a window to it. Going to hit going to duplicate it, go to the back and just move it all the way to the side. Like so. Essentially we created a couple of extra towers. We only spent like one extra lesson on it. But the reason for it is because we do need some variation for them. And then we'll be able to work properly on the castle without much of a worry. And already we have a couple of houses setup. So we will need to make a certain bits of variation, which we are going to be doing in the next lesson. And so, yeah, thank you so much for watching. And I'll be seeing you in a bit. 33. Reinforcing 3D Huts with Stone: Hello, Welcome back everyone to building stunning medieval worlds with Unreal Engine five modular kid batch. And this is where we left off. Essentially, we gotta sell off some nice that we're able to now we'll use it for attachments. But we're still not quite done just yet with, in regards to building, some variations are realized that we're going to need some buildings next to the water, which will need to have certain fortification or the size of those, of those walls essentially. So we're going to do that. We're actually just going to set ourselves up with stone four to 5 v from this building that we already have. So it's not going to take too much of the time. So yeah, we're going to essentially reuse assets that we already created, which is often the case within video games and whatnot. It's essentially just speed up the workflow and the average is going to drag this out to the side like so and start building on it. So ideally, want to have edges going around in the same kind of grid areas to make sure that they're properly set up. And what I mean by that is if I were to increase my grid lock to be a higher value to 100. I also want to grab all of these walls like so. And let's say we're going to grab all of these walls. And I'm also grabbing probably these styles as well. And I'm just going to grab everything in regards to the stone, to be honest. Going to hold Alt, going to move up to the side. And the reason I wanted to grab everything essentially is because we wanna make use out of it and set ourselves up with some fortification. But before doing that, I also want to add some slaps, some tiles on the ground basis of some of the areas are where we have entrances, e.g. which will do so. Essentially, it's actually rather easy to do. I'm just going to actually go into where they are and we're going to use this folder instead. Since I can see that everything is so unrelated is within this area. Essentially the reason, the main reason because is when we should outwards like so it's going to be probably set out with the same kind of grid system and it's going to be nicely aligned. So if I were to use it on the side of this house, hopefully if I were to be placing it like so it should place it nicely on the side of the house and we can just easily drag it across like so and add some bit of an extra detail to the entire house. This house, however, is going to be a small typo, compact house and most likely it's going to be attached with our houses as well. So for edges e.g. I don't want you exactly add anything like that sort. But for this area where we have the door itself, we're going to be definitely adding it. You can see that actually the gizmo itself is a little bit off from an objective reason being for that is because when we now put it next to the door, like so and it occupies the same space it should. Technically maybe it needs to certain cases, it needs to be lowered down for the grid. But if we look at it, yeah, it definitely adds in the same area, essentially where the gizmo is for the wall itself. And we can make use out of it to essentially get ourselves some real nice setup. And I'm thinking we can either add quick bit in regards to a smaller for this occasion, like so, which actually works out pretty well. I might just move it a little bit more to the side, like so. And just maybe expanded like this. I'm going to turn off the scaling snap and just do it manually. So yeah, I think that's actually going to be quite okay. I'm not going to worry about it too much to be honest because we're going to be fortifying ourselves with the walls on the side as well for this area. So the way we're going to do it is actually going to be quite nice. As we're going to be making use out of this walls. And these walls should. Technically, if you drag them out and then use click W, hold, Alt and the mouth, they should connect perfectly with one another. So that's actually looking really nice. Let's go ahead and make use out of that and start setting it up on the sides of these walls over here so you can see how easy it is to attach them one to another, like so. We're going to leave a bit of a gap over here to attach it to the side of this area over here. For the smaller areas like this one, we can grab ourselves a smaller area for the wall as well. Do it like so. Or alternatively, if it still doesn't work, we can also grab all of them at once. Click are just kinda scale it down manually like so, and move it a little bit to the side just like that. And there you go. Works quite nicely. And essentially, yeah, we're just going to go and reattach all the walls, essentially kinda piecing them together one-by-one. And I'm just thinking about this area. It might be a little bit too large. We can also essentially just gotta hide this entire block into the wall itself. This doesn't seem to be working at the moment. I'm just going to put it in words like so because it's such a unique kind of a side, it's not going to be properly set up perhaps. So it's not always going to be perfectly in, especially if we want to make more custom pieces. So that's going to be something worth considering. I'm going to increase the grid lock a little bit, going to hold Alt. Going to put this to the other side and this side seems to be working quite well. I'm going to then move this a little bit by nine degrees. And it's just a matter of putting the walls together and reinforcing them. Essentially. You give us some nice results. We also got to consider how far away, how far away we want it to be from the wall. So e.g. right now, they're just sticking out properly. And we can also put them in closer a little bit like this one over here, but I don't want this to be honest. I will just drag this out a little bit like so I think that's going to work and much nicer for that. And we're just going to work around that and set ourselves up with some walls. Depends how, how close to accuracy you want it to be with in regards to how they're facing one another and whatnot. I'm actually going to delete a couple of days, going to grab this larger one over here. But it up to the side like so hold Alt and it should be connecting. I'm not sure why didn't I correct in there probably is the wrong size. They are the wrong size at the moment. So I'm actually just going to re-scale, reset the size and now it should be there go perfectly intact. And I'm actually just going to lower the grid lock by quite a bit and just lightly down a little bit. So the brakes will look like they're actually kind of go in underneath and not overlapping one another. Or this window. However, I'm going to hit Shift G and just remove it completely. It's not necessarily in this location. Or I'm going to make smaller window over here. Actually. That might also give us some good results for this particular case. So that's actually quite nice. Let's continue on working with this. We can essentially speed up our workflow a little bit as well by just go in between, in and out of these walls. We also have some variation for the walls in which we can essentially replace it in similar way that we've been replacing the walls, e.g. where we just grab select one and replace them with the same size. But yeah, this is going to be it's taken a bit of a time. All in all I think it will work out in the end. So let's just continue on doing that and you go, I'll piece. We had a smaller one over here. Let's hold Alt, drag it out. And it has perfect type of amount for these bricks over here. Let's go ahead and quickly. Just make sure we add a bit of an extra, you decide 90 degrees. Like so of an extra thing that's a little bit too close, actually, I'm not sure why that's the case. Again, the scale has to be more or less the same. Wise is not going to be quite fitting within one another. But we do have to lower down in certain cases. So yeah, by just doing this tedious task, it's obviously going to be getting boring quite fast. And it's, I think it's quite important though, to do this sort of a step. Mainly because we're able to just get much nicer variations of our setup. And it makes a little bit more sense, especially when it's closer to water again. But I totally understand if you'd like to skip this step ahead into the next lesson, e.g. it's going to be quite time-consuming as essentially I'm going to go all the way around and I'm going to delete this window. And I'm also going to delete this door. Actually. I'm going to go all the way around and then afterwards I'm going to get another level orders and just going to lower down. So we'd have a complete setup for this overall design. So let's go ahead and continue on doing it. We're almost done with it though, so that's really good. And just make sure to keep up the pace in regards to that. Don't worry about perfection at the very start, especially because when moving camera from different angles and whatnot, you can see the tiles, you can see the type of different bricks and whatnot. And that really helps to get perspective of overall setup. So e.g. here, not exactly perfect, but it might work out if I were to just press it in a bit close and does seem to work. So go ahead and do that and we can eat. Also cheat a little bit and get some bits inside of the wall, e.g. and then when we are bringing them outwards, like so where to bring them out words. I'm going to actually keep it as is because I know that the top section, you can see, the top section just perfectly slides in like so. And it works really well actually, so we might keep it as is. And then finally, for this door, for this piece, I'm going to replace it with a nice wall over here. So it's not going to get in our way. Just like that. I'm going to go to the walls and get a bit of a larger wall. So two X2, X4 maybe or free, It's free. I'm not quite sure which one would work out. Well. It'd be something like this. No, sorry, three x three. And then I'm going to select one of them going to replace it. And actually, yeah, there you go. That works perfectly for us and that will allow us to finish it off. We can always add staircases and get ourselves some nicer results out of them using some setup. But after we're done with this, essentially, we're going to quickly select all of them at once and just replace them. And we can do so. Replace them as in like get a different variation. And yeah, we can do so by getting some extra variations out of this folder, which I think does have a couple of variations. We can look into that in a bit. But yeah, since we're running out of time, we will have to continue on with this in the next lesson. So yeah, thank you so much for watching. And I'll be seeing you in a bit. 34. Finishing Small Hut Iteration and Planning Ahead: Hello, Welcome back everyone to building, sending medieval world with Unreal Engine Pi modular kit bash. In the last lesson, we left it off by setting ourselves up with some nice stone reinforcements. And now we're going to continue on with this and set ourselves up with actually, before doing that, we do need to get ourselves a level. But after we're done with it, we're going to actually start populating our area within the castle itself. We're going to start by firstly making a group out of this and raising it up a little bit. So I'm just going to locate it over here. I'm not going to even go out of perspective. I'm just going to weekly deselect these click F and make sure that they're grouped up, like so. And I'm going to raise this up by quite a bit. Actually, I'm going to increase the grid lock like so and just raise it up like so. Now I'm going to click Shift G n. Essentially. I'll make sure to select every single piece like this. We could essentially lower everything down and it'll look hopefully pretty good. And let's continue on doing that. Makes sure that every single piece is selecting holding Shift. And then afterwards, what we'll be able to do is essentially create an extra level in case we set up a terrain where it's next to a river, e.g. it won't be looking quite off. So I'm thinking we can either do it like so or like so. And I think we'd rather do halfway and then expanded all were to expand it a little bit. There you go. Just by a little bit, we'll be able to get that extra ridge, which actually looks pretty good in most cases. In certain cases we do need to slightly adjust them with a low grid lock, like so. And there you go. That's going to work out. Or us a go. So most of it looks already pretty good. We just need to make sure again to I have it. So it wouldn't look off in certain areas. This looks alright. This looks alright. And this might need to go outwards. Let's go ahead and do that just a little bit. This also might need to go outwards. And we're not sure quite about the levels because we're going to be reusing this type of house. So I think in regards to the doors themselves, we can leave it off for now and we can come back to them later lesson for now though, this is looking pretty good, we also have a situation where if this pillar so we can either extend this or we can also make use out of these stones and have them attached to them. So I think I'm going to make use out of this one over here. That's looks pretty nice. Personally. I think it looks pretty good. And we can just go ahead and position it like so. Lower it down a little bit and then kind of extended in regards to its width. And I think that's going to actually look, yeah, that's going to look real nice actually, like that. Alright, so now we're done with this overall reinforcement. We can finally make use out of it. Let's go ahead and group up this entire house. I'm going to make sure that we have it all selected. Going to make sure that we have a certain de-selected that we don't need. So only the house is selected. Click Control G. And we got ourselves a house that we can able to duplicate, make use out of it and whatnot and all these nice, I'm going to leave the duplicate for now. Going to start actually building certain pieces over here. In regards to the overall setup of a castle, ideally, we're just going to talk a little bit about it before building it out. We're going to have a couple of houses, large houses, one next to the entrance on a corner, and another one at the end. So whenever you enter this entire castle, if we were to hit play and have a look. If we were to enter this entire castle, we want to see it in the background at the very back of it, of the Alloway to have somewhat of a bit of a grant type of a house, so essential, that's going to be this house over here, the large one, the first one that we created. And then afterwards we're just going to populate the other areas with the smaller house. We're just going to kind of rotate them around and get ourselves into a nice position for the area. And we're going to essentially make the area in the middle of this section over here to be somewhat a bit more open since we're going to leave some space for a sort of a market on open market, which we're going to build on later, afterwards. But then once we place all of those small houses in this left-hand corner, we're going to move on to the river area, which we're also going to populate it with our reinforce house over here. And of course we're going to make some adjustments and customizations to it all. But yeah, we're going to cut this lesson a little bit short since forever. Set up these assets within a new, fresh type of a lesson. So thank you so much for watching. And I'll be seeing you in a bit. 35. Populating UE5 Castle with Houses: Welcome back everyone to building stunning medieval worlds with Unreal Engine phi modular good bash. In the last lesson, we left it off by getting some variations from the house and setting ourselves up with Foundation and also talking a bit about planning in regards to the castle and how we're going to set it up. So we're now going to actually go into it and start setting it up properly. And first things first, I want to go actually under the landscape mode. It kinda flatten this bit around. I'm going to make sure that the delay layer one is selected. And I'm just going to, and not sculpt, sorry about that. I'm going to click Control Z, going to go on to flatten and just sculpt this entire section out since we can add elevation later on onto it anyways. So, yeah, let's go ahead and leave this as sort of a orientation, like sort of thing. That's going to be quite okay. So now first things first, we're going to start by getting some basics out of the way and getting some areas in this area over here. So the way I'm thinking is we can grab ourselves the main big house. I'm going to actually hit Control C, Control V to make a duplicate, going to put it in a nice area. So actually what we wanted to do first is set this kind of a hut, be at the very back of our house, at the very back of our area. And ideally, it's going to be that next it is next to this elevation over here. I'm just trying to think how that's going to look like. And yeah, it's going to be somewhat in this order, one to actually rotate it. I do prefer this step to be going out. It does look quite nice when they enter initial scanner like that. In regards to the door entrance being over here. And I want to be for it to be a bit lower down a little bit like so. And I'm just thinking, yeah, it does float around. So we need to lower this down a little bit, like so. And this might be okay. Yeah, somewhere close to that. And actually, I do want to have an extra tower over here. I think it'll look quite nice in regards to breaking up the surface, especially if we click one, it is bit missing over here. We want, we will want to make a bit of a castle type of towers to be having some elevation and overall castle to be going upwards towards the sky a little bit with some mountain range. So we're going to continue on with this setup for the house and actually grab a quick tower. And I think one of the tower should be Diego. This is going to be grouped up. I'm going to hit Control C, Control V to make a duplicate out of it and just put it next to this entrance over here. It's going to look quite right. We need to actually extend this a little bit, make it higher for Cyrus will need to have enough space for the door. And secondly, we need to make sure that when we click one, it's going to give us a nice type of a result, slightly gradually going upwards like so. So it's already looking pretty nice. We will be adding some towers and whatnot in the background as we go along. But again, it's all about building it up from ground up and slowly, gradually setting up the overall architecture. But now that we have the variations for the house is actually we're going to be really nice and simple. And I'm going to go onto landscape real quick to just kinda flatten this area out as well. Like so we can work on it later on. For now though, let's go ahead and just leave it as is. And I think that's actually going to be quiet. Okay. I don't like how this is giving us such a large gap. We'll want to essentially make some stairs that go sideways here as well. So I'm thinking that we could just grab some stairs over here. Like so with this platform, we're going to hold Alt. We're going to duplicate it and put it up to the side. And I'm trying to figure out how we're going to want to set this all up. Ideally, I want this house, this hut to be really close to this area over here, but not overlapping too much. So maybe I'm just going to click Control G for now to place it somewhere in this area and perhaps this hut. I want it to be a little bit out in like opened up a little bit. But let me just go ahead and check how this looks like if we were to go from this entrance. And yeah, this looks quite nice. But I will say that I'll probably add another house over here just to kind of break up the overall depth for this entrance and just to make sure that it looks a bit nicer, we do need to however, fix up this overall platform. So let's go ahead and do that. And you should let me just go ahead and quickly create a camera over here so we can see how it looks like. I'm going to click Control three to create a camera over here like so. And we'll have a bit of an extra over here for the setup. And I'm just wondering how we want this to be in regards to the positioning. So look up from the top view. It's going to have this kind of an angle, but instead a driver habit, a little bit slightly angled like so. So this entire kind of a focal point would be go in a bit more to the right. And I think that'll make it much nicer when we look at it from this angle. And maybe too much. Actually, I will do want the door to be partially visible, Diego, but not completely open. So now what we can do is essentially kinda combine these two together and make sure that we have a nice gap in the middle section. So what I mean by that is essentially, I want this to be close enough for this to go on, something like that and make essentially no gap or the staircase. So it would be very clustered and tight type of a setting. And I think, yeah, that looks, it looks quite alright. Actually, I'm just going to click one just to see how the overall view looks like. And I do like that, I do like that way, the way it turned out. So let's go ahead and keep it as is. Now going back to the house. We're going to just make a duplicate out of this control C control V, make a duplicate out of it. And in regards to how we're going to set this one up, we have couple of options actually this by default, I think if we click one yet, I think it looks a little bit too high up. It just blocks out the overall shape and silhouette. So what we can do, another thing that we can just kind of a quick cheat method is to lower this entire house into the ground, like so. So even though it's a duplicate, even though it's a variation out of this one, it's going to look completely different just mainly because it's positioned in the ground so it will look shorter and also because its position from a different angle, so also look quite a bit different as well. One thing to consider though, is this roof over here. So we might rotate this around a 180 degrees, like so. And actually that does have a Dory over here on this end. So it might actually just get away with simply just moving into the side and just hiding it out of the way that might work out for us. There is a window that's visible on this corner which gives us some bit of a light. But I'm not too worried about that. It's not as relevant too much in regards to overall aesthetics of this type of a setup, it actually does give a nice overhanging area or here, so I'm actually just going to leave it as is and just make sure it doesn't overlap to weirdly in regards to the castle itself. So e.g. this bit over here is overlapping with the roof. So I'm just going to move it sideways like so and see how this would look like. And yeah, this looks quite nice from the side view, we can see a bit of a roof over here. And overall, I think it looks quite nice. We can also, by the way, who can weekend while holding right mouse button, we can also click and hold C. And then when we release it, we can zoom in to see the overall kind of a smaller detail from within this angle, which is quite useful sometimes, especially when I'm working with cameras, it's going to be quite nice. And then when we release it, we essentially just pull back. And it's really nice type of a method to use when we want to kinda get closer detail. But we don't want to just leaning forwards and make sure that every detail is kinda working together with one another. So e.g. this roof, I can see it over here. It's actually working quite nicely in regards to drawing the eye away. So we can see that diagonally it goes sideways and then there's bit of a roof. It actually helps to kind of lead the overall shape for the entire section. So yeah, let's not spend too much time in regards to this area. We're going to continue on with this. Now. We still have some areas to fill in. So e.g. this bit, this entire section over here is quite a bit empty. And this obviously needs sort of a house involved as well. So we're going to grab a smaller head. We're going to click control C, control V to duplicate it. Put it in and yeah, it's going to be a rabbit fast process now, from this point on, for the hot setup, especially since we have so many pieces that already are written pretty much ready to go and needs to be placed into the scene. And I'm going to place one over here. I think that's going to look quite nice. Depends how we're going to have it from the third camera. We don't want it to cover it up. Much of this entire section over here, we want to have somewhat like this. I'm just going to check how it looks like in regards to the overall overlapping over here. So it is overlapping a little bit, but I'm not too worried about it. I don't think that's going to cause too much of an issue. We might even slightly move it to the side and then bring it outwards. Then let's see how it looks like. And we're going to get the same result because we're basically pushing it back and then bring it in four words. And that's going to give us somewhat of a similar silhouette than it was before. Okay, so we're done with this house. We're now going to need to work on the stairway over here later on. I reckon we can do that because I think it'll definitely need to be a bit higher up. I want to kinda ideally start from halfway through of this essentially this stronghold type of a house to be partially submerged in the land. We're going to do that later on. So yeah, what I didn't mention. One more thing before we move on with the next lesson is essentially e.g. if we have a silhouette from top-down view, and if we look at this type of a setup over here, like this, this area over here. If we don't see like there's enough of a way to break up the Alloway. What we can do this simply grabber cells, one of those smaller huts just rotated sideways and essentially just merged into the house itself. We didn't need to worry about the main angle of our cameras. So I'm clicking G, I'm making sure that it looks quite nice and it's actually hidden behind a tower, so we don't even need to worry about that kind of an angle over here. We just need to make sure that maybe it doesn't look weirdly with the overlap edges. So something like this would work. And I would actually prefer to have it angled in the same way as it was. So just by doing that, we're able to kind of break off the surface a little bit. I'm thinking we're going to have a bit of a, an arc going across here as well, which we're going to start setting it up once we get more of the marketplace. And that's going to be a bit further down the line since it's going to be smaller objects for now, we're just worried about more of a setup for larger buildings. And most of it is actually quite alright. We will have a bit of an extra open space over here, and we'll populate our houses in the river over on these ends as well. So we got plenty of work to do, but we're going to continue on next lessons. Thank you so much for watching and I'll be seeing you in a bit. 36. Creating River Housing Area in UE5: Hello, Welcome back everyone to buildings standing medieval worlds with Unreal Engine by modular kid batch course. In the last lesson, we left it off by setting ourselves up with some houses in this area and now we're going to continue moving on in regards to getting some structures next to the river bank as well. But for us to do that, we'll firstly, I reckon we can just straight up the river a little bit. That will help us with the overall structure of the housing. And it'll give us a nicer type of a way to work with. Although obviously we can always readjust that later on. But for now, I see that the overall water mill is a little bit submerged within the terrain. So just go ahead and flatten that out a little bit. Like so we're not going to worry about too much what's going on back at the moment. We're just going to make sure that we are having a nice surface to work with essentially. And it's not going to give us much of an issue, something like that. Again, we're going to come back to it and refine it later on. But for now, we're going to be finally able to grab some of the houses and actually start setting them up as some nice areas around that rivers. So we're going to grab the reinforce. How is this one over here? We're going to hold Alt and then drag it out to copy it onto our level. And we're going to just drag the first one over here, then find the right type of angle to work with. So we're going to start by, I'd say, rotating this around like so 90 degrees and rich going to start by pushing it in, we're going to click one to go to the side view and just kinda reposition. Actually I'm going to go in closer firstly to make sure that it's placed directly on our range. Just like that. I think that's looking pretty good. Or even realized that this has to go inwards into the depth of water. So I'm actually just going to place it low as possible and then I'll bring it back like so. Then I'm going to click one and see how this would look like. So it's looking nice, but I don't exactly like how it's positioned. So right now it's a little bit too flat looking from this angle, I might even change my camera a little bit to get it closer to this sort of a view. Going to click Control, want to make sure we save it out. And now we're going to have a much nicer type of a setup. And I'm just looking at this, wondering if we should. I have it a little bit more broken up in regards to the house, and I think we'll do that in a bit for now though. Let's go ahead and keep it as is. We're going to click control C control V to make a duplicate out of it. And now we're going to figure out how we're going to attach these houses. And I would say that we should probably move this to the side leg, so make it a bit more diagonal, like so. And I'm going to actually rotate it all the way rounds and say, yeah, we have a nice way to break off this angle. So if we click one is barely visible or not visible. But once we start moving it around, that's going to be more visible to us. And I think I'm just going to maybe rotate it a little bit, five degrees like so. And that's just going to slightly distorted while at the same time getting that nice flow in regards to the overall setup within the river. And the main focal point is going to be this line head over here. So that's going to help us kinda director view for whenever we want to e.g. do some sizing of the river over in this section over here. But of course, we got to make sure that the overall setup of a castle is also looking quite nice. So from this angle, it still looks pretty good. And of course we need to set ourselves up with our side as well. So I would say that we should do that right away. Actually, we're going to just grab this, grab a copy out of it by holding Alt and then start setting it up. Like so. Now one thing to consider is how exactly we're going to set it up. So she going to be rather easy. We're going to simply drag it a little bit closer to it. Like so something like that, I think is going to be pretty good. And then we're just going to start holding Alt and dragging them outwards like so we're not going to be worried about anything at the moment other than just grabbing a free houses out of this entire section. And it should yeah, there you go. It ends close to the other one as well. So that's pretty nice actually. I'm just wondering maybe we should. But this all of these houses inside of closer, a little bit closer like so. So we'd have not exactly the same line. This one would end a little bit closer to the edge, but that looks pretty good. And now we should probably set ourselves up with a little bit of that extra variation for the river. We're going to, firstly, we can just rotate this around the middle of building. We were to just rotate it 180 degrees. We should get ourselves a nice type of a setup, although we need to probably readjust and realign the overall design. So there you go. That's already looking pretty good. And essentially, once we are done with the setup, we're going to be able to click Shift G to ungroup all of them. But I wouldn't recommend you doing that until the very end because afterwards is going to be quite a hassle to regroup them if we do so. And since they're so close, all the assets are so close to one another, that would be a lot of trouble. Alternatively, what we could do is also we could put each one of the houses in folders. And actually I will show you how to do that a little later on in a second. For now, I'm going to just duplicate one more extra house and I reckon I can just place it over here as well. And even though there's a nice overhang, will actually just make use out of this house to kinda build it up from the side like so and maybe even rotate around. I do like this type of a support. Always try to make use out of it. And maybe we can even drag it outwards like so a little bit higher. Just to kinda get a nicer overhang and even makes sure you have a nicer type of a setup like so. This is looking much nicer my opinion. We have a real nice type of setup. Okay, so I'm going to show you how to make sure that we have some nice overlays or the selection, there is something called them layers in this type of a Unreal Engine version. But for some reason it's not working as intended. It's giving a lot of glitches in a moment, so maybe it'll fix it in the future, but I'll show you another way, another alternative to it, which is going to be again to make use out of the folder. So with the house selected, I'm just going to click on the folder and I'm going to create this house folder essentially. So everything that I was selected will be placed within that folder. And then right away we can essentially rename it. If you want to rename it afterwards, you can click F2, and that will also give you an option to rename it. But then afterwards, we essentially have everything from this small house within it. And if you were to make a selection, e.g. from it, we can search for small house and it should be over here. Then we can't make exactly a selection for it. So what we're going to do is I personally, I'll actually make sure to make ungroup everything so I'll be able to show you better. I'm going to click a ship G. And this makes sure that everything is ungrouped now. So now to make an entire selection for this entire house, where we can do is we can right-click on small house folder and we can click Select and all descendants. And that will essentially, it should give us a selection for this entire section. Here you go. I'm not sure why it wasn't working the first time. Afterwards we can make the selection, make the adjustments as much as we want. So e.g. this one over here, I do prefer this one to be higher up, so we can see this bit of a foundation stone to be here. And I'm going to delete the one underneath. It doesn't matter to be honest too much. In regards to how much is underground, we are prioritizing more. I'm over making this entire castle and visually it's still going to be good. And in regards to the real-time rendering, the performance wise should still also be pretty good in regards that, mainly because we have non-ideal. So that's going to help us out with that. And yeah, just looking at it, It's a nice street already. We're going to have some houses on the upper side as well, just wondering how we should do that. And going back to just breaking up this entire section, we're going to make an alleyway afterwards, the reckon for an hour. Let's finish off with this type of a setup for the houses. And I'm just looking at this one over here. We're going to make some adjustments for it. It's going to check if we have some roof variations. The one that's like actually like this one over here. So I'm just going to make use out of that. Just wondering if I can replace it for this little house. Going to select this little house, going to click a new folder and mol house to going to name it like that. Going to select the House makes sure it's selected. Click Shift G to ungroup everything. And within a small house, I'm going to make sure I have selected. Then click, right-click, go to select all descendants and they go, alright, so now I'm going to make sure I replaced this roof. I'm going to search it from within a folder itself. There you go. That's the one that we're looking for. The overhang is going to give us a nice result, not giving us the right that will set up. So let's go ahead and invert this overall scale. So we're going to invert it in green value like so, and move it to the front just a little bit. So it would give us this nice type of overhang. And I'm just wondering, yeah, we have this situation where there was an extra piece. So let's just make sure we delete that. And there we have it. A really nice type of an overhang. And it's already able to give us some nice way to break it up. We are going to have an extra bridge and a couple of ways to break off the roofs as well. So that's going to wait for the next lesson though. And then after words, we're going to continue on with the castle itself. So yeah, thank you so much for watching and I will be seeing you in a bit. 37. Breaking up River Roofs with more Roofs: Welcome back everyone to building stunning medieval worlds with Unreal Engine Pi modular kit best course. In the last lesson, we left off by setting ourselves up with a nice area for a riverbed, populating it with some houses. And now we're going to actually make sure that we have some nice variety with it and break off some of that edge flow with using some variations that we already set up. So mainly we're going to start by adding couple of towers over here to break off that a bit of an extra roof surface. We mainly have two roofs essentially, we have this one and this one over here. And actually, I'm just going to quickly make a group for them because it seems that we have not grouped them up yet. We're going to go onto the top-down view. We're going to just simply make a selection, deselect this disliked the main sphere as well. Like F makes sure that everything moves around it, which it does go into click Control, G, which groups everything up. And now we're going to do this. He says, Well, yeah, it is annoying how it works in Unreal Engine, but this is what it is and we're now going to group it up. So we have couple of towers to work with. I'm going to just duplicate them off onto the side and see what we can do with it. For Cyrus, I think the taller one can go onto this edge over here. And this will work out quite nicely for us. Wondering that maybe needs to be a little bit smaller, just a little bit, as little as possible, essentially because we want to have some of that roof sticking out and break it off the surface overall. And I'm just wondering that maybe we should have that frame to be touching the bottom section, but it's not going to help us get anything underneath. So maybe that's not the right way to do it. And instead I'm just going to set it up like so. That's going to be working out quite better. And actually maybe I'll just try rotating it around and seeing how it would look like. And it doesn't seem like we have a lot of windows. You have a window over here. I'm not sure why that's not shown. I'm just trying to figure out why that is the case. And I'm just going to check the previous one over here. So does have Windows. I'm not sure why that duplicated off wrongly. I'm going to delete it. A click yes to all. Just make a new copy out of this control C, control V, and see if that fixes it. So windows are back now I'm not sure why that was the case, To be honest. I'm going to make sure that we are putting it back in. And I just realized that it's probably because we were scaling it downwards that might have caused it to be flipped around. I'm going to try it again. And that seems to be the case, which is a little bit unfortunate in that regard. So I'm going to try to figure out what to do with that. If I was to scale it down minimalistic, they go, some of the windows are still popping out and I think that's actually going to be good enough. So I'm going to just lightly squeeze it in into this area over here. Maybe drag it backwards a little bit like so. So that's looking pretty good actually. And yeah, we're going to make sure that there's another one on the opposite end as well. This one is going to be quiet, okay? Like so we don't probably not even need to change up the tiles, but some of the tiles are still going to be visible. So I'm don't quite like that. And I don't quite like that. Trying to figure out what to do about it. I think the best way would be to just slightly squish it in just like we did previously. Alternatively, what I was thinking about doing is if it wasn't working, just to simply go back to this original ones. Click Shift G and group them up, and then select only the walls, scale them down, and then reposition each of the windows, which would take some time. But we were able to get away with this. And yeah, if you want more precision, you are more than welcome to do so. Okay, so this looks pretty good. I will say this that I want to make sure that it's somewhat aligned because I'm planning to have a nice kind of intersection going in between across this entire section, which is going to look really nice in the end. Now that we have it like so we're going to create that intersection. I'm actually just going to make use out of this one over here that we already have. Let's go ahead and make use out of that. We're going to simply just copy it. Actually, we're going to see how well we can make use out of this. So let's go ahead and just move it to the side. Rotate this 90 degrees and see what we can actually come up with it. I'm going to move it all the way to the top section like so. So we can click Shift G and not worry about them intersecting. We're going to select these roof bits and we're going to now try to combine them. Actually, I think we're going to firstly separate these, this one from that one over here. So it will always have a sort of an end in this area for the frame. Then I think we're going to need to essentially make a duplicate out of these two. Reason being is because we don't want the frame of the woods to be intersecting twice. So e.g. if I was to duplicate this roof over here, we'd have two of those wood poles intersecting with one another constantly. And as for the bottom piece, we essentially want the one without the arc to be going over here. And I can see that it's going to cause us a bit of an issue in regards to this because if you look at it, I think yeah, there you go. We have an end that doesn't have those extra logs over here, so I'm just going to replace one of them like so. And I think I need to extend it just a little bit like that and I'll squish it down a little bit again. So there you go. It's perfectly, very nice. It's going to work out quite well. Quite well enough for us. I don't know how far we need to extend this, a thing that's actually going to be more than enough. So I'm going to just get a weekly rotate this around, like so. And hopefully that'll connect nicely to one another. Just like that. And I might go squish it in inwards a little bit like so or did like so. We kinda hide away the polls because I'm not seeing the alternative version for it. So there's also just a way to squish it in. And they go, we hide away the mainframe and hopefully it's not going to be visible from another angle for them overlapping. So yeah, the roof looks nice. It has a nice way of breaking them apart as well. We might need to just move this a little bit to the side though and slightly squished the roof like this or wouldn't be overlapping as much. I think that's looking much better. Let's go ahead and just grab all of them like so click Control G to group them up and lower them down and see how this would look like e.g. we're going to have actually too long of a roof. That's interesting. That's still going to be okay. We're going to move up to the side and now figure out what we're going to do in regards to this. We can't squish it down or we can squish it out actually nicely. Sometimes when the groups are positioned for every single one of them nicely, you can just kinda squish everything at once in regards to when they're grouped up. So it's actually we're going to work out really nicely for us. I was worried that it's not going to work out, but it did. So that's actually going to be really good. We'll need to extend it though a little bit just to make sure this NPs going to go in, or actually I will, I will keep it as this. So we have a nice arc way going from the side, but I will just get an extra bit of our groups. I'm going to hit Shift G. And I'm just going to copy this roof extra section like so just put it inside the kinda get this over a bit. Like so just to make it look a little bit more stable. But the entire roof, just like that, we're able to get a really nice type of setup. We instill need to fix up the river a little bit. I'd say we can do so actually right away. And what I mean by fixing up is of course we need to make sure that those stones are visible. We can, which we can just use flattened to fix. And I would say, if we were to scroll down, we have brushed fall off. Essentially what this does. I don't think we talked about it. So what brush fall off will do is how much of a transition there is. If we were to set this to one, e.g. is going to be zero transition. And right away it should give us a real nice type of a setup. Or actually sorry about that. I'm going to click controls then brush, follow for one is going to do the opposite, is going to give us the most transition that we're going to get. But by setting it to zero, it's going to give us some really sharp type of a setup. You can see it over here. You without, with the flat until you actually don't really want to use it unless you're going to use something like smooth afterwards to smoothen out the pieces. Because essentially what this does is it tries to get the most extreme type of angles. And you'll end up getting some really bizarre type of artifacts within the terrain. So essentially you don't want to use brush falloff of zero. You want to use 0.1. This will give you a much nicer type of a result. I reckon. There you go. We're going to set it up like this. And I'm just wondering, we can have some dirt showing up or we can just completely cover it up. And even way is viable. And for this section, especially I know that we're going to get ourselves a really nice type of a setup with some stairs coming down, coming down. We're also going to get ourselves a boat here, which is going to be placed nicely in the water, but that's going to be in, another lesson learned is a bit later on, once we're done with actually building out this entire castle, we're running out of time. So I will actually just closed down and go back to selection mode. And then in the next lesson, we're going to continue on working with this and start setting up the right side a little bit as well. We're going to try to not just completely encompass this entire section. And slowly but surely we're going to be working on forward so we can have enough space and not worry about how flexible our overall structure is for this type of castle. So that's going to be it for me. Thank you so much for watching and I'll be seeing you in a bit. 38. Creating River in Unreal Engine 5: Hello, Welcome back everyone to building, studying medieval worlds with Unreal Engine phi modular kit bash. In our last lesson, we left off by setting ourselves up with a nice type of a city area that's built next to the river. And now we actually can set ourselves up with a river itself. I'm actually just going to move the character out of the wafers, going to move him closest to the gate just so I could have it a bit more of a reference that we can make use out of it in the future. And to set ourselves up with a river, we're actually going to make use out of a plug-in that's built-in within Unreal Engine itself. We're going to go up to the upper left-hand corner. We're going to click Edit and select plug-ins like so. Then within this, we're going to search for water, which should give you the water plug in over here. We're going to enable it, which is going to ask if we do want to enable it, click Yes. And we'll need to restart our projects. So let's go ahead and do that. Make sure to save out everything within your map. This is what we're greeted with. We're going to get ourselves an error message probably that's going to add some errors in regards to collision. But if we scroll all the way to the right, we can just add an entry to default engine in it. And it should fix ourselves with this error next time we should be okay. We're going to close this down and essentially, we can now make use out of the water plug-in. So if we were to go all the way onto the scene, here is we can just quickly add to our project. If we were to click on this button here and search for water, we should be able to find ourselves all the plug-in that has to offer. And basically we just want to for now make use out of the river and lake. But now we're going to start by adding a river and we're going to see how that works out for our project. We're going to just click and hold and drag it onto the project, which will add this type of curvature onto our scene. And you can see in the bottom right-hand corner it's preparing shader, so it will take some time to load it up within our area. And although this plugin is made to be used, it can be used with the terrain build itself. So e.g. right now you can see how it's affecting our terrain, how it's building it around it. I personally would recommend you not to do that even though this speed can speed up the process by allowing you to adjust the curvature and what not, and then helping you build the area around it. It doesn't give you as much control as if you were to do it manually. So I would recommend you to just turn that option off, which you can do so by if we were to select this entire setup. So now I have the water body rivers selected in a right-hand corner. You can see the outliner that I have it selected. We're going to go within his detailed steps and we're going to select affects landscapes. If you're not able to find it, you can just search for landscape like so and get yourself affects landscape before to turn it off, it'll basically disable this entire selection. So just like that, we're now able to make use out of it. And it still doesn't seem to be loading it up for me. So I'm just wondering why that is the case. I'm just going to check real quick for the material and see what is up with that. So it is loaded up for edge LOD water. We're going to check real quick what is going on with that? And it seems to be alright, but it's still not giving me anything in return. I'm just trying to figure out why that is the case. My tried to actually reload my entire project. I'm going to click Control Shift and S to save everything that we just created. And I'm going to close it down for now to try to load it back in and see what is going to happen. And for some reason it's still not on loading up. I'm not sure why that is the case. What I'm going to do right now is I'm going to scroll down within the right-hand tab. We're going to go onto click Browse to water material River. If you're not seeing this content right away, you're going to click on Settings. And you're going to make sure that it says show engine content and she'll plug in content. Both of them are ticked on. So I'm going to actually open up water material River. And I see that there's nothing here that's attached to it. So I'm going to attach this water material to its parent lake. So hopefully now it will give us the right type of setup. And yeah, it's a bit complex when it comes to this sometimes, but now we can close it and it starts updating the stream data. So that's actually good for us. Let's see what's going to happen. There we go. We sell us. Now the river is set up. I'm going to raise it up and see what's happening. And yeah, there you go. We got ourselves a river and essentially, okay, we can talk about the controls now that it has been somewhat fixed, you can see some issues right away. For now. The reason being is because we have some bits that are going out from this terrain and we're going to fix that in a bit. But again, let's go ahead and start talking about the way it behaves, the way this water. River water is being affected by the entire curvature. And essentially when you drag in this water body river, it creates water zone as well for you. So you can see this entire scene is set up with a water zone. So essentially, if it's not within a war zone, you won't be able to see what is within it, and it creates everything for you essentially. And the thing that you want to control is going to be this curvature that we see over here. So if we were to kinda go top-down view, we can see that there is a large type of curvature that's been created. And essentially we can click on each one of those points and kind of adjust them in any way that we want. So once we have the entire curvature is selected, we can see those points. And just manually, I would recommend you to never, never essentially adjust the z axis and less at the very end where you want to maybe make that revert to start off from higher up maybe or something like that. And Ted kind of go down gradually, then maybe afterwards you would want to do that. But in this particular case, especially will be just using x and y-axis. You can see bottom left-hand corner, by the way, x and y axis. And we're just going to slightly readjust this overall curvature like so. I'm going to, I'm going to click Control Z because I think I just lower it down all the way to the ground by accident. And with the curvature in regards to the curvature itself when we click on a point. And we also have a couple of other options. We have these points over here, which if we were to turn it, we're basically affected the curvature transition between those points, which is pretty useful to get some nice transition. And essentially what we wanna do is we want to make sure that the point that originates the starting point is going to be over on this end. Over here. We're going to look at the river itself, in which way it's flowing. And it's a bit hard to see. Maybe I'll be lowering down the overall volume of the river. I'm going to select, just click on the side of the curvature or actually I'm just going to click on the water body itself and it should help me. No, it doesn't seem to let, let me help me. I'm going to click on the body itself and this will make sure that the entire thing is selected. So hopefully now, if I were to lower down, again, it's going to load over this entire section like so. So we can have control of the overall river by just selecting its body and then lowering it down like so. A couple of other options that we have for the spline is to add additional spline detail. And so for starters, what we can do if we were to select the last spline, we can simply hold Alt and get ourselves an additional added spline point basically. And again, this is broken off a little bit because we need to set up a terrain real quick. So I'm just going to do that actually. I'm going to get some edges on this and I'm going to go on to layer one. I'm going to just add a bit of that flattened like so. And just all the way around to make sure even to the brush size a little bit larger. And again, we're going to fix everything in regards to the terrain later on right now, I just want to make sure that we have a really nice type of setup or a nice kind of a water. So we're going to have some bit of a lake over here on the site and I think it can lower down the brush size. And let me just go back onto the splines and explaining certain bits about them. Essentially, what we have is by holding Alt, we can expand the spline, which by the way, we're going to have a lake over here. That's going to be another body. And then we also can add additional spline points. So by selecting this section over here that are basically a line between those two points, we can right-click and we can just click as blind point here. And this way we can just make some additional controls for this type of river. It's not set up as a river at the moment because I just re-adjusted this material instance. And you might have more workflow, but we're going to work with the material itself. In the next lesson. Right now we're just introducing ourselves a little bit. In regards to the spline itself, there is some detail within the spline itself. So e.g. if I were to go onto this corner over here, I can see that some bits are maybe not in this point, but there are certain times where we don't have the water touching the edges and whatnot. And the reason for it is sometimes the water wave is not enough for this. So e.g. if I were to select this water supply and over here, this point to be exact, we can go onto the water settings, what a detailed settings. And if we were to search for width with like so, we should be able to find fighting. We need scroll up a little bit. We should be able to find a river width. And essentially what this will do is if I were to make this super small, you can see it starts glitching out a little bit. It starts to kind of fill in the gaps and areas. So just make sure that this is quite large but not too large. Because if we're to make it a little bit too large, you can see that this edge ends up going overflowing onto areas where even though there is a high chunk of water or high chunk of terrain, that is, it's still going to try to expand it out based on the river width. So just make sure It's small enough for that. I'm going to set it up as a positive 500. Perhaps that'll be enough. We can adjust it later on when we're actually working with the whole setup or the water that is for the terrain. And I'm just making sure again, that is pretty good in regards to the overall width, maybe I'm just lowering it down a little bit just to make sure that it's just enough to not touch they go, we're going to have some artifacts over here. Obviously need to increase this a little bit. And alternatively, we can just go into landscape and manly kinda get a bit of a thicker area over here. So yeah, it's a bit finicky in regards to the setup for reverse curvature and whatnot. But it's a really fast method to set up a river and I don't have a flow at the moment. Again, we're going to go into the material itself in a bit. And so that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 39. Setting up River Material: Hello, Welcome back everyone to building stunning medieval worlds with Unreal Engine by modular kit bash course. In the last lesson, we left it off by getting ourselves a nice blind going across our entire section. But the water doesn't look quite nice. You might have a bit of a better looking water, especially with the flow. Since right now I had to replace the original material with the one within the instance, but as totally okay because we can still go for all of the options and all of the settings within it. And we're going to start off by simply making a duplicate out of this material instance. Again, if you're not seeing this, make sure you go into the material for the water. Go all the way down until you get to the water material and click on Browse to water material in content browser may just make sure to have within the settings, you have to show engine content and show plugin enabled. And yeah, let's go ahead and basically make use out of this. We're going to essentially copy and make a duplicate out of it. We're going to hit Control C, Control V to make a duplicate like this. And then we're going to move this within our own content folder. So what we can do is just scroll all the way down until we get to the content folder within left-hand corner, within the content browser itself. And we're just going to actually drag it and drop it into the content browser like so we can click Move here. And this should give us failed renames. The following assets should be renamed. I'm wondering why that is the case. I'm going to actually try doing that again. Let me just quickly move it out. Or maybe I could just try copying it. I'm not sure why that's happening. Actually. That's a bizarre type of a thing that's happening. So I'm just going to actually delete this one. I'm going to go back onto material instance for water material or river, going to hit Control C, Going on to the content folder and hit Control V. And there we go. We have ourselves pasted this. I'm actually just going to create ourselves a folder for all the waters. So I'm just going to right-click, click new folder and call this water, like so. Then drag this into the folder and hopefully they go at least it moves from one folder turnover. So that's quite nice. Alright, so now what we're going to do is we're going to drag this into the water material and essentially replace this. So it doesn't have a different name. I'm actually just going to rename it just in case what am I revert to? This should be, if we hover over this window over here, under the water material, we can see that it says Water material revert to, which is exactly what we want for this one. So now we can actually play with it and not worry about it changing it within the engine itself. Because otherwise, every time you add a plugin onto your engine, it would end up essentially just going back what you change. So yeah, if you were to change something within engine folder itself, you would usually have those same changes through other projects as well, essentially, and we don't want this to happen. So going onto this river material, Let's go ahead and go onto it. And right away we're just going to search for river, which should be enabled river over here. We're going to make sure that we enable it like so, and enable both of them on. And now, if we wait once the Shader compiles like so, It's a bit of time, but just give it a second. There we go. We have ourselves a normal flowing water, exactly what we want for this type of a setup. And I'm just wondering if it's not too deep in regards to the water itself. If we have enough enough deaf or not. And I'm thinking that maybe I'm just going to lower this overall setup. I'm not quite sure in that regard. Just the case though, I will select this entire water and just lower it down. The reason being is I do want those arc ways to be more visible and we are going to be covering them up nicely later on. But for now though we're going to keep it as is. And we might have the water a bit too shallow at the moment. Again, we can go and add a bit more depth later on to the terrain itself. But main thing is I want to have those arcs, arc ways to be visible, which is what we're having right now. So let's go through multiple variations of options and see what they do. Essentially. There is a lot of options here, a lot of controllable. But the ones that we're looking for, especially is going to be if we were to scroll down, we're going to, we're going to actually make this a little bit larger so we could see a little bit more. There we go. I'm actually going to make the details a bit larger as well, just so I could see the names of the list. Now, a quick thing that I'd like to say before we adjust, if you're having still if you're still struggling with certain bits where the water is slightly glitching out or there's a bit of a gap within your river if you're not having any of those sort of issues like this one over here. What you can do is within the Details tab for the material, you can search for mask. And all the way at the bottom there should be something called opacity mask clip value. If you were to play around with this value, should be able to fix your situation in regards to that. So if I were to change, this seems to disappear for the entire value. So let me just go ahead and get back onto that. When five, perhaps. It's preparing shaders. There we go. So, yeah, by playing around this opacity mask clip value, it seems to help me. Sometimes whenever I have those issues, I'm just going to reset it to a default value and play around with it if I do have a certain encounters with that kind of an issue. So yeah, going back to the settings, what we're going to essentially do is play around with the values for some color or opacity and whatnot. There is a lot of options in here, but the ones that we're looking for specifically is going to be if we were to scroll down, we're going to have global vector parameter values. So that's the one we're looking forward to be honest. And there is a lot of options here, but I'm not finding ones that are looking for. There you go. That's the ones that we're looking for, global vector parameter values. Essentially, these will help us out to control the color and opacity of our entire setup. So right away, if we have the absorption, I wouldn't recommend you to touch it for the color picker itself, it's not the way to make use out of the absorption values, but instead, we gotta go into the options themselves. So by clicking on the center over here, we've got RGB. And a. Rgb essentially controls the values for the color and how much it gets absorbed by the water itself. And two, red, green and blue. And then a stands for alpha. So the intensity of the absorption, and essentially what it does is if I wanted to be absorbing more of a red color, I can do so. And just doing it like that, you can see it starts absorbing more of a red value. And it's that it actually makes it a bit more red itself. And the reason being is that if we were to lower down the blue value, we can see how much of a change it does. It's not like it's absorbing the red value itself. It's more like the more the value at absorbs the moreover colored becomes. And if we e.g. over all of these values to zero as an example and have only read a set of standard, we can see the type of a result we're getting. And it becomes a bit more clear in how it behaves essentially. So right now it's only absorbing red color and it turns everything into blood type. And we can also increase the Alpha, which is the intensity. Or it, it starts absorbing even more of that and you can see it brightening it up or alternatively, we can make it so it would absorb barely any color like so. And we can only see some absorption values at the very top and the rest, the more deep it goes, essentially the less it starts absorbing. So if we set it up to a valid this close to zero, you can see turning darker and darker and darker. And if we set it to a value of zero, we can see it turning it like so. And another thing worth noting is that your water is going to look different based on the settings for the engine that we have. So if you remember at the early stages of the project, we were going through the settings of Android scalability. And just scalability will also affect the reflectiveness and the way the water behaves within our engine as well. So right now because my thing is set to Epic is going to give us nicer reflections or whatnot. But if I were to change it to another one, it might even give us a somewhat different results to be honest, then it might look different visually, like overall. So yeah, we're actually going to make use out of this and set it up quite nicely. We're going to start with a red and I'm going to increase the absorption so I could see a little bit more how it's actually absorbing. Set up the entire color a little bit more. And we're going to set up with like a small value of red, something like 0.7, like so. I think that's going to be a good value of starting point. For green. We can get it to a similar value. 0.6, I'd say, will work quite well. Maybe 0.65 points X4. Essentially, what I'm doing is making sure that the color looks quite nice from the side view because that's how most of the setup is going to be behaved. If we're looking from the top, we can see it looking quite dark and whatnot, which is actually quite good for us. The reason being is if we were to increase this value of alpha, we're going to get more of that kind of result for the color itself. So I think as a default, I'll leave this a bit higher even so we could see the overall color of the water and the blue. Of course, we need to increase it to get a real nice type of a result for the overall setup. So if you were to increase this to a bit quite a bit larger value, we're going to get a really blue and nice type of a way, kind of similar to add say, if I were to look at the items that we have similar to the bucket of water over here that we have within our asset packs. But obviously that's a little bit too much. I think. The castle type of water, it's going to look a little too pure. I'd say maybe if it was like an Elvin village or something of the sort, maybe that would work out. But for now, I'm actually going to lower this down to quite a bit. To 0.3 at say, is a good value. So type of a bluish tint. It's still blue but not as blue. But right now because we have alpha is set up to such high value, it's obviously going to be absorbed, acquire a lot. So we need to start lowering down. And as you can see, the more we start lowering down, the more it looks like like it's less of a clear water. And I'm actually just going to lower this down to quite a large amount. I'd say 2.3. And from the side this might look a little bit too much, actually just going to lower down the blue. Just a little bit more. There you go, 0.83. Let's go ahead and see it from the side. It looks like from sight it looks great. We get some nice reflections. We can see some reflections over here. And from the top view, we might need to, I'm going to try increasing the blue over here. And from the top-down view, it's also quite interesting as well. So whilst the editing those values, we got to consider basically both from an angle and the top-down view in regards to the options that we have. And I would say that it's not as nice-looking when it's lower down. In regards to the overall setting of color water. Maybe something like this, although I would like it to be a little bit more stylized. So I will increase this actually to a value of two. There you go. On the side, we can see a bit of an interesting type of a blue over here. But when looking from overall type of a setup, we get a nice type of a bluish tint. And from top-down view as well, is that bit of a blue as well? So, yeah, we're going to talk a little bit more in regards to the material in the next lesson, we're going to cover some scattering as well. And then right away we're going to move on in regards to setting up a lake. So that's going to be in the next lesson. Thank you so much for watching and I'll be seeing you soon. 40. Creating Lake Water in UE5: Hello and welcome back everyone to building, studying medieval worlds with Unreal Engine by modular kit bash course. In the last lesson, we worked on setting ourselves with the material that would help us get a real nice type of a reflective water within our scene. And we didn't have to do much in regards to just setting it up for absorption. But there's also another option if we were to scroll all the way down for all the settings, hold scattering and that's right next to it. And essentially what this is, is basically applying a color on top of it. So if we want to get it more green, let's say We can totally do so. We can increase the green itself, we can change the Alpha and we can get that nice type of reflective color that looks quite nice overall when we're putting it over the top section. So it has better absorption from a bluish tint, that type of a nice stylized look that it actually makes it look quite nice. But by having this greenish type of it and applied on top might actually work out quite well enough for us. And forgot to mention it has RGBA similar to absorption where it has the color selection. And essentially it kind of gives us a real nice type of an easy way to essentially apply a color on top of already the absorption that it has to have certain more control over the entire water. So this does not affect the water kind of opacity the way similar into what absorption does, it just applies the color. It brightens up the entire water based on color. So this is quite useful for when we want to make sure that it looks, the water looks one way from a certain angle, but from the top-down view, e.g. would look at different way. So e.g. if I want to set it up with a nice blue tint, I'm going to actually do that bit of greenish blue tint like so. Now if I were to apply this type of a setup to this, we can see that from this angle it still looks quite the same, but from the top-down view, it starts looking a little bit more bluish like so. We can even increase it just a little bit more. And just having those values would give us a real nice type of setup. So from a side view, we still having this kind of a few, although it's a little bit too much actually, I'm going to lower this down to a value of 1.2. That's quite okay. So, yeah, there you go. We've got to sell us a bit of a blue tint from the top, from the side. They're reflective. Reflectiveness and opacity of the water still is being kept the same. We still have an option for a water opacity mask offset. So this is going to be also affecting the edges as much as we want to, for them to be nice, nicely set up automatically. It's not going to be the case. And usually I just tend to get this value a bit higher up to a value of seven, e.g. sorry, 70, that is something to this value. So if we were to increase it, it would help us get nicer type of setup for the edges. But we can see that this is starting to break it off for some reason and I'm just looking, maybe I'm just wondering if the terrain is a bit too close, but no, that seems to give us some real nasty results. So I'm actually just going to start lowering this down to what we had before. And yeah, if we have if we're having certain issues in regards to the water itself, for this particular case. Just make sure to kind of offset this as well. We talked about mask opacity before. So if we were to just search for mass, we have mask opacity offset, essentially an opacity mask clip value, blend these two other values that we'd have to tweak it to get ourselves nicer results. And I am actually just going to undo this at the moment since it did give me good results. But again, it's really hard to say when it's going to end up working as intended. Sometimes it just wants to mess it all up. As for this case, for this result, we're not going to be worried too much because we're now adding another water body. Let's go ahead and do that. We're going to click Add and we're going to search for water, just like we did previously. We're going to search for lake, water body lake, and we're going to drag it into the world. We get this result. Again. We're going to search for landscape. Like so I fixed landscape, turn that off, we don't need it. We're going to then drag it to the side and look at what we have. And essentially it should give us similar controls to our river research for Lake going to select it and I'm not seeing the app controls. Yeah, let's make sure we play. We press G, by the way. By clicking G were able to see them lines. And I'm just going to make sure that also adding them all in the right position. And I'm thinking about the overall layout of this setup and how I wanted to for it to be. And maybe just, maybe it's just not quite enough. And also, I realized that it's not working out. Maybe it's the same issue in regards to the water as what we had before, but now that seems to be working. Now. That's fine. There's also some transition issues as well, which we're going to come to it in a second. Now though, let's go ahead and just kinda readjust overall setup. We're going to make sure we have some entrance point. And we're going to also add spline over here. Make it into a nicer shape. And I'm still thinking about the overall shape. I want it to be more curved. If you look at it from a distance a little bit, we want it to slowly her a little around the entire castle and just ended on its corner. And I think that would be the best solution for it. But again, it's all up to your personal preference in regards to this water body. So I'm just going to quickly make that though. Going to set it up over here in the corner. And I'm just wondering how I want this to be. So again, slight type of a curvature would give us a real nice type of a result. Don't want to do it too much, but just a little bit. Would it help us out? Maybe it's a little bit, needs to be a little bit closer. Something like that perhaps might need to come back to it a later though, and just an overall length type of a shape. There you go. And of course we're going to fix a lot of stuff in regards to their overall shape and setup when we're going to be doing terrain as well. So that's going to be helping us out. Later on. We're going to be doing each step individually though, and that will help us to simplify certain bits. So again, going back to this lake water body, like we are having some issues in regards to the war itself. And I'm just wondering why that is. We can see certain bits connecting it properly and our snot. And I'm just going to go down and see what is up with that. So we have options for it as well. And if we look at the water material, we have water material as is, and we also have water to Lake transitions. So what this is in-between the area, essentially, it is a River to Lake transition, so it's not exactly the same as what we had. And the river itself would have its own type of material, which again, for some reason it's not connecting to the settings that we have properly set up. So we're going to readjust them. And actually what I'm going to do is I'm going to fix it up real fast. I'm going to go all the way to our content folder. Go into the water. I'm going to just make a copy of the river material and change this to just lake or this one? Lake. So going to double-click on it and just disabled river. Essential. The main reason why we're doing this is to take this off. The main reason why we're doing this is because we want to keep the same settings for the color. Otherwise it's not going to keep the absorption and scattering colors as they are. Now what we can do is we can just drop it if we were to select the water body lake, this icon over here, by the way, we can just drop this lake into the water material in which should hopefully give us There you go. A nice type of result. We might need to do some tweaking for it and whatnot. But all in all, it's already looking pretty nice. So we can see there is some issues with the mask and whatnot, which again, we might need to fix, but for now, we definitely need to fix this transition to Lake. We're only going to do River to Lake transition if you're doing like an ocean, which would engulf the entire terrain, e.g. you would need to fix up the ocean, but it's essentially the same kind of a situation where we grab this leg transition. I'm just going to check what it is and I will need to make a copy out of this. I'm going to hit select this transition going to Control C, Control C to copy it, going back onto our content folder. Or actually we can just click on this button over here, which is a real nice functionality that allows us to go onto our last visit, the folder which was content water folder. And I'm going to paste this in and I'm going to essentially select the river itself. And there is River to Lake transition. I'm going to call this River to Lake transition to so we wouldn't get mixed up and replace this River to Lake transition like so. So now when we hover over, we can see the identical names. We're going to essentially now go into the river itself. We're going to copy both the values for absorption and scattering. And I think we can just copy this. I'm not mistaken. Copy global vector parameter values. And then if we were to go on to transition, were to scroll down, we should have the same options. We're going to paste them in. And now that seems to only give us absorption. We still need to do scattering, but we can already see that it's giving us By the change. So river too, Let's go back real quick. Scroll all the way down until the scattering, copy the value, and let's paste it in for it as well. Like so. So it's not, we might need to enable this first. Go ahead and paste it in. And it seems to give us the right results, I'm hoping. Alright, so now we need to fix this entire issue with this. And the probably the best way to do it would be if we were to just adjust the curvature of Osiris, get ourselves the entire lake to be a bit closer like so. And lowering down the water. Last value would also help us out. So let's do that. Or to lower this down to quite a minimum, minimal amount, we're going to get this result. So maybe the reason for it is being that the lake is just not deep enough and the transition is it just a little bit too small? So I'm just going to raise this up for a river or a lake, sorry. We're going to get this sort of result and it's still giving us some bizarre type of issue. I'm going to click G by the way, and just going to picks this up and doesn't seem to want to work. I'm not quite sure why. It looks like it's actually using physics that's very amplified. We're going to come back to it in the next lesson since we're running out of time. Thank you so much for watching. And I'll see you in a bit. 41. Setting up The Bridge: Welcome back everyone to building standing medieval worlds with Unreal Engine five modular kit bash course. In the last lesson, we left it off by setting ourselves up with a nice river going down into the lake. And now the leg itself is a bit misbehaving. So let's go ahead and try fixing that sonorous. We got ourselves some waves that are going way out of control. And I reckon the easiest way for us to fix that, if we were to select the lake itself, would be to go onto the wave settings. So within a DDL estab, if you were to scroll through it all on the upper section, you should have a wave settings. We're just going to disable it completely. There is a way to control waves or the entire lake, making them look a little bit more or less like a chaotic, I'd say for the liquid. But if we were to look at it, e.g. a. Gardener, water waves, we were to enable this. We could make use out of it and have control of the waves if we were to open all of these settings. Yeah, wavelength, amplitude, direction, and steepness by playing with those settings, you could, yeah, you could get some interesting waves. But personally, I would say that in this particular occasion, it's not exactly needed, especially if we zoom out and have an overview of the entire setup, we can see that the difference of the still water and the river going in is going to be quite direct. So let's go ahead and change this to none. And in turn, we should get ourselves a nice plane that's going to give us a real nice type of a setup for the water. And I think that's going to work quite a bit better for our entire area. And also in regards to this kind of a setup, we have some holes for the lake, so let's go ahead and look into what's up with that. And I think click G. Yeah, we also need to readjust the overall setup for a for this entire type of a lake area. I'm going to extend as much as I can or I can and then play around with that afterwards. And I think this is a good value. This is a good value. And maybe I'll add another spline over here. So some watery spilling out. Ready? Let's go ahead and fix that in a bit. I'm just going to make sure that we just have enough area to work with and that afterwards we're going to fix it up with just adding a bit of some thickness to the side of the wolves like that. We might even add bit of a larger brush just like that. And they, we go, alright, so we're going to get ourselves some nice thickness. We're now going to be able to also accept the edges if we have a look. Okay, so they adjusted themselves. Let's go ahead and fix those. We're going to go onto the material for the lake. So this material instance, we're going to open it up and search for mask and play around with both of these values have pink if we were to lower this value over here. Yeah, there you go. We should be able to fix it and that's pretty much it. Actually, I'm not going to touch it more if it's not broken, don't fix it essentially. But yeah, we got ourselves a nice setup already. By turning this to negative value seems to help. And I'm just making sure that everything is nice, especially on a transition over here. Sometimes this ends up breaking a little bit. So over here, there is a bit of a broken point, but I'm actually I'm wondering if I should be fixing it or not, or maybe you know what, I will leave it as is because we are going to be adding some rocks along the side of the shore. So that's not going to matter too much for us in particular. And I'm just wondering how we should wrap in regards to the bridge over here. Because we do need to set ourselves with a nice bridge on the side. So we're going to do is we're going to go onto landscape, makes sure that the flattened tool is being used to kind of get ourselves a nice type of a bridge area. Think something like this. We're actually going to go back onto our assets and set ourselves up with a bridge. So for that, we're going to need all of these assets like so we're going to just make a duplicate of it and start setting it up within our own area. Or alternatively, what I'm going to do is actually I'm just going to delete it and bring it in manually myself. I'm going to search within this area, going to open it up. And there you go. We've got to sell us all of the assets over here. I'm going to increase the grid all the way to 100, going to grab all of these pieces. And it should give us nice results. And I'm going to kind of separate them to start off actually like this. Just so programmed to not get in the way. And I'm thinking what we can do is, for starters, let's go ahead and just add them onto one area. Like so. Essentially we want to construct our own bridge at, but this is a very simple type of a bridge, so we'll want to make sure we just work with it. Let's go ahead and just simply write some nice base for it as well. Like so. Again, because we're using the napping to grid, it's actually going to be super nice and nice to work with. Something along those lines is fine. Putting it over here is also fine. And maybe something along those lines over here. Wondering if that's actually quite alright or not. I might extend it after a bit. But just seeing how it looks like actually really helps. And I'm going to lower down the grid snapping just to help me out to reposition this. You extend this a little bit though. A little bit too much. I'm not quite sure. Or maybe I will actually just make a duplicate out of it and kinda squish it in a little bit, like so. Just a little bit just to offset them each. Just like that. I think that's still okay. Is it going to be visible? Is going to be alright. There is a bit of a seam, but I'm probably going to be okay with that. Wondering how this looks on both ends. Yeah, I'm quite okay with that. I'm quite happy with that. Let's go ahead and use that. I'm going to actually make a duplicate out of both of them and put it on the side. The reason we're setting up the bridge is because the next step is going to be actually making sure that we form this entire bridge. So yeah, that's going to be another thing to work on. And it's actually going to be rather simple. We're going to go over the basics of modeling toolkit within blender and get ourselves a real nice type of a setup part of this. But for now, of course, before doing that, we're going to get ourselves a nice type of bridge to begin with as a starting point. Essentially, we want a bridge that has nice setup overall. So we got a couple of lion heads is going to be some terrain at the front and terrain other bag and that's already looking pretty good. I'm just wondering about the main pillar. So these pillars over here or they needed RT naught. We had another pillar over here somewhere. I think it was lost within this. I'm going to delete it actually. I'm just going to make sure we don't have any of the additional meshes in case we get messy type of results. And I'm just setting it up and making sure that everything looks nice. Putting this inside like so might look good. This might not look good. Or alternatively, we can actually make use out of them to set it up for the base over here. I think that's actually yeah, that's looking much better over here. Let's go ahead and make use out of them. Like so. We're going to put them all the way at the back as well. And essentially, we have ourselves a nicely symmetrical type of a bridge, all because we were using symmetry. Let's take this entire bridge and put it into the river to see how it looks. I'm going to select everything or actually I'm going to go on to the, you make a good selection and just deselect everything. That is not part of it. Now seems like I have an issue where it is still selecting something. I'm wondering what that is. It's probably the water selection, so it's giving me some issues in regards to that. There you go. Wait to make sure we deselect that actually in the same area as the water body. So we can see over here on the side view that there is the water zone. So I'm going to make sure I deselect that. And now if I click f, it should zoom in right into my group. So I don't quite like that the way this water zone, water body is done and I'm going to go into the war zone. Or actually sorry, I'm going to go back into the normal type of terrain view. So I'm going to check a water zone. So I'm going to click G. There is a water zone all over this place and it's going to give us extra complexity for us. So I'm wondering if we can just simply turn off the visibility within the render. If that would work, That won't work because it will turn off the entire thing in this area. So we're going to need to work around with it. And every time we make a selection with this around, we're going to essentially go on to the square on the review itself. And if we click G, we should be able to see it over here. So yeah, let's just make sure that every time we just hold Control and de-selected. Now I'm wondering if I can just click on this eye over here and that will help me with that. I'm now going to go onto the top-down view and see if it works. So I'm going to click F, select this entire thing and click F. And that's going to obviously do the Skybox. That's also going to do this sort of thing. So yeah, just make sure to click on the waters on the eyeball and it should give us a fixed. Although you can see that the water right now it's not visible, so it's just a quick fix and no, Not at full-text. However, if we were to click Play, this visibility is still going to go back up and we should get ourselves a nice water to go for. So yeah, Essentially, this is kind of a downside because we can't see it in editor. So use it on your own accord, whichever you prefer, you can either just go and deselect that as an additional war or hide it out of the way completely. And we're going to move this all the way to our area over here, trying to figure out how that's going to look like for the bridge. Something like that. Perhaps. Ideally I'd want to be a little bit more to the left actually like over here. That would look like a nice area for a bridge. Something along those lines so we can actually sculpt it around a little bit. Based on that. Let's go on to our landscape mode. And I'm going to lower the brush size quite a bit to have a little bit more control over it. And just kinda get ourselves a really nice type of setup for the water. Something like this. If we're getting too sharp of an edge is we can go to smooth. And essentially what this loop is just smooth out the edges a little bit like. So just tap it a little bit and you should get much nicer, smoother transitions like so. And I think actually with a smaller brush size, it might even work better as it will help us to kind of get a cell. It's nice. Shorts, Just like that. We're not worried about the shorts themselves though because we're going to come back to them when we're adding some bits of rocks and pebbles and whatnot. I'm just making sure that all in all, it's a nice overall type of shape for a river. And yeah, that's pretty much it. Then the next lesson we're going to continue on working with this bridge actually and set ourselves up with a modeling toolkit. So thank you so much for watching and I'll be seeing you in a bit. 42. Deforming Bridge Using Modeling Toolkit: Welcome back everyone to building, setting medieval worlds with Unreal Engine five modular kit bash. In the last lesson, we left it off by centering ourselves a nice bridge on top of a river. And now we're going to continue working with it and actually make use our modeling toolkit. So far as to do that, we're going to make sure to enable a self modeling toolkit mode. And right now if we were to click on selection mode and get ourselves all the tabs, we're going to see that we should have ourselves modeling toolkit. We're not having this, just makes sure to go on to the edit mode, go to Plugins, and within here, search for model or to search for modeling. So we're going to find ourselves modeling tool editor mode. And essentially just make sure that this is enabled and then afterwards, restart your engine. And once you're done with that, you should get yourselves the modeling toolkit mode. So if I were to click on it and enable it, we'll see that we have a bunch of options to work with. And when I'm working with it, I personally prefer to turn off the content browser itself because otherwise we won't be able to see as well in regards to this entire tab. So I'm just going to close it down and you can see all the options that we have. We can even scroll down and see even more. And there is essentially a lot of different tools for us to make use out of. Some of them are made to e.g. courageous simple primitives. Hours are made for beating up certain workflows. And there, there are some that actually help us out. If e.g. we were to use something like photogrammetry or scan data to clean up the meshes. But we're not going to go through them right off the bat. There's a lot of options for us. We're going to start off by making use of the tool kit and getting ourselves nice information for the bridge right now are bridged by default is quite a bit straight. And if we want to set ourselves up with a nice castle, I think it's a little too rigid or this occasion. So we're going to go ahead and fix that. We're going to select this entire bridge is currently in grouped form, which I think should still be okay. If were to scroll all the way up where it says create, underneath the Create tab, we're going to have ourselves merge multiple meshes. So with this selected, with all of the pieces selected within it, we're going to click Mesh merge. So when we do that, we're going to have couple of options within it. So it doesn't simply do it right off the bat. We have options on the right-hand side with the tool selected that allows us to specify a couple of options. So e.g. we could replace the object itself or create a new object. We can paint ourselves the type of mesh that we want, but we're going to just simply pick from input and I'll just make sure that it's static measures well. And finally, we have delete inputs, which essentially what we'll do basically, once it creates emerge mesh, it will delete the original items that are existing over here and give us merge mesh within this area. And then afterwards, at the bottom, we have options for where we want to store this merged match. So by default, it should give us a world relative or regenerating folder. So what it will mean basically is that it'll create us a new Content Browser folder and generate mesh within there. So yeah, once we're done with that, we're just simply going to click on the bottom tab. We're going to hit Accept. And this should give us a generated new mesh, which is going to be essential since we want to create ourselves deformation based on that. If we were to not do that firstly, we would get ourselves a bit of an issue when we're going to deform it because it only can do one deformation at time for one mesh though. Yeah, Essentially if were to select this mesh now and click on this button over here to go to the browser. We can see that it creates a new mesh for us, essentially as one. And it makes use of all the materials and textures that has been using before. And yeah, we're able to make use out of it and get ourselves a combined mesh of it. So the way we're going to make these out of it, his quiet simple is if we were to go scroll down a little bit within this tab, we got Deformation tab. And Deformation tab will allow us to bend this entire shape. We got a lot of options actually here. We could make use out of lettuce, e.g. or warp, I think would be better in this case as it will give us a real nice control over the way we bend our form or shape. If we were to simply select this, we can see what it would do. And essentially, if you were to look at it, it started spending the entire bridge. But obviously it's not going in the right way. So first of all, we'll need to fix this type of a bend. So first to fix that, we got ourselves a gizmo and we got a visualizers, in which way it's spending this entire shape. So we can see the yellow line going upwards like so from the default original one which is underneath, we want it to be rotated sideways. So with this gizmo, if we were to rotate it, whilst this snapping to grid angle is enabled, we're going to be able to essentially rotate this and we need to make sure that we're rotating it 90 degrees. So if we didn't do the right type of a turn, we can also go ahead and fix that or we can click Control Z to undo our last rotation for this gizmo. And I'm actually just going to increase the angle to 15 so it will snap nicely like so. I'm just making sure that it's set as 15 as 90 degrees. Perfect corner. And yeah, that looks pretty good. After we're done with that, we also have couple of options to use. And by default, operation type should be set already as Ben, which essentially would give us a nice type of a bend forward information. Then we have upper and lower band, which will essentially control where the band will start with an a mesh. And these can also be controlled through to visualize this over here. And if you're not seeing the visualize this just makes sure that you have this enabled from Joe visualization. Like so. If these aren't, we should be able to see the ones angles or corners. And essentially if we were to drag this all the way down, e.g. we can see that the band only starts later on. So yeah, essentially, I'm going to click Control Z and by default it should grab the entire mess, but entire match. But just in case, make sure that these are long enough for your entire match. And I'm going to click Control Z. But again, this should already captured the entire mesh already. And all we gotta do now is essentially control the band degrees. So we can just use this to bend ourselves in a different shape, like so. If you want it to bend it the other way around, by the way, you'd have to rotate this entire gizmo around and that would give you a bend to the other center, whatever way we want it to bend it just lightly, just a little bit like so we don't want it to bend it too much because otherwise, all the textures within this type of a tile set for this tone of who would get warped and it wouldn't look quite as nice. So something like 40 degrees, I reckon, will do as quite well. We can check from a distance by clicking one. We can go onto our default camera and see if it would actually look good. And I think it does look quite nice. So let's go ahead and hit Accept. And then we should get ourselves this sort of a result. So it's looking quite nice for us, but we now need to fix ourselves in regards to the entire river, we can either make this brush a little bit larger and can expand it on the side. Or alternatively, I'm thinking that we could just make the entire river a little bit broader. I'd say less of a wave and I think I'm going to do that instead. Well, firstly, reposition my entire bridge within the selection mode. I'll reposition it now to perhaps be a little bit closer. I'm going to go onto the camera view. Yeah, we'll need to set it up a little bit closer, like so I think that would be better. Overall. As it would be much closer to the entrance of pink, it would look much nicer. So somewhere around this area. Now we can finally start tweaking and readjusting the overall shape of our river properly. So we're going to go onto the landscape mode. And we're just going to start just kind of getting ourselves using the flattened tool and making sure that we are within layer one, which by the way, to make sure that we're not using the water layer. I'm also just going to lock it down. Although we're not using this at all, It's better to just leave it as is. Otherwise it might cause some artifacts for the river itself. So what are we going to do right now is just quickly fix this river, which going to use this tool to get ourselves a nice shape for the river, like so. And that's going to be quite alright. And for the bottom, if we of course need to fix that up as well. So I'm just going to use a smaller brush size to carve out. This entire area is going to be quite alright. And I'm not too worried about the overall kind of artifacts were getting in right now. As I can fix that in a bit. They already I'm getting some artifacts on the river as well. Again, also fine. Making sure that I have enough of wave for the bridge is sensitive to be touching this corner over here. And I'm also going to drag it down as you can see that it's not exactly matching the top section. There you go. I'm going to make sure that it connects nicely to the pavement, to the ground itself. And now we're going to go back onto the landscape and slightly tweak out these values like this, making sure that it's not completely straight all the time. Just making sure that we're getting some bit of that extra like so. I'm just looking at it, seeing if it works out well. It works out quite nicely. But I will say that I'll need to readjust the river itself as well. So I think I'm going to do that real quick and actually make the thickness of the river just a little bit thicker. I'm going to increase the brush of the size for a flattened tool and start just digging it out like so. Again, I'm not worried about artifacts too much as I can adjust them in a second. So something like this is a nice curvature for the overall section. I'm going to now use Smooth Tool to kinda quickly it just smooth out this area and making sure there are no artifacts on edges like so. And I think that's going to give us nicer. Options. We could change up the brush fall off as well, by the way. But personally, I like to have a little bit of that extra control for when I'm making such a curvatures. So it's all of their preference also the brush follow-up is being affected by the brush size as well. So keep that in mind if you're working with this. And I'm just going to go between those two and just lightly re-adjusted to the way I want it to be when this to be sticking out a little bit more. And that's going to be quite alright. And all in all this is good. I'm going to now go onto, back onto the selection mode and readjust his entire section for the curvature of the water. So something closer to this would be better. And that's going to be quite alright. Now we're getting some artifacts over here briefing. That's okay because I'm actually yeah, I need to fix up the depth of the water as well. So I need to do that. But I'm just making sure that the overall line for the river is actually right in the middle. And I will adjust these values over here, just kinda ease off between the lines itself. Use those ends. Fixed over a line, making sure it's nice and smooth because it's also affecting the flow of water as you can see over here. So we got to make sure that it's nicely set up in regards to that. And yeah, we're going to definitely be fixing this area over here as you can see, because it's a short, shallow water, it's actually going to give us a really nice type of a blue tint. But it really depends on the type of a water that we're getting. And because we're now using such shallow waters is actually I wouldn't like using it on a gradual slope or echidna would be a little bit too much, but getting some lines, a bit of a tint or blue, I think it works out real nice. But let's go back and fix this up real quick. In regards to that overall depth of the water, I'm going to go back onto the landscape like so. And I'm just going to go under water real quick just to see how it looks. And yeah, it definitely needs to be flattened out a little bit more. I'm just going to do that real quick. Like so. Just making sure that a bit of it is visible and something like this will work. I'm just going to check the top. Needs to be a little bit fixed, but just a little bit, I'm just going to gradually that **** on the side like so and it fix it like so. Then afterwards I'm just going to make sure that it gets flattened out. So I'm making sure that I know that on the right-hand side there was a little bit more depth, so I'm just making sure I'm using it and dragging it from one side to the other, essentially flattening it out. So I'm not going to mess around too much in regards to that anymore. I'm going to leave it as is perhaps I'm just going to cut off this corner a little bit as well. And we can spend as much time as we want to on this edge, but we're also going to be adding some rocks on the side as well. So let's keep that in mind and not waste too much of our time. In the next lesson, we're going to add a bit of a boat on the side. So thank you so much for watching and I'll be seeing you in a bit. 43. Creating Harbour Area in UE5: Hello and welcome back everyone to building, studying medieval worlds with Unreal Engine by modular can bash course. In the last lesson, we left off by setting ourselves up with a nice bridge that has a bit of a curvature to get ourselves a nice aesthetic towards overall Saturday or a castle. And now we're going to continue working on with in regards to the water. Before I wanted to add a bit of a boat section. But for doing that, I'd like to ideally add more of a harbor type of a setting over here because it looks a little bit too flat and everything just ends up looking quite a bit off, especially because we don't have people to be walking up the stairs or anything of that sort. Doesn't feel like it would be any sorts of boats, e.g. so we're going to make sure we have that setting set up and we're going to go on to the selection mode, back onto the selection like so. And I think we're going to start with the staircase over on the side. So for a city that we're going to simply grab some stairs and I'm just going to go back onto our setting within all the assets that we have. And I'm just going to look at the type of assets we have. We have couple of stairs over here, but I'm just wondering maybe using the stairs wouldn't be quite as good because we have some rare cases with railing and I don't quite personally like that. We have stare over here as well. And I think yeah, let's go ahead and use that. I would like to use that. And I think I'm also grabbing some other parts as well. Ideally, I'd like to get a combination of these and I Yan a larger bits, chunks of those as well. So I'm just going to grab this larger block over here and I'm going to grab a couple of those as well, like so. That's going to be quite okay. And of course the staircase. We also need to make sure that we grab them. And we're going to add tiles later on actually. So, yeah, in this particular case, we don't need to worry about in regards to the gridlock too much. So I'm just going to hold Alt and duplicate it all to the side like so. We're going to start building them up and yeah, let's go ahead and do that. I'm just going to grab all of the assets to be closer to one another like so. I'm going to position them upwards onto our section and let's make use out of them. So for starters, let's go ahead and set ourselves up on the right-hand side with some stairs that lead upwards. And I'm just thinking how we'd like to set them up. Right now, I think yeah, I think that water is a little bit too high up overall. We can totally erase it a lower makes sure doesn't look like a schist. Almost floodlight type of a reverse. So I'm just going to lower this down a little bit, like so, just by a little bit. And that actually makes this look a little bit nicer as well. So I'm just quite happy with that. And I think I'll need to lower down this a little bit as well in regards to the overall lake. And let me just see if we are getting or any artifacts which we seem to do. So I'm just going to raise it back up and that seems to fix the overall issue. And I think yeah, I'm going to leave it as is for now and see what we can do with it later on. Okay, so going back to this, we're going to have a staircase that goes sideways like so. And not only that, we can have a stairway that goes a little bit outwards in an L shape. So I'm just going to duplicate it, rotate it to the side and make sure place it all the way down into our river. So this one is just essentially going to be a little bit submerged because although it's not quite clear with the water being like this, we still need to have certain steps that are going downwards into the war itself. So that's actually going to be quite nice for us. And I'm going to actually lower down the grid to tend to help us with the control a little bit more. There you go. We're going to get ourselves this result. There is some floating stairs, but I reckon in this particular case, what we can do is we can just grab one of the blocks over here and hit the side of the wall to help us with that. So I think I'm going to do that. I'm going to grab this entire block and just submerge it underwater. And just doing it like so. You'll help us out a little bit. Just like that. I'm going to go into water a little bit and fix that up again, even if we're not seeing it quite as well. In case we were to change the opacity of the water, Let's say, are making it an angle. We could still somewhat distinguish this angle, this water, though it's better to have something and not floating around basically. Yeah, that looks pretty nice actually. Let's go ahead and leave it as is. We need to fix the landscape a little bit. We're going to use landscape tool for that. And I'm just going to actually in this case, make sure that the brush fall off is set as zero, although I don't like using that. We need to make sure we set it up to be essentially a flat surface over here. I'm going to click controls that actually. And I'm going to go to the flattened tool this time. Make sure that we're on layer one and lower the brush size. Minimum. Now I'm going to just essentially just drag it like so and fix up this surface. And I think that might be a little bit too much in regards to that. So we got to work with what we have essentially, and there's not a lot of density in regards to the terrain itself. So what I'm going to do is essentially I'm going to fix it by yeah, I'm going to fix it by grabbing a blog and making it sure is that in a square position? I'm just removing this entire section over here. And essentially what I'm going to do now is just replace it with a, this type of a block. And I think that's going to look quite nice for us. Just going to submerge it. And there you go. We're going to essentially make it, make it look much nicer this way. It's going to be quite okay. And yeah, that's quite fit with the setting off the pattern overall. And that's looking quite nice. I'm going to duplicate it, put it up to the side a little bit as well. And this is overlapping, so I'm just going to select both of them, drag it a little bit to the back. And there we go. We've gotta fix over here. And for the stairs, I'm just going to drag it to the back so it wouldn't be much of a gap over here. And this is looking quite nice. We got to make sure that our site is set up as well. So in regards to Riverside, were to move all of those blocks to the side. So we also got to make sure we start building somewhat of a corner over here, distinguishing where the staircase is going to be and whatnot. So for that, I think what we can do is essentially we can grab ourselves and our tower from this area over here and just dry it out to the side like so. And actually, I'm thinking about grabbing this wall over here as well. Let's go ahead and do that. And right now, I'm actually just going to delete them all real quick. And because I wanted to increase the scale for the grid, you 100, and this way it would give us much better results. So I think I'm just going to grab these two over here and just hold Alt, move it to the side like so, and leave a bit of a gap of an entrance over here. And essentially what don't we want to do is if you click one, we can see that it has a nice broken up part. Over here. You can see the staircase and I'm actually going to hold control and L to move our sun a little bit too, right angle. Go up and down to reposition the height of the son and keep it something in this type of a result. Alright, so now what we can do is add a bit of an extra tower, but just to make it a bit more varied, I'm going to add a circle, a terrible, actually. I'm just going to grab these couple of pieces over here. Click Control G, make sure it's grouped up. And click W, hold Alt and drag it to the side. Just like that. Now I'm wondering if it's actually going to look quite nice. And yeah, I think I don't quite like this entire time. I'm going to hit Shift G, going to see if there's alternatives to it. Going to check which ones are like. So e.g. maybe this one over here. I'm going to dock this to the layout, the overall setting for the content browser to go back onto their default layout that I like. And I'm just going to rotate them between the couple that we have. This one has no pattern at all. This one has a pattern on the front and the back. And I think that's actually the one that we're going to use. I'm going to rotate it slightly though, just to get a pattern in the corner and no pattern on the inside walls essentially, because what I wanna do is basically, I want to have a bit of a ball going to decide as well. I think right now I'm just going to get open type of a wall which goes this way over here, something like that. I'm going to keep it open as we essentially want to build couple of extra items over here and have a nice alleyway or the roads. I'm not quite sure how large that is going to be. And we might even want to have this entire section moves a little bit to the left because I wanted to have some space for housing. I'm actually just going to make sure we grab everything to the side. Like so. And yeah, that's going to be quite alright. Again, we're going to come back to this in a bit. We need to make sure we keep this open in regards to the spacing because we're going to readjust that. But we're going to start building the Alloway over here. But for now though, let's go ahead and just make sure we have ourselves a nice entrance in regards to the side of this harbor. And I'm thinking we can just grab these couple of stairs over here with the yellow that we have. We're going to hold Alt, drag it out to the side. And this, in this particular case, I think we can drag it up a little bit. Let's say they go something like that. Maybe I'm going to rotate it this way. I think that'll look, look much better. And looking at it from the main angle, we can see that we'd have a nice shape for the stairs. And it's going to be quite alright. And of course we need to go back on the landscape, fix this up real quick. We're going to just erase the land a little bit over here, just like that. And that's going to be quite okay. And for this area, I think we'll need to set ourselves up with some nice type of a transition. I do want to have a bit more of a platform because there is quite a bit of white coming from this tower over here. So I think we'll need to set up with moral foundation, reckon in that regard. So let's go ahead and use this type of a pillar. I'm actually going to use a longer type style Stonewall. So for that, I will replace it with a longer one. And actually, I think we're just going to continue on with this in the next lesson. So, yeah, thank you so much for watching and I'll be seeing you in a bit. 44. Finalising Harbour Environment for Castle City: Welcome back everyone to building, studying medieval worlds with Unreal Engine Pi modular kit batch. And this is where we left off last lesson. We pretty much got ourselves a nice area over here, set up, and now we're going to continue on with the harbor and get ourselves a bit more out of this over here. So we're just going to move it slightly sideways to make sure that it's aligned properly edge of the stairs. And they started off, I think I'm just going to lower down all the way like so. And I'm going to check how this looks. Overall. I do like the way this is, but I'm just going to lower it a little bit lower, making sure that the grid is set as a bit of a smaller angle. So that's going to be probably better just like that. And we're also going to need to make sure that it's a bit more consistent in regards to the foundation, as we talked previously, this weight is not going to be supported by the tower, the tower way that's not going to give us enough for the stability of the terrain. Soft pink, we can replace the overall area over here. And yeah, that would be quite nice actually. Let's go ahead and do that. Although just looking at it, we might want to drag these out a little bit forward. If you click three or sorry, if you click one, we can see that the camera is looking quite nice, but I do want those couple of stairs to be seeking out a little bit out of the side of the house. So I think what we're going to do is we're just going to grab this entire section and just kinda stick it out just a little bit like so. And that I think will look better. Overall. We're now going to grab this entire foundation and put it up to the side. And in regards to this foundation, I'm just looking in what kind of pattern for so I want to have if I wanted to be this way or other way where it has less type of beams are seams. And I think I do want to rotate it mainly because it has a thicker type of a look and it looks a little bit stable overall. And also, we're probably not going to get a little bit too close to it. So we got to prioritize in regards to how it looks more from a distance from shore when a character is standing from here, e.g. how it looks like from the side. And when we're going down away or something of that sort, we're not going to be essentially looking at as well, even from the other side. I don't think it's going to be quite as visible from here. So all in all I think I'm going to use those figures type of beams. And yeah, let's just make sure that we have it closer and I'm just wondering what we should do in regards to the height of this area. And if we should lower down, I just want it to be slightly above this area over here. And I'm thinking that maybe we could even increase the height. I do want the stairs to be a little bit more visible over here. So yeah, I think that's what we're going to do. Actually, we're going to increase the overall area of this section for the terrain just to be a little bit higher, like so. And I think that'll work out better overall. Plus we have more work, more area to work with in regards to this foundation over here, which I think we can make use out of it. And for Saturday I'm just going to drag this out a second one over here. We might need to replace the dough with a shorter one. So I do have a folder open. If we're done, we can click on this button over here and change this one to a shorter type. I think that might work out quite well as well. Now as for the landscape itself and has go ahead and just flatten out this area over here. Let's remove this terrain like so. And I think that's going to work out quite well for us. Then I'm thinking, what can we can do in regards to this tower itself? And perhaps I want to ideally make this tower a little bit close again, I'm not quite sure in regards to the house situation over here, how I'm going to do it. And thinking that maybe a couple of houses, couple of areas will end up actually going on top of the walls and we're going to be able to fix that later on. So for now I think I'm just real quick going to drag one of the smaller houses on to the side just to kind of see the thickness of how it is and to see if it would actually fit in within this area over here. And just looking at it will be able to more visualize this overall area. I'll put it sideways like so. We can have a nice kind of a setup. And I do like the way this is laid out. Although I will say that we can probably, if I were to group these up, I will group this tower up. So we'd have more control over when we select them. And I will move actually all of them a little bit closer like so. But I don't want that to affect this overall area, as in I do want to add this Alloway to be quite wide, to have some area of one side. And essentially you allow us to walk past this area. So afterwards at the end of this Alloway, if you look at it, we will want to have some stairway to go up onto the upper section of the castle. So in regards to the thickness of this alleyway, if we drag our character, we can see how wide it is. We have the character at the very start, at the very front of our gate to drag it onto the Alloway now, and again, we're not going to touch the alleyway Just now. I just want to have a general idea because we do want to figure out how wide this area has to be for the front of the walls. And yeah, ideally, I think I'm just going to drag it like so. Have a look. I think that's actually pretty good. And this house, I will move it a little bit more to the back, but now it's all split up. So if I'm not mistaken, this house should be within a folder. We can right-click on the folder, and I'm just going to select the, select all descendants of that folder and it should give us the right selection. I didn't work out not sure why. I'm just going to click on the folder itself again. Go into Select all descendants. There you go. Now I'm going to move it backwards just a little bit, like so. And I'm thinking that even I'm going to drag it all the way down like so. That's actually going to look quite nice. I'm wondering in regards to the doors, how wide they are going to be and whatnot. So if we look at the size of this door, right, alright, I think we'd be able to fit in. I adore over here at the very bottom. Maybe I'll just ended up like so. Yeah, that looks quite right. Quite like the overall design from a distance. It also looks quite nice over here. But now I will, I will actually make sure to get it a little bit higher. So the beam would be just above the other one. So although they're not touching, I think there's still quite okay In regards to that. And actually, you know what, I will make them to be touching. The main reason for them you touch is 0. The beam over here is going upward, so it's not actually going to work out quite as well. So the alternative for it is probably copy a bit of a roof and then attach it to the side. I think that will work out the best. Let's we don't we're going to do that actually real quick. I'm going to make a duplicate out of one of the sections for the roof like so. And I think that's a larger one. There should be a variation of a smaller one. It's going to look, and there you go. That's the smaller repletion, replacing that with the small one. And I'm just going to make sure it is straight, which is not for some reason is because the angle is set to 15. I'm going to set it to five for snapping. In. There we go. Alright, so now I'm just going to make sure that this entire roof section is like that, but I don't want it to be going over it. So I'm actually just going to lower it down, something like so. And probably push it inside. Heel down even or no, in this case, it's not going to work. Essentially, what we want to do is we wanted to make sure that the roof looks like it's going inwards to the very end. And I'm just making sure it has that sort of a look. And I'm probably going to move it to the side and that might actually work out as well. Yeah, it's not perfect, but it's such a small area, but from a distance you can see them connecting and they look like they make a little bit more sense than regards to that. And that will increase overall section. So I'm going to right-click and select all descendants, going to increase this house just by a little bit. Like so. Actually, I'm going to increase this a little bit. But the section for the smaller part, because we duplicated from the original area where it was within a folder from the original house is going to be selected as well. So I'm just going to lower this back down and that's the type of a look we should be getting, which is quite nice. Alright, so going back to the harbor, we don't need to add too much of details, but ideally, we want to make it kind of break up the surface a little bit more. So what I recommend you doing is also just select this and kinda hold alt, duplicate it, and then bring it forward is even, let's say it goes so it has a bit of an extra layer underneath. Although this might not look so good in this area over here. What we can do is simply lower this entire section a little bit more. And this will hide this area over here. So think all in all this looks quite good. As for this section, we can just extend it a little bit, like so. And I think that will look quite well for us. We're just making sure that there's no gap over here. Which makes it look quite nice. And for now I'm also just going to clean up a little bit in regards to this section over here. So there wouldn't be any terrain areas or STC that are overlapping with the main area with the main parts of the houses and stuff. We're going to delete these chunks right now. And I was thinking about using the smaller ones, but in the end, just seeing these, I think is going to look quite right place next to the water, the wood would end up quite rotten. This one is quite okay because it's constantly moving is going to be nice, wouldn't type of wheel. But if we were to be constantly submerging it within a water, it might not look like it's a nice kind of a setup, especially with those foundations that we had previously. So I think that's actually turning out to be better in regards to that. And perhaps we need to increase the landscape a little bit in regards to the height. We're going to of course, a fixed that up later on once we start working with the other side as well with the main type of a Alloway over here. But I'm just going to drag it out across the level terrain so we can work on that in our future parts. And I'm just going to level this up a little bit like so. I think that would look much better, but we need to raise the houses. I'm just figuring out what we need to do. And I think what I'm going to do in this particular case is I'm going to raise it up a little bit next to the walls over here. So this would stand out as much over on the side, but I will leave the rest as is. And I think that'll fix the issue with just overall setup because we don't necessarily need to have a more elevation over in this end. So I'm going to actually drag this back like so. And I think that will work quite well enough for us, but we do have a bit of an area over here which we can by the way, fixed by simply getting some stairs out. So again, this is the upper problem-solving we usually need to consider when designing levels. It's like if it makes sense and if it looks aesthetically pleasing and whatnot. So by just simply placing our stairs like that on the side, we'd be able to get ourselves a nice type of a setup for the overall section of our castle. Essentially. It leads down the larger part of the stairs are actually underneath, but that's actually okay. All in all I think it looks nice. So that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 45. Creating Boat Occlusion: Hello and welcome back around to building setting medieval world with Unreal Engine Pi modular kit bash course. In our last lesson, we left that off by setting ourselves up with a nice type of a harbor area. And now we're going to continue on with this and get ourselves a bit more of detail within regards to setting ourselves a nice Both over here. And we're going to be fixing this whole afterwards. So we're going to make sure that the overall harbor area is completed. And so for that for the in regards to the boat itself, we're going to go on to the measures. We're just going to search for both. I think it should be over here. There you go. That's what we're looking forward to, going to drag it out onto the scene. And you can already see the type of an issue that we're having in regards to this setup in which when we're placing it into the water, the water itself is actually going to overlap. The alternative for changing it would be if we were to raise it, it might fix the water, but it's not going to look quite as nice. I'm just going to select this over here, going to actually why it's not selecting in regards to my Transform Diego, I just need to click w and I'm going to raise it up. But as you can see, it's going to look like it's actually just on top of a war. And of course that doesn't look quite as nice for us to fix this entire issue. What we're going to do is actually we're going to set ourselves up with a mesh first that we're going to use to occlude the entire water. And it's a technique that's often used by video games and artists to get ourselves more believable type of a setup, especially with the boats when they need to be partially submerged so the inside wouldn't look quite as artificial, might say like that. So again, we're going to make sure we fix that up. We're going to select the boat and pre-service. We're actually going to make use out of the modeling toolkit to make ourselves that type of a measurable we're talking about. We're going to go on to modelling mode. And for this particular case, we're going to make use out of creation tool tab, which is going to be poly extrude. This is very nice type of tool that allows us to create custom shapes by just drawing around and then extruding it from a plane. So let's go ahead and select it. And essentially what you'll see is this sort of a line which wants to start drawing around. You'd be able to make use arrow. But first before making use out of it, actually, we're going to go onto our four panels setup so we could see it from different views. And I'm going to click F from the top-down view and should also show it from the side view as well, which I'm not seeing this type of a boat over here, so I'm not sure why that is the case. But anyways, what we need now is to just make sure we set it up for the boat. And I can see that it's actually being occluded by another mesh. So I think what I'm going to do first is before making this out of the modeling node, I'm going to go back onto selection and reposition my boat real quick. I'll just put it somewhere so it would be out of the way of everything like so in this area, I think that's going to be quiet, nice place to work with. And how we can go back onto modeling mode over here, going to click F to reposition my gamma. So there we go. We can now see it from the top-down view and from the right hand side. So what we're going to essentially do is make use out of the poly Extrude. And it's going to create a quick shape that surrounds it around the boat. Essentially. We don't want it to go out of the boat itself. So just make sure to go inwards in regards to the outliner. And it doesn't have to be super accurate. We just have to make sure that we have something that's inside of the boat essentially in regards to the shape itself. And I'm just going to go rounded just like that. Not too worried about the overall setup too much, but I just want to make sure it follow a curve a little bit like so. Once we're done by the last point, we're going to essentially click on this last type of an arrow like so. And we're going to get this result. And essentially in regards to the wave itself, I think we can just make sure that we have a certain amount of weight. We can see in the main type of perspective view that it ends up being raised or lowered based on our mouths after we connect the final dot. And essentially what we want, we just want any type of thickness. So once we see the thickness, we're going to click on it and hit complete. This will give us this sort of a type of a shape. We don't need to worry about the height of it in itself, but because essentially we can maximize the window and we can just make it short on by scaling and downwards. But yeah, we can see that this is a type of result that we're going to get where essentially making sure that nothing is going to be outside of the boat. And yeah, that's a good shape for us to work with. We are now going to make sure that we are setting this up with an occluder. We're going to go onto a static mesh itself. We're going to find it within a generator folder by clicking this button over here. Then we're going to double-click on it to open it up. And for scientists, we need to make sure we turn off all the collision. So if a character steps in it, it wouldn't be just floating on top of it. We're going to search for collide collision like so should find it over here. So Collision Presets, we're going to make sure that there's no collision for this one. And then another thing that we need to set ourselves up is going to be something called the Just to make it make sure that it's only visible within the scene capture. Only if we search for visible scene capture. Or actually sorry about that, we actually need to exit this and that's going to be done within the scene itself. We're going to search for visible in capture only. There you go. So that's the option that we're essentially going to need to make use out of to get ourselves that sort of a visible invisibility for a scene. Essentially what this will do is if we were to click on it, we're going to make the entire section invisible, ordering that I recommend you to. Firstly, have it selected. Then once we click on it, we're going to group it up with about right away. And that's probably the easiest way to do it. But in essence, even though we're making this invisible, what we're going to do with this whole setup, if we were to lower this into the water, we don't go into lower it all the way for now. Or actually we will lower this as an example. And essentially before, before taking it, making sure that it's within the scene capture, which I'm going to show you what it does in a bit. We're going to firstly, we select this and rename it so we could actually find it within our outliner. So we're just going to call this one both occlusion, illusion like so. And essentially what this does even now, when we get this to be visible within scene capture only we were to click on it. We can see that it's now completely invisible. But if I were to click on Show and go on to visualize, we can go select our sellers mesh distance field. So we can select it and see even though that we're not rendering it into our scene, we're getting ourselves a nice distance mask, which we're now going to be able to make use out of within the water setup. So we're going to do that. And to cope pack from this type of a view, Let's go back and just simply click Show and click Use Default. So this should give us back to the default setup. One more thing that I should probably do before moving on is actually set it up with both of them being grouped up with an outliner. If I were to search for boat, we're going to get ourselves a boat occlusion and the simple boat over here so we can actually just grab them both together, like so. And I'm just going to click Control G. Make sure they're both grouped up. And I'm actually just going to quickly unhide all of them just to make sure that they are the ones that are being selected. So it is, I'm going to click Control Z to make sure that I undo my selection from the occlusion. And actually, we're now going to move on and create ourselves a nice setup for this using material. So we're going to first of all delete the search bar in the details. They make sure we delete the search bars in both of them so wouldn't hide any of the objects like so. And yeah, firstly, make use out of this occluder. We're going to set ourselves up with some water that up and we're going to go select the water river. We're going to go ahead and drug scroll all the way down until we get onto water material. We're going to select this water material. And this material, this is material instance. We're going to be adjusting water material itself. And for us to do that, we're going to need to open this up and scroll all the way down, like so. We're going to see that it's being parented by the actual water material. Which if we were to click on this browse to water material, we're now going to get onto this back onto the engine folder like so. So this is the water material that we're going to be adjusting it a little bit and for us to actually make proper adjustments to it. I don't want it to be changed within the engine itself. Instead, what I'm going to do is I'm going to select this hit Control C, and then go all the way back to our content folder, which is going to be water folder over here, we're going to hit Control V. We're going to now make sure that these two are set up with one another so that we will need to make sure that we open ourselves up with the water river. We're going to scroll all the way down and simply replace if we were to find it. There you go. The parents we're going to replace the parent with this one. And actually I'm just going to rename this water a river. What was it called? It's going to be called Water material too. I think that's going to be more than enough. We just need to make sure it's separates. We split it up a little bit and that's going to take awhile to save it up. And once it's done with that, we can simply move this onto our aren't. So essentially this is going to be now controlling or material instance, which we are going to come back to how to make use out of material instances and whatnot. But now though we're just setting it up, making a quick fix to our boat and actually I'm just going to drag it onto the parent like so. Once that replaces, it shouldn't give us any type of changes other than it needs to be updating or textures. Let's give it some time. We're also going to do the same thing on the upper end as well for the leg. So I will make sure that we keep consistent in regards to the material that's being used. And so for that, we're going to open ourselves up with the water material leg. We're going to scroll all the way down like so onto our parent area. And again, we're going to we're just going to replace the parent just like that. So this shouldn't change anything over them, the assigned material, but now we're going to make use out of it and set ourselves up with a river material. And actually, before doing that is going to be a new one, new subjects. So I reckon I'm going to play a quick introduction or video to a material graph. And then we're going to set ourselves up with the masking for the boat. So that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 46. Material Graph Basics: Welcome back everyone to buildings standing medieval worlds with Unreal Engine phi modular kit bash. In the last lesson, we made a copy with a material or a water, and now we're going to make use out of the occluder that we created for the boat and actually set ourselves up with a masking that will hide away the water within the bone itself. So for our city that we're going to make material. But for doing that, I'd like us to go over the introduction video of the material graph itself, so it would be easier to follow along what I'm doing. So yeah, we're going to do that now. Then an adolescent after we're actually going to be setting that up. So I'll see you in a bit. Everyone, welcome to the Basics video for Unreal Engine in which we're going to cover the basics of materials. So for starters, in order to create ourselves a basic material, I'm going to right-click within the content browser. And I'm going to select material like so. By doing that, we're able to create a cell, some material and we can at the same time renamed the material. So I'm just going to call this material like so. Click Enter. And then I'm just going to double-click on it in order to open ourselves up with a material graph. But this is the thing that we're going to spend most of time tweaking and adjusting the material which will be then applied onto her assets. Maximize the window itself. I'm going to go ahead and click on this button over here. Like so, which will expand this entire window and make it a little bit more clear on what kind of content it has. Most of the screen is covered with a material graph, which will allow us to add nodes onto it. If we were to click and hold right-click, we're able to pan or view around within it. If we were to use your mouse wheel, we can zoom in and out. And finally, we can make use out of it to click and tap on a node using our left mouse button. Currently, we only have one node. This is the one where we connect basically all of the information for a material. It will contain all the necessary inputs for a material. If I were to zoom in, we can see that we have base color, metallic specular, roughness, and so on. Some of the material inputs are not highlighted in the same way as the other. And the reason being is that based on the type of material setting that we're using, we're going to be able to have different options for it. So by default, e.g. we're not able to use opacity. We can change that through its properties tab. Speaking of properties, if we look at the bottom left-hand corner of the window, we can see that we have Details tab. The Details tab will show us all the options of a node based on the selection that we have. So currently we have the material result node elected. And this will allow us to see all of its properties. So e.g. I'm not going to go too much into it. It has quiet a lot of advanced options. But e.g. if we were to scroll down using this bar over here, we can see a lot more options. And I'm just looking right now for being called Blend Mode. If we were to change this from opaque to mask, e.g. we can see that the opacity mask gets enabled, allowing us to make use out of it along the other material inputs. I'm just going to real quick go back from Mac to opaque, like so. And continue on with the overview of the material graph. On the top left-hand corner, what we have is we have a preview of the material itself right now it's currently set as a bowl. If we were to hold the left mouse button and move around, we can see it rotating. So by using our left mouse button and we can just rotate it around. We can use our mouse wheel to zoom in and out, like so. And we can use our middle mouse button to pan around this type of camera as well. So it's a little bit different in comparison to material grab controls where the right mouse button is the one that pans around in this one, using middle mouse button allows you to pan around like so. Then we also have couple of useful options on the bottom right hand corner, which allows us to change between assets like so. We have a cylinder, we have a sphere, we have a simple plain YouTube as well as we can also set ourselves up with a custom type of a mesh which we currently don't have. So I'm just going to click continue as is, and move on. I'm going to go back onto the sphere. And also we have options for the type similar that we could see within our game view port, which is we can change the mode to be unlit, e.g. to see only the base color. We can also change the show to allow us to see grid e.g. or to disable the background completely, to not get distracted while working on our material. Then we also have perspective which will allow us to change the camera view. And we also have Viewport options, which again is similar to what you would see within the viewport itself and allows us to keep it real time to change the field of view and options like this. Again, I'm going to leave them as is nine, 9% of the time you're not going to be touching them. As the default viewport will allow us to see the material we're working on just fine. Now we also have a toolbar unique to the material graph, which are located at the top section. We have applied, which will allow us to apply all the settings directly onto material and update our mesh that we have applied that material onto. We also have searched, which would allow us to search the node. What a specific type of an item clicking Home will allow us to get back onto our result node. We didn't have a hierarchy which would allow us to work with more complex types of shaders. We also have live update, which would allow us to get real-time update for our game view. And the one that we'd like to remember the most probably out of this entire bar is going to be clean graph. If we have a big mess in our material and some of them aren't, some of the nodes wouldn't be even used by clicking on clean graph, you'd be deleting them, but just make sure to make use out of that when you know that the material that you created doesn't have the nodes, unused. Nodes that you're planning to use later on. Previous state hide unrelated stats and platforms that all help with a more in-depth information for when you're creating material. But we're not going to be using them much often. But let's not get into that too much. Speaking of stats, we do have stars at the bottom bar by default, it will show you all the necessary information, such as the amount of shader samples that is being used and shared accounts. So we'd be able to tell how heavy it is and performance. Alright, so going back to the material input node, based on the type of input we're placing into these values, we will get different type of results. And the ones that we can have options, the basic ones is, if we were to right-click, we can search for all of the nodes that we can add onto your material graph. And I'm just going to search for constant. We can see that we have constant, constant two vector, content-free vector and constant for vector. We're going to talk about that in a second. But nowadays I'm just going to select constant like so. And we can see that we get this sort of a option which essentially will allow us to change the value of our nodes. If we were to directly plug this into the base color, we can see the direct results of the material. It takes a bit to load up, but we can see that by default, the value 00 will give us a black type of a color. However, if we were to change this value to A1 by clicking on this type of a value over here. Or alternatively, if were to select this node, we can see that the detail step has now changed. We can change the value over here. If I were to click on this one and change this to a value of one, like so. We can see that the base color has now changed to be a completely white material. One thing to worth knowing is that everything on a node, when it's going to be on the right-hand side, it's always going to be an output. And when it's on the left-hand side, it's going to be an input. So right now this is an output. I'm able to click and hold left mouse button and connect it to a base color or e.g. I. Could connect this to our roughness value, which will make this completely rough and no glossiness would be applied onto this material, making the material look quite flat. And this occasion, once working with these notes, you need to consider that also. In order to move them out of the way. You can click and hold Control and holding left mouse button you can and drag it out like so, tap on the screen and then release it. And that way we're able to remove the float value completely from the node graph. And one more thing to also consider, you can make use out of it in order to switch up the values. So e.g. if I were to connect both of these two roughness value and the base color and I want them to be onto another value. What I can do is I can click and hold one, tap on the screen, get myself a new value. And now while holding Control, I can tap on this. And now both of these connectors are going to be reconnected when I release my left mouse button. So now I can see that they go 1-0 and it turns my base color your value of zero and roughness the value of zero, which in turn makes this quite a shiny type of an object. Now, going back to the vectors, if I were to delete this one, e.g. if you want to get ourselves a different type of color, what we can do is when we hold one and top of the graph, we can create a cell as a constant, 1.1. We hold two on a graph and tap on the screen, we can create ourselves constant vector two. Then finally, we can click and hold and tap on the graph and create a cell is a constant vector free. But this will mean is that L attached to values at once onto constant vector 2.3 values at once on to constant vector free. However, if we look at outputs, that is Gibbs, is, it's giving us three different outputs within this graph. What this will mean basically is that one output will combine them both, while the other one is going to give us a value for x. And the third one is going to give us a value for y. The same applies to a constant three, whereas the first one is going to be a combination of those three. The second one is going to be read, which is going to be a value of x. The third one is going to be green, a value of y. And finally, that is going to be a last one, the value of the blue output over here. By the way, in order to move the graphs, if we were to click and hold on the top section, we can just simply move them around like so. And now what's interesting about X, Y, and Z is that each one of them have the color value assigned to them. So as I said before, x is going to be read. It's always going to be read in a Unreal Engine software. And what this will do is it's also based on the 3D space. So e.g. if we look at this bottom left-hand corner of our preview sphere, we can see that the Z is going to be going up and x, y is going to be going forward and sideways like so. But this value is not only help you to get more additional information and also represents a three-dimensional space. And not only that, if I were to change the x value, e.g. 0-1, we can see that the entire color changes to red. We can see this within the preview bar over here. And if I were to connect all of these values like so onto our base color, we can see that it changes the entire material to be read. So what's nice about it is that by just simply combining these values, we can simply get ourselves complete different value to our material. So by changing this to a 0.5 and e.g. changing the y value to a bonfire as well. We can see that we get this sort of a result. I will change these to one, e.g. you get brighter. And by changing them to a higher value, we can see that it gives us a brighter type of a color as well. And by having these x and y values present both of them at once, we can see that it combines them and changes the color completely. But we can make use of these float values to actually get a custom color out of our material. We can also make changes out of this using a color picker by clicking on this constant option over here. First of all, let's go ahead and make sure we select the float, the node value. And now we can click on this box over here. We can see that we get ourselves a color picker. Essentially, yeah, we can change the color to any one we want. So e.g. I. Want a blue color or a pink one and we can click Okay, and we're going to get ourselves a pink type of a material. Now that we're done with it, I'm going to click clean graph like so. To clean up my unused nodes. I'm then going to click on the top left-hand corner, click Apply to make sure that my material shader is being applied. And if I were to close this graph, we can see that material has been made. Basically we can create ourselves a shape. Let's go ahead and create a sphere within our world. I'm going to just simply click and hold and then drag it onto this object like so and get this sort of a result. So, yeah, that's pretty much it in regards to the material setup. That's all it takes in order to set ourselves up with a material. Alright, I hope that video was informative. Thank you so much for watching. And now let's get back on with the material graph for the boat. I hope that the video has been helpful and thank you for watching. 47. Tweaking Water Material for Boat Masking: Hello, Welcome back everyone to building, sending medieval world with Unreal Engine five modular kit bash course. In the last lesson, we left it off by familiarizing over with the material graph and how to make use out of it. And now we're going to set ourselves up with a mask, the occlusion of a water. We already have ourselves a nice mesh setup. Just as a reminder, we're going to basically go on to visualizer and go on to measure since fields and essentially we create ourselves a mesh that we'll be able to, we will be able to make use as a masking. And by default, the war itself doesn't have the setup for the masking itself. It's not quite functional yet, so we're going to manually set it up for yourself. So yeah, let's go back onto the water graph. Like so. If we look at it, it's already set up really nicely for us to make use out of. We already have a bunch of different settings, so a bunch of different comments for us to go for it. And yeah, within this area, we got a section called a masking. If you look at comment that says masking over here, and if we look at it, there is a material function. I'm not going to go too much into depth with it, but it has some inputs. It has outputs and essentially it already has a naming for additional water mask. And we're going to make use out of this default value over here. And essentially, what we're going to do is we're simply going to make use out of distance field. So for us to do that, we're going to right-click and search for distance to nearest surface. So essentially this is going to grab us that mass that we've been talking about before in regards to how it's being visualized. And then afterwards we essentially need to grab this and sort out with in regards to the multiplier value. So we'd be able to make sure that the intensity for a mask is a bit higher up. And so, yeah, for us to do that, we're just going to grab it outwards like so search for multiplier or actually easier way would be to just simply hold em and tap on the graph and simply attach it to the a section like so. Now we can go ahead and attach this to additional water mask or actually no, we need to before doing that, we need to saturate the value. So essentially with a saturation would do is it will essentially clamped down a value 0-1. And yeah, by making use of this, we essentially are able to multiply this entire mask and then clamping down a value, essentially allowing us to increase the contrast of the overall masks. And yeah, For us, we need this to make sure that the intensity of a mask is a bit higher. Soda would actually hide everything that this instant Earth's surface is seeing essentially. And so for a multiplier, we're going to set this to a value of two and that'll hopefully give us the right results, which we might come back to it in a bit. But now the rehab ourselves, the entire setup ready, we can connect it essential to additional water mass. We can ignore the water depth. It's not as relevant for us. And if we were to apply this entire thing by clicking on the top left-hand corner, clicking Apply. We should essentially see that the entire setup is now ready to go essentially. But let's go ahead and see how that looks. So it's currently preparing the shaders. Let's go ahead and wait it out. And it doesn't seem to work with the boats. I'm just trying to figure out why that is the case. I'm actually going to search for both collision real quick and ungroup this entire section. Going to select the occlusion and see how it looks like without the scene capture and we might need to drag it down or I'll try to move it around and see what's up with that doesn't seem to want to work. I'm trying to figure out why maybe it's because of the scale of it. So increase the scale a little bit like so. Now it seems like it is being affected on the side, but we're having a couple of issues. So let's see what is up with that. And we seem to be getting the effect on the corners of our areas. So I think what's happening is it's because when it's next to the shore, we're getting near shore mask and we need to fix that up right away. Actually. What we're going to do first, we're going to select back onto the river. We're going to search within the river material or actually go into the material itself. Let's go into the water material instance like some within the masking area, we're going to actually, we're going to search for mask like so and get ourselves these options. And I think it's actually going to be water mask opacity. Let me just go ahead and test it out. And yeah, that seems to be the case. So it seems next to the shore the highest value we have, the closer to the shore we're going to get for this type of a mask and for that reason I'm just going to increase it to a value like 500 and that should fix the issue. Now we can move this around, this occlusion around. I can we can see it all the way across the river and I'm going to see what kind of error that caused us. For starters, I can see that this entire section is broken off and I'm wondering why that is. Perhaps it's because it's using a different material at the moment as a parenting setup. So I'm just going to check that out real quick. I'm going to go ahead and check the River to Lake transition because we can see that the lake over here is nice and the river is nice, but a bit in-between is what's causing us to issue. So River to Lake transition, let us go ahead and open that up and see what is up with that doesn't seem to want to work for some reason. So I'm actually real quick just going to change that. I think it's because we're using two different materials now, it's causing us issues. We need a nice transition between using one material. So let's go ahead and just simply replace the parent and with the water and material and see if that works out. And there you go. That seems to have fixation. Again, it's all really finicky and whatnot. But all in all, this is, remember that this plugin is within a experimental state. And actually, I'll be honest with you, it has been an experimental stage for awhile, so I'm not sure what they're doing with it. Hopefully, they're going to work on it in the future together. Give us a nice water system. But yeah, going back to the water, both a system or using occlusion is a standard functionality and we now need to go ahead and actually make use out of it in the boat. So I'm going to get back onto both occlusion that we had previously selected. And I'm going to position it back onto the boat itself. So it's going to make it smaller and whatnot and just kinda get it back onto the mask that we had. It was like it wants to when I make it too small here. So I'm just trying to figure out why that is the case. Maybe because it's not touching the water. So we're going to go back onto visible seam capture and turn that off. And I think I think that was the case. Actually. It wasn't touching the water enough. Now, if it is touching the water, it's still is within the right kind of setup. So that's actually pretty good for us. I'm actually just going to use these values over here and kinda give us a nice typo squish. And essentially I'm just pushing only in x and y-axis one at a time, essentially type. And just by doing that, you can see we also have a bit of an issue in regards to the water occlusion itself because it's not just the plane. This is a physics-based type of a water in regards to where we saw the water being spilling over and giving us artifacts. It's actually going to be giving us some artifacts in regards to the around the mask itself as well as you can see over here. So just play around a little bit, get that type of a fine-tuning just a little bit close enough so it wouldn't overlay with in regards to the mask itself, but we obviously don't want any artifacts inside. So like playing around a little bit and getting that right type of results, we should be able to get something that looks decent. Within this. Keep in mind that the boat itself is somewhat thin. But all in all I think that is going to give us some good results. And I think I'm actually going to go ahead and set it up like we did previously, grouped them both up, click Control G to group them up. And now I'm just going to raise up the boat just a little bit like so and Shift G actually, and I'm going to adjust the occlusion a little bit even more. I think that's actually going to be quite okay. I think we might make about a bit bigger as well just to kinda get those bits in and don't have any overlaps. Again, we're just playing around making sure that we have a nice mask and setup. And once we have that, we can like both of them. We can click Control G to group them up. And essentially we have ourselves a nice boat to move around and we can place one here. And we should be able to now make use out of the boat on a lake, e.g. so I'm holding Alt making a duplicate and we can get ourselves, hey, both in the lake as well. And I think it was suffering from the same type of situation where if we selected, I'm actually going to move this both to the very corner over here. If we select this leg, we're going to go on to the material itself. Just real quick just to check what is up with that. And I'm going to open up to what a material search for mask and see what is up with that. And I think we were to increase this to high value Diego, that seems to give us this result. So it's, yeah, it's a bit of a finicky situation is a bit of a nuisance. And also by changing this, we also have a chance to kind of give us some artifacts around the water as well. So all in all, it's still quite nice thing to use though. So I quite enjoyed that. And this is going to give us some artifacts because this is a transitional area. Remember, we have a transitional in-between Rick lake and river as well. Make sure to play around with the opacity for that as well over here. So that's going to have pretty much the same option. Just enable this and play around with it and you should be getting some nice results. I'm going to delete this one over here actually, because I only want a boat in this corner over here. I think that's going to be looking quite nice for us. Going to rotate it slightly so it wouldn't look quite as conformal and maybe even rotate it a little bit like so. And a thing that's actually looking quite nice. Yeah, That's going to be it for this lesson. Thank you so much for watching. I really hope you were able to follow along this. There was a bit more finicky than adolescents in comparison, but all in all, it turned out pretty well. So let me know if you have any issues by commenting on this video, on this lesson and I'll be able to help you out. So yeah, that's going to be it for me. Thanks so much for watching and I'll see you in a bit. 48. Material Instance Basics: Hello and welcome back at Brown to building studying medieval worlds with Unreal Engine apply modular kit bash course. In the last lesson, we left off by setting ourselves up with a bolus now able to sit properly in the water, to be nicely floating in our area. And now we're going to continue on working with this. And before we actually move on working with Alloway, I think gets better as two. Fix this bit at the end since it's kind of bothering me and we should probably finish off this area so we can move on with the rest. And rabble preferred to get ourselves some nice variation for elevation in regards to the cancel. So what do I mean by that is before to go to the landscape, we're just going to elevate this entire site on the back. I'm going to make sure that we only use the layer one for this point. And we're just going to increase the brush size a little bit and just kinda elevate this area over here. We're going to set it up to be where this house is. We're going to adjust that later on when we're working with this whole setup. For now, though, I'd like to ideally just block off this end over here, and we should get this result. Now, naturally, this still doesn't look quite as nice overall, because the main reason is that we're just blocking off the light. And the backside of it is just not going to look quite as nice if we're looking at it from a distance, we're going to be seeing that area over here. So we're going to make sure that we actually hide it away with nice type of a setup. But actually before doing that, I'd like to play a, an introduction eerie video to material instances. And so we could learn a little bit in regards to that. And then afterwards right away, we're just going to start off with that material. So this way we have more controls over material, the material instances, and you'd be essentially more familiarized with the workflow or have enough knowledge to follow along the parts of the video. If we were to right-click on our material, we can create our sellers and material incentives by just simply clicking on this button over here. And essentially what it'll do is it'll create a material that gets us information based on the material itself. So if I were to click off of it to get material instance like so, we can simply apply this onto your object. I'm just going to click on this one, the Control D to make a duplicate to the side and simply drag and drop this material onto this object like so. And essentially, we will see that they are identical and we can click on the material incentives to see what it is, which will show us the preview of the material within this preview window. It will also show us that this is a parent of this material instance is going to be this one over here. It allows us to make use out of one material to create multiple material variations. Right now we don't have anything, so I'm going to go and double tap on this material to open this up. And essentially what we'll need to do is we just simply need to convert some of those options and we have applied onto a material and make them as parameters. So e.g. by right-clicking on the roughness value, we can select Convert to parameter and it will allow us to make a choice on the name. So if I were to call this one roughness like so, we can just simply have a parameter name as roughness. Now if we were to click Control and S to save this out and apply our material like so, we can go back onto material instance. And now we see that we have a value for roughness by default is going to be ticked off. And if you want to make adjustments to the value of this material and we need to make sure that this is ticked on and this will allow us to make changes to the material instance. Parameter is essentially, if I were to change this to a value of one and make this completely rough like so. We can now close this down and see that this material is now a different roughness value. So one is shiny and although the other one is using exactly the same material, is going to give us a different type of result. And if I were to go onto material and take it a step further, I can right-click on this base color. I can change this to a parameter and call this color like so. I can now close this down. And let's make sure we save this out. Like so. I can go back onto material incidence. And I can see that we have a color option of a year if we were to take this on, changes to a different value like so. And close this down, we can see that we have a different type of a result completely. If we have a look at the material instance, the parent is still the same, so it's still being used in the same way. This allows us to make big changes to a material itself. It also allows us to save up on the performance of our game engine. Whatever thing that I'd like to say as a quick tip is if we were to go back onto materials, so e.g. we change this up to a value for a parameter. But there are certain shortcuts that allows us to create parameters right off the bat. So by clicking and holding S on our keyboard and then tapping on our screen on our graph, we're able to shut up, create ourselves a constant, one node, which then automatically gets changed to a parameter. So I'm just going to change up the name to something like metallic. E.g. I. Can set this up to a metal like so. And also if you want to change the naming e.g. afterwards, what we can do is we can change it within the Details tab. So by simply selecting this and changing this over here, we can have any name that we want. So metallic, I can call it value like so. Then I'm going to click Control S to save this out, which if we have a look at it, closes down. The original material is not going to be changed because by default the metal value is set as zero. But if we were to go onto material instance, we can change the metallic value. Finally, one of the things that I'd like to say, I'd like to mention is that if we were to make this window a little bit smaller, What's nice about material instances is it doesn't require us to compile anything to save out material. And we can just simply see the changes within the material instance right off the bat. So if I were to enable this metallic value and change this into a value of one, like so. And maybe I'll change the roughness to a value of 0.3. We can see that we automatically right off the bat, change the values, and we can even click and hold on these parameters like so and change them up like so. And it gives us the reg type of a result onto our viewport. Which is quite nice. So yeah, that's pretty much it in regards to the material is set up. That's all it takes in order for us to set ourselves up with a nice material instance. Yeah, we can create multiple materials, material instances out of a single material and it'll give us a completely different type of results. So right now I'm just applying this on to this type of a sphere and changing the color to any type of a color that I want basically. So yeah, thank you so much for watching. Now, let's get back to the video. Alright, I hope that the video was productive and informative. And now in the next lesson, we're actually just going to set ourselves up with a nice fade to hide away this area over here. So yeah, I'll see you in a bit. 49. Creating Depth Fade Material Instance: Hello and welcome back everyone to building, sending medieval world with Unreal Engine five modular kit bash course. In the last lesson, we left ourselves off with introducing ourselves with material instances. And now we're going to make use out of this information and set ourselves up with her very own material that will be used as essentially a plane. You hide away this area over here. So by just putting a simple plain, it wouldn't work quite as well. It would look like a solid object and it would cut off this entire arc way, giving us a shallow look for the entire arc way setup. So what we're going to do is we're going to firstly create ourselves a plane and put it on the side. So I will actually show you what I mean by it being too shallow looking essentially. We're going to just extend it like so. And you can see the entire depth of this area just disappears. So we're going to need to fix that. We're going to firstly extended a little bit more just in case, yeah, we're going to create ourselves and new material. I'm actually going to go on through content folder. I'm going to just simply right-click and create a new folder called this one f x visual effects essentially. And we can just go into it and create ourselves a new material. So let's go ahead and right-click Rayleigh cells and the material we've called this master material. So I'm M. We can click enter and enter it into the material itself. To be one of the simpler ones in regards to the materials. But we're not going to be using all of these values that we have over here. Base color and metallic specular is not needed for this particular case. So for starters, we're going to make sure that it has no reflections, no combination in regards to have the light being, is being bounced off from this material so far Syria that we're going to change its functionality completely. We're going to, actually, I'm going to expand this one over here. We're going to essentially select this node and scroll through the entire section. We're going to firstly make sure that this is a translucent type of materials. So for blend mode, we're going to change this through translucent. So this will ensure that we're able to make use out of the passenger mass. But we still are going to have this material affected by the light, so we don't want this to happen. So essentially we're going to change the shading mode from default lid to unlit. Now of course, we're going to set ourselves up with the color and opacity. So watercolor itself, we're going to simply make use out of the vector free. So let's hold, hold number three, tap on the screen and connected onto our emissive color. This will be essentially, it's not going to be a miss it, which is going to be a simple type of a color. We're going to keep it as black. And we can actually change this to be more of a parameter. I think we can do that then we can have more control afterwards with it. So let's go ahead and right-click convert this to a parameter and call this color. And yet default, Let's go ahead and keep it as black. But if you want, we can always change it through this left-hand side Details tab over here. But again, we're going to be able to have control now that we change this to a parameter in later on, all we need to do now though, is make sure that we also have opacity. But for opacity though, we need to make sure that we use something called depth fade. So let's right-click search for depth fade, like so, so this one over here, let's go ahead and select it. And essentially what this is, is basically sort of a mass that will allow us to change the opacity. And I'm going to be affected at the opacity is going to be affected by the distance it travels, essentially divertor along it travels after the render has passed an object, the less you're going to see essentially by just combining it, adding this to our opacity, we're going to get ourselves some nice results. All we gotta do is just set ourselves up with the values for opacity and depth fade. And for both of them, we can create ourselves parameters and have some control from within the material incidence. So let's go ahead and hold S. Let's tap on the screen. And for this we're going to call opacity. I'm going to call it the opacity like so. And we're going to attach it right onto opacity. Then we're going to hold S. We're going to tap on the screen and this one we're going to call it paid distance, like so. And again, we're going to attach this to the fate distance. If you want to rename it, you can always go ahead and select it and click F2 to rename it, and that will help you out as well. So we have color, we have opacity and fade distance, and we're pretty much done with that. Although the default values, we can change them and get ourselves a bit of a nicer results. So let's go ahead and do that right off the bat. So Opacity, and we're going to set this as one because usually it's right value to use to see our object before it disappears completely. If it was set as zero, you wouldn't be able to see it right off the bat as we apply it onto our material and feed distance, we can set it to a more of a nicer value, something like 100 perhaps would be better. Then after we're done with that, we're going to pretty much apply this by clicking top left-hand corner click Apply. And once it sets us up with and I shared it, we can close this down and we can see what it looks like. By default, it doesn't look like anything, but now we're going to right-click and create a material instance part of it. And for this we can just call it that instance. We don't need MM, and we're just going to keep it as is. And now we're just going to simply drag this onto our mesh onto a plane that we created. And preferably, before doing that, I'd like to ideally change the name for this plane. So we're going to select this, we're going to click F2. And we can see in the outliner It's alexa, the name for it. I'm going to call it something like that. Water or something, a river or something like that. And we should get ourselves a plane like so. So anyways, once we have it selected, we're going to just simply drag and drop this depth instance on to display. And we can already see the results that we're getting. We're getting some really nice results. So if we were to go into material instance, we have some controls and I'm going to just drag this window downwards so it would be minimized a little bit. We can enable all of these options and play around with them. But personally I prefer this type of a look. But alternatively, if we wanted to e.g. make this color a bit more greenish, we can also do so. And we put increasing the value, we consider the type of result that we're getting. So we can get, totally get this sort of a result of Henle would look quite nice as well. So it would look more like sewers, e.g. of something that's sort e.g. it might be a little bit too much value. So we might lower this down and get something like this. Or alternatively, we can click through the values individually and change them up. So the value is, if we hover over this bar, we can see that the value is set over here. And essentially this allows us to control the brightness of it. And even if you don't have enough control over here, we can change the value of here. So e.g. I. Can change the value with numbers and habits, something like 001 sort of build super dark type of green. And as for the other values that we have, not just the color itself, we have paid distance and opacity and feed distance. What essentially it will do is if we start lowering this or increasing it, we can see it starts disappearing much further down the line. So the more you increase this, the later on, the more of a gradual kind of a gradient it becomes in regards to how far you'll be able to see. And as for the opacity itself, it essentially means that the last, the max value of the mask is going to be applied as opacity. So if we were to change this to half, it going, it's going to give us half of the value at the very end. And no matter how close or how far away we have, the fade distance, it's still going to be, the end result is still going to be set as 0.5, which sometimes it might be useful to give us the look that we want. But more often than not, I would just use the opacity mask set as non-zero source set as one. There you go. You gave us a completely pitch black type of a look at the very end. And as for the fate distance, we're essentially going to increase it as far as we can until we touch the basically the very back side. Something like this. Essentially it'll give us a real nice type of gradient. Or actually in this personal, in this personal case. Um, I might want to lower this down a little bit more. So we basically get less of a gradient and we get this result. For color wise, I still don't quite like how bright the green is. I'm going to lower this down even more. So 00, we're only getting a basic type of green and it's a small type of change, but we can see like completely black if I were to change it to one. Sorry, zero. Doesn't let me do it. There you go. If I change it to zero is going to be like this. But if I were to click Control Z, which doesn't seem to help me, like so it would give me a little bit too much. So I'm going to go ahead and change it to this. I'm not sure why it's not affecting it like so. And that's a little bit too much. That's a little too little. So something in regards to that, so 0.005 and it's going to give us a real nice type of a result. It's a small, gradual type of a tint, but all in all, it is giving us a real nice type of a look at in regards to the color itself. Perhaps we should change it to be a bit more of a bluish tint. So bluish green. So since this is such a blue and pure type overlooking water, it might look much better in regards to that, we're still making a nice dipole of a stylized gas laughter also, it has to fit within that scene. It doesn't need to be as greedy. And I think that's actually pretty good. So yeah, once we're done with that, we can essentially now checkout looks from a distance. We can click one to see it. And you can see that it has a real nice type of depth in regards to the backside. And that's pretty much it in regards to that. In the next lesson, we're going to continue on building the castle. We're going to start creating ourselves a nice Alloway over here. And I think we'll need to create some variations for the houses, a couple of extra, but that's going to be actually super easy because we already have most of the parts already done, so yeah, that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 50. Designing Alley Way 3D Environment: Hello and welcome back everyone to building, setting medieval worlds with Unreal Engine by modular kid batch course. In the last lesson, we left it off by setting ourselves up with a nice riverside. Has a bit of a boat section over here and we have some nice depth of detail from a single plane that hides everything in a pack like so. And now we can continue on moving with the Alloway and working on this section over here. We're going to do that actually right away. So for us to set it up, we're going to start thinking about in regards to how we'd like to get all the huts and houses setup first. And I think the easiest way for us to do that would be to just simply yet, yeah, we already have one of the houses, the smaller hubs setup on the side. I'd like to ideally have some more variation within this area, but we're going to be able to do that later on. For now. I think we can just hold Alt. We can just move them to the side like so and get some nice variation thought of them. I'm going to just rotate them whilst moving and at the same time getting some variation that way as well. So I'm trying to think if we want it to be a completely straight line. Yeah, what I'm thinking we're going to do is we're going to have this house just slightly outside, like so. And we're going to have some slabs at the very bottom as well to help us out with that. Then afterwards, for now though, we're going to have a one Morehouse actually placed to the side like so. And I'm just thinking in regards to the setup of this, ideally, I'd want to these houses to end where this one ends as well. As for the side of the walls. We also got to consider those as well. So let's go ahead and look into them. We're going to start by grabbing some of those walls and actually connecting them a little bit better. And I think we can just slightly rotate this wall over here, since is going to be a nicely attached to the wall. The second mole is going to be also connecting in the same way as this one over here. Just like that. It looks like a nice connection. And now asked for the tower itself. We can grab this one over here actually and just put it up on the side. Just like that. Let's make sure that the pattern is actually facing outside, just like that. That's looking already pretty good. We're going to raise this one up actually all the way to the top, just like that. So we'd start getting some elevation. And essentially what do we want this typically one, we want to start going upwards a little bit in regards to the walls as well. So we're going to start doing that actually. Now I'm trying to think on what to do in regards to this area over here. And ideally, I actually want somebody whose hearts to be sticking out a little bit on the side of the wall so they wouldn't look like complete type of unfortunate, but instead like a lively type of a city. So I think what I'm going to do in this occasion, in this particular case is perhaps some of those houses and set it up to be placed nicely. Or actually I'm going to start by wrapping those squarish. How's that we have over here and placing them nicely on the side of a wall. So I'm going to grab the one that has less elevation like so and see how it would look like if we had it over like so something like this on the same kind of a level as we have these other houses over here. I think they would look quite nice from its side. But yeah, we're not going to stop with the world. So we're going to actually make use out of the foundation of the castle walls. For that, we're going to go onto our castle Git Bash section. We're going to search for, I'm not sure how it was called a way to actually detach the group from one of the walls. I'm going to just select the bottom piece, like so. I'm going to scroll all the way upwards and I'm going to click on Content browser just so we could see type of goals that we're working with within this folder. And ideally, we want to make use of castle base. I think that's going to be quite good. So we're going to actually make use out of the same type. And let's rotate it around like so 180 degrees. Think it's going to be quite a nice setup. And as for the entire section over here, I'm thinking that we could have a bit of a good starting point like this, which is going to be a little bit lower down, like so. And I'm actually just going to undo this and make sure that we are working more with the snapping grid. So I'm going to increase this to 50. I'd say that would be better. Going to delete this one, actually going to replace it. So it would be essentially within the grid setup. Now I'm going to place it nicely like so. And we should probably get ourselves some nice bit of an angle. So I'm going to rotate it by ten degrees like so. Move it to the side and I think that's going to be quite nice. I'm going to place this house like so rotated a little bit as well. And yeah, I think that's actually looking pretty good from inside. It's not going to be quite visible from the main view. But if I were to select, put it up on the camera like so we can see it like this. And I think I'm going to set up different cameras. So I'm going to click Control and four to set up a new camera. And that's going to help us out in regards to building this, because we're now going to be just moving it up to the side and start building it outwards actually. And this one over here. Ideally I want it to be increasing it upwards like so. So it would look quite nice. And I think that's actually going to work out quite well. I'm going to rotate it back so it wouldn't go diagonally the entire time. We need to readjust the house top section a little bit as well. And that's looking pretty good. Although we're a bit, we should probably be a bit worried in regards to the collisions, how it's being keeping those holes a little bit as well. So I'm going to move it inwards perhaps a little bit like so. And that's actually working out quite nice. It doesn't have that bit of empty gap. And we're able to from a distance to see it quite nicely as well. So I think that's looking quite nice. We're going to continue expanding this. We're going to continue moving on in regards to the wall. Look quite nice. I am worried about this overall setup in regards to this massive gap over here, but I think that's going to be quiet okay, later on we can work with that. Afterwards. We gotta, we gotta be sure to not enclose this entire section because we'd need to have some flexibility while it's working with this entire area. But all in all I think that's going to be quite alright. And I think I'm going to extend it once more just like that before actually moving on with building this entire section within this area over here. So now, in regards to breaking up this area, we're going to definitely need to make use out of smaller houses. So that's going to be rather easy and simple to do. We're actually just going to go back to our original house over here. And we're going to start setting it up as a smaller hut. But actually looking back at it, I don't think we have enough time for that. We're going to start setting that up in the next lesson. So we're now though, I think it's best to work with what we have over here and start setting ourselves up a bit in regards to organization and whatnot. And we talked a little bit in regards to the folders, in regards to how we can keep those houses and huts little bit more organized. So what we can do is set those up as well and get some bit of an extra adore space in regards to the house is over here. So e.g. this section could totally have a door that will help us to look a little bit nicer overall. And I realized that all the houses that are actual floating, I'm just going to grab them all. I'm going to lower down the napping, arrange and lower this down a little bit like so. Alright, so now it's actually appropriately touching on the floor. We're now going to set it all these free houses on its own separate folders. It really depends how messy or how clean you wanted to keep this entire project. But essentially what a preferred to do is if I know I'm going to be changing a lot of things within a house. I tend to ungroup them and before and grouping them, I essentially create a folder for them. So if I know I'm not going to touch it much, I'm going to leave it as is e.g. this one over here. I don't think I'm going to be touching it much, so I'm going to keep it as is, but for this one, I definitely need to create a new folder. So let me go ahead and select it. Create a new folder. Small house. I think this one is going to be, and then I'm going to be selected, selected back to make sure that we are within the same folder. Click Shift G to ungroup everything within it. So now everything is still going to be within the small house. So we can make, always make a selection based on it, like so. Essentially, we can make a selection based on that all the time now. But essentially we're going to replace this with a nice door. So let's go ahead and search for right type of door that we're looking for. And I think in this occasion, we can make we can make use of nicer door, perhaps even double stack door. I quite like this one, but it looks a little bit off the side type of a door. So I definitely will make use of something like this instead, perhaps In this will look quite nice or maybe this. Let me check how the previous door was in regards to the one next to it. So e.g. this one over here, it also matters what kind of door we used previously. So this one was reinforced type, and ideally, we want to make sure that we use a different variation essentially. And I think this one is going to be pretty good. Let's go ahead and make use out of it. I'm going to hold Alt mode off to the side like so. And set it up over here. And that should give us a nice type of a result. It's going to be a bit harder to set it up in regards to the grid snapping. I'm just going to manually move it like so. And to the same position as the big one. Then we're going to delete the big one and try to replace the ones that we have over here. I'm going to make sure that these ones are actually set to a larger pieces like so then move them to the side just like that. And I'm going to delete the one above, going to hold Alt and drag this upwards like so. Now all we gotta do is just replace a smaller piece over here. I'm actually just going to hold Alt, but this already existing one on the side like so. And just find a small piece to replace it with. And I think we can also grab ourselves a small roof as well. I'm going to actually search within a folder for roof and should give us some nice options. And there we go. Yeah, there you go. That's the type of roof I was looking for. We can even make it a little bit squished up smaller so it wouldn't stand out in regards to breaking up the entire sequence of this type of a alleyway. But essentially that's pretty much it in regards to how we can control it. And then we can even put this into the folder for the house the easiest way by the way, to move it to another folder or to move it into our folder is if we were to select this mesh and then right-click on it, we can essentially move it. If I were to find this area over here, go at the very bottom, moved to, we can essentially move this two house three, and this will give us the right type of results. So we selected, we can see that it is selected within the house free and that's exactly what we want. So that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 51. Creating Mini Huts for Extra Space Fillings of a Castle: Welcome back everyone to buildings standing medieval worlds with Unreal Engine five modular kit bash course. In the last lesson, we left off by setting ourselves up with a nice way to add some nice buildings within and have some open doors, which we're now going to actually get ourselves even more buildings. But there are a couple of spaces that would like to fill in and make them nicer. But just by looking at the buildings themselves, you can clearly see that they're a little bit too big for those areas, e.g. so we're actually going to make even shorter buildings using the ones that we already have and essentially going to be super simple type of a setup. We are going to essentially grab this building over here and make variations out of it. So let's go ahead and do that. We're going to hit Control C, Control V, but it off to the side like so. Now let's see what we can do in order to short it and shorten it down. So essentially we're going to firstly need to take it off from the group that parts and we're going to hit Shift G to ungroup them. We're going to elect the first part of the roof, delete it, and then drag this above part of the roof backwards. But I'm going to expand the grid lock to 50 and that should give us a nicer way to set it in. And now all we gotta do is just delete all the smaller parts from here. Like so. And we're going to see what will it look like essentially. I'm also going to going to remove it from the other end as well. Let's go ahead and do that real quick to delete all of these parts like so. Then in regards to this door over here, we can actually move it up to the side. I'm going to grab both of these pieces like so. I'm going to move it up to the side. And essentially we're going to have ourselves a door over here on this end. So I'm going to rotate this by 90 degrees like so. And ask for this part, this entire part. We, I think we can just rebuild it from the other side. So I'm going to delete all of these parts just like that. Everything out. I'm going to click Control Z because I kinda wanted to keep the roof on. So I'm going to leave it up on the side. And all of these smaller parts, we can just delete it just like that and see what we are. I've left essentially. And let's go ahead and just simply copy the bits at the back, like so. We're going to simply click control C, control V, move it off to the side, like so. Click E to rotate, rotate it 90 degrees or, sorry, 80 degrees. Move it off to the side, just like that. And because we're working with larger scales right now, it's so much easier when everything fits in together. But in this case, it seems like this this wall over here doesn't want to go in into the building itself. So I'm just thinking the easiest way for us to solve that. And it'll probably be to just remove the lock from 50. With a lower intensity for the gridlock. We're going to move it backwards like so. And it should fit in much nicer. Just like that. We've got some artifacts though. We got a couple of issues in regards to having some bits from over here. We're going to go ahead and delete them and see what we can do with it afterwards. And now, in regards to this part over here, I think we can make use out of it. However, I would like to have a shorter wall over here. Maybe something like this would work much better. I think that's actually going to work perfectly for us actually. So I'm using three by three instead of four by four. That seems to give us a real nice type of result. I'm going to duplicate this or it's like so and just replace it straight away and replace it with a shorter part essentially. So this one over here, this is going to be free by one. So it's already looking much better. And actually I'm just going to duplicate it downwards just like that and see what we're going to be left with. And this looks quite nice. Just a simple type of a hat. It looks very plain. But because they're going to be attached closer to other buildings is going to be alright for us. And essentially we're going to do the same thing on the other end. However, I would probably delete them and get it on this side instead. So I'm going to do that. I'm also going to delete the supports that we had previously. Let's go ahead and just grab this entire wall. We're going to hold Alt, move it to our side like so. And click E, rotate this 180 degrees like so. Move it back and we're going to have ourselves a simple type of a setup. We can also have some bit of Windows, and I don't think it's going to interfere in regards to the overall setup for the frame. And we can also even just adjust the variation a little bit, making it a little bit, a little bit. Look nicer. There you go. This is looking quite nice. But it's one we can just grab some plain ones, perhaps something like that. Talking about planes. These ones look way to play in some screen too. Lightly add some variation to this overall type of a setup and maybe have some bits on the end. I'm going to click Control Z because that was the wrong one to use. But this one, I'm going to use this one. Perhaps that's going to look quite nice. And maybe some window at the back as well. We might as well grab one of the windows just like that, but it 90 degrees and put it off to the side. And just like that, carousel is a real nice type of a setup with a different variation, essentially for a house, although for the window, I'm going to grab a square type or a window over here. And this list looking way too plain, but it's set up so I'm actually going to grab a window on the side as well. It's going to think on in regards to what sort of a window we'd like to have in this area and want to get a bit of a smaller window. Something like this, perhaps is going to do it quite nicely. I'm not even going to bother with in regards to adding some blinds for it. I know it's not necessary. It's not needed as much. I'm actually going to make this smaller, down to 0.75. It looks quite alright. Yeah, I totally forgot to make some of those windows smaller, so I'm just going to go ahead and do that. All of them like so to make it more of consistency in regards to the overall size of those windows. And I think all in all this is looking quite okay. We can go ahead and work with this. And although I do want to add a small window over here, maybe I'm going to lower down. The size of, this is a little bit too large of a window into perhaps add this sort of window, and I'm hoping it will fit in quite nicely. Yeah, there you go. That looks quite nice. Alright, since it was a little bit too plain, otherwise, that'd be like so let's go ahead and add a door. We can actually just replace this bit over here to have ourselves a nicer type of look. I'm going to go ahead and do that. Actually, I'm going to simply This actually get both the door and the frame, but it into the side like so and just a little bit closer, just like that. I think that's going to work quite well. This is a little bit overlapping, but all in all it's not going to give us any problems. We're not going to have any clippings in regards to having one-sided mesh and having some C4 areas. But all in all it's good. We're going to move this roof all the way through back like so. And we already have ourselves a nice type of Hood, although to break it off, we'll add a pink, this type of a window over here. That's going to look quite nice. Just like that. And just kinda attach it to the side like this. Maybe lower it down a little bit. It's actually going to look quite nice overall. And maybe even I'll make it smaller. Just like that. There we go. Alright, so we have ourselves a nice setup for the heart. We're going to also make sure we can even make even one more extra of a variation. I think there's going to be in the right choice in here. We're going to go onto the top-down view. Click F to reposition, grab it, all, click F again. And this makes them these selections using control de-select. Just like that. I'm going to click F again and seems to be an entire thing that I'm missing. I'm not sure why it's the selecting or there is an entire plane that's being selected. I'm going to make sure that the water section is being selected. So the water zone was being selected. Let's make sure that it is not being selected and once we have it, so it should zoom in to the entire house. I'm going to hit Control G to make an entire group going to hold Alt, moving to the side and now click back onto your perspective. And for this variation that liked to make, I'm going to also do the same thing. So Shift G, make a selection. And now in this case, I'm going to want to actually move the door on the other side so we have a bit more control over the dissection or actually, yeah, let's go ahead and do that. What I'd like to do ideally is switched them around, but essentially in regards to the window and in regards to the frame, I'm going to do just that. I'm going to make sure I select the bit on the back, which we can do actually by just going on today inside and selecting the frame like this, everything should move it to the side. Now what we're going to do is we're just going to essentially thinking if we can just rabbit this entire section for the wall, like so, move it off to the side just like that. And essentially what I wanna do is make a nice extension to this. So we can do just that. Actually, we can grab ourselves a roof. Let's go ahead and grab ourselves a roof. Just like that. Roof and wonder like to use is actually going to be maybe something like this. Yeah, that's actually perfect. It has. Sides on both ends and we can attach it nicely to the edge just like that. Let's make sure it's straight. So would be able to attach to be attached nicely onto our side. And I'm going to also make it smaller, not too small though, so something to a value of 0.8. And making sure that I'm also turning on the snapping scale actually as well. So I'm just going to make it a little bit smaller, just like that. That's plenty actually. And what else can we do? Well, we're going to grab ourselves a wall three-by-three from here. We're going to lower this down over here to replace it. And we're going to make use out of it to get ourselves a new wall over on this side over here. This way, we're going to get ourselves a nice attachment Just like that. Let's make sure that we actually properly set it up though. And I think I can just move it up to the side just like that. And let's see what will happen. Essentially. We're going to grab this down to the side and put it out like this, something like that. Like to ideally bring these walls a little bit closer. So I'm actually just going to replace this one with hopefully, I'm not mistaken. We had some variations to them. So this one that has multiple edges, multiple frames, I'm not going to worry about the frame itself are just overlapping too much. I think that's going to be quite alright. Something like that. Perhaps it looks quite nice and quite liked this design. Although I will keep this small plane because ideally I'd want to have those attachments just up to the side. I think I will do actually, I'm going to remove the wall on the back. I don't think we need that. Oh, yeah. We can just move these to the side and attach them back to where they were essentially. But on the other side, this one is a little bit distracting. I'm going to remove it. Let's see what we can do with it. I'm going to move this roof down like so. If I can get a bit of additional time or setup, and I'm actually just going to, I'm going to click Control Z a couple of times, get that heart back, going to try to use it fits quite nicely. So I'm going to use it to attach this tiny roof over here because I really want to make sure that it looks nice in regards to this attachment. And such attachment for the roof ends up looking really nice, going to actually flatten it down. Basically, what I'm doing is I'm essentially shrinking this entire roof and making sure that I'm stretching out sideways so it looks a little bit smaller, but at the same time the pattern itself is being kept consistent. And in regards to the width of the tiles and I split it, I'll probably do the same thing. I'll just extend it a little bit sideways, like so. I don't think it's going to affect our Alice too much. And yet Let's just go ahead and finish it off by adding some bits on the side, like so. And we are pretty much we're pretty much done in regards to that. I think we're going to continue on in this, to finalize this in the next lesson though. But more or less, we got ourselves to huts in one lesson. So that's going to be it for me. Thanks so much for watching and I'll be seeing you in a bit. 52. Finding Place for Smaller Houses Within 3D City Scene: Hello and welcome back everyone to building, studying medieval world with Unreal Engine pipe modular kit bash course. In the last lesson, we left off by getting ourselves some really tiny houses for our areas, for our castles, where we want to fill in some app that extra space. And real quick, we're just going to go over them and see how to set them up. And before doing that though, I'd like to fix this up real quick because I can see there's a couple of issues in regards to some bits, e.g. the house, the window is a little bit out and want to go ahead and fix that. I'm going to hit shift and g. Make sure I take off the group and real quick fix this area. So because I was rushing in a previous lesson to get them done. And I'm just going to go ahead and actually finish off this part as well. And I really want to make sure that this is looking really nice. And we yeah, we definitely need to lower this down, but I'm going to do that actually in a bit right now we can do that like so it should be totally fine. I'm going to do that on the other end as well. I'm going to move this to be 180 degrees and just put it out into the wall. And it should have a nice type of a setup. Everything should look nice. And I'm a bit worried in regards to this because just by looking at it, I can see that there's not enough of a section to fill and I think I'm just going to I'm just going to move this out in words like so. And I'm a bit worried than this occasion that is going to be overlapping a little bit too much. So for this particular part, I think what I'm going to do is I'm just going to move it out to the side and I'm going to move this window up perhaps or even. Yeah, I'd like to actually have a small window over here. You've kinda be in the middle of this attachment. That's going to look quite nice actually, I'm going to make it a little bit smaller perhaps. Yeah, actually that works quite alright. I think I'm going to leave it as it looks small, nice detail like this. So let's go ahead and group that everything up. We're going to, first of all select this sounds that I just don't grouped. I'm going to click F, the select this entire selection and make sure that you also go ahead and check where it is in regards to the water section as well. Although it's going to be a bit of a tricky one to de-select. Don't always like doing this, but it might be better in this occasion to make it invisible first and then help ourselves out. In regards to making a group selection, I'm going to click Control G to make, make it an entire section grouped up. Then we can go ahead and go on to the second house and make it grouped up as well. Going to make some selections just like we did previously. And this should be same situation where we need to make a selection like so. Click Control Z because it didn't make any selection properly. And there we go. I have this. Now we're going to click Control G. And we have couple of houses at miniature houses to work with. I'm going to go ahead and expand this entire selection, going to hold Alt, going to move them to the side just like that. And again, we're going to now make use out of them and set ourselves up with some nice housing in these areas. So for starters, this one over here, I'm trying to figure out how that would work out. And you probably want to, actually, if I click one, we can see that better. We probably want to break up the overall pattern for these houses, for these roofs. Every house roof now is go in a single direction. So I'm actually at the very start. I'd like to have such a house where it goes the other way around. And this looks pretty nice. Now, in regards to the right, we have couple of options. We have a way to just place it down all the way to the bottom, like so. Or alternatively, we can just put it all the way lower, just like that. And I'm going to click one and see how this would look like. And I'm going to click G to make sure we go into the game view. And yeah, it doesn't look quite as nice. I'm going to go ahead and select this entire house and move it all the way to the top. And I think it should work with the group selection. But essentially we also have a number of ways to place them down onto the ground. If you click End button on our keyboard, we can essentially tell items to move all the way to touch the ground. But it doesn't seem to be working with grouped up assets, so I'm not going to do that. Sometimes I like doing them when combining all the measures, e.g. with this bridge over here, when all the meshes is essentially one asset, but I suppose it only works with individualized. So that's not going to work out for us. We're going to make you sad of that in the future anyway, so everything is fine. And in regards to the setup, even want to do it this way or that way, like so. And it's looking quite nice. Although I will say that overall setup or this house, not quite what I was hoping for. So I'm going to actually move it backwards, bring the second house because this has a nice extension. Over on the side and I think that would look better over here. So let's go ahead and make use out of it. We're going to move it like so and something like that or something that I'm away perhaps maybe like that even I'm trying to figure out what's the best set-up for these houses. And I do want to have it in this general direction, but in regards to the overall setup, maybe this would look better. The overall premise when we're building, like the layout and composition is which way the character would start seeing this entire view because that would be probably the most memorable setup. And although there is some water over here and you'd probably wouldn't be like swimming across and whatnot. Ideally, I want to have a nice experience when you're walking past this overall setup. So just having to send our entire house kinda be close to the wall. I don't quite like this overall setup. So maybe I'll just rotate this slightly by five degrees to the side and have it like so. And I'm just making sure that from the top, it's not going to look like it's overlapping from this area. It's not going to look like it's overlapping. And I might even add a door over here, actually even make it look quite nice. Or alternatively, I can probably switch out the enticement to be over here as well and add an extra door. I think that would look quite nice in that regard as well. So I'm just trying to figure out which best way I want to approach this situation. And yeah, I'm definitely going to click E, going to rotate this to its default type of estate. And then I'm going to grab one of the attachments, perhaps going to put it to the side. So just a quick type of a setup going to slide it inside, I reckon. I'm not too worried about in regards to the overall layout, just making sure that it's on the ground like this. And maybe that's going to look nice, maybe not, not quite sure, I'm going to actually delete it, try the other one. That would be a better choice. And we do have couple of doors if I'm not mistaken, if I remember correctly, there are a couple of doors that are separate, so we can make use of that as well. But essentially, what I wanna do is make sure that we have a nice type of door essentially that comes out a little bit outwards and this is not looking as well as I hoped for. So I'm actually just going to delete it. I'm going to check the arc way. Maybe we can make use out of that and then celebrate. In essence, it's all about the creativity that we make use out of our objects. And this is looking quite nice, although it's not having the roof on the top. So I'm not sure where that is. I'm going to go back to the measures, therefore roof and see what we can have a look and find. Essentially this one over here. Like that perhaps is looking quite nice. So from a side view, we can see that it's slightly breaking off the surface a little bit and that's exactly what we want. I'm going to move it to the side, make sure that nothing is overlapping on the upper end. And perhaps bring it forward like so, bring this roof a little bit forwards. And there we go. Now, in regards to the door, Let's go ahead and search for door. So let's see what we can find so we could make use out of these doors like we did previously, tried to place it in. Or alternatively, I reckon we can just simply attach a simple door. And I think we can get away with just that. The downside of it though, is that we can open it up to make it look like there's some inside of it. So I think that's going to be a right then this occasion. We just want to make sure that it's not a completely empty. And the thought process of this entire setup is that I don't want to make it look completely empty for when the player enters and I want to break down the surface a little bit. But that's exactly what we're doing. Although I will bring it in words perhaps a little bit more or even more actually like somebody like so the reason being is, in this case, I want to store it to be a little bit more visible in this occasion. I don't wanna be covering it up when a player, e.g. enters through. So something like that would actually work out quite well or even might as well actually put it down like so. Also we need to consider the roof on the top and how it interacts with the windows like so so e.g. this one is overlapping. I'm a bit worried about that. I'll try to either move into suicide like so, which is causing some issues over here. Or alternatively, we can ungroup everything and then will be pretty much done in regards to that. But I reckon it's okay. It's certainly okay to leave it as this. I do want to add a bit of a smaller rooftop, so let me go ahead and do that. And this roof is going to be the same roof that we always use, although a little bit smaller in this particular case. And just by doing that, I'm also going to shut it down like so and something like that. Perhaps. I'm worried that it's a little bit too squished down. I'm going to turn off the snapping tool and just kinda it a little bit. And I think this is looking quite nice. So essentially, if we're looking from this angle and we can see that there is a bit of an extension, which is pretty nice. And then once we go over here, we can slightly turn a camera, e.g. our player. And then we can see some roofs. And this helps us to break off the surface. We still have this whole area to work with though, and it looks quite flat. So I reckon we are going to use we're going to spend one more or less than this alleyway and then move on onto the upper parts. And at the same time we have some roofs to work with. We didn't end up spending some time on working on any type of the roofs, to be honest. So yeah, we got plenty of work to do and we're going to spend some time on it. So yeah, that's it. That's going to be it for this lesson. Thank you so much for watching. And I'll be seeing you in a bit. 53. Design Overhangs for a Virtual Street: Hello and welcome back everyone to building standing medieval worlds with Unreal Engine five modular kit bash course. In the last lesson, we left off by setting ourselves up with a nice Alloway and getting ourselves some of those smaller type of hearts to be able to fill in those empty gaps. And now we're going to continue on working with this Alloway and actually set ourselves up with a little bit more of an extra detail in order to break up the surface for this Alloway. So first things first, if we have a look at the overall type of setting, I reckon it's a little bit too opened up. The entire area needs a bit of an extra overhang and we can ever get some extension that would be able to expand it from the side. Or alternatively, we can do something similar to what we did over here and get ourselves a nice bridge going across. I think that's exactly what we're going to do. Actually, we're just going to copy this one over here. And I'm just going to copy this entire section by selecting it all holding Alt and move it in cross, like so. Now of course this bridge is going to be a little bit too long for us. So what I'm going to do, instead of just setting it up like this, I'm going to raise it all the way to the top, a little bit higher like so. Then I'm going to kind of position of one of this angle to be faced essentially from the edge of this area to be essentially attached to the top of this roof over here. So but I think it'll be easier to go through a top-down view. So I'm going to go ahead and do that. I'm going to go ahead and just locate a top-down view with the selection on, I'm going to click F. And then I'll be able to see what we're able to do. And by default it is set as a wireframe, but we can change this up to be lit mode, e.g. to get similar to this kind of a view. But I also like to go on to unlit mode, since that's also less our performance. Keep in mind that every window would have its own kind of a renderer or a setup, as in, it would cause a bit of a performance issue if we were to have everything set up in unlit type of a setup. But anyways, moving on, we're going to now just slightly move this off to the side like so. And I think that's going to be alright, So something like this close to the overall type of a beam and I'm actually just using the upper side like so, but that's okay. We can totally do that as well. And yeah, that looks quite good. We're going to be lowering that down in a bit, but before doing that, I'm just going to go ahead and delete that extra section and just reattach this entire area like so. And that should give us a nice type of a result. I'm worried that the overall beams are a little bit too vague since they're overlapping with one a number. All-in-all from a distance. It might be quite alright. I'm going to go ahead and check how that looks. I'm going to put the top-down view. I'm going to change it back to wireframe so we wouldn't have to worry about it in the future. And I'm going to go ahead and expand this entire window like so and lower down this bridge. So go ahead and do that. And we can lower it down to even more of a setup. Or actually, I'm going to see how this looks like. So from this area it looks alright, but from the other side, it's obviously not touching this entire section. So I'm just wondering what we can do in regards to that could ever expanded a little bit or we could. I think I'm going to move this entire section over to the side like so and just expand the middle bit. And that's going to give us the right result. Hype started lowering this down, but we should just only move it to the side for now and get it around this amount. We can see it a little bit closer from this that it's actually quite okay. And yeah, for a minute section we can expand this and it should give us a nice type of a result. Let's go ahead and see if it actually works out for us. And it's actually going to be going on that side like so. And can we actually make it work with that? So right now it's obviously, I think it's because this one is this side is being flipped. So we're not going to get the same type of results. So but his bottom piece, I'm going to just slowly extend it out. Like so. I'm going to extend it a little bit more so we'd get those beams overlapping. I think that's going to be a better choice. And I'm a bit worried about in regards to the pattern, but I think that's going to work out for us. Now for the top section, we're going to split up a little bit as well. We're going to just slightly overlap them all in all. I think that's quite alright. So this overhang, it's not quite as visible because so it is going inwards. But all in all I think it's going to be quite alright. Actually, we can make use out of this and keep it as is. And I don't quite like the overhang four here, so I'm just trying to figure out what we can do in regards to that. We can e.g. move it out to the side and have this a little bit shorter, actually. Like so something like that. So we'll get more of a nicer type of an arc connecting onto the rest of the buildings. But then we have a problem in regards to this entire section not being touching the other side. So what we can do, I reckon, is we can actually just move this out to the side like so. And that would fix actually are issues. Like that. So this right now is not aligning with the roost, but just looking at it from a distance or looking at it from underneath, It's not quite as visible. So I think I think it's best to leave it as is actually and it does have those scatter nice broken up the type of roof. So I'm quite liking that. Now as for as I'm not quite sure what we're going to do about this type of house because it's lightly touching it in the wrong kind of way. And I think if I click one, I'm going to check out looks like and we can see that it actually has zoomed in a little bit too much Sophie unreleased. See, when we're holding right-click, we can actually see how it looks like. Just looks a little bit too broken off. It looks a little bit out of position and just kind of like floating. They should look like they're more attached to one another. So I think that's what we're going to do exactly. We're going to slightly move this out to the side a little bit closer, not too much because we still want to have it look like they're broken off. And as for this, our house of a roof, we can just move it off to the side and I think that's going to be a little bit better. I'm not quite sure. Or alternatively, we can also make use out of the Schroder House as well. So it really depends on us. And I think in this case I will make use out of the house, just kinda fill in that gap. So let's go ahead and delete this entire area like so, and make use of a Schroder House. So previously we made use of a house that had an extension. So this one over here. Now it preferred to make use out of this house, since I think that'll fit in quite nicely with the entire setup. Let's go ahead and do that. Then we can think about how to fill in the other area of a gap next to the wall. So if we were to move our entire section like so, we're going to get ourselves a great result and we have our ways to fill in this entire area. So e.g. maybe we can open up this door a little bit more to make it look like the diabetes is a little bit broken off a little bit, which we can totally do. So I reckon we can actually do so I'm going to go over this house down though to make sure it's touching the floor a little bit more like so. And actually, that looks pretty good. So let's go ahead and keep it. We have some broken off parts and I think that looks lovely. And I'm going to select this entire house and make sure that we are setting it up, up into the folder before actually ungrouping it. And we can call this tiny house one, something like that. I'm going to select this entire house, going to click Shift G. And now I'm going to open up this door a little bit more like so and look at it from here. Might look a little bit better, although I don't quite like it. Overall. Just a little bit more. Think is going to be better. Like so. Yeah, there you go, That looks much better in regards to that. Now let's see what we can do if we can fit in an extra door over here on the side as well, that would be quite nice. That way would be able to broke off a breakup some parts. And also we are going to be looking into small props like flags and chimneys. And I was thinking about doing Chimneys right off the bat. But it might be better to get an overall kind of aesthetic of the entire setup first and then kinda break off those patterns a little bit using a smaller type of props. I think we're going to leave small props overall for later bid. For. Now though, let's go ahead and add some bit of an extra touch over here. And actually before adding a door, we can also add a window. Let's go ahead and see what do we have in regards to the options for those. You have some options in regards to just having some extensions like that, which I think would actually work out quite well for us. So let's go ahead and make you saw that. Actually, I'm thinking where we can place it. We can either have it here. I think I'm going to want to replace one of those windows. Or alternatively, we can just completely ignore it and place it on top of it. And that actually would work out quite as well. We do have an issue where the stone is actually and being just and not looking quite as nice. So maybe something like that would look better. And that doesn't look quite as good as they'd hoped for. So it's yeah, it's not nice like that. I'm trying to figure out what the best way we can do is we could put it to the other side. Other side is way easier because they're playing roles. They don't have those type of stone structures. So by doing it like so, it's actually rather simple and easy to break it off. And of course, those logs might look like they're a little bit of us. So if we were to just slightly push it outwards, we should get this result, which I think it's in quite nicely. Let's just make sure that they're centered a little bit more like. So this is looking quite nice. So there you go. We got to sell us some way of a breaking point. But for this area, it doesn't quite fit the overall setup. So what I'm thinking of doing is getting ourselves one of those extensions that we had over here. And if we look at overall setup, we have something like this, I think would be working out quite nice for us. Or alternatively, we can grab one of those extensions that we have from here, e.g. something like that also work out quite well enough for us. So we can have some options in regards to that. And I'm thinking that maybe it would be best to just actually grab one of those types of setups from over here and then simply have a small nice extension for our use. So I think we're going to work in the next lesson in regards to getting some of those extra reusing essentially are built-in assets to get additional detail for our setup. But that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 54. Adding Attachments to the Street: Hello, Welcome back everyone to building, setting medieval worlds with Unreal Engine to Pi of modular kid bash course. In the last lesson, we essentially left it off by setting themselves up with a bit of an extra extension or alleyway. And it's already shaping up quite nicely, but we're not quite there yet in regards to finishing it all up. So what I'm thinking of doing, Asia's quickly grabbing a bit of an extension to kinda help us break off the surfaces of the alleyway. And I'm thinking about grabbing his house essentially and getting that sort of an extension stolen from this actually that might work out for us. So holding Alt, I'm going to duplicate this. I'm going to hit the ship G, essentially. I'm going to grab this entire section like so. Grab everything from it, making sure that we have it all selected. And just to check that we have everything selected, I'm just going to move it out in words like so. This, this seems like a decent setup except that other side, I'm going to click Control Z to undo it. There you go. Now we have everything selected. Hopefully, I'm going to move it from the side and the door is missing. So let's go ahead and make sure we undo that. We're going to select it all and hopefully now go, we can now move it out of the way and it works just fine. Okay. So yeah, we're just going to use this as an extension to our Alloway. And I'm going to click Control G and we're actually going to leave it as is. Or maybe I should, we should definitely clean this up. Actually. We're going to do that right away. I'm just looking at the house, setup itself if it's actually properly aligned and I think this roof is actually misaligned at my end, but actually they are quite works out, alright, because I don't see any gaps from the bottom as much. And it just makes it look like type of a shabby hat, which I do like the setting off. Let's go ahead and delete this remaining setup from here. I'm just going to go click F, grab this entire setup, like so, just like we did previously with grouping in, we need to deselect everything first, I'm going to click F and make sure that everything is selected. And now we have an issue in regards to, of course, the overall watching my cold water body zone. And now I made sure I select that click F and there you go. Alright, so now we're just going to go ahead and delete this part. We're going to keep this little one and I'm actually just going to hold Alt, make a duplicate out of it, and drag it out to the side. And let's see what we can do with it. Alright, so I'm just going to put it over here next to our other smaller huts so we could keep it next to whenever we need to make use out of it. And I'm going to hold Alt, make a duplicate out of it and just try to attach it over here on this end. Like so. Right now we have a bit of an issue with the bricks as well. It changes our elevation or the entire setup. But I think if we were to just simply make an attachment over here, we should be okay. I'm just wondering how it would look like from a distance. So we have a bit of a plain wall over here, which we could fix it up, but we also have quite a quite a plain wall over in December as well. So what I'm thinking of doing is just simply attaching it like so. And that should give us a nice result. We can even remove that window attachment over here. We can put it to the side of it and it should also fix us. It was a nice type of a setup. Just hoping that it's not overlaying because I simply have to set up a folder and whatnot and I'm I don't quite want to do that at the moment. I think it's going to be quite okay. I think we do. If we were to just move, it is going to be alright. We have quite a, quite a bit of a gap over here. So I'm wondering if there's a cheap way we can fix it. And I think we can totally just fix it or we take too long to set it up nicely in regards to that. So I think I'm just going to use a wall to cover up. And essentially that's going to be more than enough for us. Let's just look for a large or small that we can find. Or actually we do have some beam. So let's go ahead and make use out of that. Actually. I'm going to just cover it up like so and just put in a couple of them just like that, maybe bring them in back. You would have a bit of a breaking point like so. And yeah, just like that, we're able to handle the way Essentially. That's going to be quite alright. And I'm just going to make a duplicate just in case and get gave some width as well to it. There you go, something like that. It's obviously might not look close up too good. But when you're scrolling past it, e.g. if I have a camera like this, you're not even going to be noticing it as it looks like just part of the scenery. So all in all, I think that's quite nice. Although this overall setup is a little bit too far off, I think I wanted to bring it in closer. So I wanted to slightly only break off this surface, but I don't want it to hide off this entire overhang because it looks so nice over here. In regards to the doors, I'm going to check how big the other doors are. So e.g. this one over here, this thinly sized, we can totally add a bit of an extra over here. That's exactly what I'm going to do actually. I'm going to grab myself a door or the search for a door within the Catholic Git Bash. We should find ourselves some nice doors over here with actually we have a frame, we have a door. Let's make use out of them. And I'm going to select the frame, drag it out to the side like so. For now, put it up here. Another door, not the store, another door. Where do they go? That's going to work great for us. And we essentially have ourselves a nice door to work with. I'm going to rotate them around 180 degrees and place them in sites. So if we e.g. one, this door to be opening from the other end. And we're going to fix the bottom piece in a bit though. If we e.g. want to have this door opening from the upper end, what we can do is essentially we can grab both of them. We can change the scale for them. And I'm going to click are just to see which one is the axis for it. So this is going to be x axis. We're going to change this scale for X axis to negative one. And it should give us the results. We need to reposition a door a little bit. But essentially, we got ourselves a setup where we can open a door from the end. That's quite useful. Now, let's go ahead and yeah, this is dismissed already ungrouped and in the different folder, let's go ahead and grab those stones and remove them from here. And I'm just going to real quick this door over here. And that's going to be quite alright. We do have a seam going across this one entire section. So we can either go ahead and fix it using some planes and kind of mash it up with wood log n's. But all in all, I think if I were to just slightly move this to the back, That's going to be more than enough in order to fix it. I don't think it's going to look good if we open this door completely, like so. But I think I might be able to get away with just moving this to the back a little bit. Or alternatively, this doesn't look quite as good. I'm going to keep the door somewhat shut and that's going to be quiet. Okay. In regards to that, but it's still quite visible. So let's go ahead and fix that up real quick. I'm essentially going to replace this type of a beam with something smaller. And we have something, you'd have something to make you sad or e.g. large wall, we can make use out of a large wall. Let's go ahead and replace this with a large wall. I'm going to rotate it completely 180 degrees, like so. Essentially we're just going to make use out of a plane or it just like that. Now of course we'll need to set up some beams or it as well. And do that in a second. I'm essentially going to drag this all the way through back. Just like that. Give us a nice result. And we still need to either, I think I'll grab this a little bit forwards and no, that doesn't seem to work. I'm going to grab this URL and put it a little bit more to Rebecca when you go, something like that. And that looks that looks that doesn't look too good. I think it's not completely rotated, so let me just go ahead and there you go. We got it straightened out. We're going to bring this a little bit to the back and it should give us a nice result to work with. We now need to just get ourselves couple of beams and we have some smaller logs as well. This is still too big. I'm wondering if there's a smaller one. There's a mid large and that seems to be the smallest one. So we will have to make use of what we have essentially. And I'm going to make this quite a bit shorter, although like send this entire section like so. Essentially what we're doing is we're just making sure that there's nothing in the middle section. And I'm going to squish this up like so. And it's actually just squish it up and we're going to get away with it, I think like so. And of course we need to set up a beam over here on top as well. Go ahead and do that. And essentially what we're doing is we're manually constructing out this entire setup to make sure that there's no no seams are nothing like that. And we need to cover it up on our end as well. It's actually quite a lot extended, a little bit more extended than I hoped for wondering why that is. Maybe we need to rotate it even more like so. Yeah, we need to rotate it even more. And now I'm going to drag it a little bit back just like that. And that seems to fix the issue in regards to the wall. I'm going to actually move them backwards like so. Essentially I'm yeah, I'm repositioning them so they wouldn't overlap. Look like they are overlapping from this edge over here. I'm going to turn off the grid snapping and just kinda have some final tweaks like so. And they go hide it out of the way. This one, we can just move it out to the side like so and this should be fine. And yeah, All in all, I think that's good enough. Alright, so now we need to set ourselves up with those extra houses over here. This is going to be a sort of a interesting setup in regards to the house. It's actually quite easy and simple to do. We might get away with just grabbing couple of houses and just putting it on top. But we are running out of time, so I think we're going to continue on doing this with this in the next lesson. So thank you so much for watching. And I'll be seeing in a bit. 55. Creating Huts on Top of Castle Walls: Hello and welcome back at Brown to building standing medieval worlds with Unreal Engine five modular kit bash. In the last lesson, we left it off by setting ourselves up with a nice alleyway and now we're going to continue on with making sure that the backside, it looks quite nice as well, but we have couple of foundation wall, It's going upwards like so. And we could have actually set ourselves up with a terrain that has a nice loop. And then gradually we would be essentially changing how the wall interacts with it. But instead of doing that, I personally prefer to have this sort of a solution where we're just stacking the foundation on top of one another. It's honestly a personal preference. But I think the overall foundation of all a sort of a strong type of a castle feel gets a bit better if we have this result. And now we're just going to make sure we have a bit of a live your type of a solution over here in regards to not just having hours, but we're also going to have a certain huts on top of it. And the way we're going to do it is actually going to be quite simple. We're going to grab one of the huts, think that the smaller one would do as better in this case, I'm just going to go ahead and use that going to use the one without a overhang, like so. And yeah, just going to start putting it in in regards to the roof flow, I've think I'm going to put it sideways as in, I'm going to rotate it horizontally like so. Now as for the height of this type of a hot pink, we're going to start off by, let's firstly check. This looks this side. So here's a door on number on this side and on other side there is none. So it's a little bit more flight. It's actually going to work out a little bit better for us because I'm thinking about just putting it inwards into the wall itself. The reason being is that we want a bit of a short house over here and then we kinda wanted to grow it outwards. And yeah, let's go ahead and grab one of the larger houses, little harder ones, but the variation from the side that is a bit larger like so. And I'm just going to duplicate it and move it all the way to the side. I'm going to click S, F to get to reposition. Or actually we can just hold shift and just kinda move ourselves with this house like so. That might be a little bit easier for us. And now let's just go ahead and try putting this on like so. So essentially what we're doing is if you click one, we can see the house is gradually going upwards like so is exactly what we want when building ourselves, this sort of a castle. And I'm just wondering in regards to this entire breakup, how it's going to be set up. So we can either have it set up like this. Perhaps. I'm just thinking that maybe we need a way to break these apart a little bit. And I think that's exactly what I'm going to do. I'm going to make sure we have something to break this apart. And what a foundation itself. I'm thinking about grabbing another tower actually and just putting it over here. This needs to be way too all are way higher over here, like so. And if you click one, we can see that they're slightly going upwards again for the main composition is going to look real nice. Whilst at the same time from the side view, we've got to make sure that we have a certain flow while breaking off the edges a little bit. So this being higher is exactly what we want. Now we just got to figure out how we're going to have it placed on the terrain. We can increase this terrain, have some rocks on the side. Or I'm thinking that we can get away with just duplicating the side. Let's just make sure that it's properly aligned. In regards to this angle, I'm going to click one just to see how this looks. And yeah, it looks, it looks quite nice from this angle. I'm gonna go ahead and go back, going to actually think I'm going to just squish it up to the side completely just to make sure that we don't see the angle of the windows the other side. I'm not too worried about that. We're still working on this end over here. So I'm just going to hit select this tower, hit shift in G. I'm not even going to put it in a folder because it's only three pieces. And then I'm going to start lowering this entire thing down, like so. I'm going to actually click Control Z because I want to increase the grid scale to 100. I think there's going to be easier. And I'm going to click Control Z again because I wanted to hold Alt instead of a shift. And a couple of pieces like that might give us a good result. Speaking, but that's actually looking quite nice or not. And in my opinion, three is where I draw the line. That's a little bit too much in regards to that, I'm going to go ahead and delete that. The second one, we'll keep an eye will actually maybe increase the scale a little bit just so it would look a bit thicker in regards to route outside. And we're going to go to landscape real quick and just play around with the value over here to make sure that we are in layer one. And then start building it up a little bit like so I'm thinking maybe having something like this would be for the best. Mainly because we don't want to use a structure a little bit too much in regards to that entire section. And I'm just going to level it off using the flattened tool, something like so. And probably just use smooth, get ourselves some transitions and we can work on it later on in the future. But for now though, we could just got to get ourselves a nice type of a flow, which is going to be slightly gradually going upwards. And over here, we essentially, if we actually select the brush size, we essentially are going to have a nice scatter heightened up area over here. So we're just going to work with that. Yeah, If we look at it from a distance, we'd have a slight hill and the castle at the very top essentially. So yeah, that's exactly what we're looking for. Of course, we're going to be working with the backside in a bit. Let's go back to this area over here. I do like this setup, but there is quite a bit of a gap over here and especially the there is a floating areas we need to fix. I think one of the easiest ways would be to just ourselves this house, this had duplicated, but it down perhaps have something like this. Yeah, I quite liked this. Design is going to look like there's perhaps like a hot dog in the aside or something of the sort. That's going to look quite nice. It helps us also to break off the entire orderly type of a look and makes it look like it's been casually built-in for the Castle, which I quite like. The only downside of this though, is that there is a door that a codon quite exactly like. So I'm going to go ahead and fix that real quick. But before doing that, I reckon we can also add some chimney and see how this would look like or known or chimney. Sorry about that. I'm going to hold Alt going to drag this down and I'm just going to position the house like so. And just putting that actually, it looks quite nice, although I'm going to try to rotate it around as well and see if it looks better. And it does look quite nice. But the entire setup, it's tried to actually rotate it. I can rotate it. It is unfortunate that we can't rotate it. We have it combined like so. So for that reason, I think yeah, I think I'll keep it as is. But I will remove the door over here because the houses aren't matching up as much. But just by putting the entire house underneath like so we can see how nicely this turns out to be. And there is a bit of a window over here. I'm just wondering if that's actually okay or if it should remove it. And it might be okay. Actually it might be alright. No adult quiet. Now if we should keep it, but from a distance, I don't think it even matter of sexually. So if it's not worth bothering to change it, we don't need to change it essentially. So let's go ahead and move on with this. In regards to this section, now that we're finishing up this area over here, we need to make sure we set ourselves some elevation to work with. And I think on our side we already started building up some elevation. We are still trying to play around with in regards to elevation over here. So thinking of having some variation in elevation to regards to this, what I mean by that is we will have a smaller elevation over here in this section. And then that goes onto the high elevation and eventually onto the highest elevation where it is going to be like a sort of a court or whatnot. Yeah, for us to do that. We're going to simply grab couple of stairs and go ahead and fix this section up. I think we can just grab this harbor area. I think that's going to be quite alright. Actually. I'm going to grab these ones over here. But instead of grabbing that, we might grab the foundation. Instead. I don't quite like the front section for the foundation. I want to have some variation in regards to in comparison to the harbor. So I'm just going to actually rotate them around. I'm going to rotate this entire section for scientists to grab these sort of stairs. And then I'm probably going to, I'm trying to think how it's going to look like from this kind of a setup over here. I don't want it to be the original downstairs to be the lowest tears to be going straight, kind of a thing. Instead, what I want to do is I want them to be rotated 90 degrees like so. And these ones are going to be helping us to split it up. And if we have a look, we can even check if it actually looks better or not. And I'm just going to set it up. I'm going to change the grid. So we could actually reposition them like so. I have something of this result like so. I'm wondering about in regards to this area over here, we need to add an extra house or not. And we might need to do that. Although I'm wondering if that's going to be a better idea or not. We're going to come back to the front section over here in a bit. I'm going to want to make sure we finished this piece of first. Yeah, a little bit higher, mainly for the reason of just I want it to be kind of to whom install in regards to that. So it wouldn't look like it's easy to climb over something, but at the same time, it's going to look yeah, it's going to look like there is a different elevation. Now as for ease, we're going to make use out of them. Again, we're going to rotate them as we talked about before in just to make sure we don't have the same kind of similarities or the harbor. And now that we have some variation, we're able to make use out of them and set ourselves up with this. And I'm thinking, yeah, actually the size of these blocks are at perfect size that we want them to be. We might even have them a little bit lower in comparison, know, something like that because I want to have those declarations are visible from this angle exhausting, that's going to look quite nice. So I'm actually just going to make a duplicate just like that, going to shove it down the side. So and play around with the one-tenth to be barely visible. So they're going to be able to be broken apart a little bit with the timber coming to the side and they're not going to be as flat looking essentially at something like this. I think it's going to be good. I think that's exactly what we want. Let's make sure that there's nothing overlapping with one another and that looks nice. I'm also going to make sure that it's actually as close to the edge of this as possible. And finally, we're going to just move this to recite perhaps. And that actually looks quite nice. We might need to drag it a little bit to the back, but then it starts showing up with this. I'm just trying to figure out if that's a good idea or not. And just looking from a distance, we can grasp the better situation of this. And I quite like the height over all of this setup. I'm actually going to just make sure that we are nicely overlapping. So something like this is going to be pretty good, actually, going to make sure that they are the same height. That's alright. And I'm going to also make sure that 56. Adjusting Structural Detail for a UE5 Street: Hello, Welcome back everyone to building, sending medieval worlds with Unreal Engine five, modular kid bash course. In the last lesson, we left it off by setting ourselves up with a folder for this entire house, for the hut. And now we're going to go ahead and register slightly to make sure that the window is not overlapping, as well as the roof over here. So I'm going to hold the just click Shift G to ungroup everything. And now it should give us this result. I'm actually just going to delete this roof over here or alternatively, we can try lowering it or making it higher. And that might also fixed or issue in regards to overall setup might actually be quite alright, are quite like this overall design. And we're also going to move this window over here. And I think we can even put it out on the very base like this since it has some elevation, I think that's going to look quite nice overall. And has, in regards to this, it's pretty much done and we're now going to focus a little bit on the backside over here. I'm just wondering if it's possible to have something in regards to this small space. In regards to the small gap which we might be able to get away with something. Let's go ahead and see if we can just put our tiny house inside over here and get it filled up in regards to the overall scale and size. And yeah, just by seeing this thing, the roof has to go maybe the other way. But it might be quite alright. But overall, in regards to this, it might not be quite right, is the staircase is going downwards quite a bit. And yeah, It is unfortunate, but we might go, and, or alternatively, I'm thinking that we might get away with this word to just keep it like so. And it would have a way to go down. But we need to, we need to fix this a little bit over here in regards to the size, scale of this setup. So I think that's actually exactly what we're going to do. We're going to slightly tweak those areas over here. We even have enough base for this section to work with and just doing it like so we might get away with it. There is a bit of overlapping roof over here, so we're still going to push it all the way back, like so. And that might help us out overall. And just by looking at this, I'm thinking if we can actually move this entire section, but more to the right. So I don't quiet mind this overall result. We don't have this entire platform covering. This might be a right, it just needs to support it next to the water. And all in all that looks good. For this. We might need to slightly rotated. I'm a bit worried in regards to the overall setup. If you click one and we can see it going sideways, actually we have a house is a little bit covering it. So I'm just going to move them away off to the side. Click one to see how that looks. That looks quite alright. I'll do. We need to focus on working out how we're going to fix this overlapping setup. I do like the overall position over here. It gives us a real nice type of a setup. We even might duplicate this couple of times to get some nice styles over the back leg. So but yeah, the biggest issue right now is that the roof is overlapping over here. So I think the best way to fix it is if we were to raise this up, words like so, we're going to get ourselves a real nice type of a setup to make sure that we have these completely inwards like so. And maybe I'll even stretch it out a little bit. Like so. I need to use this x over here because they are grouped up. They're behaving a little bit weirdly, but we can see that they're being stretched out. And just by tweaking this value over here, we pretty much, I think, fix the roof over here. It's not going to be visible. This end over here. This is going to be completely hidden. So I'm not too worried in regards to that. But all in all, if we were to click one, we can see that it looks quite nice down. We'll say that we might need to slightly adjust in regards to this overall layout over here and just rotate it a little bit more. That looks a little bit better. And I'm thinking about also even just lowering down this entire section just like that. But then again, we have some trouble in regards to this setup. As in, it's not going to look quite nice for the Windows and whatnot, so we might need to readjust that. Reason I'm doing it again is to break off the surface to help us see a little bit more depth when we are looking from this area. So forward to just hold C and just kinda zoom in a little bit. We can see that it looks, it looks quite right, but I'm still not sure if it's actually going to be okay. Let's go ahead and leave it as is actually, as for this type of a setup, I do want to actually fix this up real quick. So I'm going to go ahead and create ourselves a folder for this selection. Tiny house like so and one like so. I don't remember how I call them previously, so I'm just going to go ahead and check that out real quick. And it seems like I didn't have a tiny house variation for this. So that's actually okay for us. I'm going to hit the Shift and G and then simply going to delete this window over here. I think that's going to actually work much nicer in regards to that. Now as for the door section, this might be a little bit different, which we need to raise it up like so. And probably delete this smaller part. And I'm also just going to stretch them out like this a little bit. It's a quick and dirty fix, but all in all, when you're walking forward from here, might actually look quite good. I don't like though, how it is with such a smaller type of a roof. So we might even add a bit of a larger roof over here. Let's just go ahead and quickly check whether the dipole roofs that we have. And also, I was thinking in regards to that app for the roof variations. At this moment, we are just kinda small tweaking a little bit while it's still not going into too much of small detail. So e.g. what I mean by that is if we were to select this house, a roof over here, it looks too generic and comparison, and you might want to make it a little bit stand out, especially when it's so tall and close to the tower. We might make it look a little bit more. Grant, and I'm looking at this over here. I can say that the house is actually being overlaid. Though. I'm going to go ahead and fix that real quick. I'm just going to delete all of these parts since it was already ungrouped is actually wait to be called rubber, easy to do. All I'm doing is just small cleanup work. Again, whilst working with such a high detail, how minor detail It's all about moving the camera around and just checking and visualizing how it looks like from all the areas and just not being afraid to switch out certain bits and just working as you go along essentially, e.g. right now we cleaned it up. But in this area over here, if you want to add extra detail, it looks quite nice with the window actually, but it just opened up for no reason. So what we can do is actually, I think if we search for fence which be able to find something like So, yeah, there you go. We've got some things this over here. So we can just simply drag and drop one of the fences over here. And it looks like it's kind of a small balcony or whatever and actually acquired this type of a setup. I'm just going to rotate it a little bit and just put it in the middle. And there we go. It looks like if you could just walk out of this type of a window, open it sometimes, and just kinda gaze into the environment. So that's actually quite nice. Now I split this top section of the roof. I'm going to quickly create a folder for this house. And I don't remember how I call the other houses. So small house they go I'm going to call this small house five, like so. And there you go. Alright, now we're going to go ahead and start to remove some parts of e.g. this one over here. We need to click Shift G to make sure we ungroup everything. This one over here, there's no reason to have a door. Let's go ahead and remove all of those like so. And of course, it's going to create a bit of a hole over here. So I'm actually just going to remove this and his door frame. Yeah. We're going to make sure that we replaced it something with a larger eye of a mesh, maybe something like that. There you go, that's actually perfect. We just need to make sure we drag it down, drag it backwards, and maybe reposition it like Yeah, that's perfect for us. And yeah, going back to the roof and we need to make sure we have some bit of a variation. Otherwise it's not going to look quite as nice. I'm checking for the one that has There you go. That's a nice decoration, going to replace it, and that's the one that we have. Going to drag it back so we could actually position it nicely and a little bit off. So I'm just going to slightly tweak that up. And we have this covered that's overlapping with our original one and I'm going to remove that. And I'm going to just copy a couple of those, like so move them 90 degrees. Just like that and reposition it. We wouldn't have any type of a gap. I'm not sure why it's like that sideways like so. But there you go. Be fixed it now. So that's quite nice actually, that's quite good looking. Or a house. We could also on the same node, changed up this area over here. So it's already set up with ungrouped areas. And I'm just going to change it to this roof like so. And I think that's going to look much nicer for the ending part of the section. And I'm just going to delete this, making sure it looks nice. And yeah, there you go. We set ourselves up with a nice coordinate over here. And in regards to this, we have some bit of time to fix up this elevation. So let's go ahead and do that. Actually we're going to go onto landscape. And I'm just going to flatten out this area in regards to the height of a year. And I haven't actually talked about in regards to the elevation, but we do have something called flattened target. If we were to elect this, like so, we have essentially made it so it would always flat and the target in regards to what we put in here. So if we were to increase this, we can we should be seeing a bit of an elevation in regards to flat. We want it to be e.g. so right now, I'm just increasing it a little bit and you could see there are lines coming up like so. And the easiest way to control them essentially is There you go. We can see the lines coming up. And essentially, if I were to just sculpt it out a little bit outwards with a small type of brushes, a little bit, increasing it bit by bit until we get to a level that's something like this, maybe a bit lower, something like so like that. And we can click on flatten and we can select this pipette over here and tap it on this edge like so we can see now the grid is over in this area. And essentially once we start leveling, this is going to level two are exactly desired type of an area. That's actually what we want over here. I'm going to click controls that don't because we, we're a little bit too close to the stairs and we can readjust them in a bit. But now with a larger brush, I'm going to go ahead and just do this sort of result. And then afterwards, we're going to increase this. They're way over here and get ourselves some nice elevation. And also we need to make sure we don't mess up this section over here where the water is. So yeah, we're going to continue on with this in the next lesson. Thank you so much for watching and I'll be seeing you in a bit. 57. Connecting Edges of our UE5 Castle: Welcome back everyone to building standing medulla worlds with Unreal Engine by modular kid bash course. In the last lesson, we left off by setting themselves up with a basic elevation for our next level. And we use landscape tool which allowed us to essentially give us a better control over our entire setup. So by simply using flattened target and using this perpetual over here, we're able to have an exact control on how we want to behave in regards to our height. And right now, I just have it set. So it would go over these types of platforms over here which look a nice from a distance. And I'm just going to make sure that we don't have any of the area next to our underneath water section over here. Just make sure to not go too far out of what it's going to start covering that section out. So e.g. if I were to do it like this, it will probably start showing up on though it's still quite okay. We might get away with just not worrying about it too much in that regard. I think I'm going to do something like this and I'm actually just wondering in regards to elevation over this level. So I'm going to go to the other section over here, going to go back to the selection mode, and we're going to start building out these stairs select. So in regards to the elevation, I'm looking that there is a bit of a gap over here. Let me just go ahead and fix that up real quick. I think it's because I added up overdoing in regards to elevation, some other parts. Let me just go into landscape mode real quick. And I'm going to turn off flattened target. And I'm just going to clean up it from the top, this massive hole over here. Let me just go ahead and make sure that everything is nicely tied up. We are going to use partially setup tiles put us in regards to the texture for the entire terrain. So we're not going to be covering up this landscape type of a setup for this mesh. And yeah, speaking about mesh, we need to make sure that we set ourselves up with nice staircase. And we got to consider in regards to how big or how large those cells, those stairs we want it to be. We still are not done in regards to this section over here, so we will need to complete out this castle section. And let's go ahead and we can get into it right away. We're going to make sure that we hit Shift G to ungroup this. And I think I'm going to actually scale them up just a little bit. Your value of 1.1, something around the scale over here. And yeah, I think that's going to be better. Then afterwards we're going to width nice grid lock. I said to 50, we're going to just draw them outwards and we're going to change our gizmo from rural to local. This'll allow us to move them out towards nicely. So we're going to start building them up for the stairs. Something like this will do quite well. I'm going to lower down the grid lock and just kinda manually reposition it just like that. And I think we're going to also increase this entire selection just like that. It's going to leave us underneath some bit of a gap. So I'm actually just going to make a quick duplicate out of that or before doing that. Ideally, I'd like to rotate these stairs a little bit. It looks a little bit too out of position. If we look at it from a distance from an entrance, it might look quite nice actually, but it's all down to preference. I want it to be facing a little bit closer towards the entrance. So I'm going to go ahead and adjust the rotation. Do something like this. The downside of it though is it might not look like it's perfectly aligned into overhear. All in all I think it's okay. We might want to rotate it a little bit backwards like so. And yeah, this looks quite nice. If we look at it from a distance, we can see it facing a little bit more forward, which is looking pretty nice. And also, I'm going to go ahead and copy this and put them outwards like so. In regards to elevation over here, we need to consider how high up we want this to be. And I'm thinking that we should probably have something like so. In regards to entire circuits, essentially the entire wanted the entire area to start off here, but a little bit higher. So something like what we had actually over here. And I will actually experiment in regards to the elevation on this section as well. So I'm gonna go ahead and make a duplicate of the staircase and experiment from this area like so. Just a little bit, not too much though. We're not going to spend too much time in regards to this area. So let me just go ahead and see how this would look like. Personally, I'd want to have a lot of stairway, a lot of staircases going across like so. It gives us a realized I've pattern and widen our entire section and something like this. We will do the trick. So I reckon we can lower down this entire selection, this entire elevation to this height. And essentially what I'm going to do is I'm going to go to the landscape. I'm going to enable flattened target, and I'm going to select an area where it's going to be more or less in exactly the same spot as the top of the staircase going to use the pipette for that and a little bit under something in this section. So there you go. We're going to get ourselves to this grid. And let's go ahead and flatten this out. Like so. And I'm actually just going to go ahead and just Continuing on with this in regards to if I were to find the brush size, they go going to increase this a little bit and just kinda get a nice type of a setup so we could see how it looks like when we combine those two areas together. And yeah, we essentially went from one side to the other side and now we're just combining section in a middle. Let's go ahead and see how this would look like. And he definitely looks quite nice. But I will say that we probably need to set ourselves up with a bit of a bit of a less there's that would probably do better. Let's go ahead and delete these ones. Let's go ahead and make sure we make use out of this something to this amount. And now we can just push them in words like so. Just to get a bit of a nicer type of a look, these are going to be more straight. I think that's going to give us a nice step of a curved look from this setup. But of course we need to readjust the bits, the platform underneath. I think that would be working out better for us. And we can either raise it up and rotate it slightly and we can just play around with the overall silhouette. I think, yeah, I think something like this will actually give us a nice result. From this corner, you can see there's a bit of a gap. So we might want to increase, just push it forward a little bit more, readjust angle a little bit. There's going to be an overlapping edge over here, but I think that's going to work out quite well enough for us. And the door itself looks quite alright. Although we do have an issue in regards to the setup on this area, I'm going to turn off the flattened target. I'm just going to flatten this bit off. We wouldn't have an entire section just buried underground. And yeah, just looking at this, it's already looking pretty nice. We now can start setting ourselves up in regards to, let's say, the stronghold area over here. But I'm thinking we can probably add some bit of an extra touch in regards to the side over here, we don't want to be climbing up. And speaking about climbing up, we can say that the area for the stairs is still a little bit hidden. So I'm trying to figure out what we can do, what's the best alternative to fixing this up? And it will probably be too. Firstly, go to foliage mode, go to smooth and take off the brush size to quite a small one. So we can just kinda ease off from this ground. Like so something like this will do quite well. In regards to getting our staircase, we can go on to selection, select the staircase and drag it outwards like so. And we can just increase it small amount. I think that's going to work out quite well for us. Go. The downside would probably be that we can see a bit of a gap over here. So we can either grab this and extend this or squished down upper platform. And I think I'll just extend it like so. You give us a bit of a nicer result. I think that's going to give us a real nice type of wide look. We might need to slightly change something up in regards to this section over here. Or alternatively, we can just wrap this platform and rotate it to the point where it's going to be from the back essentially, like so. And that's actually going to help us out to give us an realized type of setup or this platform. We can even lower this down a little bit and squeeze it in words. And this looks alright, but I don't quite like how it's known as same level. So go back to the previous level and sorted out like so. Something like that. Perhaps you might need to push it a little bit backwards or extend this even. Can do this as well. It goes something like that, I think looks quite nice and we can have a bit of an extra like proper something on this area. And then in regards to the prompts themselves, I would like to have a small hut, small house over here. And that way we'll end our entire section in regards to the wall. And then we start curving a bit to the left and go off onto the strongholds. So I reckon, in regards to the huts themselves, we can either make use out of the small heads or recreate it, or we can also make use out of the ones that we have over here. So this square one, I think that might look quite nicely the square type of a roof. Let's go ahead and make use out of that. Actually, we're going to go ahead and do that. There's something in this area over here. I think I'm going to place it some somewhere around this area. We can keep it somewhat free as well. And then we can also add this type of an entrance attachment. I think that's going to be quite alright. I'm going to go ahead and use shift actually to just move it to the side lengths so nicely attach it out to the side. Then we're going to start working, actually start working with the stronghold itself and get ourselves a nice back at the end. Like so. We can probably increase this a little bit higher up. Don't want it to be two stories tall. I think that's a little bit too much in regards to that. So I'll keep it something like this. And we might even want to lower down this entire roof, which I think I'm going to do. I'm going to hit Shift G. I'm going to take out these additional types of supports like so going to move the roof out to the side and just essentially a go, remove this entire a bits and then kind of drag this entire roof downwards just like that to give us this sort of a look, which I think would look much nicer, like. It looks a lot better from a distance as well. This lower roof connects nicely to the other one as well. In regards to this one, I don't think we even need this type of a roof over here, but we can add touch it actually mole tiny type of a roof like so. I'm going to remove the window actually, instead of removing and I'm going to place it on the side because I think it's a little bit missing. In regards to the detail on the side of the wall over here. Something like that. Perhaps. There we go and extend that as well a little bit. Something like this. What will work quite well, and I think we need to love it around the roof a little bit lower, both these roofs actually. And make sure they're actually above the door itself. Something like this. And I think that looks pretty nice. Or such a nice hot in the corner. Yeah, in the next lesson we're going to continue on with the that up. I think we're going to work on the massive landmarks since we're approaching this area over here. So that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 58. Working on our Environment 3D Landmark: Hello and welcome back everyone to building, studying medieval worlds with Unreal Engine pipe modular kit bash scores. In the last lesson, we left off by setting ourselves up with a bit of an elevation. And now we're going to continue working with this type of a castle and actually get ourselves a nice landmark in a bag. Because if you click one and go back to our camera that we set up previously, we can see that there's not much up an elevation just yet. And we could totally start with some stronghold building similar to this one over here where it's made out of stone because we do have the type of parts for that, but we're going to continue on with that later on. For now though, It's best to start by getting the main part of the structure out of the way. The landmark, the one that's going to natural draw in the focus of your eye. And it will help us to start building around it instead. So this is going to be more or less the end of the castle and it's going to, again, help us in regards to that. So let's go ahead and get started as a starting point. I reckon we can just grab ourselves a large type of a tower. So I think we can just build it off the recited and work our way around it. I'm going to grab a couple of pieces. The one that, the ones that I know that we're going to make use out of the base is definitely necessary. Couple of windows is also going to be quite nice. The one type of the castle part that's not going to have anything around it. I think that's going to be quiet, nice. Yeah. We're going to grab all three of them. Essentially. We're going to hold Alt, move them to the side and then start building with them. I'm also going to just grab it in regards to the gridlock. But if we look at the grid, they might not quite work out as well if we increase it. I think it's because they were essentially placed this for presentation and not for the use. We could find it in our browser. Or alternatively, what we can do is you simply put one off to the side, copies location like so and paste and location for both of these by right-clicking and clicking Paste. And essentially this should give us a selection that makes all of them be placed in one center point. And I think that's going to be quite helpful for us. But let's go ahead and work with them. We're going to start working with the first couple. And I think we're going to get ourselves a nice type of a top. So essentially what we're going to do is we're going to build a large tower. And at the top it's going to have a nice setup for the we were to look at it. There you go. That's the type of roof that we're looking for. We're going to make a duplicate out-of-date paste in location like we did previously, click F. And now we can just raise it all the way through the top. And essentially that's what we're going to get. So let's grab all of these pieces like so, and push it out onto the side, onto the very back, just like that. And essentially, ideally, I'd like to have a bit of open space over here. We're going to have something in this area. And then we're going to have a bit of an extra elevation in regards to the floor. So I'm going to actually drag this type of stair over here to the side as well. Just to make sure that I understand how high up this I want this to be. And I do want this to be a little bit higher up. So I'm going to go onto landscape mode, select scope, going to increase the salivation, which doesn't seem to be doing anything. It's might be because of the brush size. I'm going to increase the brush size and there you go, it starts working now, going to crease it a little bit above the staircase. Now I'm going to go back onto Platinum tool, going to select flattened target and select the pipette, which will allow me to just select the high That's going to be just under the entire section of the staircase. And now I'm going to just flatten this area out a little bit like so with maybe a bit of a larger brush, something like that. So I would understand where it essentially is in regards to the overall size, in regards to the overall height of it. And yeah, something like that will do us nicely. Now going to drag this tower above this base, like so, and start working essentially with it. We're going to firstly determine where we want this to be in regards to its height. If we look at it from a distance, we can see that maybe we need to readjust the angle at this point. I want it to be a bit lower down to the ground so we can actually see some of that tower, but at same time, we ideally want to have, we want to compose ourselves a bit of a scene like this for a setup would be a quite nice that we have a clock tower. We have a bit of an entrance show in which we are also going to fill out. We have some additional prompts and we're going to click Control one to kind of reset our setup. So this looks quite nice, I reckon. Although a little bit more to the right, we can play around with the composition a little bit in the future for now, it's just the base of it. And let's go ahead and work with how it's set up and also upgraded to go on to the castle part's going to check if we have some alternatives to work with. I don't quite like this. We could grab both of these and expand them outwards like so. And that might also work out quite nicely. But I'm going to click Control Z. I'm going to search for alternatives. And we have some smaller pieces. So maybe we can make use of small pieces like so. And I'm just going to. You something like this, perhaps this might work and also make use of another one that doesn't have any of those parts. But this might look a little bit too plain. So we'll click Control Z, actually, oh too much. Going to click Control Y to redo undo. And something like this will work quite well actually. Although if we look at it from a distance, it might need to go a little bit more to the right. So yeah, I think I'm going to do just that. Firstly though, I will select this entire selection of this entire tower like so. I'm going to click Control G to group it up, click one, and then we can work our way with it. And ideally I want it to be a bit more on the left-hand side after the river. And that's going to help us out in regards to that. Something just barely touching this type of tower. It's going to help us in regards to transition. So the right hand side, it's already looking quite nice. We might have ourselves couple of buildings over here. If we look at it on the left-hand side. So this area is a little bit too empty. And then we'll work our way with the stronghold in this section over here that will gradually go up in regards to the tower itself. But for now though, I think that is more than enough in regards to this, we can actually we can raise it up just a little bit like so. We can adjust them later on once we have more things that we placed. For now though, I'm going to click Shift G, and I think I can increase this width over here, just a little bit wider. Like so essentially what we're doing right now is making sure that it doesn't look just like a pencil type. And we have some actual whip out of this. And I'm going to increase all of them just a little bit like so if this one as well, and this will give us a real nice type of gradual transition. Maybe need to increase this a little bit as well. And yeah, we didn't need to increase this a little bit. And now if we were to increase this a little bit, it's of course going to kinda mess up our entire bill in regards to this setup. And I would ideally actually want to have some of the windows up in regards to the tower itself. So I think that's what I'm going to do for starters, I'm going to replace this with that. I'm going to just drag one of them above and other one. If I were to click on this area again, make sure I deselect other one and that looks a little bit better, maybe. Not quite sure in regards to that, I might even just use the ones that are underneath and make a duplicate out of it. I don't like this entire setup and we definitely need the second tower though. Let's go ahead and add a second tower. So Cyrus, yeah, reuse this already. Used a tower. I'm going to quickly change up those patterns. Like so. Something like this, I think will work quite well. Maybe stretch this one down just a little bit. Something like that will work quite well. Although what we can also do in regards to this, we can just move it downwards a little bit. So if we were to expand it just a little bit, we should get this result, which is, I think it's going to look quite nice. And we can expand this a little bit. And again, we're just playing with the overall composition in regards to the Tau, we can see that it's looking like it has a bit of that extra shape. I'm just making sure that there's no extra gaps that are left, which in this, in this particular one, it does seem to be the case. So I am going to lower this down a little bit like so. And the other one is going to give us a bit of an extra gap. So I'm trying to think on what we can do in this particular case. We fixed that issue and I'm thinking that we might grab location of this one over here, copy and paste this in. And what are essentially I'm going to do is I'm going to rotate this 180 degrees, like so. I'm going to drag this outwards like so. And I will increase the scale a little bit so we get essentially an extra ring that goes around it. So that's the type of problem-solving sometimes they regard to use. It's not it's not the prettiest of the workarounds, but it definitely helps us out in this particular case. And I'm just wondering that I should probably turn down the gridlock a little bit and just kinda readjust this like so. And I think that's actually quite alright. I think that's going to work out for us. That's one way to hide those kind of seems like that just flip an asset around and get of a shape out of it. For now though, I'm going to select this entire section like so. I'm going to grab it all. Just like that. I'm going to move it out to the side and make sure that we grab this entire thing. I'm going to essentially paste this to the side, like so. Hit one and then kinda start lowering this down. Essentially, we get to a nice low end. I think something like this would do us quite nicely. I'll do it on like how it's touching the tower so much for the clock tower. So I'm going to move it a little bit to the side though. And that's already looking so much nicer. So let's go ahead and stay with that. We're going to need to adjust a couple of areas over here. But essentially what you wanna do is make sure to get the main pieces out of the way once you get to them and then work around in regards to them. And I will need to add a bit of an extra buildings over here. Work with that, and we can totally continue on with this in the next lesson. For now though, I'm still going to use an extra minute and just kinda slowly sort out. This entire section. Doesn't look quite as nice right now. I'm going to go ahead and fix that up right away. I'm going to turn off flattened targets to that, since I don't think we need this. At the moment, I'm going to turn down the brush a little bit as well and just kinda clean up these asset areas over here. So make sure that there's no any crevices or anything of the sort going to increase this area perhaps. But this area is actually quite similar to the one area over here, but I'm just wondering what we should do in regards to this. So maybe we're going to have an extra bit of a higher area in this section over here. And they kinda go, That goes back downwards, like so. Something like that perhaps. In regards to this area, we can see that there is a massive Kravis over here. We can fix it by having some extra platforms. So platforms over here. And I think that would work quite well for us. Now though. I think all in all, it's quite nice. We might give ourselves a bit of an extra space to work with in regards to this section over here. And this is going to be essentially the size of photography zoom in. Overall, we have base for the city and we have some section or a, again, like it's typo stronghold or a castle. So that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 59. Creating Stronghold Structure in Unreal Engine 5: Hello and welcome back everyone to building stunning medieval world with Unreal Engine five, modular kid bash course. In the last lesson, we left ourselves off with a couple of towers and now we're going to actually continue on working with the stronghold and actually get ourselves some nice wall around this area. But before doing that, I'd recommend you to actually stabilize these towers first. We're going to actually get ourselves something to help us with that. I think this one is going to be quite nice. This type of connector is going to be working out really well for us actually in regards to this set-up. But if we have a look at it, overall, this might be a little bit far off. So what I can imagine doing is if it's a little bit too far, we could even extend it a little bit. Or alternatively, we could make a second version of it like so. Or if it's a little bit too short or too close, we could squish these all down. So we have a lot of possibilities with those when working in regards to the overall distance. Though, even though we right now have somewhat of a nice setup, if you click one, we can see those towers looking quite nice in regards to this overall look. But so of course I wouldn't want to move it, but of course we need to combine them a real quick using such. And I think that's going to help us out in regards to breaking up the overall setup. Like so. I think that's looking quite nice actually, we don't need to worry about it too much. We need to make sure we don't overdo it in regards to stretching because of course the tiles are going to mess us up in regards to pattern and texture stem cells. And I'm just going to maybe squish this down a little bit, even like so. And I think that's going to be quite nice. And one final thing that I wanna do is perhaps position this a little bit better. So I'm going to rotate this, decide like that. This eye looks nice, this side looks nice as well. But something like that I think will do us quite nicely. So let's go ahead and click one to see how it looks. And we might adjust the height a little bit like so, but all in all, maybe it's a little bit, needs to be a little bit higher like so. Something like that, I think will do it quite nicely. In regards to the windows themselves though, I think as long as we don't overlap it, like so, it's going to be quite alright, or we could just slightly rotate this and tweak this in regards to where it is because I'm pretty sure that inside of this, there is going to be a window or there isn't actually, which is actually quite good for us. And I'm just looking at overall setup. Yeah, it looks quite nice. Okay. Now let's move on. In regards to building this type of a setup for a stronghold can start by getting ourselves couple of strangled houses that we'd be able to essentially reuse. And so for that, let's go ahead and throw it away. Go into this area over here. And actually I'm just going to select it like so going to go into this folder and I think it pretty much has everything that we need in here. So let's go ahead and make use out of it. I'm going to increase my grid snapping to 100. And I'm just going to essentially start building out the walls real quick. And I think this should connect to here. Naturally. I'm going to make sure that out There you go. It looks like it's connecting naturally and I'm going to check if combines as well. It combines nicely as well. So essentially what are we going to do is for Cyrus, we're going to grab all of these walls and make sure we combine them nicely. Like so. I think there are three variations over here, like so. And what are we going to do is we're just going to group them up just like that. So we'd be able to make use out of them like that. Then we have a couple of roofs to use and whatnot. But essentially we're just going to grab the highest looking wall. We're going to start building it up and we're just going to start plunking it down like Legos, just like that, something like four. In regards to the height, I'm not quite sure how high it should be. I'm actually just going to grab a person which we should have had left that somewhere in the corner, maybe over here, there you go. That's when we're looking for which by the way, you can just search it on the outliner for Quinn and you should able to find it. Anyways, if we were to just simply place it next to our assets like we want it to be this one just like overall large type. Nothing. That's actually quite alright. We can totally raise this up and it's going to look quite nice as well as for the sides. I think we can adjust them in regards to setup, all are roofs for this stronghold. I'm going to just grab the first one and see how it looks like rotated 90 degrees. And I'm hoping it'll fit nicely like so, which it does. That's really nice for us. We can then evert just, I think just duplicate it like so, which actually look, I quite liked this overall setup. It might look quite nice or think we have some alternatives to work with. I see that we have this one over here, which is a similar type of a roof. If not the same, I'm just wondering what the difference is between these two. Going to quickly check them actually out. And there's better looks of it. It seems like they might just have a bit of variation in regards to the top. So I'm just going to delete this one over here. And what about this one? I think it should have a nicer. Yeah, It actually might look nicer like this if you connect it like so. So what I'm thinking of doing is actually just having one long and a couple of the shorter ones like so. And then add one long again in the end, just kinda have some variation. I'm looking at the overall rules set up and it's looking quite alright. I'll do. It looks like it's not carrying over here. So I'm just wondering why that is. And it's probably because of the way it's set up with declarations, but I do want to decorations on the top section of these walls. So what I'm going to do is I'm going to try to raise this up just a little bit like so. Hopefully that'll fix our issue. We have some issue in regards to how some stone is overlapping, e.g. but all in all, I think that's actually quite alright. Let's go ahead and make use out of that. We're going to simply select it all like so, or actually we're going to leave it as is. And we're going to, we're going to grab a cell's couple of these walls since they're already grouped up. And I'm going to actually delete it real quick because I wanted to increase the grid scaling gridlock. And now we should just drag it out like so. And it should give us a nice result just like that. And I'm hoping once I rotate it, it's going to still fit in quite nicely. Which doesn't seem to be the case, or it does actually, so it's actually quite nice. Then in regards to the second wall, I'm going to grab all of these walls like so. Making sure that it's the only site that selected. I'm going to hold Alt, move to the back and essentially rotated around 180 degrees. Put it back to the side. And let's see how this looks like. It might work out quite nicely actually, I think it's dead in the center, so it's actually really nice. It worked out really nicely for us actually. Let's go ahead and grab these ones at the side as well. I'm going to put them out 180 degrees like so. Essentially reattach it to the back side, like so. So, yeah, we made ourselves a real nice type or a hat, a stronghold version of a hut. Although it does look like it's lacking details. So I think we're going to add that up as well. We're going to grab this actually Castle part. And that might look quite nice in this section over here, I'm going to lower down the grid lock and going to try to put it in the middle. I think that's looking quite nice actually. I'll put it down on both ends actually. And I'm thinking that on the other side, in regards to making use out of this reasoning, this, we want to have some variation, so I'm just not going to duplicate it. I'm going to set it up on, let's say one side, like so. And the thing that will work quite nicely, although before doing that, what I'm going to do instead is I'm going to add a couple of extra windows. Then we're going to duplicate it. And I think that will work much nicer for us. I'm going to go back onto measures, going to search for a window and should be some stone windows, I reckon. Definitely be there and I'm looking at it and it should be the hill. These are the ones that we're looking for. Castle windows over here, we have inverse-square are roundish ones for these particular ones, I wanted to make it more roundish. I think it's going to fit in nicely in regards to the overall setup over here, since these windows are all surrounded or so overall, we've got to consider in regards to how they look and how consistent we are with ourselves as well and whatnot. So sometimes I'm going to have these houses high, rapid and they're going to be quite visible in regards to the overall setup. So the towers are going to be visible, these are going to be visible. And essentially, we want them to look similar in regards to the sale of those windows. And I'm just going to put them out like this. And that looks, that looks quite nice actually. I'm thinking wherever to either push it in words a little bit or pull that out. But all in all that looks quite nice. I'm going to grab one of them, going to hit Control G to group it up and then place it on our end as well. Of course, we've rotated 180 degrees, place it on a over n Just like that. Anything that works out quite nicely. And we might as well attached couple of windows on these edges over here. So I'm going to do that. I'm going to make sure we attach it 90 degrees. I make them smaller and actually I'm going to turn on the Scaling snap to make it smaller like so. Now it looks quite nice. Let's go ahead and put another window somewhere like so. That's going to be quite alright, just like that. And we're going to essentially just rotate them around and get ourselves our area as well as set up. Just like that, I think is going to look quite nice. Although you might make use out of couple of variations for those windows. I'm still thinking about using the square one. Maybe we could totally make use out of that actually. And I'm wondering what if we squish it down e.g. and that actually doesn't look too bad. The wave in regards to the middle section doesn't look quite as nice, but all in all, I think it looks quite alright, actually, something like that. Perhaps going to make sure I check the bottom. So this is squished by 0.5, which we gotta be wary because it's under 0.7. Just by looking at it from a distance, we might get away with it. This window needs to be pulled out a little bit. Excel. And this section, I'm just going to have a couple of extra windows over here. And I think that's going to be quite alright. Maybe I'll delete this bottom window and add another couple of windows over like so that perhaps it might work quite nicely just like that. And let's make sure that they are actually aligned properly. Like so. Alright, so this is already looking quite nice. Now we need to make sure we have some variations out of them. And we can even add some extra items in regards to the variations for the Supreme Court is now click shift in G. We can remove some of those. And I think that might help us in regards to getting ourselves a nice pattern, although not in this occasion, maybe in here, if we were to e.g. the leader day, it looks quite nice, but it's one that we might need to increase it a little bit. With. In regards to the scaling Aldo, I'm going to click Control Z real quick and make sure that this looks like so. In the next lesson, we'll be able to make some variations out of this and actually a little bit customized version of this essentially. Yeah, that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 60. Creating Different Sized Cobblestone Buildings: Welcome back everyone to building, sending medieval worlds with Unreal Engine phi modular Git bash course. And essentially, this is where we left off. We've got ourselves a nice structure for our stronghold, and now we just need to make sure we get some iterations out of it, which is actually going to be easy to do first things first, we're going to create ourselves a nice setup. We're going to essentially started off by, I think we're just going to make sure we group everything up together nicely and then we can work our way from there. I'm going to move these walls a little bit to the side so it wouldn't get in our way. I'm actually just going to make sure everything is selected and this seems to be a duplicate here. I'm actually just going to go ahead and delete that. And I'm going to check real quick if I didn't make any duplicates over here in regards to that, it seems to be fine. It's just want one little one. Okay, we're going to go on to the top section like so. And I realized there is a character here as well, just to make sure we don't catch him. I'm going to move him to the side. And I'm going to select one of the parts, going to go to a top-down view, select this house. And in this case, I was thinking about de-selecting, hiding away the water. Don't, but I think that's going to be alright. I'm going to click G Actually I can see it within my perspective view. I'm going to make sure I hold Control and select it and hopefully that good help us to deselect them. There you go. I'm going to click F and it should actually give us a nice type of selection like so. Alright, so now what we can do is we can just duplicate it actually, we can hold Alt and move it off to the side like so. In regards to this size, we're essentially going to make it much shorter. So let's go ahead and try doing that. Actually, we're going to delete half of the building to make my life a little bit easier, I'm going to go back onto selection, Shift G with everything selected. And now we should be able to quickly delete everything in regards to that. And this should give us a nice type of result in regards to our overall setup. Our walls are going to help us out in this situation over here. So yeah, I'm not really worried about anything at the moment. I'm just wanting to clean this entire section just like that, making sure that I'm deleting the other side as well. And we should have something like this. Although we can probably delete this part as well, I'm actually going to check the shortest wall like so going to hold Alt, move it up to the side and see what we can do with it. I'm actually just going to delete it first. Actually. Try getting ourselves some bit of grid lock, like so going to crease the gridlock, going to hold Alt. And this should give us a nicer setup, although I'm pretty sure because we are so low, it's actually going to not help us out with this Asian, which is okay, I think I'm just going to do it like so. And I'm going to go on to the rooftops. Rooftops, see what kind of other roofs we have. We have a smaller one. So this is quite a small one. I'm wondering if that's going to help us out. Maybe not this one, something like this, perhaps going to also try to essentially get ourselves some smaller, shorter walls on the side as well. So I'm probably going to go ahead and do that. I'm going to move it down to the side. Just like that. And it should give us a nice hopefully type of a result like this. And finally, this type of roof. Let's go ahead and see. We can go ahead and fix it. I'm going to remove these walls over here as well. And is this actually going to fit in nicely with the overall setup for this roof? As the best question to have essentially a statically though, it might look quite right. So I'm going to actually make use of those smaller wolves like so, and increase the gridlock and then just move them out just like that. And is it looking nice? We need to delete this part at the top, but that's okay for now. We need to first of all, replace the walls that we have on our side. Click E, replace them with one a degree type overturned. And hopefully that'll be okay. We also need to replace this upper end, which I'm actually going to do. I'm probably going to delete one of the windows as well as delete this entire section, something like that perhaps were essentially rebuilding this entire section because ideally we want to have a shorter type of a house and it might have been better to just do it from scratch, although I reckon that's still okay. I don't want any attachments on this particular case, so let me just go ahead and delete them as well. Like so. Now we're going to actually, we're going to leave this and see if we can grab ourselves a bit of a larger type of a setup. Maybe Our be this yeah, this roof is actually shorter, but that's actually going to work really well for us. Hopefully. Something like that. I'm actually going to copy the location of the previous rooftop and paste it in here. And hopefully that'll allow us to nicely, they go nicely set it up just like that. But for this though, we probably need to move it down to the side like so, something like that. It will work quite nicely for us. We still need to fix this area over here, which I think we're going to do right now, doing to make a copy, drag it around, and set ourselves up with a real nice type of a setup board overall stronghold. Just like that, we have quite a mess. Actually, we need to fix ourselves a little bit. I'm thinking about just making this quite a bit smaller, or it looks a little bit too off. I'm actually going to delete it in such a small type of building that it might be better to just keep it as is. I'm just wondering what is up with diverse side like this over here. And we just need to add the other side just like that and see if we can actually essentially fix this entire situation. So now if we were to rotate this around, I'm going to get it like so. And we need to reattach it essentially on to the main part. Like so. Now we're going to grab all the walls because you can see now that there are way too high up, all the shorter walls that is, wrap them all. I'm going to lower them down just like that. And that should be in the right position. I'm going to lower it like so. We got ourselves a nice structure to work with. And we have, yeah, I think I like these ones over here. I'm going to leave them up as is. And I might even though, expand this a little bit without the scaling, proportional scaling on, without the scaling Log. Just a little bit like so. Or even might rabbit upwards and make sure that I have a grid lock down this entire Waldo. I forgot to grab it. So I realized now that might lead to lower this down. Like so. Something like that perhaps. All in all, I think it looks good. We need to make sure that it actually doesn't overlap. So I'm going to grab it and put it up higher. That doesn't seem to work. So I'm trying to figure out what's going on with this because everything seems to be fine on this end, but this particular case doesn't seem to want to go low enough essentially. So I'm going to drag it down manually and that should hopefully fix the issue, just making sure that there's no gaps at the bottom which there aren't. This section, however, doesn't seem to be on the right type of place. So I'm just going to lower this down a little bit as well and see what is up with that. There's going to be a gap if I were to do it like so. And maybe it's because just this type of was just the Declaration that was a little bit too high up in certain areas. That was the reason why it was doing it like so you can see them clearly being a little bit too high up essentially, but all in all, that's pretty much it in regards to that. The other variation essentially is going to be way easier to handle. I'm going to go ahead and quickly grab everything again. Going to make a deselect, and I'm going to click GI. I'm going to de-select this entire water body click F makes sure that I don't have anything selected. I'm going to click queue to make sure I take off my gizmo control. And hopefully there you go. That dyslexic now de-selected completely. I'm going to essentially make sure that the grid lock is set to 100. So now we can actually put it out onto the grid properly. And it'll look quite nicely for us, although I'm going to put it on the other side, so I wouldn't get too close to them. The main items essentially. Now going to go ahead and grab all of these little tower's going to make sure that we set it up like so. And let's like that I think it's going to look quite nice. I'm going to delete this one that was ungrouped. Let them up to be something essential like that. One going to be on one side and two are going to be on the other side. And essentially, I think that's pretty much it. In regards to that, we need to add some bit of an extra variation and we are running out of time. So I think we will need to continue on with this in the next lesson. We're going to leave it like this actually, thank you so much for watching and I'll be seeing you in a bit. 61. Adding Detail Variances to the Stronghold Structural Assets: Welcome back everyone to buildings standing medieval roles with Unreal Engine five modular good bash scores. In the last lesson, we pretty much settled in with getting ourselves three variations for the stronghold structures. And we're going to continue on with this real quick. We're going to make sure that we have everything placed in order. And so for that, let's go ahead and right away, just get into it. We're going to make sure we move all of these parts to the end. And essentially, I'm going to talk a little bit about in regards to the variations and whatnot and how I usually set them up in regards to what I want to work with such environments. So essentially, what we're doing is pretty much more or less the same in regards to making sure that they look unique from all the angles. So e.g. from this side, it's going to look like one type of building from this side is going to look like another type of building. And it's going to, you can see that the windows over here look differently to this one over here. If we were to slowly walk through the castle or something like this one over here, it might, it might look a little bit odd that some of the windows of the same structure might be off or whatever. But when we're working on overall large scale, Large-scale, we want to reuse the same type of buildings and essentially we want to make sure that they are a fitting within our theme, whilst at the same time they're looking unique. So yeah, Essentially we just want to make sure we have enough variation. So that's pretty much it in regards to that. I'm going to move them a little bit to the back and I'm trying to figure out why they're not fitting in in regards to this area. A. Quite alright. I'm just wondering maybe it's best to just grab them all and extend them out a little bit. I think it might be the best choice in this regard. And I think I'm going to do that actually. Not going to be extended too much, but at same time we're just eating up the workflow in regards to the overall setup. And now we got this side of the wall as well. I'm just making sure everything is selected. Make moving everything to the side. So making sure that everything is selected again, going to click G to make sure I see the entire group that meshes. And that looks quite alright. Okay, now we can work with setting ourselves up with some variation. So first things first, in regards to this declaration somewhere here, we're going to select them all and figure out what we're going to do with some variation missing. So e.g. these ones over here, we can just delete them. We're going to have only bits on top. Then it doesn't actually look, it does look quite a bit plane in that regard. I'm actually going to grab couple of windows and add them over here. And hopefully that'll fix us in regards to this issue of the walls being a little bit too plain. I'm also considering myself just attaching couple of attachments just like that. And maybe that might also help us out in that regard. I think I think that it might actually work out even better. I'm going to go ahead and do that. I'm going to make sure I don't attach it too far out. Otherwise, if we are attaching those types of buildings, they're going to stand out quite a bit. And it might overlap in regards to the overall setup. Going to lower this down to a value of 0.65, which is a bit low, Let's say. But all in all, I think that's going to be alright, taken off the grid lock a little bit to get some fine tuning in regards to the scale and size and overall setup. Going to group them up and I'm going to just move them off to the side. And just by looking at them, they look quite okay. Alright, so I think something like that, perhaps. Nothing quite like them. I don't like these extensions being out on the side like this at the very base of the foundation, I'm going to actually drag them upwards like so, making sure they're always on the top. And then I'm just going to grab couple of windows and make sure those windows are nicely set up. The windows themselves should also probably be somewhere around the same size. I'm just going to scale them down a little bit like so. And make sure that they are somewhat in the middle. Just like that. We're not using grid scale right now, but I think that's actually going to be okay. This one is a little bit too off. I'm going to move it to the side. Something like that, I think will work quite well. These windows over here, I think we can remove couple of them, like so. I think we can extend them as well a little bit and have it something like this in the middle. And this area over here, we're going to leave all the decoration as a, so basically we have quite a bit of variation on both ends. This house over here, I don't want it to overdo it. In regards to the overall setup, I'm going to go ahead and just make sure I have everything slightly extended in regards to the overall setup because I see there's a gap. I'm going to take off. Seems like it's alright. I'm not sure why it's extending it this way is because of the way the grouping of work. So this way we need to extend it. They go learning to look nicer way to take down the gridlock a little bit. And yeah, something like that. I think it's making sure there are no holes essentially for this one. This side, again, we can probably take off the entire declaration over here. Something like that. No, not like that, like this. And there is a massive hole now because we probably. Needed to extend this. And actually instead of extending it, There's actually a lot of the mesh is on the ground. So I think I made a mistake in regards to that, but I'm going to just compensator with just extending it like so. And that's going to look quite nice overall. This, on other hand, is a bit quiet, longer type of a building. I'm going to make sure we have some nice variation out of them. I'm going to grab this group up section. We're going to add some attachments to this building like so. And just like that, Probably something like this. And I'm wondering what to do about the bottom pieces. And we probably need some windows. I'm going to grab a couple of windows over here, actually going to start detaching them just like that, 90 degrees. Let's make sure we are set up by 90 degrees like so. And there we go, something like that. I think that's going to work out quite nice. Putting it on one end. I think it's okay. And maybe I'm just going to extend this window here and have it right in the middle, just like that. I think that actually works out quite nicely. We can break it off with some barrels and whatnot and actually have some nice setups. But essentially that's pretty much it in regards to that, we can even probably add some decoration on top right off the bat if we have some small integration. So if we were to look for roof, go ahead and see what we have. So we do actually have some setup for the roof spikes. So that's actually quite nice. And we could totally just start adding them in actually right off the bat. And I think I'll increase the gridlock. Make sure it's set up nicely and rotate it 90 degrees C. What's up with them? Though? They look quite nice and they're a bit off centered. There you go. You're going to be quite alright. And there's a couple of extra left. But I don't want to use the single one. It will take too long and too much of a hassle. So I'm just going to duplicate it like so and do something like this. And there is a bit of an issue now that we have some spikes coming out on top. But instead of just manually placing them around and whatnot, I'm just going to lower them down like so, click our scale them down like so and just hide them behind it essentially. And I think that's going to be an easy and quick way to fix it. Essentially, I'm going to go ahead and select all of these spikes like so. I'm going to drag them off to the side a little bit too high that our one like that, and I think that works perfectly. Now we just need to make sure we grab a couple of extra spikes. There you go. I think the ones that are not needed eventually. And I'm making sure that they are not overlapping over here. There we go. We got ourselves a nice roof, wondering if we should have it the same setup for the other ones as well, which we probably should to be honest, Let's go ahead and grab it all like that. And in some cases where we don't need them, essentially, we can just easily delete them afterwards. So I think that's what we're going to do in the future. I'm going to grab an entire line because we already have it set up and we don't need to redo it. Essentially. I'm just going to that wraps up being like this. I think make them lower e.g. or in this case I can see it's a little bit not working well enough because the height is different to this one, I believe. I'm not sure why that is the case. Checking around the level is nicely set up, so I'm just not quite sure why that is the case. We can draw we fixed it though by just dragging it down and that would fix it. Or Although I do like the difference in variation for the level, I think we might be able to make use out of that. I'm just going to place couple of spikes essentially in this area and grab couple of spikes over here and place them over like so. And essentially, I think we're pretty much done in regards to the spikes over here. We can put them like so know these ones that are overlapping, we definitely need to then in this case, grab a duplicate and replace it with a single spikes so it would have the same location as the other ones and we can just place them down manually like so. And to finish it off, the final bit, of course are going to get even more spikes. And then we're going to group up the entire section. So let's go ahead and do that real quick. Grabbing all the spikes just like that holding shift, of course. We're going to drag it out to the side like so. Essentially, let's see what we can do with them. We're going to place them out like this. Some of them would be inside of here. And it's going to be quite alright. This one is not thick enough to hide it all like that. So I'm just wondering if it's possible to add something else done to them. And it's probably a right, Actually, we're going to make a duplicate again. And it all the way. And I'm not too bothered about the ones that are slightly overlapping underneath the roof like this one, e.g. I think that's quite okay. As long as there is no extra artifact from this end. And for this end though, I think we can just delete it. And it might actually, it might be just right actually. Okay, so now we're going to group them all up. We're going to go top-down view. We're going to select this entire section. We're going to de-select the ground. We're going to let g go into hold. Right-click, deselect this water area as well and just making clicking f, making sure that it's only this one that's selected. We can control G. And then you go, we got ourselves a selection. One. Selection too is a smaller one. Of course, we're going to make ourselves, make use out of that. I'm going to just click F, F, and F again. Zoom in until we get this water zone. Now click F again. There you go. That's perfect. Go ahead and make sure that's only selected with green lines by the way. And final one, let's go ahead and make a final selection just like that. They select everything. Click F, D, select the sky. And there is one more that's left, that's going to be the water zone like so clicking f, making sure that it's only that selected clicking Control G. And there we go. So we're pretty much red in regards to the building variation for the stronghold, we can now start building ourselves up with this area, entire area over here. And we're going to start doing that in the next lesson. So thank you so much for watching and I'll be seeing you in a bit. 62. Creating Stronghold Structures in-between Landmark and City: Hello and welcome back everyone to buildings standing medieval roles with Unreal Engine Pi modular kit mash course. In the last lesson, we left ourselves our way of getting herself by nice landscape in the background. And now we're going to continue on working with this and setting ourselves up with some additional buildings in order to connect the set landscape with the rest of the town. So far as to get started, we're going to go ahead. And Firstly, I reckon before touching the buildings in the background, we're going to go ahead and add a bit of an extra power over here just to kind of break off the surface overall and also to get it nicely ended in the corner over here or that are reckon, we can just go ahead and grab that All over here. And that's going to be a real nice type of setup. We're going to grab the wall and the foundation. We're going to drag it off to the side and now we're going to reposition it. And I think the easiest way to set it back to a straight type of a line, we're going to just click on this button over here, which essentially resets the default value back to normal like so. And we're going to get this result now I think by default though we are, We definitely need to rotate this around. Make sure that we are more consistent with the outside of the wall because the other side, I think, would look much better for the inside of the wall as well. So that's why we're using essentially. And let's go ahead and try connecting ourselves up with the tower. We're going to start by just connecting it with the top section over here. We're going to leave a bit of an area for the door. And then the bottom section, we're not too worried about it not connecting because what we can do is just simply drag this downwards. Anything is going to fit us. Jess final exam. And that's pretty much it in regards to that for this second part of the tower, we can just duplicate this entire piece. I'm going to group them up, make sure that it is grouped up, going to click G, make sure that we see the gray green outline like so. And then dry it off to the side holding Alt, positioning it like this. And I think all in all, it's going to look quite nice overall. Let's go ahead and check. We might need to start working in regards to breaking off the surface for the vertical walls and whatnot because otherwise, it's going to end up looking too repetitive and two flat as a wall overall. But that's going to be done in the backside of the oil mainly I think for this small piece is going to be just fine. Then we got some buildings to worry about. We're going to go ahead and grab a larger piece first. Yeah, let's go ahead and actually grab the larger piece first. We're going to hold Alt, we're going to drag it off to the side. Everything should be already grouped up nicely for us. And we are going to go ahead and start playing around essentially with this overall setup. And I think for this type of a look, we can just simply push it off to the side like so. And maybe habit starting to kind of interacting with the castle Wolf a little bit. Reason we can do it like so and just attach it because essentially this is more or less the same material and it looks like it's just part of the building essentially. But that's quite nice. I'm just wondering if it's not too long, not too big. We can also alternatively just make use out of the building that we have previously set up. And we could totally do that. I think that might be a little bit better in this particular case, although this long type of a building works just fine for us actually, let's go ahead and make sure we connected. In regards to connection, we got to make sure that we break off the edge of the wall a little bit. So by just doing it like so, attaching it to the side, we still have that massive pillars shown. But if we click G, we get to see it visually. It looks quite nice. Then I'm just worried that it might not look quite as straight. So I'm just trying to figure out why that is the case. Maybe it just needs to be rotated a little bit like so. If that's better or not, or probably not, it probably doesn't look quite as nice. Let's go ahead and make sure we have a straight leg so we can check the grid at the bottom to see how it looks and all in all, this looks like a nice building. And in regards to this section over here, I'm just worried that it might not look like it's connected properly and I think it still needs to be rotated now, does not need to really rotate it. I'm going to go ahead and click Control Z and merge it a little bit to the side of the wall, a little bit closer. So it looks like there's a bit of a passage way in regards to the side like so and maybe I'll just push it outwards like so. Now I'm a bit worried in regards to this section over here, and of course, this little house as well as it needs to make sure that we make it look like it's attached a little bit more and not just inside of the wall. And I think I'm going to grab it all and just kinda push it a little bit to the side. And it doesn't seem to want to move in regards to this overall setup. So what I'm going to do instead, now, I think I'm just going to go ahead and go on to the top-down view to make sure that we are within a top-down view. Click F to reposition or camera and select this only on a bit of an edge because this entire building was already grouped up and only these smaller pieces needed to be a kind of connected to it. So I'm just going to drag it across like so and everything should be connected, although let's make sure we don't move it. We're going to click Control Z. The reason we don't want to move it is essentially because we don't want to change the entire setting of the building with the ground itself. And we want to click f first and do basically the type of steps that we always do to make sure that we are. And selecting this selection for the water body. So it's over here. I can see it from the right-hand side, clicking f and making sure that I'm selecting the terrain itself. Now I'm going to make sure that also I click Control G. So wouldn't, we wouldn't have the same kind of mistake as we did previously where we couldn't select this entire selection and now we can, yeah, this seems a little bit off. I am going to rotate this even more excited to have a better connected. And I'm just going to read just this sort of a building. In regards to these buildings though, it's actually quite nice and easy to set them up. We can grab a smaller building, e.g. what are the smaller ones? I think this one over here, we're going to keep the tiny one away for now. And we're going to start playing around and essentially with the shapes and kind of break off this entire surface of the series. So in regards to the towers, we can start like not hide the bottom base, but more like make it look like it's connected as part of another structure. That would look quite nice. And of course, because it's a bit of a bridge on the top, we've got to make sure that we also connect the structure in regards to that. So the reason there'll be a branch on the top is of course, because we'd have some buildings that are detached from it. And perhaps we have a bit of a passenger passageway over here as well. So that would work out in that regard. And I think that's going to be quite nice overall. We're going to simply connect it to the side of this area over here. We can have it like so. And I'm just worried about in regards to the selection, we can start flattening it out and get us, tell us a bit of a nicer type of an error to work with. Otherwise, it's going to get in our way. But let's go ahead and do that. Let's make sure that we select the right layer. It's going to give us an error. Otherwise, there you go. And we're just going to make sure that everything is flattened out. I think I'm going to flatten out this area over here as well and just kinda work afterwards from it. And this way, we'd be able to get ourselves a nice setup in this section like so. It's going to move this to the side as well. And I've covered this out a little bit and I'm still not sure what I'm working with in regards to this, but I'm going to keep it a little bit more open so we can continue working in regards to a kind of a free-flowing form shaping the forums and whatnot with this modular piece. So let's go ahead and work with that. I'm going to actually rotate this around a little bit. I don't like these windows to be sticking out like so in this area or maybe I do. I'm not quite sure am going to keep it as is. I'm going to click Control Z. And the reason being is yes, it looks nice, but I do want to have a bit of a crop area in front of this house for where the hangers are going to be and pink? Yeah, they're going to be placed in a bit, but essentially we're going to place this entire section over here onto the front of that building. So it's going to look quite nice and it, it'll help us to break off the surface of the volts as well. So all in all it would look really nice as a section. So yeah, we're going to make sure that we cover up this section like so. Now going back to the walls, to the entire structure of the castle, we can grab this entire type of a house. We can just rotate it around and make sure it looks quite nice. In regards to the positioning of this though, I think I'm going to rotate it all the way around. The reason being is because it wouldn't be visible in regards to repetitive pattern that we have over on this side over here, some from a distance. If we had an angled like this, it would be very obvious that these are the same buildings like so. With this, we can actually just put it off to the side like so. I can see that we should probably flatten out a little bit more of the surface. Although for now I'm going to leave it as is. Again, in regards to the overall setup, we can just bring this inwards a little bit like so it will look like it's attached to this building over here. And we can even expand this building itself. We can get another building like so. Although what I do instead is I'm going to delete this click. Yes, all going to select the larger one. And I think I'm going to make use out of it. And now I'm going to make use out of a smaller one. The reason being is that we want to make sure that we break off the surface a little bit in regards to the overall structure by figuring out the overall building. But we don't want it to make it look too repetitive. So by just using another building like silver able to achieve some nice results and also were able to break off the surface of the overall setting for this type of a hut. And what I think I'm going to do as well, I'm going to hold Alt and essentially duplicate this entire section, going to click E and rotate this around by 180 degrees. And if you notice, although we don't have a lot of type of detail on these walls, it will still look quite nice in regards to repetition because the front and a back of this structure has the same length in regards to their roofs. So it has a bit of that extra type of a setup for the buildings themselves and I'm going to attach it like so a well, however, need to remove these type of attachments over here. I think they're getting in the way in regards to the overall building. So I think I'm going to do that straight off the bat. I'm going to select this, hit the Shift G, or before doing that, I'm going to select all of these buildings just like that, going to put it in a single folder and I'm going to call it a stronghold, building, something like that. Strangled building one. I think that's going to be okay. I'm going to re-select. They're going to go on to the folder itself. I'm actually just going to hit Shift D to de-select essentially this entire part. I'm going to grab these windows like so. And I think what I'm going to do is I'm just going to move it out to the side like so and see if I can attach it on our end. Just like that. I think that actually might work out quite nicely. We're going to get ourselves some real nice type of setup with the windows like so. And yeah, that's pretty much it. We are essentially connecting it with the buildings themselves. We're going to click one just to make sure that look nice in regards to the setting itself, boys, the structure, they're not looking like. The peaks of those towers are just sticking out like so as you can see, this building is a little bit higher up, so it looks a little bit nicer overall. As the sections or the cities are gradually going up, we still have a lot of ways to go because we're going to get ourselves couple of towers in the background. And that'll help us with the overall aesthetics of this entire structure. But all in all, we're going to leave this lesson here. Thank you so much for watching and I'll be seeing you in a bit. 63. Connecting the Edge to the Stronghold: Welcome back everyone to building, studying medieval world with Unreal Engine five modular kit abashed course. In the last lesson, we'll ask ourselves or with setting ourselves up with nice buildings for the stronghold. And now we're going to continue on working with this and get ourselves some actual structure on the backside as well. We're going to think personally about in regards to their overall setting for the housing and how it's going to warp are bounded. So what we can do is we can start closing off this entire area. And I'm thinking it's best to start off from the left-hand side, mainly because we still are going to, I think, build some towers in this section over here to kinda help us break off this overall type of an empty space on the left-hand side, I don't think we'll need as much because essentially if we have a look at it from this angle over here, there is a bit of a nice transition in regards to this overall section, we might need to put up a couple of extra towers, something in this area over here. But all in all, this space is quite empty in regards to that. So we're going to go ahead and fix this first. Of course, after we are done in closing this entire gap, we're going to start off with the or stronghold setup. So we're going to copy the buildings and actually I'm just looking. I think I grabbed and duplicate it one of the buildings and left it as is. I think the smaller buildings were actually in regards to that. So real quick to fix it. I'm actually just going to bring it back onto the side like so just to make sure that we are able to nicely grab it whenever we want it. Now going back to this type of a strong gold setup for the building, we can go ahead and place it here and right away because this is a working going to be working to help us walk around the entire setup for the structure just by seeing this building, it looks a little too long in regards to that. So we're going to help ourselves getting, in regards to getting a shorter building. We're going to delete this one over here. And I think we can make use out of this building over here that's actually already short. And essentially this one over here is going to be a duplicate of that. We're going to rotate this around now we gotta think also in regards to how this is going to be set up. So e.g. it can be perpendicular to this building over here, which I think would be a little bit nicer in regards to this overall setup, we also need to consider how this is going to end over here. So I think as a reference, I'm going to leave this building like so. I'm going to go on to landscape mode. And I think it's best if we were to just extend this section just a little bit more and then work with our setup in regards to where to just flatten this area over here, something like this. In regards to how we're going to expand this section over on our side, over here. So yeah, before actually warping around this building, we're going to work in regards to this section over here, which I don't think it's going to take too long, mainly because we have most of the blocks already set up. So let's go ahead and have a quick look in regards to how we want them to look like. We're going to start by grabbing some of those blocks on our side and actually just looking at the blogs. I think it's best if we were to if you were to use a stonewall bottoms will be able to have ourselves some nice payment that goes across the side and it looks like there's some painting onsite as well. I think that's going to look quite nice in regards to that. From a distance it's not going to be visible. But when we go around the castle has to look like a closed-off type of an area. So that's exactly what we're going to work on in this particular case. And I think I'm going to go ahead and get that done first. I'm just going to look for a type of, a setup, a type of block that I want going to find it within the castle Git Bash area. And I'm just going to reset the filter is real quick. I wasn't quite sure if they were part of the ones that we were using. So for now we're going to leave them off. And yeah, I think it's best if we grab the shoulder wall that's going to help us out in regards to getting a more consistent pattern for the side of these walls. Let's go ahead and grab it and try putting it to the side of this payment over here. And then we can just connect the dots essentially. So although this is a straight wall, we can actually play around with it in regards to its height. What I mean by that is we don't necessarily need to have these walls to be always growing straight like so. And going to look at how this looks like real quick. I think I'm going to rotate it around like this. It's going to stand out a little bit more. I'm going to help us get that nice, a type of curvature for the side of the wall. Like so. I never got to work by essentially in regards to connecting this that a stronghold, the type of building over here. So let's go ahead and start connecting them like so. In regards to the elevation, not needing to work with our sellers with a strong type of setup or the heights, we can always just elevate them a little bit higher up like so and see how this would look like. It will end up looking like a staircase. I think that's actually quite nice. And yeah, we can just continue on moving these around off to the side and getting ourselves this kind of elevation a little bit by little bit. We're going to be able to get ourselves this sort of look. We can also hit play and see how this would look like. So let's go ahead and do that. And yeah, it's walkable area, nice type of elevation that's lightly. You always add words. It still doesn't look like it goes outwards too much. Or we can alternatively move this entire setup a little bit more to the side, really depends on the type of a space we want over here. And I want this to be a bit more of a storage back alleyway for overall stronghold soda to sort the type of place where e.g. food might be transported and stuff for the nights or something of that sort in this area like this backside of a kitchen, I assume. And just having this type of setup looks pretty nice. I'll though. Yeah, we're going to ourselves up with a bit of a smaller section in this regard. And this way we're able to get ourselves in space, just enough space to bring it back like so. In this regard though, this entire setup, I'm wondering if it's actually good. And I'm thinking of deleting it mainly for the pure reason that it's not going to help us out in regards to the overall setup of the structure. And just by looking at it, we said before we need to have a certain empty space over here. But I don't want it to be too wide in regards to the spaces itself. We don't need to exactly push this off to the side in regards to connecting this path. So yeah, if possible, we are going to do just like that to avoid it. And one more thing that we need to do is probably extend this a little bit out, like so once more, just like that. And now I'd like to ideally get a bit more of an elevation in regards to this section over here. So what I'm thinking of doing is we can e.g. grab a couple of blocks over here, push it upwards, and just wrapped couple of those stairs that we had previously. And essentially, we're going to connect them to give us a nice type of a setup. We're going to hurry them, I think, into the site itself so we can have the stairs to be visible, the steps like so. Whilst at the same time, they're going to help us move up, but they're not going to be visible for this top section like so I think it's going to be much better in regards to the world setup and think it's going to be good, but we need to consider the overlapping edges. So e.g. the main part of this is that if we can't see, we wouldn't need to see the edge over here. And that's already looking good, but other side is looking quite too visible. So we can either fix it by just grabbing this additional piece and kinda mushing it to the side like so. We could extend this entire piece just like that and hide it just like this. Or we could squish down the stairs themselves and that would also work. So all of these options are viable, but it's all a matter of preference. And I think the easiest way to fix this would be to grab these two blocks. We're going to essentially put it up to the side like so. Now we're going to consider in regards to them overlapping like this. And the easiest way to fix it is if we were to take off the grid, we're going to slightly move it downwards, just barely like so. It's going to give us a small gap over here. But it's just small enough to kinda transition from one end to the other. And we also got to consider in regards to this small payment over here that's going to be kinda giving us a small line. So all in all though, as long as it's not overlapping in regards to giving us glitching out the faces when they're in the same position, we are essentially good to go. So I think that's exactly what we're going to do. We're going to move this a little bit to the side as well. And we don't need to worry about in regards to the angle in this as well. We can just think e.g. move it off to the side like so we can try working something with that. Perhaps that would be a little bit better than in regards to that looking like it might not fit quite in in regards to the overall setup, especially if we were to just keep it as is. And mainly the main reason for that is because we'd have one block are going one way and I have a more going across like so it's sort of pattern is going to be quite visible. So we're going to essentially with them both to the side like so and that's going to fix our issue. I'm also going to slightly move it closer to one another. It's small tweaking, small tuning. But all in all, when we were to, if we're were to click play and have a look at it, it's going to look much nicer in regards to that. I'm just wondering why the stairs aren't working quite as well in regards to this section. And I think yeah, I think we need to fix up this Hurst. Again. I'm not quite sure why the stairs aren't working when we had them fixed up in regards to the overall setup. So I'm going to have a quick look. And I think as the easy fix, we're going to just set up this with complex collision and we might come back to it afterwards. So we use complex collision as simple. So essentially it's going to reuse entire mesh for this entire setup. And we can now hit play and essentially run up this area over here. And it looks quite nice, all the null. So we just got to make sure that we connect it now with the base itself. This part is going to have a small bit of elevation to help us get up to this section are more like we need to make sure that we also go down it. So let's actually make sure that we set ourselves up with some nice staircase for this area as well. I'm going to grab some stairs, going to put it on the side holding Alt like so 180 degrees, just like that. I don't actually think in regards to how far we want it to be pushed out. We can totally just make sure that we have it's slightly rotated as well to help us get this nice type of curvature. And of course it's a little bit to floaty in this regard. So I'm thinking if we should get an extra pair of staircase, which we totally can. And again, we're going to work with elevation straight afterwards. So some of the others in this regard I think would do us better. We're going to have more consistent staircase and we can even push it a little bit closer like so. So it looks like one type of staircase, which I think all in all will end up looking much better. In this particular case. We can even grab this staircase and set ourselves up with some moles. And I'm just thinking about the walls themselves. If we need to set them up in regards to this section over here, or we can just hide them out afterwards in which we can totally do so like this or someone going to store it. We have course needs to set ourselves up with the declaration. And yeah, we can do that real quick. But before doing that, I would like to stabilize the overall landscape type of elevation. The higher-up area is going to have this sort of valuation. So I think we're going to try to match that. And I don't want this to be any higher than that. Ideally, we're going to see if we can connect them somehow. Still far off, I'm trying to figure out if we should maybe a lower this down overall or if we should essentially have longer staircase at this end and it will wave would work. I think. We all got to, we also got to consider in regards to this setup from a distance. So this type of a look, looks quite nice if e.g. we were to match the overall height over here with the side of There's a typo setup or foundation. I quite like this type of elevation from here we're going to have some clefts, some rocks on this end. And this going higher up looks pretty nice, but we will need to have ourselves a bit of an extra staircase, Just like in this section over here. So we're going to work in regards to that in a bit. We also have a bit of a window picking fruit, which we are going to be fixed in a bit as well. That's going to have to wait for the next lesson, doping you so much for watching and I'll see you in a bit. 64. Finishing Elevation Edges: Hello and welcome back everyone to buildings standing medieval world with Unreal Engine five modular kit batch scores. And last lesson we left ourselves off with connecting this edge over here with the entire castle. We have a lot of gaps to fill in and ensure that they look quite nice overall or the setting. But that's going to be rubber easy with the buildings that we already have. It's all about getting the main picture out of the way first. And it's already shaping up like a nice thorough castle. But of course, we now need to think about a bit of a smaller details, especially on this regard for the side over here, which we're going to work on right away actually. So let's go ahead and cover up this side over here. Otherwise it's going to look to plane and TDL. And I think some of the walls are still gushing out as well at which you are going to be visible. So we don't need to even worry about that. We're going to grab some of these wolves like so I'm just going to make sure we grab yeah, I think that's going to be enough. We're going to grab them like so, and just start working our way in regards to making sure that they look quite nice overall. And we're going to start setting them up just like that. When we consider the railing, we got to make sure that the character is able to see it passed it. So like so, and not just ran off. So this high enough to kinda hold it up, but not high enough to not let the character enjoy the view of the scenery. Something like this is perfect for us. We're now going to make sure that we just replicate it and move it off to the side. And I'm actually totally forgot about turning on the entire grid lock system. So let me just go ahead and do that. I'm going to set it to 50. And hopefully that will help us out in regards to building this. And I'm just wondering in regards to the height, it might be a little bit off, so I'm going to lower down the gridlock to ten. And it's still going to help us out with the world setting or something like that. A casual elevation every once in a while it will be good for us. In regards to building this entire setup. We might even want to rotate this and we get about taking this off as well for now. So let's go ahead and do that. It's going to be alright, because we have a pillar over here that we'll need to place. And we're going to rotate this a little bit like so. I'm going to reposition it to make it a little bit more, less straight, let's say, and make it a bit more of a curvature for the overall section of a castle. But this though, we can just move it off to the side and nothing that's going to be quite okay. We can also rotate it by five degrees. Let's also going to help us out in regards to setting it up nicely, like so. Alright, so let's go ahead and keep on moving. We're going to grab ourselves a number one, we're going to make a nice pattern like so and continue working with this. Now we can start rotating it a little bit as well because I think we're going to start rotating over here. So yeah, let's go ahead and rotate it just a little bit again to help us with setting up the curvature. This is going to start overlapping a little bit, but as long as it's not overlapping past this side, we are good to go. Essentially. Let's go ahead and see what's up with this is we're going to start overlapping for us. No, it doesn't. That's actually really nice for us. And we are getting a bit closer to the wall. So all in all, what we can do is we can also grab all of this setting like so I'm just kinda outwards just like that a little bit like so. So we're still going to have a nice curvature worlds at the same time we have a little bit more freedom. And I think I'm going to push it out a little bit more. I'm also making sure that we don't have a lot of gaps over here. So we're starting to get some gaps like so. So we might want to, we should inwards like this. And it might be a little bit concerning with this, these gaps, but I don't think I'm too worried in regards to that. I don't think that the player can fall through them and they still look like they're nicely attached to the sides of the wall. So all in all, that's good for us. We're going to worry about in regards to this. It's already getting a little bit too closed off in regards to this space, so we can already and over run past this, I think in regards to the stairs and it doesn't look like we can, but all in all, I think it's better safe than sorry. So I'm going to go onto these railings over here. I'm going to grab ourselves the declaration. So this one over here, I'm actually just going to duplicate the already existing one and I'm going to replace it with this one. So grabbing this one, selecting this replacement for the small pillar and putting it down like so, it's going to give us the same exact spot that we wanted it to be. Then we gotta do is just make sure we play around with this a little bit and make sure we have a nice setting for the side of the wall, something like this, I think would work just fine for us. I'm going to readjust this wall a little bit, also, Just something like this. And then in regards to this overlapping, so I'm actually just going to bring it like so hopefully nothing is overlapping. There is a bit of an overlap. I'm going to bring it out words even more, just like that. Going to actually rotate this around and something like this. Give us a nice type of results. Let's go ahead and move on. Now, we're going to essentially do the same trick on the other side, I'm going to grab both of these or grab all of them like so going to move it out to the side. Then we've got to consider how we're going to set it up in regards to this section over here, which I think we're going to just slightly grab it outwards even more. That's going to help us out. But I'm worried that it's not going to look nice in regards to the symmetry itself. So this pillar is of course going to be slightly slanted, slightly higher than this over here. And this might not look quite as nice, but all in all I think is going to be okay. I'm going to set it up like so. Just like that, I'm going to grab the smaller pieces like so that we're underneath and essentially replace replicated on the other side. So something like that. I don't think we even need this piece to be honest, let me just go ahead and delete it your way. And it's going to look like this. So adults, it looks quite nice actually. I'm going to go ahead and keep it. I'm then going to grab this one final piece. Wiley position it in place so it would look like it's attached to the wall, like so. Essentially making it look like an illusion that it's actually part of the same building power, part of the same structure. And ask for this. Now, we're going to work on making sure that the nice setup for the staircase is also looking quite good. I'm just wondering in regards to the staircase height. So this one looks like it's an okay State. And I'm going to move it over here. I do know that we're going to have some circuits over here, so we're going to leave this staircase like so. Now in regards to this, I think what I'm going to do is I'm going to flatten this out a little bit. And then essentially work ourselves in regards to this entire setup and flattened like so, something like this. And then from the other side, we're going to bring this in words. And this doesn't look like a nice enough of a height. I'm just wondering why that is the case. Maybe doesn't look like it's the same kind of heights. I'm just wondering why that happened. I'm just going to go ahead and check this section over here. This theory doesn't look like it's flattened off as well. So yeah, I think I just changed up the elevation a little bit. I'm going to go ahead and increase the total strength. Or actually, I'm going to go ahead and grab the flattened target, going to check the one that's over in this edge. And then I'm just going to start painting around with a small brush. And I think that's going to help us out and regressive grabbing ourselves. A nice type of elevation in this overall area section. I'll going to worry about it too much now because we still have a long way to go in order to set it all up finally, and we're going to start working in regards to making sure that we have a nice type of a setup or the overall type of look, we need to combine this, this entire section over here though. I'm going to go ahead and do that straightaway. Going to grab this part like so to make it a little bit more consistent in regards to how we set this building's up. Going to make a small platform to make it look like it's somewhat of a section to just to help us break off the staircase a little bit as well. And I think that's going to look quite nice. It's going to actually rotate this a little bit to make sure it's perpendicular to the building that's set aside of it. And just like that, we're able to get ourselves a nice type of setup. There are gaps though, which we might need fixing. And of course we are going to look into that in a bit. But all in all, I think this is looking quite nice like this. Like so. Some better way to break off the surface over here is actually quite nice. There is quite a bit of a hole over here, which actually looks like a nice secret, kind of an intrinsic secret typo passage. And how do I like it? I will need to essentially fill it in. And we have a lot of things to work with in here. But first things first, we got to make sure we fill in this with some houses and whatnot. So for that, we're going to make use out of the shoulder houses and move it out to the side just like that. And I'm just wondering in regards to this housing, if it's going to look quite nice. I think it's actually going to look nice if we partially clip into the house over here, it looks like it would fit nicely, especially if we were to rotate it to the side, like so and have it something like this. So it looks like this root ends for the sake of this entire stronghold. But now I have this large gap over here. So I'm trying to figure out what we can do in order to kind of help us to essentially break off this empty space in this section. And I think we can make use out of a smaller hut. The smallest part from here, we can just grab this heart over here and just kinda bury it in that section. And I think that will work out quite nicely. We just do have to worry about in regards to when we click one and we can perhaps see this hot. I don't want it to be visible, to be honest, I wanted to help us break off the surface of something like this will end up quiet nice, and I'm not even going to worry about it too much to be honest. It's just a place filler, All-in-all, but it just has to look nice from the top-down view. Make sure it doesn't look like a schist in slapped in this area for no reason. So in regards to this house, we're making sure that we essentially are attaching it nicely over here. And yeah, that's I think that's looking quite nice. We can have this attachment looks like it's growing into this house like so n is going to look like essentially it's been built into the side of this part of the house. And yeah, we can leave it as is essentially, we can work with the landscape molding a little bit in the future. But all in all, we just made sure that we have a nice setup for this in regards to the overall area. We have nice way of walking through it. So the area itself is large enough for us. And essentially the elevation behind is more stabilized so we can have the same elevation proud this entire section over here. So now in the next lesson we can actually close off this entire gap. We took a bit of time in order to sort out this section over here, but I think it was worth it in regards to making sure that this section looks quite nice from a distance or some buildings floating at the moment. So we're going to be fixing that up in a bit as well. So yeah, we're going to leave it here in this lesson. Thank you so much for watching and I'll be seeing you in a bit. 65. Shaping out the Stronghold: Hello, Welcome back everyone to building, sending me the real-world with Unreal Engine phi modular kid bash scores. Last lesson we left off by setting out a little bit of those steps on the side. And now we're going to be able to finally close off this entire area in the back with certain stronghold buildings have been talking about it for a couple of last lessons. Actually, I really wanted to finish it off in regards to closing this area off to actually get the overall nice type of structure for the, just the overall setup of the buildings and the environment itself and actually start working on other pieces. Hands are seen within Unreal Engine five. But before doing that, let's go ahead and work on this setup within the strongest buildings themselves. We're going to start a wreck. And from this area over here, we're going to get ourselves those smaller buildings. And I think, yeah, let's go ahead and make a duplicate out of the smallest type of a stronger building and work our way with that. So right now we are going to have a nice type of a setup over here. We can start off by not only just having it just working in 90 degrees in regards to the buildings themselves. We can also have them diagonally and that also helps us out. In regards to the overall setup. One thing to know though, is that those combinations not always a workout in regards to how we connect them, it's a bit harder to connect them in that regard since the overlapping system looks a little bit off in regards to that. So e.g. right now, if I'm working with this type of setup, we can see that the window can be partially lending in and with this in regards to that. But I think if we were to just lightly overlap it like so we're going to get this result and all in all it looks quite nice. Although I will say this that the elevation is to consistent. So to break off the overall type of attention, we can just put it lower down like so. And we're going to get this sort of results. So all in all, this is going to look quite nicely. Now. We can also grab the same type of a building and connected to more apparent particular type of a alignment over here. So we can have a nice type of transition to more of a structural sound type of a setup. And whilst working with the buildings, you don't want to make sure that they're too uniform in regards to that angles. But at the same time, you don't want them to look to organic and you don't want them to look bendy and whatnot. So we also have to make sure we have those type of rectangles as well. So this is 90 degrees to this angle on the structure itself. And I think it works out quite nicely overall. We're going to move this building a little bit off to the side to get this type of a transition for the angle of the pillar. I think it's going to work out quite nicely. Then in regards to the building that we can build off to the side, I think we can start off slightly going off to the side. For the building. At the back, we can actually grab the largest building that we have. We're going to duplicate it like so. We're going to move it out to the side. And of course, we're going to set it up nicely on the ground just like that. And while it's doing that, we can also consider in regards to Building edges, the building extensions, that is so e.g. this, these walls over here look a little bit to play. And so I'm going to turn it around and make it look something like this. Now, in regards to the overall setup of this building, ideally, I want to have a bit of extra spacing over here. And for that, I think the best option is to drag this all the way a little bit to the back, which will help us to break off the surface over here, I think we can have some extra walls are towers awareness, and although they're not going to be quite as visible, we can have them set a little bit more in the background from our main landmark for these towers. We can also rotate this building a little bit off to the side. And this will help us to break off the edges, the overall type of alignments. It doesn't have to be looking like they're perfect. They have to look like they've been built up bit by bit in regards to the buildings themselves. And that way, I think that'll look, would look nicely. And now in regards to this edge over here, we're going to set ourselves up with some extra structure. But I think the best way to do it would be if we were to grab this building over here, we were to duplicate it. We were to put it up to the side like so I think I'll make it so it will be from this angle just like that. And I'll put it up like I'll put it up a little bit to the front leg. So to break off the surface mainly on the side. Now we've got to consider how you interconnect these over here. And we might want to have a bit more of a landscape on this side. So I'm actually going to grab these all of these stairs like so, but it up to the side and we're going to have a bit of an extra support here, which we can totally do right now actually I'm going to grab one of those supports like so and the little stone supports and put it down on the side. And I think that will work quite nicely actually. Just like that. And maybe we need to realign it a little bit. So it makes sure that it actually looks quite nice in regards to making the overall building pop out a little bit like so. We might even make a second duplicate out of this. And I'm actually just going to overlap it with the spillover here and kind lower this down a little bit. Actually, we found the overall grid setting and lower this down just a little bit like, so. There'll be barely visible to the back a little bit and maybe even change the scale a little bit like so. And that might work out quite nicely. Although I'm going to push it a little bit to the side like so. Just having an outwards like so I think we'll work out quite nicely, although I'd rather move it to the other side like so. It wouldn't be quite as obvious this type of a seam, I think. Yeah, there you go. It doesn't doesn't even seem to be quite obvious if we were to be moving it from the side. So all in all, Let's go ahead and leave it as is. And I think for the stairs, we're going to move them forward. Something in here. I think that's going to look quite nicely. Alright, now going back to the buildings, so we're going to make sure that we break off the surface over here. We have a real nice type of a straight line in this section, which might look quite good for open area. But I think all in all, we're going to grab ourselves a building and we're going to put it on the other side. So let's go ahead and do that. I'm actually just going to click Control Z because I realized that we're duplicating this building from already existing folder. And we don't want this to happen because it would complicated if we weren't to want to select this entire section for the building, for the structure essentially. But let's go ahead and grab this building over here. And I realized that we don't have the grid selection on. I'm going to click Control Z again, going to go back onto the main selection like so going to turn on grid, going to increase the grid to 100. And although it's not as important this particular case, that's still prefer to have some rigid and look out of these buildings. So right now, I think they're going to look quite nice in the same height, e.g. something like so. We'd look quite alright, let's go ahead and try it out like this. Or maybe even keeping it also looks quite nice because the reason being is you're going to have a certain bit of attachment look through them, whilst at the same time, it's not going to overlap this window and from a distance is going to look quite nice overall. And even though the overall structures look quite nice, I think we will still need to make use of those towers over here and set ourselves up with some bit of a background detail just to make sure we break off the surface. So yeah, just using those kind of plain towers is not going to give us enough detail photos ends. So yeah, for that, we're going to make sure we grab couple of extra walls, a couple of extra pillars, I'd say, and we can work on them. Yeah, let's go ahead and actually grab this pillar over here. We're going to move it all the way through back, like so. And I can actually play around with, in regards to the shape itself, to the setup. We can click one and start playing around with the tower. So ideally, I want one tower to be like so to help us with in regards to the elevation and the second tower, to be a slightly higher version, just like that. But of course we need to make sure it's being placed nicely in regards to the back. And for that, we're going to make sure that we are we're going to make sure that the top sections are aligning to where we want. And then we're going to start thinking how bottom pieces are going to be realigned essentially. And so for that, we're going to grab ourselves as a large wall, low lung wall looks so we're going to attach it to the side of both of these hours and we're going to try get ourselves and nice type of a setup out of them. So e.g. what I mean by nice setup is this tower. I know it has some variation. I'm going to hit Shift G to ungroup the base. I'm going to search for the base and I know that it has the goat add some staircase type of a setup like so, which we can a rotated around and get ourselves a real nice type of a look out of it. So let's go ahead and do that. I can see that it has this one in particular has two type of staircases for this tower, we're going to make sure we realign the edge to habits declarations facing sideways so we'd be able to connected to the side of the wall essentially. I'm going to also move the wall itself a little bit closer to the middle section, like so. And that's actually looking pretty nice. I'm going to lower it down a little bit whilst this wall, I'm going to rotate it around as well. Something like so to have this angle facing the wall, habit face it sideways, something like that. I'm going to lower down the grid setting like so and get it faced to be placed exactly in the center just like that. Now let's go ahead and click one. Let's make sure that this elevation is not too much, which impersonal in honest opinion, I think it's a little bit too much. So I am going to lower this down just a little bit like so we'll have more of a gradual type of a change. And this is looking quite nice when we do need to set ourselves up with more type of stuff in the background though. We do need to connect this a little bit, which is going to be easy enough to do so, yeah, we're going to leave this in the next part, the next lesson. Thanks so much for watching and I'll be seeing in a bit. 66. Patching up the Back end of our Virtual Stronghold: Hello, Welcome back everyone to building, setting medieval worlds with Unreal Engine five modular kit bash scores. And last lesson we left it off by setting ourselves up with a nice hypothenar area in the back that's going to help us kind of break off a bit of formation for the city in regards to the overall landscape. And now we're going to make sure that we attach it to the rest of the scene because right now we're just living in floating and that doesn't look quite as nice. For sorrows. We're just going to grab a foundation that's going to be going underneath this type of a wall and I'm just going to locate it in here, going to increase the grid lock to 100. And let's go ahead and find this one over here. So actually what I'm going to do is I'm going to copy this one. The wall itself going to replace it with a foundation like so. So we'd have it be placed right under it just like that. For now. We're just going to move it all the way to down the area. And actually before doing that, I'd like to grab all of them all at once. And this one is actually group that way if the tower itself, we're going to ungroup it, or it's going to make sure we grabbed the foundation. And essentially right now, we're just going to move it everything at once in regards to while holding Alt, we're just going to make a duplicate of it and create this sort of a pattern. Now of course, the pattern itself is going to be quite oppressive at the very start. But we're going to work with it in a bit. And I'm just looking how it looks like in regards to the overall section. We might want to equalize it in regards to levelling. But what I think it will work out better for us as will be able to have a nice elevation in regards to the terrain itself as well. Making the overall scene look a bit more organic in regards to the glyphs. So let's go ahead and leave this section is now in regards to having a better one extra, we of course need to combine it with the rest of the items. So let me just go ahead and check if this is the largest, longest wall that we have and it probably is. Which is actually okay. We're going to start building it up on the side instead of just grabbing it and putting it diagonally 90 degrees like so. I'm actually just going to twist it to be diagonal, not straight, that is, and that's going to help us out in regards to giving us a nicer type of setup. So watertight degrees will allow us to get that rigid type overlook our castle walls, whilst at the same time making us help us to get a bit of a curvature in regards to them as well. So that's going to be quite nice. Let's go ahead and just position it. The tower itself, like so. And I'm just wondering what we should do in regards to this area. I'm going to click one again real quick just to see how it would look like. And yeah, we definitely want to lower this wall over here by quite a bit wise. It doesn't look quite as nice. In regards to the flow of the entire setup. We can see if we were to zoom in, this entire area. Doesn't look quite as nice. Let's go ahead and fix that up real quick. We're going to grab one of the towers in this case, I think because we use some circular towers in the middle, we are also going to use some in a bag, just kind of combine the mixture. And I think instead of just combining this entire tower with the house and then we have an extra wall over here. We are going to leave this type of a wall on its own. And so, yeah, we're going to end the power basis that are connecting to the back on this section over here, which will essentially allow us to have a bit of a mixture in regards to the house as well, so we don't have to make use out of those squarish towers route the entire scene. So for that, we are going to grab a circular tower, which by looking at it, I can't seem to find it over here. I'm just going to grab one of the pieces over on this tower over here. And I should be able to, if I were to click on the Browse to bind the all the pieces that are circular like so. And yeah, we can reuse the ones that we already have over here or make use out of the ones with Windows. Which if I were to click one, going to check real quick, I'm wondering if the windows in the back are going to be an okay idea. We don't want to make it too distracting from the main landmark piece. If we click one, these are the windows that will attract somewhat of an attention as well. So I'm thinking that it might be best to leave it as is, but the shape itself, we're going to change it for sure. So we're going to first address, move this out as a duplicate. I'm just going to check real quick. And actually before doing that, I preferred to grab both the foundation and a tower itself. This way we'd have something to work with underneath. Then ask for this piece. We're going to make sure that we also have some condition as well. And yeah, let's go ahead and quickly make a duplicate out of this. Make a foundation replacement just like that. Going to drag it up, connect them both. And for this tower at preferred to, honestly, yeah, we're going to change up the Rudolf pink will look, make it look a little bit better. In regards to the overall setup, we need to consider in regards to the height. But we're going to do that in a bit for now. Let's go ahead and drag this. Our topic on we're going to make use out of this one because we're able to get ourselves a nice setup. It's not connecting because I probably move this out with a different setup for the gridlock. We're going to quickly go ahead and copy the location of this and then face location for the tower piece by right-clicking, of course. And then we can just drag it out and it should connected nicely. But overall setup, so let's go ahead and see if it does. And I think, yeah, I think this needs to be going upwards a little bit like so something like that they go that sounds perfectly on the top on the foundation. And click, Let's go ahead and click one. It's a little bit too high up. So I'm going to lower this down a little bit. So because the tower itself, the top of it, is actually going inwards, it doesn't mean that we need to keep all the top of the towers to be in a similar kind of a lenient gradient angle where it goes so gradually lower and lower, we can break off this entire angle with this sort of a look where this piece goes a little bit higher up. But at the same time, because it's going inwards on itself, It's such a small piece is still going to give us that overall nice composition. Gradually giving us a nice, If we have a look at it, a nice setup for the middle section of the tower. So I think that's going to look quite nice. Also. We can even raise it up even higher, and I think we can do that as well. This will also make sure that this is a little bit higher up in regards to overall walkway. That's going to be quiet, nice. Maybe even hire a little bit Diego, something like that. And also this makes sure that the foundation is set up nicely as well. So this is looking quite nice, but it's not quite fitting in regards to overall, for this angle, I'm going to actually move it slightly. It fit in nicely to the side like so. So that's looking quite nice. Wondering in regards to this overall setup for the decorative part that might not look quite as nice. We can easily change that though. We can just make sure we use that. Or alternatively, I can just grab one of the ones that doesn't have any angles or that has all amount. Was this one over here? No, it was not. Our D There you go. That's the one. It still doesn't have all the angles connected. So I'm just wondering what we should do and also rotate it a little bit and that'll look like it's connected a little bit more to the side of this area angle over here while still keeping some of the decoration. This part, however, is going to be left on its own. It's not going to be standing out too much and all in all, I think it's going to be okay. As long as we have some declarations that are back, I think that's going to be okay. Now let's go ahead and actually drag these downwards like so. And we can work with in regards to the scaling itself for them. And this is looking quite nice. But it doesn't, I don't like how it's not fitting. Or in regards to the castle setup, we might even move this a little bit actually downwards. So I'm just going to click one to see how it looks. It looks quite nice, but not to the way I'd like it to be. So I'm going to click Control Z. The main reason again is because it's wasn't just visible in regards to her background. But it's on the other hand, is more visible, it looks much better. I'm also going to click Control to just to make sure that I can move 1-2 cameras bookmarks. And that will help us out in regards to the overall setup. Now actually before breaking up the surface in regards to the vertical walls, Let's go ahead and actually get some of those more walls in regards to the other side as well. So what I'm going to do is I'm actually just going to make it more difficult for the Foundation. I'm going to grab all of these walls like so and tower as well. Just like that. I'm going to go ahead and reposition. This. Would be at an angle, something like this. It's going to be quite alright, going to rotate it around this. Well, now we're going to essentially see how this would look like. And it doesn't look quite as bad, but ideally wanted to start by connecting it over like so. I think this will look much better. We can cut off a bit of a corner for the house itself as it will be hidden by most of the wall. Anyways, then it's going to be most likely hidden by shadow as well. And I think I'm going to extend the wall as well. So that's going to be much nicer. I'm going to actually move this power itself by quite a bit. And before doing that, I'm going to have its entire selection going to click Control G to make sure we group it up. And now we're going to do the same thing for the wall, Control G and move it up. And let's localize the gizmo. Now we can just drag it to the side and it should give us a nice result, although it doesn't seem to want to work, especially because it's probably grouped up. I'm going to hit Shift G and now it should work. So I'm not sure why sometimes it does it like that, but it's okay. Now, in regards to this part, I think that's actually going to be quite okay. We can lower this entire section. I'm actually just going to grab these, all of these walls like so. Click Shift G and then lower this entire section down. Just like that. I'm going to click one just to make sure it looks nice. But it's just touching the side of the roof area like so. But I think because we have some spikes, it'll help us to break them apart. I'm going to select this entire hour, going to put it back like so. And we can also consider in regards to switching up the roofs a little bit as well, since I'm in regards to these towers over here, we have couple of no roofs. And these ones could have roofs, but I think it would look better if we were to just add those roofs as different variants. I think it'll look much nicer. I'm also going to copy the location of the thyroid cells. While actually I need to shake a click Shift G coupled copy location of the transformation and paste it in for the tower top, like so. Then raise it up. And it should give us a nice type of a result. We need to lower it down like this. Or I'm actually just going to put it to grid log of 50. And there you go, Perfect. Now let's click two. Let's see how it looks. I'm sorry. Let's click one. Let's see how it looks. And yeah, we can see that it still has that nice type of a setup. We can even lower this tower a little bit down. I think it will still look quite nice. I think that's exactly what we're going to do. We're going to lower this down and we're still not worrying about in regards to the terrain itself. We're just going to, again, we build that up as we go along. I'm going to click one after selecting it and just kinda manually lowering this down onto the point that I'd like. So it's a bit lower than I would want in a bag. I think that's going to be quiet. Okay. And the tower wall, of course, we can't move part of it to be halfway through, kind of a thing. We can just have it at an angle like that. It wouldn't look quite as nice and great to click Control Z and do my step. And all in all this looks nice and we're running out of time. So, yeah, in the next lesson we're going to make sure that this chunk of a wall is a little bit more sturdy looking because right now it's just a thin type of a look we're looking from the top especially doesn't look quite as nice. So we've got to make sure it's connected to be part of the stronghold. And yeah, thank you so much for watching and I'll see you in a bit. 67. Reinforcing Virtual Castle Walls: Welcome back everyone to building, setting medieval worlds with unrelated your pie modular kit bash course. And this is where we left off. We essentially create ourselves a back-end type of a stronghold for it looks nicely, but it doesn't look quite sturdy enough. It looks like by just a small gust of wind, it will be blown away. So we're going to go ahead and fix that first. And one of the ways in which we can fix this with some couple of extra walls, e.g. in the back. We can do so by grabbing these ones over here. I'm going to go ahead and do that. I'm going to grab this entire section like so. And I think that's going to be quite okay. I'm going to simply then make up duplicate out of it and essentially attach it to the side of the wall. So by just doing this, we're able to make it look like there's a couple of extra attachments to it through this entire strong role that it has more of a structural integrity. And overall, the waltz are looking a thicker right away. It looks like the support actually is there. That's one way of fixing it. And before moving on, I'd like to ideally actually changed up the towers. Perhaps. We have couple of rounded towers in a bag. But I'm thinking because we have some variations as well, e.g. at the very start, we have some connecting towers with the square ones and the circular ones. We can also make use out of the consistency in regards to that and get ourselves a nicer type of setup over here. And so for that reason, we're going to actually change one of the towers to be circular. I'm going to actually delete this one over here. Going to click Yes. Going to grab, I think I'm going to grab one that has no top, something like this one over here. Grab both of the pieces and I'm going to try to attach it over here in this case, I don't think it's necessary to for us to set it up with in regards to gridlock because I don't think we need such a sturdy type of a building in regards to how close attachments are, because it's going to be all the way in a bag. Something like this perhaps. And I'm just wondering there's going to be a small gap over here. So we can also grab these pieces and perhaps make them a little bit thicker, like so. And we're going to make use out of the same technique in the back as well and make sure we have some variation. Now, this looks kind of interesting. It might not look as nice next to all the buildings like so. But if we can turn this into your building itself, if we e.g. fertility these walls around, I'm actually just going to flip them around to make my life a little bit easier. I'm going to click on and see which value that is. So that's a green value, that's going to be y. And I think we can just change it. Sorry, that's going to be y over here. I'm going to change it from negative one. Essentially, I'm going to flip it around. So this one, this side has less the karate or declarations. And I think we're going to add a small attachment here too, in regards to sort of an entrance, which we can actually do that right away. I'm going to go back to all of our small pieces and search for the ones that area that I'm looking for. So these are the walls. These are the parts I was talking about that will help us to get a nice entrance look. And I'm just going to click on the Content Browser, just search up the area to make sure that we are in the same one. And then I'm going to start building it up real quick. Going to create a nice type of setup. I think a corner piece is going to look quite nice. Let's go ahead and make use out of it. And this is going to be hopefully an attachment. Let's go ahead and see how this would look like. Like so essentially we're building it up a nice stairway. Their case like so. Just like that, something of the sort. And I want it to be attaching it to the side like so. I'm wondering if that looks good as an attachment. So it looks like a nice type of therapies. We're missing a bit of a block, so let's go ahead and find it, something to fill it in. So that's kind of a square end. As in regards to the 90 degrees angle, we want to make sure we just use this piece over here. I think it's called Castle stared D. So there you go. Yeah. This one doesn't have any of the wouldn't be set aside. So it's going to hopefully fit in nicely over here. And we've got to sell us a nice type of setup for the stairs. Let's go ahead and make use out of them. Again, reinforce the wall a little bit and attach it to the side. We still are missing doors. We can come back to doors anytime of the day, basically, we can just do that later. I think that will be better for now though. I just want to make sure that they look quite nicely attached, something like that, maybe a bit lower. So I wanted to be part of this foundation over here. And I'll push it a little bit to the back. I can see that the entrance though it doesn't seem to be working as well. To try to rotate it a little bit. Let's see how that looks. Doesn't look quite as nice. And yeah, for Cyrus, Let's let's make sure that we align it to the side of the wall. And I'm thinking that I'm going to put the, ideally I want a door to be over in this area and also wanted to staircase. Begun that way. So I'm trying to figure out what I can do in regards to this. I think I'll have to switch up this kind of approach a little bit. In regards to the staircase, I'm just wondering what I can do to fix this. I'm wondering if we can click Shift G, rotate this around. But I think, yeah, I don't think this part has side of the wall, so I'm trying to figure out what would be the best part in regards to this. And we could try making it with a corner. So grabbing this, perhaps turning it around and seeing how this would look in regards to this, something like that perhaps, and then attaching some stairs and regards to the stairs themselves, we can either turn them sideways, diagonally like so. Now having them attached like this perhaps. Again, there's going to be a part missing, so I'm wondering if it's possible to have it covered up in this particular case. Or if you can have a number of blog just kinda hiding it in regards to that. I think, yeah, that's what we're going to do a reckon. I think we can just make use out of the castle wall base and just kinda set it up with the side that it up 90 degrees, like so or sorry, 45 degrees and put a diagonal helix. So that's a fin going to look quite nice. Actually, a person like this type of platform as well. We can have some props over here that's going to make it look nice. And again, the door is going to be over here, so we're going to leave it for now. Go back to this entire setup though. Let's make sure we set ourselves up with nice type of a pattern in regards to the back. Because as you can see over here, it doesn't look quite as nice. So in this particular case, but personally say to do is just grab every other wall like this. And essentially we're going to turn them around in this, in this case, we're going to click Shift G to undo entire group. And we're going to make sure that there's no group that parts. Because right now we're going to yeah, grab every other piece. So a couple of their, couple of here, couple of here perhaps going to click par, going to check which way it's facing. So that's going to be green value. I'm going to switch it to a negative one and that will essentially flip it. Again. Most of the time we were using the entire section in regards to the decorations facing this way, kind of a section I believed in it's going to be over here as well. The ones where it has more of the courage declaration was facing inwards. But in this particular, in this particular case, it's actually better if we just mix it up a little bit over here, because from a distance it's not going to be visible or quite as much the pattern itself. The repetition in regards to making that extra type of a noise is going to be quiet, obvious if it's repeating in itself. And also I'm going to make sure I drag this down and it's actually just in case, even if we don't change the elevation, we're going to have ourselves a nice setup over here. In regards to this part. We're going to have a small attachment in regards to the door, or also we can have a tower over here. I think the tower, we would actually be looking quite nice. Let's go ahead and try that out. Since it's a square tower, I think for this particular case, it'll work out quite nicely. We'll we'll make it look like it's part of the building, something like that. Perhaps. I'm a bit worried in regards to the overall setup for this particular case. I'm going to drag it in, overlap, makes sure that there's no gaps over here. And this looks quite nice. I'll try rotating it a little bit like so. Make sure you match up the angle or this entire setup. And I think that yeah, that works. That works quite nice. Now in regards to the height, we got to make sure we check that out as well. So maybe I'll erase it up, maybe lowering down. I'm going to click one and see how visible that is. And that's not even visible from the back. So I'm not too worried in regards to that. Let's go ahead and leave it as is essentially, we're going to look quite nice. Now, going back to the foundation, again, we're going to do one more, one more type of setup. Essentially we're going to grab the bottom pieces like so. And essentially over to grab all the bottom pieces like so. Essentially what we're going to do is we're going to click R and we're going to slightly extend them out like this. Just barely do this amount. I'm going to see this part over here. This doesn't seem to be a lining. I think this is way out of place. Let me just go ahead and fix that up like so. Or actually I'm just going to delete this one and just kinda duplicate it upwards. Like that. I wasn't sure why it wasn't outwards because I changed up the angle is going to look like that. That's totally fine. Then we're going to grab all of these parts like so. We're going to extend them out a little bit just by a tiny amount. Then we're going to make sure that we keep the selection. I'm going to click Control Z to make sure that we keep the selection. We're going to grab the extra pieces, not a top like so. And we're going to again extend it out just a little bit itself from the front. It should still be okay. They're not visible, so we're not even worried about in regards to the front as much. But based on the angle setup, I can see that some of them might be extending out a little bit too much in regards to that. So we got to be a little bit careful. I'm also making sure that my snapping angle, not angled snapping scale East turned off. So we'd have a finer tuning in regards to that. And essentially, we're just making sure that the thesis at the bottom are a bit larger. I might even grab those pieces individually instead of just trying to scale them up all at once and play around a little bit with them. Maybe drag this out a little bit. Going to turn off the grid mode at this point and just manually push them out words. So in this particular case, I think that's going to look quite nice. We might have those pieces sticking out a little bit over the tower. I think in this particular case, it's okay though. And I don't want these pieces, some of the pieces to be kind of going outwards. Essentially, we are trying to make it have like a diagonal, diagonal type of a gradual upward rising. And that makes the overall wall make it a little bit sturdier. You can see already how because of the bottom foundation, it just makes it look so much nicer. So again, we're just going to make sure we do the same kind of a setup for all of them. Essentially moving them outwards, scaling them a little bit as well, just makes it so much more of a difference in regards to that. This bee is I'm not sure why I haven't flipped them around. I'm just going to go ahead and do that. I'm going to change up the scale to minus one. There you go. I'm going to make sure that they're not too much outwards and I'm going to check the other side just to make sure that they're not going out from the buildings themselves. They don't look too fake in regards to that. And I'm just seeing that this part is a little bit panning out in weird angles. I'm just going to move it back a little bit late. So small tweaking like that, I think is needed in regards to the overall setup. Get a nicer type of composition when we're just having a sort of a turntable or whatnot. And the playable character wouldn't probably be able to reach this point even, but maybe from a distance and a terrain, be able to see this wall and it would look to plane otherwise. Again, I'm just going to play around a little bit more, perhaps. Drag these out even more. This angle looks nice. This is not visible. That's nice for us. And yeah, that's pretty much it in regards to that. So we're going to end this lesson here. Thank you so much for watching and I'll be seeing you in a bit. 68. Preparing for Landscape Creation: Welcome back everyone to building setting medieval world with Unreal Engine five modular kit bash scores. In the last lesson, we pretty much finished off the side of the wall, which are the backside looks quite tall and yeah, it looks like it's being supported by its own weight. So now we're going to continue on moving with the entire setup, with the environment. And we're going to take a small break from constructing the entire castle. And instead, we're going to focus a little bit more on the landscape itself. So for us to do that, we are firstly going to delete all these assets over here since they're going to get in our way. But before doing that, what I prefer to personally do is actually make a duplicate out of a level. So this way we can create a sort of a checkpoint for our own scene. And what I mean by that is essentially if we go back to our content, once we go back onto a level, this is our scene that we have been working on for the past. We're going to now make sure that we save it all out, clicking Control Shift and S, saving everything out. I'm just going to make sure that Let's save that like so. Now we're going to essentially select this and make a duplicate out of it. And yeah, we can just simply select it, click Control C, click Control V. And this way, if we wait a little bit, we are able to now create a cell as a second level, which is going to be exactly the same as this one. We can even open this one and was asking me to save it out, which might've misconduct when regards to saving out my scene. So let me just go ahead and see how this one looks. It will take some time to load, but this is essentially what you get if you get exactly the same copy of the previous level and I will go to the original one instead of since I prefer to work in but one is fine. We can also rename those files as well and keep ourselves in a nice and orderly fashion. And essentially this is going to be a checkpoint. Even if we mess something up in this level, we can always go back and just kinda see how it was or even start from scratch from that entire different level sequence. So yeah, going back to this, I'm just going to remove couple of items. I'm going to remove these pieces over here that is floating in a bag. I'm thinking about removing the houses, but I think for now I will keep them as is just going to delete all of these that are just floating off to the side. I know that we have some duplicates over here and I will start deleting actual days are over here as well. Keep in mind that we can also copy and paste the groups from the level sequence that we just created in a similar manner that we did for those items over here. So essentially we'd be able to still bring out the group up items that we have on our level. And I will leave this entire section over here just so we could, again kinda see what we have in regards to the assets. We still might want to come back to it. So just in case we're going to leave it as is, and we're going to delete every single hour piece just like that. Which also will increase our performance because there's less items on our level, on our scene. So that's actually quite nice. Let me just go ahead and continue doing so like that. And that's pretty much it in regards to that. Let's go ahead and now and start creating the material or the landscape. Now we're going to create ourselves a folder for the landscape. We can call this landscape like so. And enter it and right-click red cells and material. All this material landscape mass, the material underscore mass of material like so. We're going to double-click on it to enter its material graph. And essentially to make sure we use the material for landscape. The first thing that we want to do is simplify this entire setup because we're going to be combining multiple materials, multiple textures is going to be a little bit messy if we were to just keep it as is if every time for each one of the base color, each one of them, roughness, metallic and normal channels Wherever we're going to need to create essentially a new type of mixtures or whenever we want to blend in those new textures. So yeah, for us to make our lives a little easier, we're going to make this entire material change this from just the material. They ended up as material attributes. So far as to make use of the material attributes, essentially, we're going to make sure we select this material. We're going to click Use material attributes is Details tab. It's one over here. And this essentially creates from all of these different nodes, gives us this result, a single node information that has multiple nodes attached to it. And it helps us out in regards that it allows us to make use out of simplified version. But at the same time it kinda hinders us because not all the nodes will allow us to connect and match those material attributes for us to make use out of material attributes, we're going to right-click, we're going to search for make material attribute. Like so. And essentially this is what allows us to connect all of the different textures still. But then afterwards, this entire setup can be mixed up with a number setup. And afterwards we can connect them, mixed up those mixtures onto the material attributes. And essentially that's going to into it. We can connect this onto material attributes for now. And yeah, by just simply if we were to hold free, tap on the screen and attach this to the base color, change the color. We can see how it would essentially work with in our landscape. We're going to click, Okay, we're going to close this down. And if I were to click Yes to make sure we save it out, like so. After it's done applying it, we can essentially drag this material onto our landscape and it should connect, which I'm not sure why it's not connecting. Perhaps we need to select one of the areas. We're going to then scroll all the way down until we see landscape material, which we can now drag it onto the screen like so. And you can see this entire chunk is now making use of this material. Of course, there's no way what, not what we want, but it's usable now as is. And before actually setting ourselves up with material node, what I personally prefer us to do is get ourselves all the textures, all the materials ready before, and then we can work on the landscape, entire materials. So let's go ahead and do that first. We're going to set that up. What? We're going to make sure we go on to the crystal bridge. So quickly add button over here. Let's go ahead and click on it. Like Quicksilver bridge, like so. Then the first thing that we need to do is of course we need to sign it. Make use out of the same Epic Games channel. I'm not sure why. It keeps popping up every time we create a new project, but that's the way it is. And after we sign in, we're going to search for mossy forest, for floor, mostly for rest. Law. The first material that we're going to make use out of this one over here. Actually, there is a lot of Morsi forest floors. I'm still going to make use out of the first one, like so. And it's still asking me to sign in, so let me just go ahead and do that real quick. I'm not sure why it's doing that, but there you go. Now it's properly signed in and hopefully is going to give us this. Just looking at it. We still might not like that. There is another version. There is more sea floor, forest floor. It's still going to be the same naming. I'm not sure why they named it all the same. It's a little bit messy, but essentially the green one we're going to make use out of this one, not two green. And it's honestly personal preference at this point. But I'm going to show you how to adjust the colors and its variations afterwards anyway. So just pick whichever pattern you prefer in regards to these type of greenery is. We're going to make use out of this. We set ourselves up with some grass essentially within like overall terrain. That's going to look quite nice. Let's go ahead and make sure that this is the loaded with an immediate quality. We don't need any higher. And it's only when working with smaller type of scale. And it has an option for, for K and eight K resolution, but that just chugs down in regards to the performance. So just make sure to use that and we can set ourselves up with some nice variation and whatnot to get yourself some nice quality out of this. So after we add this into our scene, the next one that we're going to look for is going to be called were to just always these down rocky ground. Like so. This should give me a lot of different ones. So I'm just going to also type in mossy. You go surfaces. Let's make sure we go on to serve as essentially the categories will allow us to go with different ones. And this is the one that we're looking for. This is going to be used for our cliff areas, the ones that have a super type of site. It's going to help us out and break up the entire surface terrain of essentially our entire land. So let's go ahead and make use out of this. And again, medium quality. Let's go ahead and add this into our scene. And it showed if I were to drag this side, gave us new folder. So essentially every time we create a new content browser that we add from Crystal bridge. And this should be here. So we have mossy forest floor ground. And then the final thing that we need to get is going to be concrete tiles, which we are also going to get from here. I'm going to show you what we're going to do with them later on. But now let's go ahead and make sure we grab everything. Concrete pavers like so it gives us a nice result. There you go. That's the first one. And think for the medieval castle for a grant that's going to be perfect for us. So let's go ahead and again, add this onto our scene. Make sure you download it first and add it on. And for good measure, we're going to get ourselves never forest floor. We're going to get a couple of dearth of variations essentially. So first of all, for its lower, Let's go back home to research. And this is the one we're looking for. First floor, you can see how it looks. It's essentially going to help us out and break off the surface again. And yeah, it's going to look nice overall. So let's go ahead and add this into our scene. And finally, we're just going to search for mud and should give us a nice result for one of these type of an areas we want to have more of a plane type of a look without much of grass or anything of the sort, since we can always mix in the growth from our already existing textures. I'm just looking at which one is going to be in. So they go to injure a riverbed. I think that's going to be perfect for us actually. Let's go ahead and make use out of this. So, yeah, let's download it added to our project. Like so. Essentially we got everything we need. We got five different materials, different textures. That is, that we're going to be able to mix it up for the landscape and we're going to continue on with the next lesson. Thank you so much for watching and I'll be seeing you in a bit. 69. Creating Landscape base Material with Quixel Textures: Hello and welcome back everyone to buildings standing medieval world with Unreal Engine Pi modular kit bash course. In the last lesson, we set ourselves up with some preparations for using the landscape textures. And we got a bunch of materials now that we're able to make use out of. So before getting into it, I'd recommend you to firstly go back onto the landscape material that we created, which is going to be within this folder we're here. Let's go ahead and double-click on it. And instead of just applying this entire material onto our landscape, what we're going to do instead is we're going to firstly create a material Instance database. So let's go ahead and right-click. Create a material instance like so. And for this one we can just delete mass of material word for it, then you can call it landscape instance. And I think I'm going to click F2 to delete the extra under score like so. Anyways, why don't we have it named like so we're going to have this basic setup. Of course we don't have anything over here because we don't have any parameters to work with. By default, light mass of material property ovaries are going to be in here anyway, so we're not going to touch them though in this horse lessons. So we don't need to worry about them. We're going to double-click to open ourselves up with the material. And yeah, we're going to start off getting ourselves at first material Center. Right now. We only have a color setup and we just tested it out if it works, which it does, and it's really nice in regards to the material attributes. But of course we're going to make sure that we're setting ourselves up with some nice material. So I'm going to make this window a little bit smaller, going to put it out above like so we can set ourselves up with material content browser over here by clicking Control Space and it pops it up. We can also dock it inside of this window. But I personally prefer to just work with a smaller window over here and just kind of push it outwards like so and have it split likes this. So anyways, going back to what we're talking about in regards to setting up our material. We're going to go onto medical scans, onto the surface folder. And for Cyrus, we're going to get ourselves forest floor. I believe that's the one. I'm going to check if it is the one because it's looking. There you go. It wasn't loaded for some reason. It should be something like this. And that's not actually the one I'm looking for. I'm going to quickly cancel this out. That's why we need to check double-check to make sure it's the right one. Massive Laura does the one that's the one we're looking for. Okay. It's nice and green type of a color for us to set it up. Of course, we have a material over here, but we're not just going to make use out of this material instance. Instead, we need to essentially recreate it ourselves. So to be able to make use out of it within a material attributes. So for us to do that, we're going to simply select all three of these for textures like so. All three of the texture selected, we can now drag it into our material graph. And now we can expand the graph itself to see a little bit better. We can delete this node is not going to be necessary for us. In this particular case, we can work with just essentially free texture maps. But as you can see, the last one, this texture map, which has the name of underscore 0 r d p at the very end. As a bit of a bizarre type of a setup. We're going to come back to it in the second. Firstly, we're going to just attach the texture of our grass into the base color layer. So from RGB nodes so we can get all the full value of a texture. Then we have a normal and normal is going to go onto normal value as well just like that. And ask for this one is going to be a bit different because if you have a look at it, if we were to open it, we can see that it's a bit noisy bill for odd type of texture. And essentially what's happening is that we have RGB channels, and each of the RGB channels hold its own value for it. Where to turn off green and blue channels only keep it red. We can already see that there is a different type of formation that essentially allows us to contain the black and white type of image of color information onto just red channel. The green channel is going to be a complete different type of a setup. And essentially these are just going to be helping us out in regards to getting a PVR value a bit more optimized or more packed in the way. And if you're wondering how they're set up in regards to that. And if it's hard to tell from the visuals, usually just the naming itself, you should be able to tell it apart. So if we were to go onto the lecture sample itself back on three tab and I can actually close this down like so. Going back to the tab for our material graph, we can just go over the name and the underscore, underscore 0 r d p. Essentially what it means is the 0 stands for occlusion, are for roughness and DP for depth or height map value essentially. So we're going to connect it in that regard. So again, our ends for occlusion. Let's go ahead and make use out of it. And occlusion is going to be ambient occlusion. Let's go ahead and find it in here. For some reason they're not set up in alphabetical order. I'm not sure if it's better or worse, but I always find it a bit odd in that regard. There you go. We're going to set it up with amine occlusion. Green, as I said before, is going to be our roughness. And that's going to be roughness. And DP is going to be left off for now because we're going to set it up with some height blending in the end. So essentially once we're done with that, we can go ahead and click Control and S to save it out. That should apply our entire material if it doesn't, just make sure to click top left-hand corner which says Apply. And if I were to make this window a little bit smaller and lower it down, we can get essentially this type of result. So as you can see, we're getting a texture, but it's not a nice type of a texture just yet. It's a little bit small for Cyrus and it's quiet, repetitive. So of course we are going to be fixing that. And yeah, First things first in regards to the size of the texture. And actually just make ourselves a little bit easier. What I'm going to do is I'm going to apply this entire texture for landscape onto this entire terrain to fix this entire scaling type of an issue. But we're going to do is we're going to go back onto our material. Like so, we're going to find essentially something called texture coordinate within our notes, we're going to right-click on the graph. Searching, searching for texture coordinate, or PSR is going to be coordinate texture. They go to xy coordinate. That's the one. We're going to click on it and we're going to essentially apply this information onto all of these extra samples. So ferocity that we're going to just simply drag and drop it onto the UV parts of the information for each and every single one of them is going to give us a default type of a value. Because by default this is still going to give us the same scale of a texture. But in order to grow and make the scale quite a bit larger, we are going to lower down the value. And by default, I find that the value for most of the lectures, for landscape or the default value that I tend to start off with is going to be 0.15. And I do this for u and v Texas essentially. And sorry about that, 0.15 days ago. Yeah, by clicking on this node over here, we can go into detail steps and change them like so. And now, when we save this out and apply the texture, which I'm going to do that right away. We should be able to get ourselves a much nicer type of a setup. As you can see, it's going to be a lot larger type of detail and it's going to, of course, give us nicer look overall. But of course we're still not quite done. Just with that. We still need to set ourselves up with more in regards to the variation and making sure that it doesn't look like a repetitive type of texture, which by default, it kinda does. And for that, we'll need to work in regards to having some noise multipliers. And actually before doing that, what I'd like us to do first is set up the entire material for a landscape to be using this type of texture. And that's going to help us out in regards to setting up those noise scales later on. So I'm going to close down this material graph for now. I'm going to make sure I apply this entire texture setup for everything. For that, we're going to firstly locate our folder, which I think I'm going to just select this lecture chunk over here. I'm going to click on the Content browser. There you go. That's the one we're looking for. We will also need to make sure we apply material instance for everything. So what I'm going to do is essentially I'm going to find the landscape setup. I'm going to go all the way up and it's going to be under landscape tab by default. And you essentially will need to select the first, the top one. We're going to scroll all the way down until where it ends, which is going to be overhear landscape streaming proxy. And we're going to hold Shift, tap on it and it should select it all for us like that. So now what we can do is we can simply go ahead and change the material which should be over here, landscape material by default, it should be set to none, but it has multiple values right now. By default, it should have a default type of landscape material, but it has multiple values and it says none because we have one changed already. But as the right, we can simply drag and drop into our graph the landscape instance that we created. And this should essentially apply our entire setup. So let's go ahead and wait it out a little bit. And there we go. We've got ourselves a nice setup just like that. And it's looking, it's looking too repetitive. It's still not quite there yet. We're going to start fixing that in the next lesson though. So, yeah, thank you so much for watching and I'll be seeing you in a bit. 70. Using Noise Texture to Break Landscape Pattern: Welcome back to Brown to building studying medieval worlds with Unreal Engine five, modular kit batch course. At last lesson, we set ourselves up with a base material for the landscape, which covers our entire field in a nice or street type of a grass, moss. And now we're going to continue working with this because our pattern is a little too visible for entire setup, especially down at the very end, it's looking quite noisy and the pattern is just repeating on itself. So let's go ahead and get right into it and we're going to open ourselves up with the material graph like so. And first thing that we need to do is essentially, we need to make use out of annoys. You help us overlap the overall color in regards to the texture. So the way we're going to do it is we're going to hold D on our graph. We're going to click to get ourselves and empty texture sample. Then we're going to select it. And within a left-hand side, if I were to make this a little bit larger for now, we fill it left-hand side. We're going to search for Perlin noise. So an empty space over here, we're going to open up this entire bar to search for Perlin noise like so, Perlin noise mask is going to give us a real nice type of a noise to kinda overlay on top of it. Then we're going to essentially set ourselves with a multiplier that will multiply the value for the scale of whichever we pick with the grass itself. We're going to hold em. We're going to tap on the screen. If I were to do it properly. There you go. Now if we were to just do it by default, you can see the type of result right off the bat. We can just attach the a and B to one another. We can attach it to a base color. And it should give us this result, which you can see some variation, but it's not so quite clear. But I'd recommend you before doing that. Or actually I will show you how it looks like if I were to lower this down, we can hit Apply and see how it looks like within the graph itself. We're going to get this result. It's a little bit too off the scale for status which we can fix. And it's going to have a bit of an issue in regards to the variance of that noise, essentially making it too intense for our use. So we're going to fix both of these issues actually quite easily. I think first things first though, we need to fix the scale. So we're going to get ourselves sexual coordinate. We're going to right-click. We're going to search for texture coordinate like texture board like so. We're going to apply it onto our UVs so we'd get controlled. We're going to select the texture coordinate, and we're going to set this to a value of 0.1 leg. So it's going to be a larger overlay on our texture itself. That afterwards in regards to the intensity, we're going to make use out of the clamp value. So by right-clicking and search for clamp, we essentially get a node that will allow us to control the maximum and minimum type of values within our noise. So if we were to now connect this from RGB to clamp and a clamp itself to multiply, essentially giving us nice control over this setup. We can essentially make sure we lower the minimum value from zero, which is completely black type of a value, to a value of 0.5. So it's going to just do it in halfway through. It's going to cut it off at that point essentially. And now if I were to click Control S to save it out, we can see our results. So just by doing that, we're going to get this sort of a look, which is looking already much better in regards to helping us out to sort out the entire noise. But as we started looking at the distance, we can start seeing more hyper noisy pattern. And it's not, it's not quite there just yet. So essentially what we need to do to fix this sort of an issue is get ourselves multiple noise patterns that will start overlaying as it goes further on and on. So yeah, we're going to go ahead and do just that. We're going to essentially copy this entire node setup by clicking Control C, Control V, and then putting it on top. And then we're going to connect this with the multiplier that we already have by another, essentially another multiplier. So this one is the one that we have. We're going to drag this forward like so. We're going to attach our multiplier and we're going to attach this color to the base color, essentially multiplying or previous noise with the noise that we have right here. The value for the clamp, I think we can leave it the same and we definitely need to change now the tiling for the texture coordinates. Let's go ahead and change it from 0.1 to 0.01. And that will make the scale much larger. We can now click Control and S and see what it does. And essentially we are going to be overlaying even larger type of noise, which will help us with regards to breaking up this pattern within our material. So it's already looking much, much better. But just for a quick measure, just to make sure that we have a nice overall type of result, even in the lowest type of points, even in the furthest points possible. We're going to have some variation. We're going to make another multiplication out of this. So let's go ahead and select these. I'm going to hold Shift to make sure I select this value separately. Going to hold, going to click control C, control V to make a duplicate, of course. And now we're going to create another one. I'm also going to just drag this out of more to the side so we can import a little bit more with this extra space like so. And yeah, we're going to then move this multiplier value like so might be a little bit too small of a window. Move this multiplier value and connect this from multiply that we have previously to the multiply that we connected through the noise. This texture coordinate is going to be with an extra zero, essentially 0.001, like so. Essentially we have noise that starts off with 0.1, then another noise that sounds with 0.01 and final noise that starts with 0.001. So with this, then we can click Control and S and see the type of result, that type of difference. And we're going to get out of this. And you can see the type of a value that we're getting just by looking at it. And I'm sorry about that. It's not it's not working because we didn't set ourselves up with the multiplier results to be going into the base color. Let me just go ahead and do that real quick. I'm going to do it like so, then start applying it onto the main material. And this is the type of result that we're getting. So it's looking quite nice, but it straight up darkens our entire texture. What I personally like to do also is I like to increase the overall value for the noise for the results that we're getting out of this by simply adding a multiplier value by holding m tapping on the screen, adding into our graph like so, just adding to those values. And essentially I'm changing this b value manually myself to a value of 1.5. So adding 50 per cent more to the brightness of the overall texture. And I'm going to essentially do the same thing for the upper one as well. I'm not going to do the one for the bottom because the smaller one has a nice type of darkness setup and it becomes a problem only when it starts overlaying with one a number. But once we do that, we can see, we can click Control and S and see more of a variation out of this entire setup. In there we go. We've got our brightness back, and it still keeps us with a nice type of a pattern throughout the entire scene. So yeah, it's already looking much, much better in regards to that. We still have a long way to go in regards to the overall setup. Because the main reason that we're not seeing a decent type of a setup, our landscape is essentially because the landscape itself is the same type of scale, the same type of pattern throughout the entire setup. So even if from a distance we have some ways of breaking down the overall setup, it's still going to give us some ways of pattern just sticking out like a sore thumb in regards to the texture itself and from a distance as well, it's not going to be quite obvious for the color, how it behaves. And It's just going to look like a simple base color for green. And the texture itself is just too small of a scale. But I think we're going to continue on with this in the next lesson and we're going to learn how to set ourselves up with a nice type of a distance blend based on a different texture scale. But yeah, we're going to leave that for next lesson. Thank you so much for watching and I'll be seeing you in a bit. 71. Distance Based Material Blending Blending: Hello and welcome back in front of two buildings standing medieval rules with Unreal Engine phi modular kit abashed course. In the last lesson, we set ourselves up with some noise on regards to the base color. And we get this sort of a pattern which helps to break down and overall texture is it overlays the sort of a color on top of it. But now we still have a problem in regards to the overall texture. Just kinda blending in with a base type of a color itself. And it just looks like a simple green color in a distance, whereas from close-up, it looks like a nice texture. So we got to make sure we set ourselves up with a nice way to help us transition to a larger type of a texture to help us essentially make the distance type of fields look a bit nicer in regards to that. So let's go ahead and get right into it. We're going to maximize the screen like so. And essentially, what we need to do is we need to duplicate this entire setup and get it to be a different scale first. And we're going to grab this texture coordinates and all of its textures. And also we're going to grab the make material attributes setup as well. So all of these nodes, we're going to hit Control C, Control V to get it like so. Now, in regards to the type of a color or the noise multiplier, we're just going to grab this simple multiply and essentially make the same type of a setup with this already set up type of noise. So we're going to hold em, we're going to tap on the screen. We're going to drag this to be in this age. When multiplying, you don't necessarily need to Worry about a and B values are going to be, whichever way you connect them, they're going to give us the same output. So we're going to now drag this out from this one over here. Just by looking at it, I can see the problem already. There's going to be an issue if we were to just connect the value from this multiplier over here. And that's the fact that it's going to carry out this texture information proud this entire setup. So I'm going to rework it a little bit and get it to make sure that the noise itself is only going to be the noise of a multiplied with its own scale. And then the texture is going to be applied only afterwards. So for us to do that, it's actually going to be rather simple thing we're going to hit. Makes sure that the original texture for the noise is going to be going onto multiply that and the multiplier value is going to go with the other one. And essentially that's going to be it. And only then is going to get it multiplied with the main texture. So what we've done essentially right here is we're making sure that the value for the noise is going to be just consistent for only the noise itself and the texture is going to be applied at the very end. And this way, it's still going to give us the same exact result. If we were to click Control and S and save it out, we can see that it should still be the same ones. I just scroll down There you go, exactly the same. But now what we can do is we can grab this entire multiply node from the top and drag there at the bottom like so, and apply it onto our duplicate of the textures. We need to make sure we create duplicate essentially because we're going to be mixing those materials up a little bit. And before going into it, we're going to make sure that we changed up the scale. So right now we're going to change up the scale for this from 0.15, 20.025, like so. And we can even check how it looks right off the bat. I'm also going to make sure that the multiplier note that we connected to the noise is going to be applied onto our base color. And straight off the bat, I'm going to test out the scale itself before making use out of it. And just going to connect it into landscape material attribute, we're replacing essentially the value that we had previously. So just by doing that, we're going to save it out and we're going to see how it has been affected. And right off the bat, we can see that when it's really close, it's going to look a little bit low resolution is going to look like the grass itself is a little bit too loves case, especially if I were to hit play and get our character to walk around in this area, it looks too large for a grass, but often a distance. It looks really nice actually, you can see the mountains being covered with grass and texture still stays. And it's not too small in that regard. And even if we were to zoom in with the camera, you can start seeing the overall type of texture actually looking real nice when working with large scale type of terrains. Having larger texture actually helps us to keep that type of a look photographs, although the grass itself, individual strands and whatnot are actually going to be too large, but for a distance, it's actually going to be perfect for us. So one thing that we also need to consider now is how are we going to blend in these texture? So we have a large variation of the texture over here, and we have a smaller version, version of the texture over here. We're also going to real quick because it's been in the way this line over here, it's a little bit to a diagonal for us a wreck. And I'm going to fix up this, multiply a little bit to be going. Forwards, we can also, we can also double-click on the line like so, which gives us a subtle connector. Essentially allows us to move our line across. And now if we were to hold control, we can move it across. We can also drag it out like so. And it would give us an additional line. And essentially it lets us to reorganize our entire type of connectors. Like so. It's not performance heavy or anything like that just helps us to visualize it within material graphs. So keep that in mind. And yeah, Once again, once we have the two materialist, larger and smaller versions, we're going to go ahead and fix them up right off the bat. I'm going to move these noise a little bit up higher so we can split it up like so. We have noise, we have smaller texture, and we have larger texture like so. And to blend these two values together, we're going to make use out of a distance blend attribute. We're going to right-click. We're going to search for distance, Len distance, gap, blend Diego. This is blend has the one we're looking for. Let's go ahead and at ourselves that we're going to then get the values for it, which is going to be a blend range and blend start offset. And both of them are going to be needed so we can make use out of them from within material instance for our personal ease of use. So we could essentially change those values in real time. But yeah, for us to do that, we're going to hold and tap on the screen like so to get ourselves a nice parameter for a float value, we're going to call the first one blend range, like so. And a second one we're going to hold and tap on the screen and call this one blend offset, land, offset, like so. And then we're going to connect both of them like so. And the default value, let's just keep it as one for now. As for the result, this is essentially going to give us a nice Alpha based on the Blend value. And we can even visualize it actually in where to place it into our material attributes, which I don't think we can actually know, we can't. That's unfortunate. Yeah, One of the things that the macula attributes doesn't allow you is to make use out of the normal nodes. So we have certain way to get around with it. So for us to blend in the material attributes and actually make use out of it for the Material attribute node, we need to essentially get ourselves a node cold blend material attributes. So this will essentially allow us to connect one material and another material like so, so to individual materials just like that. And we can use alpha to blend them together. And the alpha that's going to be for us is going to be this one over here. So we're going to essentially connected onto your Alpha. And we're going to now connect or material attribute just like that. Then we're going to hit Control and S and see what it does. Once it saved out. We're going to see the result. Now we can lower this down. We showed when we get close enough, yet ourselves, a different material, I think it's two values is too low. I'm going to close down this material, going to go onto my cereal instance and play around with the values. So now we have two values, blend of cell, blend range. We can enable both them and play around with them. And if we were to start increasing this value, it's still not giving us anything. I'm going to start increasing it over here. And it's still not giving me anything. So I'm just wondering why that is the Hagar started increasing it. There are a lot larger value and starts blending in this valley is nicely. Yeah, I think the default blend offset, I'm going to keep it as one. And then I'm going to play around with the blend range itself. And essentially, if I were to reposition my camera so we could see a little bit off the top as well as the bottom. And we're going to get a little bit closer to the side as well. We're going to be able to make use out of the blend range in order to get ourselves a transition. If we were to keep on increasing to somewhat of Ohio Valley, we consider transition going in between these two values like so essentially. So, yeah, we're able to control the entire transition in-between those two materials with just this value. We also have an offset which should help us out in regards to getting a nice transition for this type of a setup, in regards to making sure that there's a bit of more of a contrast for it. But honestly just by using the first value and keeping the blend offset as one, I find it to be working out quite well most of the time. So I'm going to go ahead and play around with the value a little bit more in order to make sure that we get it set up nicely. And if e.g. you have a material that's actually flipped around and you want to hire texture. So let me just increase this a little bit. You want the texture that's larger to be on the other side. You can essentially get the blend range value to be negative. And so for this value, I'm going to essentially make it. So whenever we're close by something like 5,000 in regards to the range, it's going to be enough. Whereas to get a nice type of a setup when we're close, but a far distance, I think it's going to be alright if we have a bit of a larger setup and yeah, that's pretty much it in regards to making a nice transitional setup. Of course, this is only one material that we're using. We still have a long way to go in regards to setting ourselves up with a nice type of a material for the landscape. So we're going to continue on working with this in the next lesson. Thanks so much for watching and I'll be seeing you in a bit. 72. Creating Material Blend: Hello, Welcome back everyone to building standing medieval worlds with Unreal Engine five modular Git Bash course. In last lesson, we set ourselves up with a nice material to be used as also blending in with, in regards to the blend with in regards to the distance, blending values for the texture. And now we're going to continue on working with the material. Let's go ahead and open it up. This time we're going to get some variations based on a different texture. And so far as to do that, we're going to make sure to essentially reuse the same exact setup again and get ourselves a different type of a look. So what we're going to do right now is we're just going to grab everything like so up until blend material actuaries are actually sorry about that and we're going to grab land material attributes as well. We're going to hit Control C, Control V over here. And based on the mouse, essentially it's going to put it in a lower position. Then we're going to reattach this values for the what's it called, the noise, which we can do. So if we were to simply double-click on this area over here, we're going to get the node that we'll eventually let us split off this part over here. And it's going to help us to keep it more orderly in that regard. I'm just going to drag it down until we get our multiplier and we have to multiply values one for larger, one for small values, like so. So we essentially have the same recreated values or the layer blend. This time however, we need to make sure we get ourselves a nice setup for the rock that we're going to make this window smaller. I'm just going to drag it from the top, like so. We're going to grab onto the content browser. We're going to go onto omega scans surfaces. And this time I think it was called mostly rocky. Yeah, there you go. That's a nice rock to make use out of. Let's go ahead and do that. We're going to make sure we essentially replace these bottom pieces. Over here. We're going to grab one of the texture samples and drag scroll down essentially until we get to this area. And the easiest way to do it is simply to make use out of this button over here. It's going to have essentially the same buttons that we were using during our modular kid bash session. So we can select extra sample, go into detail steps, select the lecture material. And I think it's actually not going to be working because by default, if we were to click Control Space is actually if we were to select this window firstly, click Control Space, it's actually going to make use of this content browser. So if I remember correctly, I'll try using it just in case it's not going to work though or is working. So sometimes I'm not quite sure why it doesn't like to work. So we can also make sure to drag it out like this, manually ourselves and replace it. So that's an alternative for it essentially. And yeah, I'm also just going to replace every single one of them for the rock. And essentially with the same base color, normal and the combined picture. And that's going to make sure that we use the same type of results but for the rock. So now, once we haven't like so we can try out the entire setup for the material by click quickly, replacing it within the material attributes, I'm going to drag out the landscape material attributes a little bit off the side. Then I'm going to straight up or replace it like so just to check how the rock looks like if we need some adjustments in regards to the height and whatnot, to click Control and S and see how that goes. Let's go ahead and check. This is how it looks for the rock. It looks quite nice overall. We've got some nice blending in regards to the distance and all is looking well, so let's go ahead and keep it as is now to create some variation out of this to make sure we are able to make use of this entire setup, we're going to need to set ourselves up with my layer blend. And for that, we're going to right-click search for layer blend. Like so. This time we're going to make use of the landscape layer blend in which allow us to essentially get multiple setup channels for it. And with it selected by default, it's not going to have anything. I'm still going to connect this to material attributes. Essentially, it's going to give us an error because it has nothing to show. And we're going to select this node. We're going to go onto his detail steps. There is a plus symbol over here, which by clicking on it, we're going to get ourselves a new layer. And it's set to none of which is because if we were to click on this arrow to expand this index, is going to say that there is no non, essentially no, no name to it. We're going to first of all, get ourselves a nice grass. So we can call this one whichever way we want to be honest, but I'm going to call this one and grass like so. And I'm going to connect the already set up grasp material blend attributes to it. Just like that. The second one, we're going to select this. We're going to click on the plus symbol over here to create a second index, which we can also expand over here. And this one we can call this one rock. And we can connect it to our own previous rock replaced type of a setup for a node like so. We have two of them connected and essentially we'll be able to blend them in together. But by default, it's not going to look quite as nice mainly because of the height. I'm actually going to personally, before moving on to show you how it looks like. Now, we're going to click Control S to save out this material like so. And it will work quite well with the blend. But before doing that, I recommend you to firstly, make use out of the way Blend because otherwise if you are not changing, these is going to give us trouble later on when we are creating a blend information, which I'll show you in a bit. What I mean by that. So, yeah, let's go ahead and make sure we have the right blend type setup. So we're going to change the blend type from the wavelength to hide blend. And this is where the height values will come in. I'm going to change the blend to both of them essentially like so. And now we're going to start setting ourselves up with the height value for both of them. And essentially what we want, we still want to make use out of the blend material attributes as we did before, but we're going to set ourselves up with a new value for it, for a specific purpose of blending in the height value from this, which if you remember, has at the very end adapt type of a texture with the one that has a different scale essentially. So for that, instead of using the blend material attributes, this is just a simple type of a material information. And using a simple lookup value will work quite well. We can search that in the notes search bar, or alternatively, we can hold L and tap on a screen to get ourselves alert node. So with that, we can now essentially connect a and b values. Just make sure you connect the a and b values similar way that we connected our blend material attributes. So a value is going to be the one on top, the one that we used from here. So that's what I'm exactly, I'm going to do with the blue channel from coming from here and going into the EHR value. So essentially, this one that was on the top, as you can see here, is going to be connecting to the top value of a. And for B is going to connect to the b value blue channel and b value like so. I'm also going to fix up this type of line. I'm going to double-click on it and drag it, drag it out, holding control and dragging it out like so it's going to help us out to have it neatly ordered. So just like that, we can now make use out of the Alpha, which Alpha is going to be the same distance blend as we had previously like so. And we're going to connect this to essentially our height grass. So this will help us with the blending values like so. Essentially we need to do the exactly the same thing in regards for the bottom rock piece. We have learned previously. Obviously we could have copied the values afterwards, but that helps us to kinda go over the process a little bit better in regards to that. But that helps us to go over the process in regards to that. And now we're going to go ahead and set ourselves up with the same essentially value we're going to hold L, we're going to get ourselves, we're going to get the Alpha from distance blend. And a is going to go from this one over here. And like so. And the b value is going to go from the one that's lower, this one over here. And like so. And we can hold and drag it across just like that, just to get it a little bit nice, I'm going to hold a double-tap on the graph like so I'm going to hold control and I'm just going to move it upwards just like that. So we'd be able to have it nicely ordered. Like so, I think that's quite alright. Actually, we're now going to drag this all the way to the top just like that and connected with the height rock like so. We're going to hit Control and S and see how our material has been applied. And essentially, if it's set up properly, still not going to give us the right result because it's going to give us a black type of values. For that reason, we're going to go on to our selection mode, we're going to go on to our landscape mode like so. And there is not only sculpt values, There's also paint values being tab that we can make use out of it. If we were to click on it, we're going to be able to make use out of the already set up a type of a material. And by default there should be no layers. If we're, if I was to just scroll down a little bit, we have no layers setup. So sometimes it just doesn't want to make use out of it. And I'm wondering why that is. And you just need to reapply essentially the material instance that you have. And I'm going to exactly do just that actually going to reapply this entire setup and that's sometimes updates layers. So I'm not sure why it doesn't always updated, but that's what you need to do. Or alternatively, you might also need to go ahead and now we're going to update essentially the layers. We're going to make sure we select all the arts, all the terrain like so. We're going to apply reapply the material instance, just like we did previously. Just like that. This should update everything, which essentially it gives us some layers to work with for our paint. And let's give it a second to compile everything first, bill doesn't seem to want to work. I'm going to go ahead and try going back to selection, e.g. going to select this, deselect this, try going back to landscape again and go on to paint. And there we go. We now have ourselves layers. Sometimes it doesn't like it being updated. Now we can see bottom right hand corner and prepares the shaders and it updated now finally, so again, I'm not sure why that's the case. Just try going back in and out of the landscape mode. And that seems to have worked for me. And once we have the layers, we can now go ahead and create a layer information that's going to be a weight blended layer like so. And we're going to make sure that we do essential that four of them the same area. It's going to just go ahead and generate your folder. It should be nicely stored up for us. So we all we gotta do is just click Save. We're going to click save for both them. And once we do for the grass, it should start compiling ourselves with a nice grasp material. Then we're going to do the same thing for the rock as well. Create a weight blend information. Yeah, Essentially that's pretty much it in regards to that. Now we can go ahead and select a rock e.g. and start painting this out, which starts compiling everything like so and is going to give us a really nice type of rock texture. And of course, bottom right-hand corner, it's still compiling. That's why it's loading. Slightly slowing down or computer. And essentially that's pretty much it for the rock. We're still not quite done with the overall setup for landscape. We still have a long way to go, and we're going to continue on with this in the next lesson. So thank you so much for watching, and I'll be seeing you in a bit. 73. Automatic Landscape Material Setup: Hello and welcome back everyone to building, studying medieval worlds with Unreal Engine Pi modular kit bash course. In the last lesson, we set ourselves up with two layers that we're able to now use and paint entire terrain. But when working with larger projects, you usually don't want to spend a lot of time just constantly adding all the detail in which is why we're going to learn a bit in regards to how to set ourselves up. We have an automated process for the texture. So we're going to go back into the texture setup. We're going to go onto content and I'm actually just going to make this a little bit bigger so I could see which one it is. And that's going to be landscape, landscape material, master material that we created. And essentially what we wanna do is because this is a stone material that we created. We're going to want to make sure that this stone is being essentially applied onto the edges of our cliffs because you'd usually want to have some bit of a stony type overlook for them. So for that, we're going to maximize this entire window and we're going to start building ourselves up that sort of a, a mask which will be able to make use out of, to blend in the values, will essentially want to combine it with the grass type of a setup itself. So, yeah, without further ado, let's get started. Let's go right into it. We'll want to go after the blend material attributes or the grass itself. So this is going to be it. And yeah, we're going to create it right next to it. Essentially. We're going to make use R1. Note that's called if we were to right-click search for slope mask, like so, we're going to get this sort of result and essentially it will want to tell, give it some options for it. So we'd be able to have some control of it. And yeah, let's go ahead and start off by telling you about the slope angle, which we want it to be facing. So we'll want to make sure it's going to affect the z axis in regards to the vertical slopes more. So for that we're going to make use out of the vector free, which is going to be by holding free, we're going to tap on the screen and we're going to attach it to the slope angle. And then we're going to want essentially tell it that it's only going to be using z axis, the vertical type. So we're going to collect one, then fall off power. We can essentially create ourselves a parameter for them. We're going to hold us, we're going to tap on the screen. We're going to call this slope falloff. So we're going to attach it to power. This one can be set as one, just like that. And then we're going to hold S, we're going to tap on the screen. We're going to call this one contrast, slope contrast. Like so we're going to attach it to the value over here. And I think we can start off by just having a value of one. Then we're going to start off by getting a nice overlay for that. And actually before doing that, I'd rather just show you how this works instead. So to get a nice overlay out of this, we're going to make use out of the blend material attributes like we did before. Let's go ahead and search for blend material attributes like so. We're going to attach this to the a and the b value is going to be our rock. And the rock that we're going to make use out of is actually going to be where is it? There you go, already blended in, in regards to its height. So that's right before it's being attached to the layer blend. This is the one material blender we want to use. We're going to go ahead and attach it to the value of b. Then slope mask is going to be our alpha. Let's go ahead and attach this to here. And essentially, we want to attach this to the layer grass. And right off the bat, we can click s, see how this would look like. We're going to get ourselves a nice result once it's done compiling bottom right-hand corner, we can already see that the shaders are being combined. Let's go ahead and wait it out a little bit. And once it's done, we can go ahead and lower down this entire window. We can see how this looks. It looks like quite a mess. So let's go ahead and see what's up with that. We're going to open up our material instance and play around with the values. First, we got slob contrast slope fall off, and we're going to open up both of them. And we're going to start off by getting sell us a slope. Follow up first, we're going to start increasing it until we see certain change on the edge of the cliffs, which I'm not seeing anyways. So I'm trying to figure out why that is the case. I'm going to go into the negative value instead is time. And it's still not giving me anything extra. In regards to that. I'm just wondering why that's being caused like that. It should. If it's a nice setup, I might need to click Control and S to save out. This material instance is still doesn't seem to be giving me anything. So I'm going to actually try to close this down, see if that works and then reopen it and see if it actually affects anything. In regards to the setup. I'm going to go on to some extreme values and see why that's not working. And that still doesn't seem to be giving me anything that I want in regards to the slope follow-up. Maybe we need to increase the contrast a little bit. Like so. It's not giving us anything. So we have to go back into the material itself. We're going to close this down real quick. I'm going to go back onto the material landscape and see if I mess something up. I went to check, double-check essentially the entire setup. So material is being blended with the slope mask, which is okay. To go ahead and try it one more time, this time within a selection mode, maybe that was causing it. And going into material instance, reset the value back to one. But that was a blend range. Let me just go ahead and undo that. Now, the rage doesn't seem to be working, so I'm trying to figure out why that is the case. I'm going to close it down, save that out this project and I'm going to try essentially reset the project, see if they help. Flex is my issue. And actually just saving out the project seems to have reset the values and it works again. Now it seems we need to go back onto landscape mode and just changing the values doesn't seem to affect anything at the moment, trying to figure out why it doesn't work. I'm going to quickly check if it's being applying a material or mass of material. I'm not sure why it changed back to mass of material that might've click Control Z by accident couple of times or something of that sort. I'm going to real quick apply the material instance just to make sure it looks alright. Let me just go ahead and do that real quick and then hopefully it will start working back through we intended. Now we should have some control over it. I'm just going to go back onto material instance, going to try to make use of the fall off. And I actually changed off the blend range by accident. I think it was something like 5,000 or something of the sort. And there you go, something of that sort. So when it gets closer it's going to be like that. Okay, Going back to the slope, fall off. Now let's go ahead and play with that. We're just going to go ahead and increase the value of goods to see that changing in value. But obviously, we want the clip ends to be in regards to it being stone. So we need to make sure we invert the entire mass ferocity that we're going to go into the master material. We can go for the material instance over here for the parent. We're going to go ahead and find ourselves the material blend attributes. So this alpha over here, and essentially what we're going to do is we're just going to, I'm going to expand it first. We're going to get the slope mass to be inverted and we're going to drag it out and search for one minus. Essentially it will allow us to invert the entire mask. Then we can connect it back to Ralph, I click Control S. And this should, hopefully if we have a look at the entire mask, once it's done preparing all of its shaders is going to start increasing in regards to the length of the preparation for the shaders is going to give essentially this sort of result for the rock formation. So we can look at it from a distance. We can see that all of the rock style, I hope this stone is going to be placed in regards to where the slope is going to be larger. So that's going to give us a real nice type of a setup or terrain. Now we need to work on in regards to getting that slope to be a little bit more varied because the transition of it, even if we were to play with the contrast for the slope, it's not going to help us yet any nicer of a transition is still going to look a little bit to plane. Let's say. Let's go ahead and go back onto the landscape mass, the material we're going to play around with the height values. Essentially, we're going to locate the value for the rock. And I'm trying to figure out which one is the one that's larger. And that's going to be this one underneath. We're going to get, It's a rock formation and essentially the blue channel on to what we want. And I'm trying to remember what we need to use. I'm going to essentially create an overlay to help us blend in that mask. Going to right-click search for Overlay. Blend overlay. Really good tool to make use out of. And I'm going to attach this to the blend value over here. As for base is going to be the mass. So let's go ahead and actually drag this entire setup for the blend overlay all the way to the top where we had the lobe mask like so over here. Just before it gets applied to blend attributes, it's going to give us a nice blend overlay before. So just like that, we're going to attach it like so. And it's actually going to be on alpha just like that. And essentially that will help us to get a nice breaking points in regards to the overall setup. It's not going to be changed in regards to the height values based on a distance like we did previously with our setup for the distance blend. But in this particular case it's actually okay. We not only need to set ourselves up with a nice landscape look, we need to also make sure that we have a nice overall performance while it's using it. And it's a bit harder when it's not automatically blend it in, but all in all, it's okay in regards to the distance, especially on the corners, we can already see it being affected is going to start stretching out a little bit. And especially in the distance we can see it's going to give us this result which is not looking quite nice because we need to work with in regards to the contrast. So just by working with the contrast a little bit, we can get quiet nice results. And this slope obviously is a little bit too, too much. We're going to work with that later on. I'm just making sure that the rocks and the distance are blending in nicely. We can even go closer to them and kinda figure out how we want them to be. Yeah, because it's blending in with the distance, we can get some nice transitions in regards to them. And I think just a small kind of transition like that is going to look quite alright. The following itself, something like a value of five. It's honestly a matter of preference, but we are essentially looking at the distance and making sure that there's some nice transition for the rocks, for the values of those areas. And as for these ones, we can always work on them. Come back to the landscape building and set them up real nicely ourselves. So, yeah, that's essentially it from the automatic landscape setup. We're going to continue moving on with improving the landscape, making sure that we have more variation to work with, and making sure that the inside of the castle is not just the green type of a setup. We're going to set that up as well. So that's going to be it for this lesson. Thank you so much for watching and I'll be seeing in a bit. 74. Creating Tile Textures for Landscape Material: Welcome back everyone to building, selling medieval worlds with Unreal Engine phi of modular good batch scores. In the last lesson, we set ourselves up with a nice setup for landscape and we're pretty much done in regards to materials, but now we just need to add couple of extra materials on top of it. We need to make sure we have more variation out of this dipole by setup. And first things first before I start actually doing those additional materials. But we need to realize is that once we start adding more materials is actually going to give us a bit of an issue in regards that it's not going to end up mixing up nicely to the landscape. And what I mean by that is when essentially we add more materials, more than two materials, I think it's after free, especially. It's going to start not picking that up and it's going to give us just the default type of material setup in regards to that. And the reason for it is essentially all we need to do is within the materials, within the textures themselves, we need to go on to the texture sample and change it from a sample source from the prompt textures that asset texture change the sampler source from texture said asset to shared warp. And the reason for it, There's again, because otherwise it wouldn't give you the right type of results. So let's go ahead and change them all up real quick. We're going to do it like so. And we're going to make sure that each one of them is set up essentially like that. And afterwards we're going to go back and start adding extra texture. So real quick, we're just going to do it. Probably easier would have been to just make a duplicate of it and makes sure that all of it is set up like that. But again, it's just best to do it right now, better late than never essentially. And once we're done with it all, once every single texture set is set as a warp, we can click Control S, save it out, make sure there's no additional errors that pops up afterwards. We're just going to reapply this essentially this whole material onto the setup and see if it gives us any changes which it should not go the same essentially and how we can go back and start actually doing some work with it. And we're going to grab ourselves the original material setup. I'm just going to check this real quick. And we have a distance blend. We have everything already set up over in this area. So let's go ahead and just grab this entire setup and essentially started working with it. I'm just going to grab it like so. So this ROC area for smaller and larger, set up this material attribute with multipliers, distance blend, everything set up already. Control C, Control V. I'm moving the mouse first downwards like so to position everything in this area. And essentially we got the same setup as we did before with the blend material attributes with everything set up. And now we just need to make sure we change up the material. So I'm going to make sure we grab the top of the window, move it to the side. Like so. Get onto content folder mega scan surfaces. So we already did the forest. We don't have a forest floor. That's going to be our dirt. We have tundra overhead, which we essentially are going to make it a little bit more wet and we're going to find out how to do that later. We're going to go ahead and start with concrete. The stone tiles actually first, because the reason being is we don't have the entire setup for the grass area itself. So let's go ahead and fix that up real quick. We're going to essentially replace every single one of those setup for the textures. And there we go, setting up like this. And it's a little bit smaller window probably for videos. I'm going to try to zoom in a little bit as much as they can in regards to the setup. And let's make sure we use every single one of them in the right order, like so one by one, we're setting it up like that. And yeah, Essentially the reason also we need to set it up as a separate type of texture. Set a samples is, otherwise it won't quite used to blend in distance quite as well if we were to just use simple one extra set. And I kind of tried to reuse the texture coordinates in regards to different scales. So yeah, that's why essentially we need to set it up in regards to our new texture sample set, twice the tree that I showed different materials. Then we're going to go ahead and apply this and see what it looks like. All the tiles themselves and will need to set up, set up unrealized type of a setup for the painting itself. First of all, we can try it out by going into landscape mode, go to the paint settings and make sure we have layer one selected because by the way, the layers also affect the painting as well, not only the sculpting. So let's go ahead and make sure that we only use that one for now. We're going to make sure that we go back and forth from the landscape selection and hopefully that update our entire setup if we were to look down. So it doesn't seem to still doesn't seem to have it updated. So I'm just wondering why that is the case. Going to click Control Shift S, perhaps that'll help us out in regards to that, saving everything out. And that's still doesn't want to be updated. So I'm just wondering why that is the case and that's probably because I haven't plugged in these values. Over here, so we need to make sure we do that. We're going to go ahead and get back onto the layer blend. Over here. We're going to create ourselves a new index. Essentially I'm going to minimize the previous ones. We're going to create a new element. So that's going to be a new index. This one can be called tiles like, so. It's also going to be hide blend everything. I'm just making sure it's the same as the previous ones. There you go. Yeah, we're going to set ourselves up with the same setup. Like so. Bring it all the way to the top, just like that, but clicking and dragging and still all the way to the top like so. Attach it to the layer tiles and ask for a high. Of course, we need to set ourselves up with essentially the same setup as we had over here. That's going to be alert and layer blend. Yep. Okay. Just making sure that we have the same, we have the loop over here value. We're going to essentially drag this onto the height tiles like so. And we will be needing to change some, make some adjustments essentially because we again, need to make sure we have a little bit extra control in regards to the tiles themselves. For now though, let's go ahead and click Control S to save out this entire setup. We're going to then try out to make use Arabic. Like so. Once it's done loading up, we're going to also make sure that it's finished loading up shaders and bottom right-hand corner. I'm going to move it down a little bit in regards to this window, like so, so we can see what it looks like and going to reload the selection to landscape again, hopefully this fixes in regards to giving us an animal land, which doesn't seem to be the case. So maybe we needed to wait in regards to the setup itself. Now I'm going to reload again landscape like so. And it still doesn't want to give me the additional layer. I'm trying to figure out why that is. The k is going to check to make sure that we do have tiles attached, so it doesn't seem to want to work. Perhaps changing in-between edit layers that might help us out. No, it still doesn't seem to want to help us out in regards to adding additional stuff. I'm just going to click controls that real quick and see what it does. There you go now to ads. I just needed to tap real quick with one other textures and it seems to update it for us. And it says none. So I'm just wondering why that is the case. It should also give us I'll layers. So now that it's updated like that, I'm going to go out from the landscape to selection and back onto it. And it's still showing up as none. So I'm trying to figure out again why that is the case. This time we have everything set up. I'm going to click Control Shift and S are just in case. Actually real quick, I'm going to go ahead and select back to the Selection Mode. Have this selected, go into the material landscape instance and just kinda drag this onto here real quick. See if that helps out in regards to the problem, to the solution. And that still doesn't help us out in much of a white. I'm going to add weight blended layer for this right off the bat though, going to see if this will help out. And now it says tiles layers info, so it changes to tile. So that's actually good for us. We're going to make sure we are on layer one. And yeah, I guess we just needed to add a white paint to fix it up. I'm just going to try painting it over here. This layer is not assigned in for yet. You need to create a sign layer info before you can paint on this layer. So actually just looking at this, I can see that there's something not attached to the layer itself. I'm going to go back onto material and see what I missed. And actually, I can already see the error in this regard. The multiplier values don't have the noise already set up. So I'm going to go ahead and do that real quick. We essentially are going to set ourselves up with the multiply values. And from this point, I'm going to essentially grab it from, from the same point over here, just to make it less confusing, I'm going to grab it all the way through to the bottom, like so and attach it to the, these values over here. And I'm going to essentially do the same thing again. And it doesn't matter if you connect it from this point or from the origin of the node. But essentially we just need to make sure we connect ourselves with the noise variance like so. And there we go. Now if we were to click Control and S, Let's go ahead and see if that actually works out for us. Like so I'm going to move downwards the thing itself or it's preparing the shader. So let's go ahead and wait a little bit. Here we go. Alright, now let's go ahead and see. There we go. We have a proper setup. We can already see that the image, what else is there? So everything should work fine. We're going to try painting it out. And it still doesn't seem to give it a right kind of results. I'm trying to figure out why that is the case. Maybe I'll go back to selection mode and back onto the landscape. And that hopefully now allows us to select the tiles itself. And there we go, we can now paint on it. So yeah, just going back and forth like that, sometimes it doesn't seem to want to work. But that's the problem solution that we have right now. For now, I'm just going to paint it out on this section over here, like so just to see how this looks like and the tiles themselves. Needs a bit of work in regards to everything. And first things first, I'm actually just going to click Control Z to undo this and might as well just start in a castle right off the bat. So I'm just going to paint something in here just so we could see how it looks like. And yeah, the starting point looks pretty good. Although we do want some to have certain control over the tiles. And the first thing that we want to make sure that we have is essentially, we want to have control over the rotation and the scale of the tiles. So the rotation is going to be rather easy and simple thing to do. We're going to go next to the Tile Texture samples like so, going to right-click search for rotate, like so. And there should be something called custom row data underneath the texturing, this one over here. And we're going to select it. And essentially we have a UV space which is going to be taxed coordinate. Let's go ahead and plug that in. We're going to actually click and hold Control and redirect all of these values from texture coordinate to rotate the values like so. We're then going to connect the coordinate index to UVs. And then we're going to hold and tap on the screen to get ourselves a rotator angle. This is going to be called just the tile rotate. And in this case, you can see that there's a rotation angle. It says zero to one. And essentially what we wanna do is get this rotation angle to be stuck 0-1 value. So it would not go over that when we want to rotate it. And for that, we're going to select the parameter itself. We're going to go onto the slide and maximum within its details tab, and we're going to change the maximum value to one. And essentially that will give us this full range. And when we hover over, we can see that one would be 360 degrees in that regard. And that's pretty much it in regards to rotation. You also need to do is extract actually the same type of a setup for embark on peace. And I haven't mentioned this when I was talking about it previously in regards to the parameters, I'm going to click control C, control V. But when we copy a, note that not only has a type of a simple node like this one, we also will come, we copy the parameter itself if it has the same name, essentially, when we change this to something like 0.50, 0.5 like so. Essentially this upper value on the top is also going to change because they have the same naming. And that will make sure that it's essentially the same type of parameters. So I'm going to keep it at zero. The other one is going to also be kept at zero. I'm going to plug this into v's and yeah, we gotta make sure that we do them individually, like sum. Then we also should probably set up ourselves a very basic type of scaling setup. We're going to hold S, we're going to tap on the screen and we can call this one the scale, scale tile, or actually tile scale. It's better because we have the same type of a naming convention. So tile rotate, I'll scale. And this one is going to be essentially set up or multiplier with the texture coordinate. And that will help us to get a basic, very basic type of a setup or for the scaling. So we're going to hold em, we're going to tap it over here and just attach both of these and attach this little movie. We're going to select both of these and we're going to hit Control C, go all the way to the top, hit Control V to get the same values over here as well. We're going to attach them and make sure that we are setting them up properly. And essentially with those, both setups are done like that. We can now go ahead and apply this entire setup like so. Let's wait it out until it's done setting it up. We also need to wait for the bottom right-hand corner for the shaders to be set up as well. And there we have it. We can now go ahead and just move this window out of the way because we're still not done with it just yet like so. And in regards to the tile, so let's go ahead and wait it out until it's reset like so. And actually I did a bit of a mistake in that regard. We need to make sure that the title scale is set to default. One, our y is going to give us the right result. I don't think although it is giving us a somewhat of a nice result, I'm just making sure the style scale is set to one. And there we go. We're going to get ourselves this result. And now if we actually, we can close this down, we can come back to it later. If you go onto the landscape material instance like so, we have control for tile, rotation and scale and rotate essentially will allow us to rotate the angle of the tiles. So if you said it's the one that's going to be exactly the same because it turns it one. It turns a free 60 degrees. And essentially, this will mean that if you want it to turn it 180 degrees, which would be flip it around, that would be a value of 0.5. And if you want it to be going our way in regards to the flow, that would be 0.25 and that's pretty much in regards to the tiles. We can just rotate them all overall. And then we also have a scale that so making them smaller, making them larger, we can go ahead and do that as well. So that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 75. Creating Node Reroutes: Welcome back everyone to building standing medieval worlds with Unreal Engine five modular kit bash course. In the last lesson, we left it off by setting ourselves up some variation for in regards to the tiles which we can now make use out of it or upsetting for the castle. And we're going to make use out of it actually first. And before that, I realized that there's one more thing that we need to change up and that is going to be distance. In regards to the scale. We essentially don't need it for the tiles itself. We're going to go ahead and go on through material and quickly delete that. So that's a mistake on my end. Sorry about that. We're going to quickly go ahead and fix that up. And essentially what we need to do is just make sure that there is no lurk values for that. We were reaching the end of the lesson previously, so we didn't have time to fix that. So let's go ahead and just simply delete this entire part. The bottom piece, like so with the multiply of Alice and whatnot, we're going to actually instead of that, we're going to delete the entire bottom piece and make material attributes part as well. Let's go ahead and do that. Then we're essentially going to fix up the alert values which are not needed. So I'm going to delete this. Since blend, we're going to be left with the low value. And I'm just going to switch all of these app essentially while holding control from the value, I'm going to plug it into the value for b. I'm actually going to also double-click on this to kinda hold control and essentially make sure it looks a little bit nicer and more tidy in that regard, I'm going to delete dollar value and delete this a little bit over here. And as for the blend material attributes, we don't need it, so we're going to hold control from it and attach it to make material attributes that was from the tile itself. So now that we're done like this, we're going to click Control and S to save it out and now check it over again real quick. And hopefully that will work for us. We're going to prepare all the shaders bottom right-hand corner again. Every time now it's going to start preparing. It is going to take a bit longer time, but we can already see that it's not being affected essentially, because they are the tiles. We need to make sure that they're going to be consistent size. And in comparison to the way we were working with the terrain itself. Now going back to the terrain materials set up, now the next step that we need to do is essentially we need to get ourselves a couple of variation for the textures. We need to make sure that we're able to work with additional type of setup with them. And one thing that we're going to do to start off is we're going to essentially grab one of the textures. And yeah, we're going to start actually by just moving this downwards, like so. So we could split it up a little bit. The tile setup. We're then going to grab ourselves to set up for the stone and make a duplicate of it. Clicking Control C, dragging all the way down, clicking Control V, like so. And we're going to make one more out of it. So we're going to click Control V. So one is going to be for dirt and everyone is going for a four mile, more of a wet mud type of texture to make more of a puddle type of a look. Yeah, Let's go ahead and fix them up real quick. The multipliers, we can fix them up straight off the bat. We're going to be working on both of them at once a wreck and they speed up the workflow. But essentially we're just going to drag entire setup. And I was dragging us all from one point just to make it a little bit easier for myself. But I'm thinking right now it might be just best if I was to simply make an add-on on one of the lower pieces, I think that might just make it a little bit faster in regards to that. Let me just go ahead and write that like so. And it's actually going to make this type of around about, which I'm not quite happy about. And so we're going to go ahead and just quickly grab it from this point over here thing that's going to be much easier to just keep it nice and consistent. I'm going to draw it all the way down like so onto multiply one of the multipliers. And then I'm going to go ahead and do the same thing for this one over here, I think in this case, yeah, I think in this particular case, I will grab it from over here that will make it a little bit easier. And essentially the main reason for it, if I were to select it off, it seems to be maybe not connecting properly. I'm going to drag it out and off. Doesn't let me create a Diego. It now lets me create a second type of intersection. And I'm just going to drag it down, which I'm going to actually zoom out a little bit. There you go. I'm a little bit over complicating it for myself. I'm actually just going to drag it from the multiplier itself value. And I just realized that there you go, That's the one that we're looking for. We have a section of a young going to hold Control, going to put it away over here. And essentially, we just might make it as easy to read as possible. We're going to work on organizing them as well. But for now, let's go ahead and just make sure that it's using a noise. And I'm also just going to do another one over here and drag it from here. And that should. Give us a nice type of connection. There you go. So maybe it's not the best to make intersections like that in regards to when we want to change up the settings, e.g. but it does help us to create a quick connections like so. So now the next step is making sure that we're connecting those types of setups. We're going to go ahead and quickly create if we're to go all the way to the top where we had ourselves layer blends. We're going to create two new material attributes within here. We're going to create one and then another one, index three and index for this one we can call it a dirt and other one, we can call it mud or wet mud or something like that. So we can call it like some. And that's pretty much it. In regards to that, we also need to make sure that we change these up to heights so we can get ourselves a nice or type of a blend in regards to transition to the materials. And yeah, let's go ahead and start connecting them. We're going to start by connecting the third, like so drag it all the way down, all the way to the top. And instead of just dragging it out like so and trying to find ourselves the node that's all the way at the bottom. We're going to get ourselves a whole bunch of mess in regards to the webbing itself, we can already see how big the node system looks. We're going to actually go all the way down until we get ourselves to the dirt textures which we need to still replace it. I will show you a different way that we can sort out our node system. And for us to sort it out, I'm actually just going to drive a little bit for us to sort it out this weekend, create a sort of a node that's going to be attaching it. And then another node that can be used to interconnect between them without actually having these lines across. And that will actually help us simplify our material attributes. Let's go ahead and drag it from blend material attributes outwards like so if we were to search for named, we can get ourselves utility called add named rewrite declaration route. And essentially what this will do is it will help us to get type of information that will, yeah, give us a sort of a node that has input output. We're going to call this one dirt layer node, like so, something like that. And now we have input and output and essentially with this, we don't need to drag it outwards like so we can go all the way to the top, all the way onto our layer blend, drag it out from Layer dirt. And if we search for dirt, we should find ourselves name and reroute. Or if we were to select it, we're going to get this result. And you can see that this one only has the output because the original one that we create tends to have both the input and output and then wonder to create afterwards based on that named one, It's going to just have its information that it conveys. So that's actually a really nice way of sorting everything out. But what one thing that you need to know is every time you create a new one, based on the type of information you're dragging it out. It's going to have a different color and that usually means that you can't connect them with sometimes. So e.g. if I drag it out from lower value, which has information only of the textures that are mixed up with Alpha. So the blend material attributes has the entire material setup and this one only has the textures. Let's go ahead and drag this out and call this one. Again. We're going to get ourselves named reroute. We're going to call this one dirt height, like so. And you can see that each has a different node color shirt off the bat because it has different information of the color. And I think we can change the color itself as well if you want to customize it. But honestly, by default, it's only going to be based on the information that it tries to connect it with. So they're tight. We can go all the way to the top like so and go closer to the dirt height and we can just drag it out, search for dirt, make sure we can select their tight and there we go. We've got to sell us this setup and we can do the same thing for a mud. Let's go ahead and go all the way down. We're going to quickly create that. And I'm thinking maybe you could reroute the same thing for an a, for noise to make it a little bit easier for ourselves. But I think it's going to be okay. It doesn't matter in regards to the performance or anything like that. It's just a personal preference more most of the time. So I'm going to go ahead and leave it as that. I'm going to move the loop a little bit. So from blend attributes, I'm going to get ourselves a new name attribute and the score. Call this one mud, like so. And drag this out and call this one again a new one, mud height. And actually I'm just going to rename that to just tie it again. It's more of a preference, personal preference. There we go. So now that we have it like so let's go all the way to the top, like so. Scroll down and add these up. So mud layer, they go and min-height to drag them out like so much height. We can also use arrows, by the way, to move them up and down when researching and then click Enter to apply. And sometimes he'd see me doing that. And there we go. In regards to that, we now need to make sure that the texture, so I set up properly though. So let me just go ahead and do that real quick. We're going to go all the way down until we get through textures. We have these setup and we're going to quickly changed about, but essentially so this is dirt, this is going to be mega scans purposes and that's not it. That's the one I think. There you go. Alright, so it's going to be a forest floor. We're going to go ahead and select this one, scroll down a little bit, and go ahead and essentially replace it with these values. Like so. And like so. And then again, we got every dataset. So let's go ahead and do that. A bit of a tedious process. I understand that, but just make sure to follow along nicely because otherwise, if you misplaced the texture is not going to give you the right type of PBR values for the material there is that we don't want. Now we need to make sure we set up the tundra riverbed. So this one is going to be it. And I'm just going to drag it downwards a little bit in regards to the window itself, just so could see more a little bit. And we're going to replace each and every single one of them. And actually I think I'm just going to zoom out a little bit more and see both of them. This way. I can select the dirt and then select this normals. And I guess speed up the process a little bit in that regard. So every time we're working with different types of setups and whatnot, we always need to look for new type of setups, new type of workflow that will help us to speed it up. So now I pretty much did that in one go and yeah, that's pretty much all there is to it. I'm going to hit apply and it should give us a nice result. Or that. Again, make sure that the shaders are compiled bottom right-hand corner. And now we can close down this material and see how it looks like and actually we're running out of time, so we're going to continue on with this and next time we can check it out and we can make sure that the overall material is organized. So yeah, that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 76. UE5 Landscape Material Clean-up: All right, Welcome back everyone to building, setting medieval worlds with Unreal Engine by modular kit bashed course. In the last lesson, we left off by setting ourselves a nice type always set up or material. And we have some variation out of it. But of course now we need to readjust couple of things. First things first, I'm going to go back from selection onto landscape like so which hopefully you give us extra layers. Doesn't seem to be the case. I'm going to quickly select grass and e.g. touch it on a terrain so that should update it. And going to go back onto landscape again doesn't seem to work. I'm going to try using rock brush real quick just to click on it real quick again. And it doesn't seem to want to update it. I'm trying to figure out why that is the case. Going to go on to landscape again now it doesn't seem to want to work. I'm going to go then back onto the landscape material real quick to see what is up with that. And everything is actually connected in regards to that. But it still doesn't seem to want to work. So again, I'm trying to figure out why that is the case. Going to make sure that we click Control Shift and S to make sure we save everything out and then try painting it out again. Doesn't seem to work. I'm going to apply material instance onto the extra itself or by going to selection mode and just dragging it out. We're actually just selecting the one of the chunks, dragging the material landscape instance like so onto itself. Go back onto the landscape mode and see if that have fixed Asia. And there we go. We now have ourselves to prepare shaders. Again, it's really kind of a nuisance sometimes when it comes like that. So yeah, just make sure to selected just drag out to my material instance back onto the thing. And now it should give us the new she'll new textures to work with. So we're going to try out a bit of dirt, like so. And it says it, we need to create layer info trying to figure out why that is the case. Go back onto material instance, see if I missed anything in regards to that. And we attach these ones over here. We got all of these. We can also click on the third layer note that we named and right-click to select the link that it was coming from. And that way we can jump between them as well. So problem-solving in regards to that, this looks, are bright and also look right. I'm just wondering why that is the case. And everything seems to be connected in regards to the Multiply off the noise. So it all seems to be alright. We also have malachite mud layer for each one of them, which are also connected with one another. Texture setup is also looking nice, so I'm not quite sure why that is the case. Let me just go ahead and quickly click Control Shift and S to save it out. I'm going to go out of landscape mode, going to go back onto the Selection Mode, impact on the landscape mode and see if that fixes an issue. And that doesn't seem to be the case which I totally forgot is because of the weight infant not being applied. So let me just go ahead and add a normal base the way paint like so we can click Save to both of them like so. Now if selected, it should go, it should start updating it. We need to wait it out a little bit. And once it's done with that, we're going to have ourselves some dirt to play around with essentially. And again, it's preparing shaders and whatnot. They go some dirt like this and some mud like so. But right now it's not the type of mine that we're looking for because essentially this type of model is just going to be a little bit just do plain looking, not quite there. In regards to that, we need to make sure we have some variation out of it. So let's go back onto the selection mode real quick. So we'd stop painting it. It's also still a applying the shaders on the bottom right hand corner and asked for the entire much, Sarah, I think we can do a little bit better in regards to that. We're going to essentially make some tweaks to it. So for us to do that, we're going to go onto omega scans surfaces folder and we're going to find ourselves the tundra riverbed texture. This one, it has a bunch of variety. So for starters, one thing that we can do to adjust the texture itself is by double-clicking on it. We can have a bunch of details options over here on the right hand corner which has adjustments tab and adjustments that will allow us to make quick changes to it. So e.g. if we want to make this darker with thorough account by changing the brightness and we can adjust the saturation, e.g. and whatnot the hue values as well to change it up. And yeah, we can totally do everything like that. So first things first, I'm going to change the darkness to a value of 0.5. I think that's giving us a nice darker type of a setup, which I think is what we need in this particular case. Then the next thing that I like to do is actually change the overall roughness value. But because the roughness value for this lecture is actually set up within one texture channel. We're going to need to go ahead. And I think that's actually going to be green value over here. We're going to need to essentially make it a little bit couple of changes in regards to that. And let's go ahead and do that for us to actually set that up, we're going to need to go back onto the landscape material. We can open it up through mass of material itself. And we're going to expand this actually like so. And I'm going to go all the way down until we get to the math section which is over here. Oh, for the month. We're going to essentially makes sure that the roughness value is set up nicely overall in regards to the channel, a single channel. And I'm just going to quickly highlight one of the notes that says roughness for the month. I'm going to find it which one it is. This is a green channel. Actually. Essentially what we need to do to control the mud roughness is we're going to hold, going to hold em. We're going to tap on the screen. We're going to get a cell, some multiplier, attach it to the a and the b value. We are going to help hold S, tap on the screen. And this one we can call this mud roughness. Like so Henan, we're going to attach this to a value of b. We can keep it as one entity. We can control it from the material instance itself, just like that. And we're going to go ahead and attach this roughness value. Then we're going to go ahead and control, click control C to both of them. Control V on this one over here. Or actually I'm thinking we even need this type of a setup for this mud over here. Because if we look at it, overall setup, you'll see that most of the time we won't be having much just like in a distance and whatnot. It's going to essentially be in small areas. And so to save up their performance, when I'm thinking is actually to just delete the transition and it's going to help us out in the long run essentially, as it's not quite necessary. So I think we can totally do that actually. Let's go ahead and Let's delete all the bottom pieces like so. We're going to delete the blend, arrange distance like so we're going to delete a blend material attributes, but before doing that, I'm just going to change up the value. So from a gray to click and hold a right mouse button and left mouse button and essentially read transitioning them like so. Then we're going to delete this and go ahead and change up the lookup value as well. So this is going to be not needed anymore. But we're going to hold control and left mouse button, add it to the mid height and I'm actually just going to double-click on it, hold control, But it to the side a little bit. So it would look a little bit nice in regards to that. Going to delete this and clean up a little bit. That's looking all nice and good. I'm going to finally with this than going to click Control and S stoplight, going to test it out real quick. And then as a final thing, I'm just going to show you how to sort out the overall organization and it's actually super easy and simple to do. But let's just wait this out a little bit. That's going to look quite okay. Like so. Alright, so we have this setup. It's not going to be changing up and right Now back and forth from this. So the mud is going to be quite alright. We're going to access the material instance like so I'm going to open up a new tab over in this window. And now we have roughness. So this roughness, I think we can lower this down to a small value like so. And you can see how glossy and shiny it is. And yeah, just by looking at this, it's going to look like a nice puddle. And that's going to be really helpful for us to set it up like that. I think by default I'm going to leave it something like a value of 0.2. We can adjust that afterwards when we're working with the castle. And it's going to make it look kind of gritty, a bit slimy, but still stylized type of a medieval castle. So once we're done with that, we're going to now learn real quick how to delete the textures themselves. I'm going to go onto landscape and I'm just going to essentially select the mud, going to hold Shift and I'm just going to take it off because essentially what we're having is when we're working with layers like this, each one of the layers has its own type of color information. So I can either lead e.g. this one over here. Because if I try and nothing's going to happen, because essentially it has its own layer information we need to go onto dirt itself. Then afterwards we're going to hold the Shift and left mouse button and still applying shader. So I'm just going to wait for a bit. There we go. So again, with the layer selected, I'm going to hold shift, just delete all this bit. Then we're going to go onto the rock, hold Shift, Delete all this bit like so, and you go, and now we can go back onto master material real quick. We're going to open up its layer and I'll show you how to organize it real quick with simple commentary and centrally. So if we were to select this whole setup like so we can click C and this will give us a sort of a box that allows us to make a quick comment on it. And if you're working on a landscape like this, it's easy to, easy to forget what part does what. So it's best to keep commentary over it. Right now with this one. You can then select it again, by the way, and click F2, e.g. to rename it. This is where when we can call it noise, like so and we can just leave it as that. The bottom piece, this one over here, we can go ahead and select it just like that. I'm thinking in regards to this as well, slope mask. We can leave it off for a bit. Essentially, we're going to select this entire thing and we're going to click C and select it all. Make a comment out of it. This is going to be default grass. That's what exactly what I'm going to call it is. You can see over here this small piece. I'm going to actually move it a little bit off to the side like so. I think that's going to be quite okay. You want to select it all? I'm going to hit C, going to call this one automatic landscape mask like so. Then going to move on to the bottom piece. This one was rock. Let's go ahead and select that all. Lexi call this rock. So go downwards. This one is, was a finger. What's your style? I'm not mistaken. Yes, it was just tile. Let's go ahead and select it all flexy, going to call this one tile like so. And then go downwards. Again. We're going to select all of these. This one was third, I'm going to click C. And finally met at the very bottom, the mud, like so. And one more thing before we move on, we can also select the boxes themselves as well. Or to just click on a top section like so, there is also common color as well. So we can simply change these up and it would give us a nice type of layout. So e.g. we want each one of the materials to be a bit of a different value in regards to the color box, to help us out, to essentially organize them. We can do so. It's all up to your personal preference, like so. And yeah, it will help us out in regards to that. Each one of them has different essentially a color that we can make use out of. And yeah, something like that. E.g. is going to be quite okay. Rock and we'll just go ahead and change that up as well. Something to maybe a bit more bluish, darker, something like that. Perhaps. I'll personally, I prefer to keep it a bit brighter color for the comments. And this one default grass, we can make it green. Like so. Automatic adjustment mask like to ideally make it something like purple. And I'll make purple as well for noise. So I would know that these essentially in regards to the color, they're going to be somewhat of the same, not the same, but they're just additional inputs to our overall type of a setup. So once we're done with that, we can pretty much click Control and S to save it out. And we can pretty much where sellers are nicely set up type of landscape material. So that's going to be it for this lesson. Thank you so much for watching. And I'll be seeing you in a bit. 77. Fixing Ground for Digital Castle: Hello and welcome back everyone to building sending me they will worlds with Unreal Engine module can bash course. The last lesson we left off by setting ourselves up with a nice landscape material. And now we're going to make use out of it to set ourselves with environment type within the inside because we still haven't touched on much. So we're going to spend our lesson essentially cleaning that up. So to start off, I think, yeah, let's go ahead and just add tiles right off the bat. I'm going to go ahead and select the tiles. I'm going to make sure that the brush, if were to scroll down, if I were to scroll up, the brush, fall off is set up to quite a bit higher or sorry, quite a bit lower. In this case, it has to be zero essentially because we want it to be if we're to start using it, if we wanted to essentially cut off at a nice type of an area. So I think if I were to hold it like this light and moving it in and out, we can see it over here. It has a nice type of hair off. For that, I'm going to click Control Z real quick to undo this step. And another thing that I want to do essentially is get ourselves to strengthen, be set as one. We don't want it to be gradual transitioning, we just wanted to plain tiles to be in. And now I'm going to move the brush by holding the close of brackish, which will essentially change the brush size, we can make use out of that. So close off brackets, open up by square brackets, they're going to be able to allow us to change the size of the brush. And essentially what we wanna do is quickly create the sort of transition. The transition itself is not going to be perfect because we're still using the landscape in regards to the values of when they blend. But they're going to start popping out just like that as you can see, we can also hold Shift, just kinda remove them a little bit and we're going to get this result. And I think we can have a concrete beam or something in the middle over here to help us hide that seem away. Then we essentially are going to go through each and every piece over here too, hide away all the grass in this regard. We can also, I think to make it easier to avoid the shadows, change the visibility from lid to unlit. And I think that will help us to kinda see in areas where it's a bit darker since we're also going to be adding tortious in the future. But that's going to give us extra light source. So we got to make sure that every single bit is being hidden in whatever, wherever the player is essentially going to step on this area, I'm going to hold Shift and I'm just going to remove like so we can leave it as is. I don't think it matters too much in that regard. It's still looks like a nice transition. So yeah, we're going to leave it as is and this areas, okay. Now, this area on the other hand is not okay. Let's go ahead and fix that up. We might even get ourselves a larger brush to increase the speed that we're working with. I'm going to go ahead and just add concrete tiles or slap stones onto the whole area. Like so. Something like that I think is going to work quite nice. Just like that. And yeah, we're just making sure that again, there is no grass in this area. Even if we do leave a bit of grass, it might still be okay. It would look like a just a patch or thrown out of grass or something of the sort. So it wouldn't be that bad, evil way. But all in all, we essentially want to eradicate a whole to grasp from this area when we get closer to the wall. So we need to make sure that we don't touch it too much in. Otherwise, we're going to be overlapping. The tile stood outside again holding Shift and just tapping it out to remove it would be okay. And yeah, we're just going to essentially grab ourselves this type of tile set up this entire area like so. That's looking quite nice. This era is looking quite nice. And this is looking nice. Alright? Okay, let's not forget this area as well. Like so in regards to this section, we might want to, yeah, we will need to fix up the overall landscape with the sculpting. We're going to do that in a bit though. We're now let's go ahead and make sure we change up the slopes over here to fix them up. So we're going to go back onto the live mode. And yeah, in general, it's not really good to make use our landscape to set ourselves up with a texture, especially that goes vertically in those areas. So instead what we're going to do is essentially we're going to get ourselves some blocks that will help us with this overall layout. And first things first, I reckon we can just duplicate these stairs. I'm going to actually delete this one because I want to enable the grid lock like so. Then I'm going to just quickly they said one to another. We'll actually turn down the gridlock to ten that help us to help us out like so. And here we go. Free staircases like this position nicely in regards to the wall, like so I think we'll look quite nice. I haven't actually checked it in regards to the back itself. For this, we also need to adjust the slope over here, so make sure that the tiles are actually in plane off an area. We can set them up. So we have couple of holes, especially over here, especially. We have a couple of holes in here especially. And we're going to go ahead and fix it all up with a simple type of setup or sadness overcame to make sure that the stairs themselves. Nicely placed, something like that. Again, we're going to make sure that they are straight to the side of the wall. So it would look more normal. Let's say we can push them all the way to the back of the side of the wall so we can start off break the staircase. And I think we need another staircase over here. And yeah, so for that, for this other section, I don't think we need a staircase over here will look to y. Otherwise. Let's go ahead and fix that up real quick. We're going to grab ourselves the bottom foundation. I think we can just grab it from here. We can we're going to position it like so and we can either set it up so it would be ending where the staircases are somewhere in this area or we can push it up all the way to the front. And that honestly depends on the type of setup you want for this particular case. I don't particularly like this alleyway Just being in slabs like that. I'm just going to push it all the way through back leg, something I'm worried about the overlapping of the terrain itself at this moment, I'm going to actually duplicate this, put it off to the side, something like that perhaps. And I don't in this particular case, I don't think look good in this regard. So we might need to make use out of a different type of setup. Going to go on to the castle content browser and see if we can make use out of the stone walls. Are these ones over here? We ever have a longer one or short one, I think in this particular case, we're going to make use out of the short one, mainly because it has the pattern that overlaps a little bit more in regards to hear, I think that's going to look much nicer overall. I'm going to turn this around and position it. Be placed at the very bottom like so at the same level as the staircase, something like that. It's going to look quite nice. There we go. So that's going to look pretty good. Now we do have a bit of a tail is going over here, which I think in this particular case is, okay. I'm going to make a duplicate out of it and just place this one to another, like so I'm going to actually grab them both. Oh, that seems to be all overlapping. Let's make sure that it's actually nicely set up. Alright, so we're going to grab it like so put it on our side and try to set it up so it wouldn't look too off in this regard. I think I'm just going to push it a little bit to the back. And essentially what I'm trying to do is have some bit of connection I don't need to worry about in regards to the overlapping pieces. I just wanted to make sure that this structure looks quite stable from the ground up and it looks quite alright. I don t think we need to add anything over here. We can try now cone on the landscape mode and setting it up with proper elevation. And I'm going to actually make use of if we're to go on to sculpt mode, There you go. We're going to go ahead and make use out of flattened target. I'm going to use prepared to just grab the area from here and essentially start flattening it down links. So something like that is going to look quite nice. We might have had some barrels over here, something to break off the surface. I don't quite like that. We have some elevation over here. Let's just make sure we fix that up. We still have a hole in this entire mesh. And we will definitely need to fix that up for now though, we're going to leave it as is or I think it's an easy fix actually, let's go ahead and try fixing it right away. We can just grab all of these blocks like so. Going to hold Alt, drag them downwards like so. And I think that's more than enough in regards to fixing them. Yeah, let's make sure that we drive them down properly. Seems like I made a bit of a mistake. I'm going to click Control Z to undo that. I'm going to see what's up with that. Yeah. This this part of the front. I'm not going to touch the ones that are back. I'm going to touch like so because we added essentially some platforms that would help us out. So now if we were to drag it, we're going to get this result. And I think that's going to be much better in regards to that. Something like that is going to look quite nice. These are going to still going to have some overlapping issues, but I think that's quite okay. In regards to that, we can also add some bit of pillars or something to hide them out of the way. But again, in this particular case is okay. This can be probably blocked off by one of the blocks, to be honest, I'm done. I don't quite mind doing it like so. We can also have a bit of a wood duck over here, which I think might look quite alright in this particular case. And yeah, we're just making sure again, that are having a nice type of an overall result in regards to the setup, just flattening it out from this area like so making sure that there's no bizarre type of a look. Are these sections. We might need to add a couple of platforms over here, but I think all in all it's alright. We now need to focus on this section over here, which we're also going to be working in regards to our stones as well. So that's going to be something afterwards. I'm also just going to drag out some platform over here. So we make sure that it's not just floating type of a house like so. We're going to work more in regards to the landscape for the outside in a bit. But for now, let's go ahead and fix all of these issues with our gaping holes and whatnot. There you go, something like that. That's going to look alright, we can add a platform over here. I'm going to go into selection mode. It's a little bit annoying and frustrating when you need to go back and forth between the modes in regards to landscape and the assets themselves. But I think all in all it's going to be alright and actually just crapped a staircase just by accident. I'm going to grab a platform itself though. In this particular case, we're going to move it down to the side, rotate it 90 degrees, like so. Grab it out. And now in this is going to look quite nice. Out a way like so. Look, yeah, it's going to look quite nice. Actually likes it like this. I think it's actually needs to be rotated a little bit like that. And now it looks perfect. Alright, so it actually fits in quite nicely with oral setup. Let's make sure that there's no, no, nothing like that. Where it's like rushing out of the Decide going to go ahead and fix that. This is a lower area. So I'm going to again reuse the prepared to just kinda get the same type of an elevation, make sure that other side is looking quite alright, which does going to go back over here, see if there are any issues in regards to that as well. This looks quite alright. These areas looking alright, making sure that everything looks quite nice. This is slightly, No, it's not actually has a bit of a setup underneath this bit. I don't quite particularly like I'm going to go ahead and hide it out of the way. Actually going to grab this staircase. That's a circuit. I just actually going to grab the foundation from here, going to duplicate it and put it off to the side, just essentially hiding this a bit underneath. Just like that. Something like so I think it's going to be quite alright, going to rotate it as well a little bit actually and position it like so so it's actually sticking in the house, but from the side it looks like just a bit of a wall or something or a sword. And actually the foundation, the frame rate. The foundation, the frame is placed on top of it, which is already looking quite nice. So all in all, it's looking quite good. Again, we're going to work from in regards to the outer walls in a bit. But it's already looking like quite a nice castle. So that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 78. Creating Puddles in our Castle: Hello, Welcome back everyone to building, sending medieval worlds with Unreal Engine five modular kit bash scores. In last lesson, we left off by setting ourselves up with a nice pavement for our entire castle. And it's looking quite nice. But I reckon before moving on, I'd want to add that bit of an extra puddles mud to break off the surface. Because if you just look at it from this angle over here, this overhaul type of texture setup doesn't look quiet, stand out in regards to the overall setup. So for us to do that, we're going to go back onto the landscape mode. We're going to click on paint, go all the way down until we get mud. This time, we're actually going to make use out of new layers. The reason we didn't use new eat layers before it was because usually for Cyrus, it over-complicate certain aspects. And another reason is that it increases the performance the more use of those layers. So as you essentially just like overlay information on top of one another That's also set in a nondestructive manner. We're going to go back to the nondestructive manner in a bit. But essentially now we're going to right-click. We're going to create ourselves a new layer. And we're going to select it. We're going to click F2 and call this one mud layer like so. So we only are going to use this just to change up the model. Essentially. In this particular case, we're going to go ahead and have it selected. Then we're going to scroll all the way down until we get to the mid section. With it on. We are going to go all the way to the top to go to see where our control settings for the string. So we're going to make sure that the brush fall off a set, a reasonable size. So something like 0.3. I think that's going to give us the right type of setup. Will shrink. 0.5 will do the trick. And now if we click and hold, we're going to get this result. Essentially, our entire tile is going to be replaced by a month section. And if I were to click and hold Shift and remove it, it's actually going to give us this result because it replaces the information of the grass and ads. Another section of not to grasp, it replaced information of the tiles and adds default type of layer afterwards. And essential to remove it. To put it back, we need to set up the tiles. So one way to get ourselves fixed up in regards to that, if we were to use target value and make sure that it's not set up to your one. If we were to change this to a value of 0.5 e.g. we can now make use out of the mud and click and hold and drag it across like so we're going to get this result which already looks semi, semi type of wet, but it's not quite there in regards to the overall setup because the reason being is we need to replace a little bit more eight, perhaps we're going to start increasing it. We can see this sort of result. There is a little bit, or should be a little bit more in regards to the tiles themselves, I'm going to click and hold Shift and then remove it. If I were to do that, or actually I'm going to take off the target value first, is going to give us back then the fault type of a setup for the tiles. So essentially, by making use out of the target value, we're able to overlay the information completely and have them both present within the setup. So using that, we can get ourselves a nice setup. I'm just going to play around with the values before making use out of it. First, we're going to use 0.5. It's a little too liberal. Going to increase this to 0.7 this time. Increase it like so. So this is looking quite nice, but I want it to be, it's looking quite nice for a pedal, e.g. if I were to, I'm going to take off the target value again, going to remove it. So if we want to have 0.7, we can add some bits of like puddles like so, and that would look quite nice. Maybe a smaller brush actually, this is way too big for our brush. I'm going to take off the target value again, going to kind of break it off a little bit like so. And you can see like small nice puddles on top of our surface looking quite nice in regards to that. But again, if you want it to be more of a month type of a setup, we can also do that as well. And increasing this to a value of 0.8, I think, will give us a nice result. Let me just go ahead and make use of that. Yeah, this is looking quite nice. I reckon. We can make use out of that. And I think I'm just going to go over essentially the areas and set it up with that with a value of, I'd say point free for toString because if I don't like how fast the puddles are appearing, so I'm just going to go over certain areas essentially, I just kind of adding those details and a pink afterwards. I'm also going to take off to use target value like so. And holding Shift, I'm just going to slowly remove those bits and still the tool strength is still too much. So I'm going just to take it down the value of 0.2. I'm going to do it like so maybe just break it off. Like this. Little n. Yeah, there you go. That looks quite nice overall. And essentially we still don't have any props or anything of the sort. So I'm just going to just randomly kinda go across it. And for that might make use out of the what's called the brush type. So I think that's going to be, if I remember correctly, aisles mask, this one over here for the texture, going to search for noise. And it's going to give us a lot of noise noise options. Going to get. I'm not sure which one to use, to be honest, in regards to noise itself for this particular case, I'm going to use this one. Perhaps we have couple of options in regards to the actual scale. We're not going to go too much into detail with this. But essentially once we start making use out of this, is going to start hopefully giving us some variation in regards to the ground. So that's quite nice actually. And also, yeah, we're going to increase the texture scale. So if I set it to five, it should give us some, you can see some variation in regards to even if I'm were to just hold it out, I can increase the brush like so. And it would be a little bit more clear perhaps like that. I'm going to also take it off and maybe play around a little bit more with this overall setup. I'm going to make use out of the world space. I think even before it was just the brush itself. So now if I click and hold is going to give us a different type of setup. So you can see how it breaks down, but it's not quite there just yet. In regards to that, I want to make use of a think a little bit different texture. This is a more blurred out of ink. So if I were to go or no, I will keep the same texture. So this is low-res, blurred noise. It is low-risk blur noise. Wondering if we can get us something else to give us a better result. Offset noise this in field for normal, maybe it's something like that, will work quite nicely. There you go. That looks much better in regards to that. So that's what we can use to just kinda add a bit of a, essentially some puddles and whatnot we can click and hold and just add them up like that. And most of case randomly I'm just going to add some puddles just like that then break off the surface and we can just see how much it changes in regards to the street itself. It's already looking so much nicer overall, we can again changed up the scale of the size for the texture or where to find it where we have it. So because we are now using origin scale, origin space, we have to have a different size, Diego repeat size. If we were to set this something to let's say or that's a little bit too much. 5,200. I'll put it like that. We're going to get a cell. So different type of result. And something like that perhaps will do the trick. But that's actually a little bit too much. In regards to that. I'm going to actually lower this to 2000 and see how that would work. And it's going to give us a much denser type of setup. So you're just playing around with the values that will give us some nice results. But all in all I find that this works. So I'm just going to make use out of that. Going to take off this entire setup actually like so a little bit too much in regards to that area. But all in all, this is looking quite nice. Going to pick it up, pick it back up, and just play around with them and just kinda break up the overall surfaces like so. And that's going to give us some real nice type of setup, just like that. Maybe turn down the brush as well a little bit. In regards to that. A little bit too much in regards to this area. Again, it's all down to personal preference. But when working with this sort of a setup, you'd usually want to have more of a puddle type in close to the corner areas and sometimes in more of a centered areas. Well, as data would like, perhaps gather more puddles or something, it usually plan out to take out the puddle, the middle section areas, and cover them up with some props, let's say. So that would make it look like they're attached to those props. We can come back to this all the time as well by making use of props afterwards and whatnot and just getting some nicer results with them. I think all in all, we are going to be quite alright in this area. Let's go ahead and make sure we fix this up as well. Going to go onto landscape mode, sculpt mode, flattened tool. Make sure that this is set up in a nice area. I'm going to grab this section over here, reposition it like so. What is entire section? Making it look quite nicely just like that. And now in the next lesson we're going to continue working with this castle. We're going to set ourselves up nicely and I totally forgot to add a bit of platforms in this area. I'm going to just quickly grab it from one of the sections like so and just kind of position it next to the corners just like that. And it's going to be quite alright. It's actually looping out. So I'm going to grab both of them and just push it backwards like so. Rotate it a little bit to match it up. Move it to the side. Something like this will do the trick. It looks quite alright. Actually, I quite like this overall design, making sure it's in the middle. And there we go, That's pretty much it Then regards to having some variation for the puddles. Thank you so much for watching. And then in the next lesson we're going to continue. Again. I'm working with this type of setup. So yeah, I'll be seeing you in a bit. 79. Creating our First BluePrint: Hello, Welcome back everyone to building standing medieval world with Unreal Engine five modular Git Bash course. And last lesson, we left it off by setting ourselves up with some nice puddles in our areas. And now we're going to continue all moving with the entire building section and start building more of small areas, particularly the ones with the marketplace setup. So we're going to learn how to do that using blueprints. In this case, the smaller props are essentially better to have them grouped up in one type of a fall, a file called blueprint. And we're going to learn how to set that up. But first things first, we are essentially going to start by building ourselves out that blueprint from scratch, I think within a content browser, if we were to look for the kids that the Catholic Git Bash, we do have a blueprint area and they do have already some setups, but we're going to create a once ourselves just to help us familiarized with the overall concepts of them. So let's go ahead and get right into it. We're going to start by going into let's go back onto the castle kid bash. We're going to go onto the meshes. And if we were to open up this Static Mesh, like so, we shouldn't have a bunch of different options to make use out of if were to scroll down. So we have market stalls. We can also search them up in here. By the way, we have market salts. We're going to start with one of them. We're just going to drag it out like so. And I'm thinking wherever to either do it inside or outside of the castle. Yeah, let's go ahead and do it that side of the castle actually, it'll be easier for us to later on set everything up. So I'm just going to move it out to the side like so. But one of the stalls into it. And then I'm going to drag the market stall that has the area next year as well. So this is a nice table to set ourselves up. I'm going to actually turn off the grid for this particular case because when working with smaller type of setups, it's usually best to fill it out yourself without the grid help because otherwise, we wouldn't have enough freedom working with them. So yeah, I'm actually just going to go ahead and select the style. I'm going to go into its folder, see what's up with that. I'm going to go into the content browser and actually most of the prompts are set up in here. So it's actually going to be really nice and easy for us to make use out of. And best way to start off is probably set ourselves with some boxes and populate them. I'm going to grab one of the crazy like so I'm going to add a bunch of different fruits and vegetables into them. Or actually, yeah, we might not as well do that and we got a bunch of fruits and vegetables over in this area over here. So that's actually going to help us out in regards to that, but we can totally just do it like so. And that would be pretty good. And yeah, we're just going to start off by setting ourselves up with a stall that's more of a vegetable related. So let's go ahead and do that. Because some pairs we got some, let's say garlic as well. Wondering in regards to the size, that's probably a little bit too big, I'm going to select both of them and make them smaller and start essentially breaking down the surface of this oral section in regards to the rotation, I wanted to rotate it so we could fit more boxes. But at the same time, this helps us to break up the overall tension for this setup. If we look at it from a site, can see that it's actually looking quite nice. So yeah, but just having a different rotations that would help us out in regards to that, we can even change up the crates by doing this differently selection, something like that. And that would look pretty good. So maybe another box of lemons, e.g. not going to work too much into it in regards to what kind of content at the moment that is essentially as long as it's vegetables is going to be quite right for us. I'm going to drag it holding Alt and essentially position it like so maybe have more potatoes at the very bottom. We can do that and have more. Maybe garlic. Garlic over here will be nice actually, let's go ahead and do that. Having some lemons on a silo is nice as well. Just wondering in regards to the size itself for the boxes that might be a little bit too large, I'm going to select every single one of them just like that. I'm going to click are and then see in regards to the overall setup, maybe make it a bit lower, smaller lakes so that I think would work much better. And then I'm just going to again reposition all of these. As you can see, actually, this is set up in a slanted areas, so we've got to make sure that it is set up in the same kind of slanted that up like so. That's going to be quiet, nice, green to make sure that in this case, it's going to be more or less in the same type of an angle. The reason being because this is in a slanted type of base, it's going to look much better and much more stable if you were to just hold it off like that. And we might even consider just moving completely sideways. So that might give us a better result. I think half of them like that, half of them like that would be quite nice as well. But in this particular case, I don't want them to be like that. I just wanted to make sure they're nicely positioned. We're not going to spend too much time in regards to this. We just wanted to have some iteration like so. And then we can have some e.g. some bags at a site as well to help us break up the surface when we're working with these kind of stalls, smallest dollars, we're going to consider how you're going to be connecting, how they're going to be attached next to the sides of the walls, e.g. within the castle itself. So I do want to break up the overall surface to help us out with that by just having some extra bags since extra prompts next to this. But at the same time, we also can't go out too much out on the distance in regards to them. So I'm just going to present position the bags like this and that's going to look quite nice. Maybe another bag over here. Something like that, will work quite nice. And of course, we need a chair for a person to sit down to this section. Maybe it's a little bit too big in regards to that. Maybe you can make it smaller. It's all dependent in regards to how much of a difference you want it to have. But I think this is a nice setup. We can keep it essentially as is. And then we can add a bit of an extra barrel, e.g. over here as well. It's looking quite nice photo size of the barrel, but I think for this particular case, I want it to be a little bit smaller, not too much. 0.8 is quite alright. Yeah, that's pretty much it in regards to the stall. We've got a setup, so now how do we make it as a blueprint? Essentially, it will, just like we did previously, we're going to select one of the one of the assets. We're going to go onto the top down view just like we did with the grouping, because we need to make sure that we have everything selected. We're going to essentially do the same thing. We're going to make a selection out of it all. Going to click F, de-select the Skybox, click F again. And now it's going to be that nuisance for a water setup over here. Going to zoom all the way in until we get it. And they selected click F again. And now it's only this. Alright, so now that we have everything selected, essentially what we need to do is go onto the top left-hand corner, there is an icon called list of world blueprints. There is an icon for the blueprints. If you were to click on it, we have blueprint, a type of setups and we can click on Convert Selection Tool, Blueprint class. If we were to click on this, we're going to get essentially this type of result. And we want to make sure that we harvest the components, which will allow us to keep all of the information from the static meshes and makes sure that all the naming and whatever stuff like that will be kept within this. So once we have it selected, we can now go ahead and select the path that we want to be created on. I'm going to actually click on this folder over here and get the file folder to be created in a new area. Going to go ahead and actually just created within a content browser and right-click, create a new folder like so, call this blue prints them like so. Selected, go into it, click Okay, now it should help us to go into here, click Select essentially a. Now we create ourselves a new blueprint, which is you can see we get this type of result. We have a viewport in the middle, which we can also move around just like a normal view port. This is going to be like that. Now, if you have a look at it, the asset itself, it essentially converts it into one type of asset. We can see it just being one selected asset. And essentially, we can also see it in a folder just as one blueprint class, which we can now drag it out onto the world and get ourselves set up with newer blueprints. So yeah, that's quite easy to do, quite nice to access it. We can either double-click on the blueprint itself or we can select one of the blueprints and within as Details tab, click, Edit in Blueprint. This will also open up this window. And as you can see now it opens up with a different viewport because we have a viewport construction and script. And before actually touching them, I'd like to go ahead and actually run a quick video introducing about the blueprints just to kinda get everyone up to speed and help us to follow along the course a little bit better. And then it will be able to make use out of them properly and set ourselves up with unique, custom blueprints that it will be able to populate the castle. So yeah, that's going to be it for this lesson. Thank you so much for watching. And I'll be seeing you in a bit. 80. Blueprint Basics: Hello, Welcome back everyone to building, setting medieval worlds with Unreal Engine pi, a bunch of liquid bash scores. In the last lesson, we created ourselves a simple type of a setup for a blueprint. And we do have ourselves a blueprint class, which we can now drag it out onto the scene. But before moving on, I'd like to play a quick introduction video to the Blueprint class itself and what it does. And then we'll be able to follow along the course a little bit easier hopefully. So I'm going to go ahead and play that now. Hello and welcome everyone to the basics video for blueprints in which I'm going to explain you everything there is a need to know about Blueprint system within Unreal Engine five decider of what I'm going to do is I'm just simply going to right-click on or content browser. And I'm going to select Blueprint Class, which by default is going to give us a bunch of options in order to get ourselves a fresh, an empty type of a blueprint, I'm going to make sure I click on an actor. And this will give me an empty actor that we're able to make use out of it. We can also change up the name, but I'm just going to click off of it to get ourselves a new blueprint. And essentially if we were to double-click on it to open it up, what this will do is it'll give us an editor for the blueprint itself. And what Blueprint is, it's a combination of a code, asset and everything you want to have within a single bundle. It's a sort of a prefab for Unreal Engine. So if we were to change this with the editor, is going to be changed within Unreal Engine itself. Currently, I'm just going to close this down real quick, and I'm just going to bring this onto our game engine viewport. I'm just going to drag this out like so. We can see that it's completely empty and clean. G2 see the icon itself. And I'll go even further and just make a duplicate out of it so we could see how it behaves when we're adding couple of items within it. I'm going to click Control D to make a duplicate, but off to the side. And now we have two separate icons that don't have anything. If you click G to go into our game view and hide all of our icons, we can see that there's nothing there. So with that being said, I'm going to go back onto the blueprint. I'm going to double-click on it and I'm going to see what stop with that. Going to be greeted with this window, which is essentially because we don't have anything within this blueprint. And to open a full blueprint editor, we're just going to click on this text over here, double-click on it. We're going to be able to open ourselves up with it. Proper. All Blueprint editor, I'm going to maximize this. And now the main things that we need to know is essentially there are three viewports within a blueprint. There is somebody called viewport, which will show us a 3D space of the blueprint itself. There's also a construction script which will allow us to add options and settings on to our blueprint, which would work not only when the editor is being played or simulated, it will constantly be working. And finally, we have Event Graph, which will allow us to do coding for the blueprint. And we have couple of options that allows us to essentially start to code whenever it's being played, whenever the Unreal Engine gets hit Play. It also has an option to overlap. And finally it as an option to run the code on every single frame of the engine. But for now though, we're going to go back onto the view port and we're going to talk a little bit more of the other options as well. We have Components tab, which will show us everything in a similar manner to an outliner within our game engine. We also have graphs, options, macros, variables. So this is for coating essentially. Then on the right-hand side we have options, Details tab, which essentially will work in the same way as for materials or for objects within our Unreal Engine. It'll show us details based on the selection that we have. So e.g. if I add a component, which we can do so by clicking Add button over here, you can search for box like so. You have couple of options to pick from. And one of the options we can, we can choose is going to be cube. If I were to select cube like so, we're going to essentially create ourselves a cube. The options for the viewport are pretty similar to the ones that we have within the game engine itself. And by holding right mouse button, clicking and holding right mouse button, we're able to move our camera around. Looking at WASD will allow us to move our camera around like so. We can also use our scroll wheel to move it out and in and out like so. And by clicking and holding middle mouse button, we can simply pan or camera around like soap. Alternatively, left mouse button is giving us this sort of an option. We can click F to re-center onto the center of the selection. So yeah, going back to the details tab, we have cube selected and we can see the details tab for the cube are in here. And it's going to give us all the necessary information and control over the viewport that we have over here. Now e.g. if I were to close this down, we can see that we have cubes in our level. And these cubes are basically blueprints. So what is the main is we were to select this and we can click edit in Blueprint within the Details tab, we can change the options from within here. And if I were to lower this down a little bit to select this object, we can e.g. are to go on to our scale mode. And we can now, I'm going to drag this out and we can see that both of these objects are being scaled upwards like so. So yeah, anything that makes use of the blueprint will be changed like so. And yeah, that's essentially it for the basics of blueprints. I hope that the information was informative and how. Let's get back to the video. Alright, welcome back everyone to the lesson. I hope that the video has been informative and now in the next lesson, we're going to continue on working with the blueprints. So yeah, thank you so much for watching and I'll be seeing you in a bit. 81. Creating Blueprint Variations: Alright, welcome back everyone to building standing medieval world with Unreal Engine Pi modular kit batch course. In the last lesson, we left it off by familiarizing ourselves with what blueprint does. And now we're going to continue on by adjusting some of those blueprints to set ourselves up with aren't unique type of assets that we can essentially habit as collections and straight up drag it into the world. So let's go ahead and do that right away right now because they are a blueprint. Just a quick before we move on, if you were to go onto viewport, we can essentially, I'm going to make this window a little bit smaller like so. We can essentially move all those pieces a little bit like so e.g. if I were to erase this down, up, we can see that all of these assets are going to be raised up. So one blueprint is essentially connecting all of those collections as one. So it's a good thing or a bad thing in a way that we can make adjustments to them all at once. But at the same time, if we wanted to make individually adjustments, would be struggling with that. So what we can do essentially in this particular case, because I do want to make some variations out of this. I'm actually just going to go ahead and close this down and should be still good. If we want to make variations out of this, essentially what we need to do is make a duplicate out of this. So that's exactly what we're going to do. We're going to select this, we're going to click control C, control V, make a duplicate of this, and we can call it whichever way we want it to be honest, I'm going to leave the name is. Now if I were to drag this and make adjustments to it, it'll be totally fine and that should be all good. So let's go ahead and go into this blueprint class. We're going to go on to review board and start adjusting it. And if we were to e.g. raises up only this part is going to be raised up. So that's quite nice. First things first, we're going to change up the way this blueprint is located in regards to recolor. And it works a little bit differently by the way, to the blueprint, the actual scene itself. If I were to hold Alt e.g. and drag it out, it's not going to copy it. If I were to try doing a couple of other things, that would be a slightly different type of variation. So but yeah, All in all, we have on left-hand side, we have all the assets over here, which we can essentially replace and change up if you do want to make a copy out of it, e.g. add additional, extra credits over here. We can do so by selecting one of them, click control C, control V, and duplicating it like so. If you want to add a change to it, we can essentially go on through content browser by clicking this button over here, which won't do much because I think it changes up for it, for this area over here. And I think if we were to select a number, create something like that, we can click on this button over here to change them up. Sometimes they don't want to work in the end up going on to the content browser on the bottom right hand corner. So by clicking Control C and paste, you can see that we have another content browser which we could make use out of, but not in this particular case. And essentially we can also talk them into our area, which now if I were to select it, we can grab and drop it into the selection over here. And I personally prefer to have a unique content browser. You can see it says Content Browser two, which is actually much helpful because you can have a complete new setup within a content browser over here when working with the level than real quick going into the blueprint itself by clicking Edit and blueprint. And if we were to go to the viewport, it should have a content browser to, which will allow us to essentially go into its unique mesh setup. So that will have a saved up location for the materials. And I'm going to go ahead and select that. When we click on this, it should pop it in regards to this folder over here. So again, I'm mainly doing this as a second content browser because I want to keep the original content browser to be in a different location. And when we open up a blueprint, I just want it to be popped up in the same folder. So going back to this setup, we're going to go ahead and create variations are ways to replace this. E.g. if I were to click, we have couple of our colors to replace this, we can select the red one, e.g. we can click on this button over here to replace it. And now we're going to get ourselves a different color, which is pretty handy, especially e.g. if we wanted to change it up and have this particular one to be a myths than let's say, we are going to go ahead and change this up from lead to unlit to see what's underneath, to not have any of the shadows. We're going to start dragging this directly into the scene, which should give us this sort of a setup. I'm going to go ahead and just select this and get the meat reposition out like so. Yeah, so it's not going to be dragged directly in regards to where the mouse is. Sometimes it just wants to be a little bit off to the side when to grab couple of meat pieces. We need to position them properly and I'm just checking the scale for them all everything seems to be alright. To put them off on, hanging on the side. I think that's going to be looking quite nice like so I'm going to hit Control C, Control V. But it after our side like so maybe rotate them out a little bit, just like that. Scale them down a little bit just to have some variation. And that looks like a different piece of meat at this moment, which is pretty nice. Drag this out a new type of meat like so. And actually instead of doing that, I'm going to go ahead and delete it. Instead. What I personally prefer to do every once in a while is have an asset that I want to make use out of in regards to their location selected going to hit Control C Control V to make a duplicate dragon outside and then replace it with the new asset. And essentially that's going to keep it same position. So it's an easy way of sorting that out. We're going to get more meat on the front, perhaps more vegetables, more potatoes. Just to kinda have nice variation in regards to that. Make this a little bit of a midi butcher type of a setup at the start, at the front. So, but it was good to go well with the meat. So I'm going to go ahead and change them up to that. I'm going to maybe rotate them like just a little bit, not too much because of course we wanted to we want them to be sticking up to the front. Then we also could get rid of those bags, e.g. over here, and make sure that we set up some barrels in this area. Like so. Maybe that's going to be alright. Maybe not. I'm not quite sure because the main reason is these bags are getting it away again. Holding Shift doesn't work when trying to select multiple, multiple objects. So holding control does the trick. And that's really, really annoying to me. Actually, quite used to working with the overall setup or the level seen. So it's a little bit frustrating when it has certain bits of different controls, making sure that we're set up from the side. I'm going to make sure that from the side view it looks quite nice. We can change up the perspective from here as well, some screen to make sure that we have left view e.g. and how it's set up in regards to the area itself, I haven't actually talked about in regards to the origin points as well, which I probably should have done right off the bat. Essentially, the world origin is acting as a pivot point. So what do we need to do is go ahead and click control a select all, and then drag it everything up upwards. I'm going to make sure that the origin of the gizmo, etc, world origin by clicking this button over here and going to go on to the side view, from perspective to the side view. Like so, we can see that the origin point is going to be where the lines are crossing the blue and the red in this particular case. But if we are from a different angle, it's going to be different based on an axis we're looking at, which we can see on the bottom left-hand corner, I'm going to drag essentially all of them upwards like so. So only the area, the bits in area or the bottom pieces of the water touching that I'm going to essentially make sure that the red line is going to be crossing where we want the brown to be. Once we have set up for the ground, e.g. we can hit Compile, we can go out of this. And now when we move in in regards to if I were to change this to where to go ahead and find this blueprint which I shouldn't have it selected, so edit them, blueprint. It's not going to be it. I wanted to essentially go into the folder itself. I'm going to go ahead and find the folder. Blueprints customer like so. So now if we were to grab it and drag it onto ground, is essentially going to be stuck right onto gravitas, exactly how we want them to be. So that's essentially what we wanted to do. But I see that this is bit as floating, so I'm going to readjust that as well real quick. Going to grab all of them like so. It's drag everything down until we are matching with the middle of wood, going to click Control S. And we can see that now it's fixed as well. And now dragging outwards is going to give us the exact result. We need to fix up the barrels though. Let's go ahead and fix up these barrels like so. Just like that. And yeah, I'm actually just going to go real quick back to the original blueprint for the blue one. Like so because it's a different separate blueprint, we need to make sure that all of them are selected. And essentially they're all positioned at the top of this section just like that. So it's going to help us out a lot. And essentially it's going to help us and drag it out. But all of the ones that we were placing beforehand, it's going to be all of them are now floating because we had to readjust them. But now when we drag them out, they're going to be nicely placed within the right type of an origin point. So that's going to be quite nice. I'm actually just going to draw a couple of them outwards like so I'm just going to kind of visualize how they look like we do need more meat than this. We need more barrels in red one. Let me just go ahead and do that up real quick. Going to zoom out a little bit, couple of extra barrels to be enrolled on the side as well. Going to select this, going to hit Control C Control V. Rotators to the side like so. And essentially that's all we need to do in regards to getting it nicely set up, something like that. You can replace even the bench, even the sitting area over here. I'm going to locate the content browser to like. So going to search for the sitting bits. So that's a table actually. And I'm wondering if we have a bench, Diego, we do have a bench of going to replace it with a nice bench like that. I don't think that's going to look quite nice. And maybe I'm just going to squish it down to make it look like it's kind of uncomfortable seat to sit in and just off in a corner and maybe rotate it a little bit as well. That's something like so It's going to look quite nice overall. I don't like exactly those types of setups for the front section, though, maybe I'm wondering if I can just change it up with empty ones. Empty crates. Not not great. Sorry, empty crates, small. Craig G. There you go. That's not an empty one. Just wondering if we have an empty one actually we should think of is using it before. There you go, That's an empty one. Let's go ahead and make use of it and reposition it again. Like so. I'm going to make it even bigger. E.g. I squished it up by accident, just going to go back control Z and change these up with smaller ones. Different craziness. Sorry, yeah, go and make them look like they're empty. But always meet his needed to be placed. Some of them are going to be empty. Of course, a meat is quite a rarity, especially in the medieval times. So something like that, and potatoes, maybe some garlic, I'll add some garlic, going to look quite bland, otherwise like so. And I'm going to rotate them all, I think going to hold control to select them all, wrap it up and just rotate it 90 degrees, like so. And that's going to be quite alright. Of course, I'm making sure that the gizmo is set to local. Otherwise, if it's not local, it's I don't think it's going to give us the right type of rotation. So yeah, there you go. Nicely set up all the right areas placed. That's all good and easy. And we are also going to add a couple of credits as well. I think that's going to be quite alright. But it's setup. Going to rotate this over here and we're still not quite finished with the setup or the market salts. We're still need to use one more lesson. I reckon for that, I'm going to click control the NesC compiler top left-hand corner like so we can now close it down and you can see we have ourselves a nice setup for this, though. Yeah, that's looking quite nice. Actually just wondering in regards to Blueprints, if it's actually being placed nicely. Yeah, This great needs to be fixed. I'm going to spend a little bit more time in regards to that. Going to go back into view port, make sure that this is higher up, like so. Now going to compile it and everything should be fixed. There we go. Alright, so yeah, that's it. Alright, so yeah, that's it. That's going to be it for this lesson. Thank you so much for watching and I will be seeing you in a bit. 82. Populating our Castle With 3D Market Stalls: Hello, Welcome back everyone to building, studying medieval worlds with Unreal Engine Pi modular kit bash scores. In the last lesson, we set ourselves up with a blueprint variant that we can now basically used to populate our world. But I still think we're missing one more blueprint that will help us out in regards to that. So let's go ahead and quickly create a new one. I'm going to make a duplicate out of the blue blueprint. Stole like so. I'm going to open it up and shut off the bat, going to go onto the view port to change its color. So I'm going to just click on this content browser search. Like so, which doesn't seem to be opening up. I think it's because it needs to be selected first. Now if we were to click on it, There you go. Now it's goes into this type of section and I'm going to change it to yellow one, yellow one associates. I associated with like wheat and grain products. So I think we can replace most of these assets to be that I'm going to go ahead and delete them off. Like so maybe eat some garlic and some bit of lemon. That's going to be quite a ride from the top section. I don't quite like this setup, so I'm going to actually replace it with just simple bread. I think that's going to be quite nice. I'm going to drag it out. I'm going to click F and try to find it where it is. Let's sing it. So I'm actually just going to search for a name. It's called food a I'm going to go ahead search for food a day ago. It was actually hidden underneath this stole. Let me just go ahead and place it to the side off the counter. That's going to be quiet. Nice bit of bread just placed on a stall wherever it wants to get it. I'm going to click control C, control V, Control V again, and just place a couple of them, maybe rotate them a little bit like so. Have them maybe in different sizes a little bit as well. There's some variation, is always quiet welcome. And we can also have some, perhaps some scattered fruit over here as well, if that will help. So maybe tomatoes as well. There we go. There is a tomato. We're going to essentially make them placed all the way like on a corner. I mean, that's quite alright. We don't need to do too much in regards to that. Maybe I'm going to set up a small box create onsite as well, just kinda as a way to help him carry some stuff like so. Now as for backside, we also need to go ahead and set up maybe something like that as well. I'm also going to maybe add a bit of an extra on the bottom as well. I'm going to Control C, Control V, and replace this one with a green type of letters, although It's more of a grain type, I think it will work out for this one in particular, make it a little bit larger, perhaps rotated, but it on the side, essentially what I'm doing right now is just adding some bit of variation so it won't look quite as empty. So something like that. I think it is. Okay. I'm going to delete this barrel over here and start adding some extra sex. We have some sex over here. I'm going to click control C, control V from the side. Going to replace this one with an open one and a thing that looks quite nice. I'm going to check if it looks alright in unlit mode, which it does. And going to grab a couple of them, actually just place them like this. It looks quite nice in regards to how they're set up. That's looking quite nice. We can also make use out of maybe variation on other side as well. I'm going to hold control, make sure that both of them are selected and now are just essentially re-adjust them essentially to make sure that they look unique. So in comparison to the blue dropping stole. So I think that looks quite nice. Or in regards to just the breadth type of setup, we can keep it as is essentially. Let's go ahead now and click Control and S, make sure that we compile it. And now we should have the final stall ready to go essentially. Or this seems to be quite empty. I'm just wondering why that was the case. But that's actually because I'm just dragging out the simple static mesh. That's the reason why I'm going to go ahead and open up the location which I can't seem to find an area for that in the blueprint itself, which is a bit frustrating. So I'm gonna go ahead and make use out of the folder, blueprints custom. And there we go. We got ourselves a nice setup with the stall. Now, we're going to finally go into this area over here, start setting it up with regards to shopping stores, we're going to essentially drag and drop it into all the areas that we want. I'm going to drag one each for now and then we can just copy and paste it afterwards, making sure that the door is not blocked off. There's always needs to be a bit of an entrance left off. It doesn't have to be always just like completely open in regards to the door, e.g. doesn't need to be fully open for that space, so we can leave it as is. And blue can be over here. And essentially, because we have three variations, we can just duplicate it. Click control C, control V, make some duplications around, and that should give us some nice setup. And also one more thing, one more good thing about blueprints is now that because we have it set up as one object, we can click Are we can use a scaling tool to essentially flip it around nicely, like so. That should give us a nice type of result, although still looks quite bizarre, I'm just wondering why that it is case it should be attaching one towards they ever going to know that doesn't seem to work. Yeah, I'm not sure why it does it. We can certainly make use out of it to flip around. Essentially, I'm going to click Control Z, going to go into the scale settings for it and seeing that it's negative red value. So we can change this x value to minus one. We can essentially flip it around and it's going to be the opposite of what we had on the other side. So that's pretty nice in regards to getting some variation every once in a while we can rotate it a little bit as well. That's going to help us out. We don't need to completely attach it to the side of the wall. And we can even just drag it outside from the wall as well because we need to use these to clamp it down to the pavement, essentially. That's looking quite nice. That's looking quite nice. We can add some bits over here as well. I'm going to this time just duplicate a blue one. Over here on the side. Perhaps I'll set up another red one over here. Maybe that'll look quite nice, something like this. Now look quite good. And in regards to our side, we also need, I think, to populate this area. I'm wondering about the middle section because if we were to just look at it from this angle over here doesn't look quite as nice. We need to populate it with some bits. I think. I'm just going to grab a blue and yellow one, going to copy, both of them, going to rotate them around. And I think in this particular case I'm going to just stretch it out. And a negative value, so minus one, like so to flip it around. And this one was actually a positive value. So I need to set it up to just a normal one like so, something like that will do the trick. Like so. Just flipping them around essentially just to get some variation nicely. Just like that. It's looking quite nice. This is looking quite nice. And all in all I think it's looking quite right. Maybe this one needs to be a little bit more in a corner like saucer would have a certain flow to this overall market. Overall, in regards to the path where it is going to actually grab a blue and again, perhaps duplicate it on this side. And that's going to look quite nice. Now the pattern is going to be there a little bit in regards to the look, I'm also just going to grab a red one as well and put it out on the side just like that. And we're pretty much in regards to the setup of the market salts maybe put it in the corner over here. So it's going to look quite nicely. So now if I were to click Play, we can see how it looks like. And all in all, we can just walk around this overall setup and have a real nice dipole stall setup or are playable area. So that's going to be it for this lesson. Thank you so much for watching. And now in the next lesson we're going to continue on with more setups, adding, enriching certain areas as well. We're going to work on all of that in the next lesson. Thanks so much for watching and I'll be seeing in a bit. 83. Populating Castle With Asset Collections: Hello, Welcome back everyone to building, setting medieval worlds with Unreal Engine five modular good bash scores. And last lesson, we set ourselves up with a nice tall area for the marketplace. And now we're going to continue on working with adding additional extra detail using sines and some crazy all over the area. So usually white or more working. We can already see we have some pieces over here, e.g. group that within this building. But essentially we want to create a certain tool collections of assets that will allow us to help us break off the areas, the surfaces of certain aspects, e.g. this place over here is quite a bit empty, but we can go ahead and make use out of blueprints setup that we're going to now create to help us eventually populate them with certain props. For us to do that, we're first of all going to delete these sections over here. We don't exactly need them. And actually I will leave one of each since I'd like to just kinda get overall aesthetic design for the setting of our props. And yet Let's go on to our content settings. Let's go on to our Catholic kid bash. We're going to open up our meshes and we're going to search for a crate. And I think if I were to search for Crate, we should find something like this. We're going to select one of them, drag it into the world. And I'm also going to just located within the folder which should have more crates. And yeah, but now we're going to set essentially packs of crates together as collections. Let's go ahead and do that. We're going to rotate this a little bit. We're going to create this one like so. Yet another credit that's going to be next to each other and maybe have one on the top rotated our way. Something like this will do as quite nicely. And actually we need to grab this in a little bit closer. The reason being is because firstly, we want to break off the surface, look for the surface on the side. And secondly, we want to make it look like it would go nicely in corners, so we don't want this to be overly saturated like this. So this is going to look quite nicely from the edge. We also want to make sure that we're not having any floating sections like so. So this is looking quite nice. We can now grab two of the crates like so holding Alt, put it off to the side. Like this. Maybe grab an extra barrel or some sort maybe make it a little bit smaller like that at one to ideally have a nice setup for that. And I'm actually just going to leave it as is. Maybe I'll have one smaller barrel lays down on the side, make it smaller even actually, we can have some height and size variations as well and set it up like this. I think that's going to be quiet. Okay. So just like that, we're going to look, we're going to have a nice type of setup, Excel. Now, in regards to the barrels, of course we need to have some barrel variations. We're going to duplicate one of them. We're going to essentially rotate them around like so. I have one of them like falling over. And this is going to help us make it look real nice. Essentially. Making sure that it's placed nicely on the ground. So this is looking quite nice. You can also have a certain variation with the empty crates as well. Maybe something like this. Quite nicely. And yeah, that's essentially it. I don't think we need anything else in regards to this particular one. We're going to keep it as this and now we're going to start making blueprints out of them. So later on, we can just grab everything at once and placed them off on the side. So let's go ahead and do that. Actually, we're going to grab all of them just like that holding shift. We don't need to go and overly complicated by just making a box selection from the top-down view. We're going to convert this into a selection to Blueprint Class high-risk components, and place it in the same area as we had custom blueprints, Excel, go ahead and select it there, That's going to create it like so. And yeah, it's going to give us the same problem in regards to the items being floaty. So we're going to go onto the left side. We're going to raise them up a little bit. Essentially. We're going to hold control to select them all, raise them up like so. So now there'll be placed nicely with one another. I'm going to now close this off and it should. Yeah, it's going to give us a nice type of a setup like so. All right, so that's looking pretty nice. Go ahead and delete this one off. We're going to essentially do the same thing for these as well. Convert the blueprint, harvests components, blueprints custom, it's already set up. And now go to the left hand, left perspective. Select them all like so or actually left-hand side, we have all the assets I'm going to hold Shift, select the first and the last one like so. But it up a little bit like so, close this down and this should give us a nice type of result. They go, alright, then the final one are not the final one. The final one. We're going to do the same thing. And it's getting a bit repetitive, but it's essentially going to give us lots of variations to work with. Though. Yeah, let's go on and continue on with that. To make sure that we drag all of them downwards with a side perspective view. So making sure that right at the very base on the red line. And a final one, it's a small one. We might even make comparable variation in regards to that. I'm going to actually create a small crate on the side like so. Just have it laid out like this and that's going to be quite alright. Just like that. Select them all. I'm going to create a blueprint, harvest components, same setup, and finally, put them out on the very bottom. Just like that. There we go. We can now go ahead and delete all of them actually or a will. Maybe. Yeah, I'll go ahead and delete all of that. I'm just going to drag them out, just make sure that they're placed nicely on the side and they're not floating like this. So we're making sure double-checking. It's not necessarily this particular case because we can always go into the blueprints themselves and re-adjust anything that we essentially want. So it's really nice, non-destructive type of way. But now we can essentially populate this middle piece. And I was, yeah, it was really bothering me this middle section, but we can now drag all of our assets like so and kind of break up these pieces a little bit. So it looks like there's certain setting in regards to the middle section. So that's looking quite nice. When to drag it a little bit closer, maybe set it up like this, something like that. And maybe a couple of barrels will do as quite nicely as well. That's looking quite nice in regards to barrels, I think I want them to be placed over here. I'm not quite happy with this edge being so empty. So I'm going to actually grab this image section and click our Gail this in a negative way, like so, should flip this around and we're going to place it out just like that. That's looking quite nice. So yeah, that's pretty much it in regards to setting up some variation in regards to that. We can rotate them around by the way, to move them in different angles to make sure that when we're looking from this angle, they're not going to look like duplicates essentially. So we want to be extra careful in regards to that dragging couple of areas. And essentially when we see like an empty warlike data, we can just grab some, place them out. And it's going to look quite nice. This section over here, maybe we can play some extra barrels. This is looking quite empty. I'm worried about that. And I'm thinking that it's looking quite empty in regards to that, I think we're going to set ourselves up with one extra blueprint in that regard or not, or even a blueprint I think we can just go into where is it castle Git Bash. We can search for a while. And there we go. We're going to get ourselves a, well, I'm going to go into the folder itself just to see what kind of items that as it is a static mesh, I'm going to drag it out first, going to go open it up in the Content Browser. And we have a, well, we have both the usual stuff and I think I were to go into meshes, search for bucket. We should have a bucket as well. So that's actually really good. So I'm going to go ahead and draw this out on to this area over here. Like so. Just like that, it's going to look quite nice. So right in the middle, in this area over here, going to position it rotated around a little bit, whichever way you prefer. It doesn't really matter too much as long as we have it nicely placed on the ground. And I'm going to have another, well over in this section over here, that's going to be quite nice. Actually. Going to check it how it looks like from a distance. And I do want it to be visible, but not too much. So I'm going to place it somewhere in this section like this. And when I'm walking forwards like so I think it's going to be quite okay. Alright, so, yeah, let's not forget our bucket. Of course, it plays a bucket and each one of the ends, just to make it look quite nice. Now we can populate it with some extra prompts. So let's go back onto our content browser. We're going to go onto bluebird customers. We're going to start adding some extra credits and whatnot and just make sure not to overdo it in that regard. And essentially, what I like to do is when I'm thinking about it is just kinda have more or less a zigzaggy type of an order. So we're going to have it on left hand side and on the right-hand side, and so on and so on usually. So e.g. here, this is a bit too close to the staircase. I think we can leave it as is by default. So it goes back to the left-hand side. These, I think we're left with this entire group so we can keep it as is, this area is a bit empty. You can create some problems over here. That's fine as well. This area but empty. They go placing it in corners, making sure we're populating the entire setup. This is looking way too empty, so I'm going to go ahead and add some creates some barrels and whatnot just like that. And we are essentially populating this entire area. So this section is going to be having some doors. Some agencies don't want it to. 0 were populated going to delete it. But I'm going to add a couple of barrels over in this section like so. That's going to make it look quite nice actually. Just like that. Yeah, That's looks quite nice from a distance, I think. And yeah. We can also add some bits over here in regards to the grades, making sure that we populated, but not too much because of course, we don't want it to make the entire section look like a certain sort of a storage room. We just wanted to make it look like it's just populated with certain bit of a livelihood that there is a mess all over the city in regards to the people just building up or like constantly on the move and whatnot, then they don't have enough time to clean up this sections like so. All in all that's looking quite good. In regards to this section, we are having to empty of a place. So I will be adding an extra setup for that. I think. In regards to the setup itself. Let's go ahead and see what we can do in regards to that. And this is actually looking quite nice. I'm going to leave a bit of a box hanging over on the side since it's looking like a nice style. So for this area, we are, we're going to leave it for now and I see that we're going to spend some time working on certain areas that will help us to elevate the overall structure. So yeah, I can see that we still need to set some bits up in regards to the castle, so we're going to continue on working with it in the next lesson. So thank you so much for watching. And I will be seeing in a bit. 84. Working on Structure Aestetics inside of Castle Walls: Hello, Welcome back everyone to building, setting medieval worlds with Unreal Engine five, modular kid bash course. In the last lesson, we left it off by setting ourselves up with some crate areas and essentially populating some of the aspects of our city. And now we're going to go ahead and firstly, actually just add couple of extra touches in regards to that. Just a little bit, not too much because I did forget couple of extra spaces in regards to the backside, especially, we're going to go ahead and add a couple of crates. And again, we're not too worried in that regard. We're just making sure that we're breaking off the overall straight edges that we get from the castle sides. And that usually having certain traits like that help out in that regard. So yeah, something like that is going to work out quite well. Maybe some extra credit in this section over here because it's going to be the backside of the Alloway, something like that. Going to make sure that this is a bit more rotated so it won't have the same duplicate effect. And now, in regards to the overall setup, if we were to look at this edge over here, we still have transition that needs to be fixing, which I've been living for quite a bit. We can go ahead and just get ourselves a nice concrete pillar or something of the sort and plug it in. I'm going to go on to the blueprints. No blueprints. Are you going to go on to castigate castle Bash? A search for concrete or stone, sorry, stone should have some myths. And yeah, just by making use out of Heber, want to be honest, would work out quite as well. We can either use slabs, e.g. to set it up, which would also look pretty nice actually. And I'm considering about using them actually, I think it would look quite nice. We can also be a little bit creative and just use a wall that's going to, of course, look a little bit off unless we lowered down. And now it starts looking like a certain slab bits. So that's also an option. And I think I'm going to stick with that option. I think that's going to look quite nice. Overall. The slabs themselves, It's honestly a personal preference, but yeah, just playing around, seeing the type of solutions you want to get always seems to work out in the end and just rotating them around, positioning they would like. So I'm using just a freehand typo setup and getting those results. I think it's going to look quite nice. And in case we want to make them a little bit thicker, we can also do them just a little bit like so I'm going to stretch it out too much. All in all it's going to help us get a nice type of a result. So this is looking quite nice. In regards to the entrance itself. If we were to just fly through this entire section, it looks real nice and open. We can see some back ends of the castle itself. And it's really nice setup, although I will say this. I prefer to be a little bit closed off for the entrance. The main reason of it getting a bit more buildup. Or whenever you enter a castle, you'd could have a custom music or something playing in, e.g. when you're entering it and you need more of a transition in my personal opinion. So for that, we're going to copy one of the large long bridges over here. I'm going to select all of these pieces just like that, making sure that everything is selected. Like so I'm going to hold alt, duplicate it. I'm going to get something like this, which is great and put it up on an aside. Essentially, we're going to have more of a closed-off side. And I'm thinking about just attaching it to the stone pillar over here. On one hand will have this type of a building which is nice for the heart. But another side, we have the stone type of a setup, which might not look quite as nice because mainly of the overall setup, how it's attached and whatnot. Because the wood and concrete might not look quite nice. I think though, we can just slightly higher the bit where it's connecting to make it look quite nice. And that's going to give us a nice result. I'm actually going to turn off the angle snapping as a well positioned it a little bit more. Really like this type of setup on this hand. I'm going to go ahead and keep it. And now we have a nice type of a closed-off section, which looks really nice, but we now need to figure out how we're going to connect it. But the bottom pieces, because they have no structural integrity. Essentially, we're going to make use out of the pillars, stone pillars. There we go. They look quite nice. You don't have the pillars that I'm looking for actually here. I'm going to look for a pillar, like so. And there you go. We have pillar would, I'm going to essentially make use out of both of them and I'm going to combine them with one, a number. That's going to give us a really nice type of result. Like so going to make them a little bit thicker, just like that. Something like this. For this one maybe it's a little bit to fig, actually going to go ahead and reposition it a little bit like so going to squish it in. And we want this elevation where it has a border around it or somebody like that, making sure that it's set right in the center. Just like that. Not doesn't have to be completely in the center, but close to it to make it look nice, aesthetically. Going to select both of them. Click Control G to make a group out of it. Rotated around and just play around with where their position. The one-to-one to be positioned over here, which is going to be affected by this, which I'm going to move it to the side and the other one, I'm going to move it out to the other side like so something like this. I think we will do us quite nicely. It's not actually touching very top. Wondering if that's okay. It is touching it. So I think I'm okay. I'm going to be okay with that. This part. I wanted to be a little bit more like this closed-off, not going to touch it on this side in regards to the setup. And this, I think we can just push it back and get this result. Which is going to be quite alright. There we go. It's going to look nicely over here, touching with one another in regards to the market stalls. So maybe I want to have it like this a little bit as well in regards to getting a blow off the market, a little bit more angled. So it's going to look like it's a bit more closed off in an area if we look at it from top down view, this overall section is going to be more of a circular shape. I think that's going to be quite okay. And in regards to that, we now need to make sure we fill in this section over here. I think that's going to be quite important. Let's go ahead and take off the search bar. We're going to go on to the custom blueprints, are going to just position a couple of barrels over here, couple of boxes and a backside and that's going to be more than enough in regards to that. Like so something like that. Now when we enter, it's going to be nice closed-off space and then select, wow, castles and towers and on top. And it's going to be a really nice in that regard. Then another thing that I'd like to do is going to be for the backside of this section, this is way to open up an area. I'm going to find a nice setup. What I'm going to go into the castle, a bash static meshes, scroll through them, see where I can find to fill in the space, we should have some prompts, some real nice props. And I'm just finding Diego gallows. That's exactly what we want. I'm going to put it in here and it's going to look really nice. And it looks, it looks quite well overall in this setting, we can put in a couple of our boxes and whatnot, and I totally forgot about that. We have bags as well. We can place perhaps couple of bags over in the corner as well. Kinda help us again break off the surface area. Just like that. Place that I want on top, maybe something like this. Then go back onto the contents, turned off the static mesh, like so. Go to the blog, a blueberry custom, a couple of boxes, maybe position them like so. And I think in this particular case I will make them actually smaller, quite a bit smaller, just like that. Just so I'd be able to have it nicely setup over here. I think I will make it smaller over on this side as well. Not too much though. I don't want to have too much variation in regards to the consistency of the size of the box because it helps us to get the overall setting for the castle. If some bits in one area will have smaller boxes, that are bits will have bigger boxes. They're not going to look quite as nice. Although for this setting somewhere here, for the solid, you can see the barrels will be smaller and this will be larger, but not to the extent that would help us changed overall setting. It's only slightly better as you can see over here. So I think all in all, it's looking quite alright. It looks like these are more of a shipping type of barrels and these warrants are for individual type of traders and whatnot to use within their stalls. So all in all I think it looks all right. Now let's sort of backside. I'd like to ideally set it up with a battling ground. And I think we're going to do that in the next lesson. I do find myself that we need some barrels maybe over here as well. We can do that like so. So yeah, we're going to continue on with this in the next lesson and we're going to set ourselves a nice battleground over in this section. So thank you so much for watching. And I will be seeing you in a bit. 85. Landscape Building: Welcome back everyone to building, setting medieval worlds with Unreal Engine by modular kit bash scores. In the last lesson, we set ourselves up with a nice landscape and we've pretty much finished with that, but now we're going to continue on working with it and make sure that overall landscape is set properly. So I think first things first, we're going to start by making sure that the outside is looking quite nice and clean by sculpting around it. And then we're going to add couple of additional prompts, some trees and rocks afterwards. So yeah, let's go back onto landscape mode. We're going to make sure we use the layer one that we use previously. We're going to start by just going all the way around the castle and making sure there are no gaps, something like in this area over here. And the best way to do that is probably by just using Latin tool with a small flattened target. We're going to turn out flattened target off. We're going to take down the brush size. And that's going to give us a nice type of control over this entire setup. And I'm just wondering, in regards to this, we can just probably click and hold on the side of the mountain like so and just drag it out a little bit just like that, just to bring it out like so. And then we get a little bit too much in regards to the overall setup, a little bit too much of a landscape coming out. We're going to slightly push it back inwards. And just by doing those kind of couple of steps, were able to get those nice transition. Of course, we're going to have some rocks in here so we don't need to worry too much in regards to how this looks. I'm just making sure we get a bit of an extra setup over here on the side as well. Something or disorder is going to be quite alright. And I actually just got myself to hold back. So I'm just going to go ahead and fix this up just like that. Again, we don't need to worry about it too much in regards to overlapping. We're going to have some stones in this area as well. This area, we can make sure that we can fix it up by just using flat and tool next to the side and getting this sort of result. But it's a hurry. I can see that some of the texture is being set up a style. So in certain cases we might need to come back to it. And I'm just wondering how it looks like from our side, this is big enough for a surface that we don't need to worry about it too much. But that's going to be quite alright. This is a small gap, so we don't need to be worried about it too much either. And we're just going to focus mainly on the outside, but at the same time while doing it, if we just got to make sure that we keep in mind the inside of it as well. So every once in awhile, we do need to come back to the inside part and just make sure we check it over to get that nice kind of a result for the setup. So in this area, I'm just making sure we're getting those nice terrain parts over here, trying to figure out what to do about in regards to the overall setup for the water. So in this particular case, we are going to get a bit more of an elevational reckon regards to head going around a little bit like so. Something of that sort of thing is going to be quite alright and doesn't need to be too much. But again, it's mainly about breaking off the edge is breaking up the entire setup. And essentially we don't want to have just this kind of a cliff. It's hanging over off too much on the side, so we'll need to fix that. But before doing that, I'm going to go ahead and flatten this area a little bit like so. It's like that. Then I'm going to click on the middle part of this cliff and just kinda bring it down. And the best tool to use is flattened for making sure that we're getting ourselves a nice type of a leeway in regards to the overall elevation of the rain going to this section over here. Or we can leave this type of setup. I quite like this design. We're going to get a bit of an extra layout out of it in regards to the elevation variance. We're going to also have some of these, as you can see, artifacts because of the amount of resolution that landscape is using. But what I tend to do afterwards is your own this move tool. And essentially just kinda click real quick and a couple of those areas and that seems to just fix out these issues anyways. Again, we're just making sure that the overall elevation is nice most of the time and we have some bearings in this regard. I'm just going to drag it from the middle section, going to make sure that there's no part of the top that gets taken out. And think something like that we'll do is quite nicely. That is quite nice. We need to have some elevation in here as well. And I'm not too worried in regards to the overall setup at the moment because I just wanted to make sure that these holds outside were filled out. I'm going to look over here and then I'm going to go over in regards to their overall large scale and set it up a bit nicer in that regard. So yeah, we're going to do that in a second. We're just making sure that none of the parts are just floating out like that. And you can spend as much time as we need to in this particular case, but we're not going to spend too much time. I just want to have some parents maybe over here. Again, we're going to come back to it in a bit. But now though, we're just making sure that we are going to have a nice elevation and then. Yeah, we're going to use a bit of a larger tool, large scale for that, to get ourselves a nice setup in regards to that. And everything else seems to be okay, alright, so now we're done with this. We also have couple of options in regards to making sure that we have some nicer variance. And we're going to make use out of erosion and hydro to go into it a little bit and get some nice variation out of this entire setup. Before doing that though, ideally, I'd prefer to get ourselves some more of a variance in regards to the overall setup of these sides. So now that I have it set up like this, I personally go back onto flattened tool and actually increase the brush size To a bit larger, something like that. And instead of just trying to get same-size from this area over here, what I personally like to do is just go on to flatten target for this particular case. And most, as often as I can just make use out of the puppet tool to just kinda get some nice elevation tool like so. And just get some variances in regards to evaluation themselves. So bids on over here, button over here. I'm not worried about the shape itself at the moment. I'm just making sure that we're having a nice variance in regards to the overall setup for the elevation themselves. I'm also need to make sure that I'm being conscious in regards to their parents self right now, the pattern itself, it looks a little bit too rigid in that regard. So I'm just going to add some more elevation over here and go forward at some bit of over here. So we'll go to the side as well. Go ahead here, some elevation, perhaps, something like this. That's quite alright. In regards to here, we can change the height, click on a pipette, and just get ourselves a bit more variants like so. And just like that, we're able to get ourselves a real nice type of a setup. We're also going to go over it a second time as well. So we're going to click on it, get ourselves even lower type of setup and just write more elevation out of this setup, like so, just like that. And this is looking quite good. So far it's looking quite nice and we're going to shape out these islands in a bit though. I'm just getting the main shapes out of the wagon. See that this bit is a little bit too large for brush size. We're going to go in like this. This is looking quite nice. It's looking quite nice. Then maybe add some variation of height on this section over here. Although I added a little bit too much. So what I'm going to do now once we get some main kind of high elevations for chunks of those areas, we're going to essentially go back onto flattened tool. We're going to turn off the flat and Target and now we're just going to reshape it in regards to just erasing some of that value like so a little bit from here, adding extra over here and just kinda going over them. Just like that, just to kinda picture that they don't look too rounded off in regards to the overall setup. So adding it over here, removing some bits over here, something of the sort. It's going to look pretty good. And this section over here, this is a little bit too round. Let's make sure to take that off. Again, taken off the roundness from here. This section, I don't quite like it. Maybe I'll add some elevation in here as well. Something like this. Maybe we'll do as quite nicely. And I'm just tapping it a couple of times like though, again, with the tool strength of 0.3. So it will look too off in that regard. And something like this is going to just create us nice variation to the elevation self. I'm going to leave this space over here since I want to get a bit of a ramp and maybe I will add a bit of alliteration for now. And just going back to this, just making sure that we have a nice type of a setup. In regards to the stone itself. Again, see how I create somewhat of a squarish type look in regards to just making sure that I subtract the height value from the landscape itself. And that gives me a nice look overall. And maybe this needs to be going outwards a little bit like so. The main reason for this area to be going inwards or outwards like so. It's just to connect these two parts because otherwise it looked a little bit too small in that regard. And maybe I'll remove some of this here and you can already see how well it's shaping out overall in this regard. So in regards to the overall landscape, sculpting and whatnot, It's all about control of the height variance is essentially because what we're doing is we didn't get to understand that we're using the height information of a texture That's getting applied on top of our landscape. And making sure that we're using it to kind of bring out this geometry out or in words like so. And I'm just going to get some of them in, some of them out, maybe get some bit of an extra elevation over here. I'll just sort, I think it's going to be quite alright. Maybe I'm just going to tap it now a little bit. I'm an extra. And that's pretty much it in regards to getting the main shape out of the way. First, we're now going to move on to actually continue on with the landscape. That's going to wait for the next lesson though. So thank you so much for watching. And I will be seeing in a bit. 86. Eroding Edges of our Cliffs in UE5: Hello and welcome back everyone to buildings standing medieval worlds with Unreal Engine pipe modular kit bash scores. In the last lesson, where did that after ourselves with a nice setup or elevation in regards to the overall platform with bin or castle scene. Now we're going to continue on with this and get us, tell us a bit of an extra type of detail out of this by making sure that we are using a different type of tools. So first told that I'd like to show you which find it quite useful, called ramp. If we click on it, we're going to get essentially a tool that allows us to control the elevation in a gradual form. We're going to click on one end and we're going to then click on the other end, like so. We're going to click on the higher end and lower end essentially. And then we can go back actually onto them and make sure re-read just them. They're going to work in the same way that we move our objects, e.g. and yeah, just by doing that, we can see that we get this sort of look. Then afterwards we have couple of controls with it. In regards to its width. We can see it being visualized over here on our level. And we can also have a follow-up which essentially shows how gradual transition is. And I usually leave it at default 0.4 and come back to it with just my own tools to really sculpt it out. So once we get something like this, this is looking pretty good, although I will want to maybe get this a little bit more inwards, like so to get a bit more power into this type of a platform setup. And once we get into it, like so, we are essentially going to click Add ramp button over here, which will give us this result. And that makes it so much easier to create some nice pathways or something of that sort to get like walking areas that allows us essentially to go in-between elevations. And then afterwards, once we're done with that, we can go back onto our flattened tool, e.g. we can just lightly break off this overall shape like so something of that sort. Maybe I'm just going to remove it over here as well. And I think that's looking pretty good, actually. Something like that. And of course, since we have it set up like this, we can also add ourselves a bit of a road as well. Although this elevation, I don't quite like it. I want it to be a little bit more curved. So what I'm going to do in this particular case, I'm just going to use flattened tool, a little bit and smooth tool and just kinda get a bit more of a rounded off way. And then I'm probably going to add a bit more of an elevation over here just to kinda help us look like the path is going more towards this area. We get the path itself. We're going to go onto landscape, paint. This tab over here. We're going to make use of a thirt like the one we had previously, and we're going to start building it up in regards to that. So I'm going to select dirt, going to start clicking on it, tapping a little bit on each one of the layers, making sure that each one of those, essentially that we're going to be using dirt is going to apply the shaders and a bottom right-hand corner. So the preparations is essentially I'm just tapping in areas that I know I'm going to use and then waiting for it to load up. So afterwards, we can just not worry about the performance itself too much. And now in order to set ourselves up with the road itself, we're going to use a small tool strength with a small brush size and I'm going to just start wrapping it around like so. You get this result. And I think this is looking quite right. I'm also I can also hold Shift to just remove it overall or sorry, not shift doesn't seem to work. Trying to figure out why it's not working with the shift. I'm going to go back onto grass layer and just kinda undo it like this instead. And that seems to give us a nice issue, a nice result. And essentially we will want to have something like this. We can also go back onto our grasp. I'm layer itself. We're going to make sure we get ourselves pattern brush like so the texture, I'm going to make sure that the texture is set up with simple noise that's more of a consistent in regards to that search for low noise, low resolution, blurred noise. That's exactly what I'm looking for. Be nicely set up already, The scale and everything. I'm quite liking that I'm just going to start tapping on the side of the road. Like so a little bit too close. So kinda break off the overall surface. Nothing that's going to help us out in that regard. Just wondering for the scale, maybe the scale is a little bit too much. Or actually I'm going to use a world scale. I think that's going to give us a better result. In regards to our overall setup. I'm just going to try using it and see what kind of results I'm getting. I'm not quite keen about the results themselves. I'm going to increase the repeat size and maybe a little bit more to 6,000, something like that. Double it essentially. And then I'm going to start clicking on it. And that should start there. If you were to hold it, we can see that it actually starts applying. It gradually. With the setup that we have, and it helps us to break off the edges essentially. So we're going to make use out of that, kinda go around the edges, refine them a little bit like so. Something of that sort that is already looking pretty nice. Entrance though also needs a bit of dirt, so let's go ahead and make sure we have that as well. We're going to go into dirt. We're going to make sure that we don't use the pattern brush to be a little bit more consistent with a simple brush like so. And I'm going to go ahead and just apply it over here and making sure that I don't go into the tile area because we weren't using that. So I liked the foot what I set up with this look, so I'm going to go ahead and keep it. I'd like to ideally have more dirt next to the sections of the entries for a bridge. And just looking at it from a distance, we already are getting a nice setup. We still have a long way to go in regards to the foliage and whatnot, but it's getting there. So now we're going to go back onto the sculpt and talk about in regards to erosion and hydro. And essentially both of them have somewhat of a similar type of an outcome in regards to adding some detail to our results for the overall setup of a mesh. And once we start clicking and holding it, we can see that what it does is essentially a broads or entire setup like so. So it's already looking quite interesting in regards to the design and erosion. If we were to click and hold it, it's going to do somewhat of a similar type of result, although I find it, it does it more in regards to similar to what smoothed would do. And it gives us a detailed that rather than adding detail, it ends up removing some of that detail. So it might be useful in areas where it's a little bit too edgy. In regards to the artifacts were getting. We can also take down the total strength. Maybe that would help us out in that regard. But I'm not quite liking in regards to erosion. Most of the time when I use it is going to be when I wanted to have more of a transition next to it, corners or edges and whatnot, something like that. Just tap it around every once in a while. And it would give us a nice way to break off the surfaces, maybe in this area over here as well. Something like that would give us a nice type of a setup for hydro though. It's going to pay a bit more useful when we can just tap it around like so and get ourselves some nice, nice type of elevation all the way throughout. So I'm just tapping it in areas where I see that there are artifacts in areas that I just wanted to break off the surfaces, e.g. and just quick tabs again with the total strength of 0.1 is going to give us a nice type of setup. We have a lot of actually settings within here, within a hydro itself, the rain amount, e.g. would give us the intensity in regards to the overall erosion. But again, I find it that leg just leaving those settings as base would give us the best type of a setup. I'm not even touching them. And instead I just changed up the tool strength or just make sure that I use a smaller brush. And just like that, we're going to go around real quick just to break off the surfaces are essentially something like this and this clip is way too steep. So I'm thinking about just taking it off completely. In regards to the texture itself, what are the downsides is that the deepness of the cliff effects the stretching is of a texture. There are ways to get around it, but personally I find it that whenever I get these type of results, I usually just end up covering them up in regards to the overall type of a setup for my build. So we're going to get ourselves some nice clips and cover this up. Afterwards. I'm just making sure that there are no holes next to the settings, next to the areas for Windows and whatnot. This looks quite alright. Going to go back on to the hydro erosion. Going to start clicking it with a bit of a larger brushes that we'll do a bit better in that regard. Start tapping it all the way around. And that's going to give us a nice type of a setup, like so. And that's going to be quite alright. Actually, let's go ahead and continue doing that all the way around. Like so I'm going to give us a nice That was set up is I don't quite like this type of Iraq. Maybe I'll just yeah, I'm just going to still tap it on it and that's going to give us a nice setup. Like some couple of tabs, couple of real tabs, again to break off the entire shape. Because if you look at it closely, we can see that it kind of bends in the areas next to the slopes as well. So that's actually quite nice in regards to giving us a nice step of setup. So if we were to click and hold it, we can see that it tries to go around the slopes themselves and kinda highlight them essentially. That's quite nice. I'm not spending too much time in regard to that because we're running out of time already so we can spend as much time building around and working around our entire sediment like so. And I'm also going to probably add a bit of an elevation in regards to this area over here. Otherwise, it looks a little bit too flat in general, when working with Denning's with the overall setup for our terrain, we want to make sure that it doesn't look too flat, but at same time it's not just random, bumpy noise. So here it looks like it's just to plot in regards to this large area. So I added some elevation like this. And just by adding it changes so much in regards to overall setup like so. And I'm also going to take off for a couple of edges over here, making sure that it doesn't look too circular in that regard. It looks something like this. And that's pretty much it actually. I think that's looking pretty good. So, yeah, that's going to be it for this lesson. Thanks so much for watching and I'll be seeing you in a bit. 87. Working With Chunk Copies: All right, Welcome back everyone to building, sending medieval worlds with Unreal Engine phi modular kit batch course. In the last lesson, we left off by setting ourselves up with a nice elevation in regards to the detail off or edges. And now we're going to continue working in regards to this rain. We have a large type of amount of detail all around us in this regard. But it's a little bit too flat in regards to the plains themselves. We're going to learn how to populate the overall area real quick. So for that, I'm going to firstly go into the selection and I'm going to find myself the mannequin I often use when to search within my search bar skeletal, I think I should be able to find a date go mesh, where to search for it. I'm going to click F to see where it's at. That's actually going to be over here, which is pretty nice. I'm going to set it up in a bit more of a distance in the plane area. I'm going to start working on in regards to creating ourselves mountains. So for that, we're going to just start elevating one section like silver going to essentially want braver elevation types. And one is going to be at this sort of a hill. I don't want it to be higher in regards to the hill itself, in comparison to what we have for the castle. You want I'm also going to do just at a quick check. We can also make use out and flattened tool. We can go into flattened target, use the pipette and just click on it to get ourselves and entire graph and then see if it's actually high or not. And yet over too much in that regard. So I'm going to lower that down. Going to just go into takeoff the flattened target probably. Then click and hold on the side somewhere like in this section over here, like that. So this is the tall mountain there. We're going to set up, going to click on the flattened target, click on a webpage, check how it looks like in regards to its side. Or I don't forget chick clicked on a Diego. I'm going to go all the way back and that's going to be around the same height as this area but the backside. So that's going to be I think that's going to be alright for the tallest the section because they're going to be a bit more in regards to the mountain anyway, moving on, we're going to get this as the highest point. We're going to then build up from it bit next to the side like so we're not worried about this coming out in regards to much something like that. And then finally, one area that's going to be in this regard, just the smallest section. Then we can make use out of the flattened tool with the flattened target ticked off. And we can start shaping it in regards to just reusing the same values essentially. And we're going to get ourselves a nice typo setup for mountain. And once we're done with that, once we're done with getting just a general shape of these setups, like so, something like this as well that needs to be cut off a little bit. Don't like the circular motions. Something of this sort of thing is going to be quite alright. Then we can go ahead and finally, add a bit of an extra detail with a smaller brush. The brush size even smaller, and start adding it like so. And just like that, I think I'm going to be quite alright in that regard. Breaking off the edges, making MIT perhaps a little bit of an extra in that regard. And something like this. I think it's going to be quiet. Okay. This is a little bit to circle, are going to go ahead and break this up a little bit. And that's looking much nicer and something like that is going to be quiet. Okay, in that regard, we can now go on to the hydro and the erosion. And I think I'll start with erosion first just to kinda picture that these aren't too hard. And I think I did it too much. That regard. Yeah, it's a little bit too strong. But his brush so instead of changing up the tool strength because that's also going to be affecting throughout all of the brushes. I'm going to go ahead and just take it off in regards to the iterations essentially that's also going to be in a way to strength. I'm going to change this down to 12. And we should get ourselves a smaller, don't quite like it. We're going to take this down to six. Let's see what this does. And actually I'm going to click Control Z first. And there we go. Something like that, I think will work quite a bit nicer. And yeah, Like this area over here. This area is a bit too much as well. This area, something like this, is going to be quiet. Okay? Alright, now we're going to go to hydro just to kinda play around with the shape itself a little bit. Maybe more staff and around, playing around with the shape again, making a nice hill HMP type. And we can also go back to flatten and kinda get certain shapes back out before we had herself setup with the erosion. So something like that, I'm going to make a brush even smaller. And I can get some bit of a grass area in this section over here. Don't like this hump, so I'm going to essentially take it off. And this is a nice, this is a nice hill that it can make you setup. That's actually exactly what we're going to use. And we can essentially set ourselves up with this route, our entire scene. So we'll show you how to do that. We can essentially make use of a copy paste area tool over here, which essentially should give us a nice box setup. We're going to click F to find myself I box. This is the box that we get essentially. And essentially have a gizmo at the center of this entire area and move it to our little mountain over here and position it like. So we can also click E, R, and W, like we have with all of our tools and kinda reposition this region to the way that we want. So I'm going to make sure that this is nicely packed up. Essentially. Make sure that we essentially grab this entire hill that we created. We're going to position it in regards to the entire setup or the terrain doesn't have to be perfect. It just has to be something like so. And we also have to make sure that the height is being positioned properly. So for that, we can click Fit height values to use my size. It should eventually reshaped this into a proper setup for the height. But again, just make sure that the top and a bottom boxes are touching the highest and lowest areas of the entire regions. Then afterwards, we're going to click on copy data to gizmo and it's going to give us this result. And if we were to move it, we can see that this entire region is being copied in regards to this side. And we can now move it around and we can click E, e.g. we can reposition it. And essentially afterwards, we can use our brush if we were to increase the brush size to quite a large value and start essentially sculpting this bit out. So if we were to click left mouse button on it and just, and I go over it like so we can now click W and move this to the side. And we can see that we essentially copied the same hill. And using this method, we can essentially copy out our entire areas and get ourselves nice humps and hills all the way across our sections like so. And I'm just wondering the best and easiest way that we can get away with just getting the most out of this. And I think we're just going to go ahead and also scale this up a little bit like so, even though the height is going to be now a bit higher in this regard, I think that's still going to be quite alright. Though, something like this. I'm going to go over it in here as well, move it to the side. And we gotta be careful in regards to the brushes because as you can see, we're going to get this result here. So essentially we've got to make sure that we're not too fast. When we're moving these terrain chunks around. Some more. Over here. We can just click and hold, drag it across. And we're going to get this result. I am going to go ahead and go on to the smooth mode, going to smooth out the edges. I don't quite like the way this turned out, like so. And this area as well. A little bit too much, just wondering why that was the case. Went back to the copy real quick. See what's up with that. And we could actually yeah, we're going to do that in a second. I'm going to firstly smooth out these sections over here and click on smooth, smooth out these sections over here. That's like that. It's going to be quite alright. And essentially, instead of just doing it like that, we can also go into copy and we can change the pace mode from both your own erase. So in this case, it's only going to be raised, which I think it was doing by default. But just in case to make sure that we don't have any bizarre transitions for this settings, we're going to get ourselves a nicer type of result. Now, in regards to our high data, we also can set up ourselves a brush fall off, which I'm going to set it up all the way to one like so. Now in regards to the brush size, to be quite alright, it's really, really annoying how bright these areas are. To be honest to me, it's, it's hard to see what we're doing, but essentially I'm just clicking and holding and dragging the mouse around. Like so. Now I can move this out of the way and get ourselves a much better setup. So now we're not going to get these bizarre transitions like that. Just make sure not to forget to rotate it around. In regards to these islands like so, and get ourselves smaller, larger scales and so forth. And not only that, we can also clear gizmo data to go back to the default setting. And we can grab a chunk of our side in regards to the castle itself. So e.g. I really like this type of setup over here. So I can essentially make a copy out of this type of a setup that I think that's going to be quite alright. I'm going to go ahead and copy data to gizmo. We're going to get ourselves this result and I can position it a bit differently. But whenever we do it, we could just got to make sure that this is just not duplicated in our background in the same angle as in if we were to just see this same type of setup in the background, is just going to be too obvious. Declare so e.g. I'm just going to rotate this around, make sure it's position it like so. And then essentially going to paste in the values over here when it's only going to be visible while the camera is rotate it so it's not going to essentially be the same terrain in regards to both sides. And I'm also going to make sure that the base mode is set to bulk for this particular case. Because I know that the edges so go inwards because of the erosion itself. So some other areas might be a little bit unknown words like so might even lower. Does that actually just a little bit as well? Just so we can make sure that the hill is not exactly identical in regards to our overall setup. And one of the downsides of this is that now if we were to go to scope, we can see that the backside doesn't look quite as nice perhaps. So if you wanna do it from all different angles, will have to set ourselves up with a large type of mountain, e.g. that's nicely set up with all the different angles and essentially duplicated across. But for this particular case, because I want to have just a focus area in regards to the center. I'm just going to duplicate this around and just move it to the side. So now in this regard, I'm going to position this type of iterate over here perhaps. And I'm actually just going to, I'm going to scale it inwards like so to essentially flip this overall type of setup. Something like this. Not scaling it too much though, like so going to now start building out the cliff, just like that, clicking and holding something like so. I'm going to click on the selection to go out of it, see how it looks like. Yeah, it looks quite nice. We might need some elevation, but all in all it's alright. For in regards to the elevation itself, we can go on to flatten tool as well. And we've, we've flattened target by selecting, selecting this section, we can now go ahead and just bring this entire section upwards a little bit. Actually, I don't think I selected it properly. There you go. So now we can just bring this outwards like so. The strength is a little bit too small. I'm going to set it back to zero points bri in regards to the total strength, then kinda start working in regards to this section over here. Yeah, there you go. Now it's going to be appropriate type of elevation for that section. And I'm not going to spend too much time in regards to this at this moment. We can always come back to it later and actually essentially work with it in our later videos. So that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 88. Bringing in Stone Assets onto our Environment: Hello and welcome back everyone to buildings standing medieval worlds with Unreal Engine Pi modular kit best course. In the last lesson, we left off by setting ourselves up with some nice background hills. And we're still not quite there just yet, but we're going to come back to it later on. After we're done, we're setting ourselves up with some additional prompts within the scene and talking about products. We're going to start off by getting yourself some nice rocks. And we're going to be able to break off a bit of that surface for the terrain itself. So for our Syria, we're going to go back on selection mode. We're going to quickly add the Project button. We're going to go ahead and select pixel brush like so. First things first we're going to get ourselves couple of rocks and within the scene. So let's go ahead and do that real quick. I'm going to quickly check the local files that I have. You're not going to have it downloaded just yet. But since I already set myself up with them, I'm just going to check which ones I was using. And it's going to be huge sandstone cliff, this one over here. Make sure to go ahead and download this within a search bar. Of course, you just type in a name and should pop up. And we're also going to use this boulder forest folder like so. I'm just going to add both of these into the project. Huge sandstone Cliff, going to add this one in with a medium quality of course. And then the forest bolder. And I'm thinking about actually grabbing one more just for good variants. So for that, I'm actually just going to scroll down and see couple of additional variances. We don't need to do it too much in regards to them, but we just need to make sure that we have enough variance in regards to the left sides. One is going to be quite large, so the clefts themselves, the stone boulder is going to be enough for some cliff. For the smaller rocks though, we're going to need a little bit more in regards to that. So that's why I don't order the second one. And I'm not quite sure which one which one I downloaded. I'm just going to go ahead and close this down. Essentially, if we go now onto omega Scans folder, we're going to have ourselves really Assets folder since it's grouped up in a different category. And it's going to have huge sandstone cliffs. And Alicia in the forest bolder and I'm not seeing myself the other variant of a stone. I'm going to go real quick back onto the Quicksilver bridge just to check it up. You'd have it within a local settings and think it's going to be this one over here, I believe once the boulder forest believe it was that one. Was this one over here. I'm just going to quickly, after downloading it added to my project like so again, mossy forest bolder. And we should have three variants, cliff and two for bolder. And that should be enough for what we're doing essentially force most of the time, the more, the better. But it also hinders in regards to the performance of our project. And also it over-complicate certain aspects for when we're creating ourselves a scene. We're going to start off by getting ourselves those cliffs on to our areas. And for that we're going to go ahead and go into them. And then right off the bat, we're going to start placing them in and they're going to look something like this within our scene. So it's looking quite a bit larger in this regard, but we can readjust them essentially and makes them into our area. We're also not going to worry about in regards to their overall color for them just yet. Since we're going to continue on with them later down the line. And I'm just going to grab actually one of them by holding Alt, just trying to see how they look like from the side, from a distance and whatnot going to try to actually turn them around and see, yeah, the base of them look really nice. I'm going to make use out of that. Actually. I'm going to start setting it up just like that. And we're just going to make sure that we essentially cover this edge for the river. We're going to make use out of them to break off the entire setup. And we might even need to have we need to bring them inwards. I'm going to make sure that the gizmo is set to local at this point and just kinda move them in words like so. So now they're going to blend in a little bit more with the terrain itself. And I'm wondering in regards to the overall scale, it might not be quite there in regards to the overall quality of this. I'm wondering that we might actually use a larger quality or these meshes. I think that would be much better in regards to that. I'm actually going to go back onto the Quicksilver bridge like so to get ourselves a higher-quality out of this and that I'm going to go onto local since we now don't have it downloaded, going to find myself the cliff that we were using. So this one over here or it was massive, huge sandstone cliffs. And essentially this time we're just going to change the medium quality to be high-quality like silver. Still not using that at quality since it's not needed. We can also quickly change that out ourselves. So we're changing this to a high-quality. I'm going to go ahead and download it. Like so. It's going to essentially read on, on all of our asset files. To a higher version of it. And once we're done with that, we should be able to just click Add and it should repopulate our project with a higher-quality. So let's go ahead and do that. Make sure it's clicked on it. There you go. Now it's rewriting it. So let's give it a second. Like so. And there we go. Once we're done with that, we can now close down the window and it should, if we hover over the textures, we should actually have different textures. So sometimes in the past it used to replace it. Now it actually gets a duplicate, which is totally okay for us because we can just get ourselves essentially a higher-quality version and drag it out and see the difference. This one looks much better overall. Again, the color, we're going to be switching that up soon. But essentially, now that we have this original one LOD zero, we can essentially actually just delete this and the ones that we have placed it before, we can just click on this button over here to use select the asset from the codon browser. Of course, let's make sure that we have selected and it should give us a nicer type of result and she'll replacing them. We're also going to straight off the bat, right-click on this and set it up as Night Live. So real quick, once it's done loading it up, once it's not preparing all the shaders and everything on the sort, we're going to get ourselves a nice result for that. And it's almost done. There we go. Alright, so one more thing to consider is in regards to the color itself. I don't quite like the color, but I do want to have a better look at it. So I'm actually going to show you how to change it within a quick still acids themselves, going to open ourselves and material incentives for K resolution, the higher version essentially. And this is a two K version if we were to be using a medium quality asset. But yeah, going back onto the four K for it to open it, we have a bunch of settings to make use out of. And essentially, the only thing that we need to worry about is the albedo tab over here. If we were to look into it, we have albedo tint albedo controls. And by opening both of them, we essentially have the necessary controls to tweak out these values. And this point, all I'm going to do is just going to click on the albedo controls and changed up the brightness a little bit. Make sure it matches more with the cliff color itself. Maybe I'm going to take down the saturation as well since it's a little bit brownish color, make it look as close to the cliff ends. Cliff Texture itself. But again, I'm not worried about it too much. We're now going to play around it. We're going to come back to it later as we need to set ourselves up with a material mix later on. So now that we have ourselves set up like this, we're essentially going to be mixing up the rotation of one end and another and kinda going around it to get ourselves a nice setup for this area, essentially, something like this perhaps is going to work out quite well. Again, we're not worried about in regards to how color transition is going to look with the grass. We're going to come back to that later. But we do need to worry that this needs to be sticking it into the ground itself. So I'm just rotating it around making sure it sticks in nicely, like so something of that sort. We go. This one is not thinking quite as well. I'm going to actually lower the camera speed a little bit so we can actually position it a little bit nicer like this. That actually works out quite like that. Maybe a little bit higher up, just like that. There we go. So with this type of result, we can essentially just reposition this entire setup. Or our dean, I'm going to go back on the normal gizmo to the world. Gizmos are going to have more control over this. And I'm going to position them all properly just like that. Of course, vary in regards to the Hail, the flipping, and whatnot. We can also scale them in regards to reversing them so we could have it mirrored just like that, clicking R and using the red arrow to essentially change up the gizmo. That's like that. We're able to get ourselves a nice typo is setup. We don't need to play around it too much, but by breaking up the overall surface and we're going to get much nicer result. And then once we're done with this, by the way, we can just go ahead and select multiple of these acids just like that, can hold the Alt and just kinda move it to our side and rotate them around. And they should be fitting not perfectly, but in a certain angle, which is going to help us speed up the workflow as well. Then afterwards we can just manually tweak up the bits a little bit like so and get the exact type of result that we want. So for this, I think they're actually quite going in quite well. This one maybe needs to be readjusted quite a bit. Yeah, it's like that. Alright. Maybe even rotated the front angle. But it up like so. He headed set up nicely in regards to the overall design. Maybe get one more in regards to the final piece, maybe I'm going to grab one of those. We can also stretch them out a little bit to get ourselves a nicer type of a setup as well. And I'm making sure that not too much is being overlaid in regards to the top section, we're also going to have some grass on top of those rocks, but they're not going to be adjustable in regards to the way the landscape is, basing it on distance blending. But I think that's going to be it in regards to the river. We still have a long way to go in regards to the overall setup. And I realized there is a bit of a section, a bit of a pillow over here. Let me just go ahead and fix that up real quick. And I think in the next lesson we're just going to spend it in regards to placing all of these folders, all of these rocks around or castles. So that's going to be it in regards to this lesson. Thank you so much for watching. And I'll be seeing you in a bit. 89. Setting up Rock Formation in our Digital Landscape: Welcome back everyone to building standing with your laurels with Unreal edge of Pi modular kit bash course. In the last lesson, we left ourselves off by setting up a high-quality type of rocks you placed around the entire surface of the river. Now we're going to continue on and actually add them on to some of the other edges as well. We're going to just grab couple of them in line like so. And we can just hold Alt, move them off to the side, and placed them on the side of over here, e.g. in totally make sure that we get ourselves a nice transition in regards to them. And I'm just going to also just play around with the overall setup, e.g. we can stretch them out a little bit, make sure that position then blending in nicely together. We can spend quite a decent amount of time, to be honest, just working with landscapes and sculpting him out, making sure they're looking realistic and believable and whatnot. And the shapes of them really depend on time we spend with them. But again, I'm not going to spend too long in regards to the time itself as I want to move on with the rest of the course. And I'm just going to make sure I show you how I do the entire process. Mainly in regards to that. Again, I'm just making sure that I'm break off the surfaces. Sometimes we can leave some gaps. We don't need to essentially create all the pieces to be positioned in regards to them overlaying the terrain. But we just want to essentially use this entire setup to help us break out a surface that would otherwise be a little bit mundane. E.g. this piece over here is quite clear to me that we can definitely make use out of it this entire setup to get ourselves a nicer type of a cliff over here. And I'm actually planning on just putting this entire piece into this setup like so and hiding it under the cave, the cave, the terrain like so. You reposition it a little bit, something like that. I think that will work quite well. I'm a bit worried in regards to this overlapping, so I think I might just grab it out just a little bit. Again. We can tweak as long as we want to in regards to the setup. But I'm not going to spend too long in that regard. And in this case, in particular, if I wanted to turn this entire type of cleft, we could, for starters, make use of the same setup we had for this bridge over here, where we bend the entire setup using modeling toolkit, which we could totally do that actually. But the alternative version of it is just to grab another stone and hide this hanging area that's visible from this empty space. Essentially. We're going to hide it away. Let's go ahead and do that. I'm going to just put it in like so essentially and I think there's going to be quite alright. Or also we can just drag some of that landscape a little bit as well. That would also help us out in regards to hiding it. But either way, it works out quite well. So now it's not quite as visible. Maybe it needs to be lowered down though, like that. That's going to be quite alright. Okay, going back to this setup, we can continue moving on in regards to the overall layout. I'm going to grab a couple of clips again, going to move them out to the side like so. Position them out and essentially make ourselves with a nice type of a setup. I'm going to actually, one of them is underneath the rain, so I'm just going to go underneath terrain myself and pull it out just like that. It's a massive type of an asset, so it's really hard to miss it if we were to get, get lost within the terrain itself. I'm going to go ahead and actually really turned this area around. Whilst turning it around. You have might've noticed that I'm only turning it 180 degrees more or less in regards to the world set up because the rocky site, the fundamentals of this cliff has a sort of a pattern. Brushes sideways. If I were to turn this, this way, it might not look quite as nice in certain clips. It works out. Averse doesn't. And I figured that this one doesn't have that sort of look that I'm looking for in regards to the overall setup. I'm going to go ahead and move it off to the side just like that. And it doesn't look quite nice. Maybe I'll move it backwards like so. And try to play around again with the shape. Something like that. Maybe we'll do it better. I'm going to make sure I have it set to local if that will help us with the rotation. Sometimes you want to rotate it based on the angle itself. Sometimes you want to rotate it based on the world of position and whatnot. And that will depends on what kind of results you want to get. But you play around with those in regards to the overall setup and you get usually a nice results. And one thing to consider is, again, the variation. I talked about it in the last lesson. We definitely need to have more variance in regards to the cliffs and the more the better is usually. But also we got to consider in regards to how large our scene is. In regards to what exactly we're trying to achieve out of this. So we have just enough variants or this clip. We're also going to make sure will be very in regards to a painting out a bit of a texture to it as well. We're going to do that in the next lesson though. And for now, we want to have more of a variance. We can also flip these rocks around like so. And again, just doing those kinds of variations, just playing around with the overall setup helps us out so much in regards to the setup. Or it's flipping around will also give us a nice that up as well. And I'm just going to go ahead and do that. I'm going to maybe grab this one or actually just going to delete it. I'm going to grab this one over here, going to put it up. Like so, maybe just get it a little bit more visible like this. And this actually looks quite nice. We can also keeping mind and we can also get them overlapping with one another. And that also gives us a unique type of a look since the transition between them is really hard to see in regards to this seems. So there is that as well. I'm going to continue on working with this, making sure that we essentially have a nice setup all the way around. And I'm going to only do like one part of this in regards to making sure that everything looks nicely. And then afterwards, I'm going to essentially duplicate it throughout this entire scene. Usually this type of process by just manually building it in, in regards to the cliffs, can take quite a bit of time. But of course, if we set ourselves up with nice first area, e.g. we can reuse it essentially. We've got to sell us a nice setup afterwards. And I'm trying to also make sure that some of the areas for where where the terrain is also visible. So that'll help us to kind of bring out the shape a little bit as well, the one that we had. And I think this is looking quite alright. We could also, maybe I section, small section out of the way, can also flip it this way. I suppose. This would also be quite helpful and speed up our process a little bit and just give it a little bit of that extra side, like surfing, that's going to be quite alright. Just like that, we're able to get ourselves a really nice number cliff. And from a distance we can see that it looks quite nicely. And also, I don't think that I forgot to mention when building those glyphs, you gotta consider the ratio and in regards to pattern itself. So right now, we can't exactly distinguish the pattern too much, maybe except for these two clips. In which case, we can also just grab the clips that we had previously, e.g. the one that was flipped around and kind of position it in an area and not in the exact center between those two, but in a bit of an offsite like so e.g. so now it looks like they're they're a bit different of cliffs in regards to just having that extra and elevation. That same pattern going across doesn't quite send out when there is something covering it up. Sample though. Yeah, when working with those sort of stuff, we gotta consider just overlapping all of them. And essentially, after we're done doing that, we can just copy the overall general chunk of it and just kinda position it in different areas. And that will help us out in regards to setting it up. Some of them, at least some of the cliffs that we have. Now just working in regards to getting a nice setup. So maybe some bit over here. And this usually would take a really long process I'm considering about setting up by second lesson for us and just making sure that everything looks nice. And also if we were to have this grouped up, so by clicking Control G, it might also help us out. I'm going to click G to go out onto the game view so we could see those green lines and make sure that this is the only one that's been selected just in case. And that'll help us out in regards to that. Now in regards to this piece e.g. I'm going to look quite as nice. And because this is only grouped up section, that will be how I'm going to hold Alt, going to move this out of the way over here, going to select this, hit Shift G, like so. And now manually reposition the pieces just like that. So even though we're repositioning with the ones that we already had before, It's going to be still quite alright in regards to the overall layout, I reckon Because the pieces are still going to overlap nicely with one a number. And the same as themselves are not going to be quite as visible, mainly because of the high topology of our mesh, because it has so much of the resolution within this high topology is going to essentially give us a real nice transition in-between those areas. So if it was a lower one, it might not work out quite as well and quite as easily. But again, it really depends on the type we're using. And in this particular case, it just works out quite nicely. So you can see it blends in nicely with, in regards to the grass over here as well, e.g. and all in all, it just looks real nice overall. We're going to continue on working with this. We have some clips setup over here. We're going to essentially move them around and get ourselves a nice type of a setup out of them. And I'm thinking about just making sure that these large chunks are going to be eventually placed properly first. And then we can come back to it all and readjust them manually so we can probably go ahead and do that. I'm going to just add a bunch of ones in here again, is we're using non-white. It's not going to be as performance heavy as it used to be before. They're going to be essentially automatically optimize based on the viewport and whatnot. All in all, edible work out quite nicely. And keep in mind that even if we weren't we weren't covering the clefts themselves, they still have somewhat of a texture already. We're just making sure that the shape is more refined in regards to just having a single slope like that. This doesn't seem to work with in regards to scaling. Sometimes it does, or if we were to tweak it just a little bit, it would also help us to get ourselves a unique type of shape, which essentially would help us to break out the pattern, the same kind of pattern that we're having for this entire setup. But I'm not too worried in that regard. We're also going to have additional trees and a couple of extra smaller rocks that we have set ourselves up with. So all in all, it's not much of a problem in regards to that. It's going to make sure we have some rocks in regards to this variation like so. And this looks alright, maybe some over here as well. Like so. Now we can start adjusting. Well, maybe a couple of ones over here as well. And then we can finally start digesting them in regards to how we want them to be set up a little bit more personalized type 0 setup running out of time. So I think we're going to leave it here. So thank you so much for watching and I'll be seeing you in a bit. 90. Reforming Rock Formation in 3D Environment: Welcome back everyone to buildings standing medieval worlds with Unreal Engine phi modular kit bash course. In the last lesson, we left off by selling ourselves some rock formations, going all the way around or setup. We still have a lot of gaps and we still need a lot of work in regards to making them look nicely. So we're going to continue on working with that. We're going to grab those rocks and we're just going to start setting it up a bit more in regards to being them around. Like so. We're not going to worry about it too much in these areas. I don't think we can just call always come back to them if we want to add more detail. But again, ideally, I don't want to spend too much in regards to this setup because we can have as much time as we need to in regards to the overall setup. But at certain point we just got to think when we need to finish. And now, essentially once we have everything grouped up all the way around, I'm going to adjust manual rocks a little bit like so. But I'm someone to ground, rotate them some and make sure essential that none of them have any gaps. While at the same time, it looks like it has a nice formation going all the way around the setup. So essentially it, in regards to what I'm trying to do for this bit, I'm probably going to just push it all the way into the rock like stuffing. That's going to be quite alright. You can always go ahead and readjust that afterwards. So, yeah, when constructing a structures, when making sure that we're setting everything up nicely. We got to always make sure that we keep on going in regards to the setup, in regards to the layout of ways, we can always also spend too much time in regards to perfecting everything, which is not always nice, which is not always beneficial to them. It environments that we're creating on essentially. But it's looking quite nice. It's looking quite nice. I'm not even going to touch this one because it looks quite alright. This I'm not, I'm not quite liking how repetitive this looks. I'm going to click Shift G, going to select one of the rocks and essentially I'm going to turn them around like so. This is going to give us a real nice that all set up. I'm not quite keen in regards to where it gives most are for the quick assets. I think they should be more more setup nicely in regards to that, because when I'm flipping around them, they're not they're not set up in the same area. Much rather than have them be in more of a position for those particular pieces. But that's down to a personal preference. Perhaps. Just going to make sure that we have ourselves a nice rocks over in this area. I think that's pretty much good enough. This area. Maybe this is good enough as well. This area is also right. I'm surprised self, whether they are fitting in. But we are going to grab one of the rocks. We're going to just make a duplicate out of it and put it in side of this, perhaps making sure that we have some smaller variations as well, essentially, something like this. We'll do it nicely though. Yeah, we're going to be quite alright with that. Yeah, we're just going to leave it as is, to be honest, it's looking quite nice already, although these gap was filled in, I'm not sure what happened to this entire setup. I might have moved it out by accident. So sorry about that. I'm just going to grab the group that Fox from the side. And I'm really not sure what happened with this entire setup. Luckily, this entire setup was already made for this particular area. So I'm just going to fill it in nicely like so. There we go. Small mistake, but going to be easily fixed. Something like that, perhaps it'd be quite right. We also got to consider in regards to how these are filled out to make sure that we are not overlapping them too much. We do have a certain declarations over here, but I think because these are being completely flipped out, they're not going to be much of a trouble in regards to when viewing it from a distance. I'm going to go ahead and leave it as is this particular part. I'm not quite keen about it being overlapping. Again, it's all about personal preference. I'm not going to spend too long in regards to this time. So maybe it's a little bit. And let's go ahead and give it as is quite alright with this setup. Now, we're going to learn how to make ourselves use smaller rocks essentially to grab a bit of that extra detail and make sure it is fitting more. In regards to the overall setup. We're going to go onto the free the assets. We have two stone variations, essentially like this. We're going to now grab them. And I think for Cyrus, we're going to just put them both next to the cliff that we have over here. And essentially assess how they look in regards to the overall. Hello. So actually we're quite lucky in regards to the set-up because they look nicely blending in its pattern, same environment. But if case in case we had a different type of a rock, e.g. we could also always just go into the material instance. And just like we did with the cliffs, we could go into albedo controls, play around with essentially saturation and brightness. And yet it fitting a little bit nicer in regards to the setup. So this is a bit too much saturation. Something like this perhaps is quite alright. And that's going to be it in regards to that. And we can go ahead and close this out. I'll do yeah, we can always come back to it and adjust it. I'm going to go for now and make sure that I delete both of these rocks like so. And now we're going to actually make use out of a foliage tool, which essentially allows us to populate the entire area within our scene. And we're going to go ahead and click from the selection mode to foliage pollex. So this is a whole other section in regards to setting up our system for environments and whatnot, It's a huge help when we want to essentially populate our environments quickly with a lot of props. You started off, I'm just going to grab the assets, boulders, stones that we have. We're going to just drag down from here and see the drop foliage here. Essentially. We're going to do exactly that. We're going to drag and drop both with them in. So it's going to ask to create a foliage type out of this Static Mesh. We're going to click, Yes. We're going to go on to the freely assets back and get ourselves a different variation and essentially drag and drop it from a content browser into it. If you're not seeing it again, we can just make sure that this is lowered up or if the browser is covering it up, scroll down using the right mouse button. And essentially once we're done with that, I personally prefer to turn off the continent browser. Otherwise, there's so many options playing with them when we select them, especially there's a bunch of options that we can scroll through them and you can see them like so that content browser ends up just hiding them off as you can see. So I prefer to close down this tab for a content browser and just have this or completely opened up. And essentially what we need to know, for starters, we're going to cover it up a little bit more when we're working with the foliage itself. But for now with the rocks, we're going to essentially have, when we hover over them, we're going to have a blue tick which will allow us to make use out of it within the store. We're going to make sure that both of these are selected and by holding Control. And then I'm going to make sure that they are ticked on. Why don't we have them both selected. We can take on multiple assets like so. I'm going to make sure that both of these have blue ticks. And afterwards, we're also going to keep them selected bot, which will allow us to essentially have control over them all at once within our setup. And all we're going to do for now is changed up the scale variation. There is something called scale x, which allows us to scale, to have a scale range. We're going to change this from not quite sure actually, I'm going to tap on the area first, going to see how they look like. They're going to load in and that's the size that we're getting, which is quite alright actually. But again, we're going to have ourselves variant and I totally forgot about one quick thing. We're going to go back onto our static mesh. I'm going to hit Control Space to open ourselves a browser that just pops up. The Content Browser. Going to go into omega scans 3D assets. Going to go on to the bolder and right-click onto the boulder Static Mesh, which will also change up the static mesh foliage. Anyway. So I'm going to right-click and set it up as nitrite and essential. That'll make sure that we use an added from this boulder. We're also going to do this for the other pieces. Well, Static Mesh, which is going to be the blue highlight. By the way, we're going to right-click, we're going to click on nano it like so. And this will change as well. And now we're able to make use out of it. We're going to go ahead. And for starters, again, as a simple type of a setup, we're going to firstly just make use out of a single foliage tool, which is this button over here. I'm also going to click Control Space to take off the condom browser. We're going to click on the single foliage like so. One would think that we need to do is we need to make sure that the instance mode is not all selected, but instead, it's just going to cycle through the selected like so. Then for the scale x, as we were talking about, we are going to change this from, let's say 0.5 to something like two. That's going to give us scale variation. So now when we click, we're going to have variation in-between them and we're going to vary the size as well. This is quite essential for when we're working with our landscape and we can just essentially help us break off the surface over here. And when placing these rocks, what I personally like to do is just think of them in clusters, the clusters of three, clusters of two pluses of four and have those numbers to be varied. So this way, we're able to got ourselves a nice variation out of this entire setup. Like so. Don't be afraid to be, to have them overlapping too much, but just make sure that they're not hitting the same spot. If you don't like one of them, you can hold Shift and just click off of it to essentially remove it. But if you want to remove, just make sure that they have a blue tick next to them. Otherwise you're not going to be removing anything at all. So with that in mind, we're just going to go over them and just realized now we're running out of time. So I think we're going to use one more lesson for this. So yeah, thank you so much for watching. And I'll be seeing you in a bit. 91. Placing Stone Clusters using Foliage Mode: Hello and welcome back everyone to buildings standing medulla worlds with Unreal Engine five modular kit batch course. In the last lesson, we left it off by setting ourselves with a polygon mode in which we have couple of rocks and we're able to make use out of it with a single mesh tool that essentially allows us now to place all of those rocks around the areas where we want them break up the surface a little bit. So we're going to continue on doing that. Previously, I mentioned a little bit in regards to clusters. But one of the clusters is essentially if we have a couple of rocks, something like free, or if we have four, we'll want to essentially make them have a certain shape overall. So right now, e.g. we're not having them in a straight line. We're having them slightly outwards like so. If we were to just have them in a kind of a line like so go and imagine going all the way around this type of an edge. It wouldn't look quite as nice and wouldn't look quite as natural because we have essentially make use out of these. If I were to click hold shift and just tap it out like so, if we need to make use out of this to essentially highlight The more of a natural type of a shape out of them. And I'm struggling to erase them and trying to figure out what a better way would be. We can also just go on to paint mode. And with this brush, which essentially is a top settings of a year paintbrush options, which essentially is same type of setup for us, for the landscape. We can hold Shift as well and just tap it out. And that will also get rid of our entire setup like so. I'm going to go back onto the single mode. And in regards to cluster is just make sure to accentuate the shape itself. Now we can see it goes outwards and back in like so over here. And again, I'm not going to spend too much time in regards to this, but just consider bringing about in regards to their overall shape when working with this. And these are always getting bit smaller. I want a bit of a larger one day we'd go. That's a bit nicer looking this area as well. I'm being a bit over here, I'd like to ideally a bit of an interesting shape like those. When working with stones like that, you've gotta consider how they're going to be interpreted within the terrain itself. We don't want it to be just placed on the side of a clip, which doesn't seem to work in this particular case. Because the reason being is the slope there is if we scroll down there is a slope option. Minimum and maximum ground, slope angle, etcetera, 45 as maximum. It can go higher up. So it actually benefits are, as you can see here, that we can build it like so, but we can't build it any higher in regards to its angles. So the automatic angle is quite useful for where we want to have more larger types of setups. We're going to work on that in regards to our trace later on, so we don't need to worry about that at the moment, but I'm just letting you know right off the bat. This doesn't look quite as nice. I'm just going to go ahead and replace it. Maybe I'd look for bolder and we can essentially just click Control Z when we don't like it. And rate of cells or own unique setups like so. Yeah, Something like that will work out quite nicely. Maybe a bit of a breaking point over here and a small folder here. It's overlapping too much. Going to add, it's something like so. I'm going to go all the way around essentially just doing that. Yeah. If we're talking about the foliage actor itself, the way it works is not the same as just positioning the entire an acid in this area. If I were to go on to the selection mode, you can see that we cannot select these assets individually. The reason being they are actually attached to the overall landscape area, or they get attached to an object itself, which we can set it up. But yeah, for now though, we're just going to make sure we use this single tool and just make sure we break them up again. We're not going to go into too much into detail in regards to how they work at the moment, this is too large and one small one day you go nicer set up just like that and just working on overall shape. If you need to, we can go back a little bit then just make sure we have a nice setup and yeah, just make use out of the rocks to break off the shape. Nothing more. We don't need to make them look resembled too realistic. Or maybe in this case, it's a little bit too close to the cliff or something got assorted. But whilst going, moving around, the castle is just going to make sure that it breaks off the overall shape of the terrain and that's exactly what we want over here. So yeah, right now, we can able to place them on top of an object as well. And this area over here. But yeah, going back to what I was talking about before, when placing on terrain, placing an object, they are going to be essentially attached to an object itself. If I were to place this on an object like so. Now we can e.g. move this entire area, move this entire group, and you'll see it gets stuck right back onto the same location because the way they are being placed is essentially based on values that get attached to. Object themselves. That's something worth considering, but it does benefit us. So e.g. if we wanted to readjust this overall landscape, we can totally do so. And it wouldn't affect how are essentially how rocks are being positioned. And I'm just going to go continue on moving with these setups. Like some great couple of variances, just like that. Maybe some over here, and maybe some over here. Over here. I've heard one. I'm using too many just clusters of free. Really need to have some more variation in regards to that. I'm going to go ahead and continue on with this. Have maybe more clusters over here. Plus there is a free over here at one that goes upwards, too much, too big. There we go, something like that. And something like this role. So workout. And it looks nice from a distance. Again, we're just working on making sure that we have nice setup. Like so this area needs to be properly fixed, but again, probably fix it by just having a couple of rocks. In other thing that we'll look quite nice like, so just like that. And that looks quite alright. Actually, let's go ahead and leave it. A couple of rocks over here. We can also use the same technique, but a way to complete the side hills over here. And I'm thinking about just coming back to them later on when we're setting up the trees. And we're just going to go over them in more of a faster way. I think that's going to be better. But as this is mainly the main piece, we're just going to make sure that we spent a bit of that extra time and setting these up one-by-one essentially in regards to the rocks, something like that. As is no no easy way to get it properly sorted for when we want to have that extra custom detail for our terrain. So it's always better. Get it nicely done like so. In regards to this road, it's not looking quite nice. I don't think just by keeping it as is, we're going to break it off a little bit in regards to just having couple of rocks over here, like so. It's going to be quite alright. Maybe a couple of rocks and a terrain as well aware it's a bit more plain, just like that over here perhaps as well. And yeah, we could also have some bits next to the castle, just like that. We've got to hide some of those areas where it's a little bit too plain looking. And all in all, it's going to look quite okay. It'd be over here as well. Again, we're not too, we're not too worried about this overall situation. This overall area as we still have a lot of foliage to work with, uh, to come back to this setup. So, yeah, we're going to go ahead and leave it as is essentially maybe a blue rocks over here. And before we move on, I'd like to ideally add a couple of extra pens over here just to kinda break off the surface a little bit. I know we're going to go into the overall details setup for the inside of the castle and go into the small progress, but it looks quite a bit better and we still have a bit of time. So I'm actually going to go on to the selection mode, back onto it, like so. Going to dock my castle Git Bash Content Browser onto it, then search the castle care batch folder, like so, go into meshes, search for events should be couple of answers. There we go. We have a couple of offenders to work with. I'm actually going to turn on the grid lock, going to set this to, I think that's going to be quite alright. And going to start building up a little bit of extra fence is just to break off the overall surface of this setup. So let me just go ahead and do that. I'm going to start by just dragging them out, like so. Adding them one by one. And it should look quite nice overall. And going to get ourselves a nice type of setup over here. Like that. Perhaps going to add a final piece over in this section. Like so, a higher up, like so make it higher. And I'm going to also rotate them a little bit just like that, just so it would follow the curve a little bit like so. Notice how I constantly just upon grabbing multiple ones and just slowly rotate in them. So gradually I create a nice sort of a curve like this. In this regard, I can also just rotate it in words and it might not look completely straight. But for this particular case, I think that's actually going to be quite alright. I'm also, I can also just move them individually like so. And that's also going to be quite okay. And just like that, we can create ourselves a nice type of a setup all in all for this particular area. Then afterwards we can just grab them all. So I'm going to spend too much time in regards to this overall setup. I just want to make sure that we have some ways of breaking up the surface in regards to the overall setup of our area, of our terrain. Just like that. And now maybe one more over here. I'm going to grab this entire setup, going to, in this particular, particular case, I'm going to inverse this will completely turn this around like so. And there we go. What am I found? Peace perhaps that we should consider is adding a bit of an extra fence over in this area of here. I'm actually just going to grab a couple of pieces from this section. Being free pieces is enough going to hold Alt, move this out to the side and add it up like this. Just to get a nice a type of a look in this regard, I don't think we need to add on other side as much. We can have a couple of bushes or whatnot and I think it'll look quite nice just making sure that you're not completely in the grounds. That making sure they're also a bit more straight, just like that. And there we go. That actually looks quite nice with just a bit of setup. We got ourselves this result. So, yeah, that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 92. Quixel Material Blend Setup: Hello, Welcome back everyone to building, setting medieval worlds with Unreal Engine by modular kid bash course. In the last lesson we let ourselves or by getting those stones in regards to the areas next to the terrain placed. And we also broke off the road a little bit with a couple of pencils just to transition it from the road onto the grass itself. And now we're just going to continue working with it. In regards to the stone itself. I also, by the way off camera real quick, I just fix this bid because they totally forgot to copy and duplicated when I was moving off to the side. So I'm just letting you know that. Yeah. Go ahead and pack the histones real quick. I'm going to make normal material that allows us to use vertex painting. So we're going to make sure we use that. We're going to make use out of Quicksilver bridge itself. Let's go ahead and open it up. And we've been here, there is actually a hidden type of functionality place within it. I'm going to select any one of the objects. So cliff, it doesn't matter because That's not the main point that we're looking for. We're just looking for this little button over here that will help us if we were to click on it, open up this menu. This menu is essential when creating a setup for a vertex blending material. And you can make use essentially out of all the Quicksilver materials to blend in with the acid material and Quicksilver seamless materials. So what I mean by that is to set it up, we essentially need to go back onto our mega Scans folder. We need to make sure that we get ourselves a material, static material, not starting material, sorry. We need to get ourselves a material instance. So for that, we're going to go onto materials. Material instance like so. You see every single material that we're looking for and essentially will want to make use out of the mossy forest material and the sandstone cliffs material will need to make sure that the first material that we select is going to be the one of an object. So make sure that this is going to be sandstone cliffs material and then while holding Control, it's going to be mossy forest floor. So again, make sure that this is selected first, advice is not going to go work quite as well. It does the deck to order on which is going to be selected. And then once we have it selected, we're going to go back onto our, onto our window over here. But essentially once we have it selected, we should be able to just click Create Material blend and it will create us with this type of setup and material blend material name. We can call this material or blend material underscore clip. Like so, something like that. We can now click on it. And it should, if we were to close this down, close all of these down based on our selection, if we're to go onto our content, take off the filter, of course, we should find ourselves blend material folder, which should have blend material underscore cliff. And this, if we were to look at it as a bunch of options, it has already set up with the materials that we, I have created for ourselves. To make use out of it, will essentially need to apply it onto our Eclipse. So first things first, I'm going to select one of the clips like so, one of the cliffs that are grouped up like so, going to find its name. So this is going to be huge sandstone clip. I'm going to find all of the sand stone lifts like so or sorry, that's the wrong search bar. I'm going to just simply copy this and paste it at the very top. Like so sandstone cliffs, that's exactly what we're looking for. We're going to grab all of these that we're finding essentially within our search bar, within our outliner. And I'm just going to start off by properly selecting it all and grouping everything. That's going to be the easiest way. I'm just going to hit the Shift G to ungroup everything. And you know what, I might as well put everything in one folder just to make it easier for sellers to organize it because outliers can get quite messy. And we got to make sure that every once in a while we keep it in order. So I'm just going to click on a new folder and just call this clips. So it's going to select this folder called lips. And I'm going to right-click actually just going to select all descendants for it. Then we're going to essentially replace this material with our blend material. And essentially it's going to give us this result which doesn't seem to want to work. It needs some time to update it. And sometimes there is a better one error in regards to the nitrite itself. It doesn't seem to want to work with denied meshes. So I will say this. If you want to make use out of this functionality, you will have to turn off nitrite, which is unfortunate, but it is what it is. So yeah, I'm really hoping they'll fix it someday in the future. But for now I'm just going to go ahead and disable that I produce glyphs. Yeah, again, it's very unfortunate. Maybe hits going to be fixed in the new update. When you apply the material blend, you're going to get this result, which is going to be essentially quiet mats. And the reason for it is because we're using virtual textures. The virtual textures are essentially used for this overall setup or the UTMs. And these materials essentially don't like that. These material blend materials don't make use out of it. And we're going to get this result. To fix that, we're going to need to go back onto our mega Scans folder. We're going to go onto our 3D assets, or actually we're going to go ahead and stay in this area. Then we're going to change our filters to be chest, the lecture so we can find a texture tab over here. If we were to select it, we're going to get all of these sections like so. Simply, we just want all of these sections to be in normal textures. We're going to click Control a to select it all. Then we're going to right-click and we're going to convert to a regular texture just like that. So once it's done, we're going to make sure that the size threshold is just not being used. Essentially, we can keep it as S If we don't touch it, we're just going to keep this entire setup is, let's go ahead and click Okay. And it's going to take some time to load up preparing all the shaders, including landscape because they were using the same textures. And when we're done, we're going to get ourselves all the textures back, which is really nice actually. There we go. We're going to get glyphs back to its original setup, which are looking real nice right now. So now that we set ourselves up with that, we're going to turn off or filters. We're going to go back onto the blend materials like so, open this up and we can see what it does. And essentially we have material for the cliff setup. And we have a cervical, middle layer, middle layer that has a whole type of greenery for the grass. So for us to use that, we need to essentially make use out of the vertex painting. The vertex painting is going to be from within the selection tab. I'm going to click on this button over here. We're going to go ahead and make use out of it. And I'm going to firstly select one of the clips. We can just go on to the front leg. So we're going to select this clear e.g. over here, or just as an example, this clip over here is going to do, well. We're going to then go on to, with this election. Keep in mind with this selection. We're going to go on to the mesh bait. And we have a lot of options over here. Essentially will want to just most of the time we'll just want to be using paint itself by clicking on this button over here. We have some options that quiet, quiet show up. Well, I'm going to close down the content browser since when they're not needed. And we, by hovering, we can see a lot of dots. And each of those doors are essentially going to be a vertices. And each of the vertices have its own unique color values attached to it. We can see those values by going from color of view mode. And if we were to just enable RGB channels, is going to be nothing there because we haven't got any of the values on it. And so for us to add some color, we can just click and hold and drag and doesn't seem to want to work. Thinking maybe it's because it's not going to go ahead and select this real quick. Go on to mesh itself, which is now quite a bit of a mess. So I'm going to actually disabled not add real quick and see if that works out. Because I don't think gives us the right results for that, which is a bit unfortunate. Now that the knight is disappeared and we're going to get this bizarre result on the top. So in order to make use out of this, we do need to disable ourselves with non-IT. So just make sure to disable your night, set up over here, and then after that, you'll be able to paint it on the meshes. So going back to the mesh paint, we can go ahead and see what's up with data. Going back onto the page, we can click RGB channel and we can see this sort of result. Essentially what this is, going back to it properly. Regard size, strength and fall off the same brush settings. And we have paint color and erase color. And essentially this is primary color and a secondary color. And the only thing that you need to know is that you can have values of them. You can have essentially the whole RGB channels over here, which by default should be completely white. So let me just go ahead and click on this fill bucket over here, which will replace the entire Carlo with the primary color essentially. And we should, if we were to go back from the RGB channel back to off, we should get back to the default setting. I'm thinking the middle layer is going to be controlled by the red channel only we don't need the green and a blue channel. Now, once we start trying to use the red channel, which should be over here, or actually I'm going to flip the colors in which we can press letter X or clicking on this button over here, by the way, we can just take it off and there we go. We're going to get ourselves this sort of a setup which allows us to paint over our cliffs. So with this, we can essentially blend in some real nice type of setups over like this. And it really helps us out to kind of blend in objects in nicely width overall terrain. So again, the downside of it is that doesn't exactly support the vertex painting. But vertex painting itself allows us to blend and textures. And sometimes it's really useful. Or what do we want to get nice setups right off the bat. We have couple of other options, but essentially, we want to disable virtual textures. We want in the table that I now will be able to make use out of the vertex painting, which we're going to go into it properly in the next lesson. So thank you so much for watching, and I'll be seeing you in a bit. 93. Adjusting Textures using Material Blend Controls: Hello, Welcome back everyone to buildings standing medieval worlds with Unreal Engine phi modular kit bash course. In the last lesson, we left ourselves off with this type of setup that allows us to make use out of the mesh paint and quickly paint over the cliffs just like that. So first things first, what I'd like to do is just get myself a nice area across like that, but it's still going to go into the painting properly itself. Again, I'm using black to take off the red channel if we were to go into the color view mode, because essentially where this entire channel is being affected by Rachel, we can go into red channel and see how it works. So we're taken off essentially the red channel, the red color of each of the vertices, and allowing ourselves to overlay the original, uh, type of, uh, textures are not original type of texture. The middle texture, which happens to be our, select the texture of a grass. And without going too much into detail, we're going to make use out of it. We're going to turn off the color view mode back to off. And the first things that I like to do is go into Settings. I'm going to go on to the Selection Mode, going to select this entire cliff just like that. And I'm going to go into, I'm going to delete the details search tab just like that. First, going to go into material for blend material cliff. Then we're going to just put it off to the side just like that After window. So we can only see the details that because that's only the only thing that we need. Essentially, we're going to scroll all the way down. We got a base layer option, that's the original material options. And middle layer. Middle layer can be essentially changed up in a similar way to what we changed the pebbles previously. This time we need to essentially change that up in here. So the change to graphs, we're going to open this up. We have couple of options for the layer tiling. We're going to enable this option. And essentially we want to make sure that it matches up nicely from when we are off at a distance. So because this entire landscape mode is set up with distance blend, essentially, when we get close, it's going to give us a different type of results. We want to make sure that this overall setup of cliffs, usually you wouldn't get player to be going over it. We want them to be just nicely set up from when we're having it at a distance. And the best way would probably be to just drag this entire cliff, just set it up of the desired can get ourselves to distance off like this and get a value that's close to this scale, but not quite. We still want it to look quite nice for when we get it close enough. Again, it's not going to be affected by the distance scaling. So we've got to make sure we just have it looking nice in just a general type of an area Allan can make use can make a huge difference to the texture in regards to the pattern. If we were to set this to ten, e.g. the both of them. We can go in and we can see the tile is quiet. A large smile, a lot smiler. It might be compared to the bit that's next to it. But again, we wanted to make it larger. Actually, we want it to blend in with a larger texture more. We can set this to 0.5, which is going to be half of what it was. And we can see this type of result. I'm also going to click G to see what it looks like and that's a little bit too large, or actually that might be perfect. Now it's a little bit too large. We can increase the scale to 0.8, perhaps something like that. I think that's going to be just right. We also have adjustments themselves and yeah, I remember now we need to enable the layer adjustment layer. So essentially, we need to get ourselves this little icon ticked on. And it's going to be for middle layer. So let's go ahead and enable it. We're going to make sure that this is tectonics going to take some time to process it all at once. We're done, we can now scroll down and we should have a go middle layer adjustment. So a second, let me just scroll a little bit down. Here you go. All of these options now get TikTok. Tiktok, we can now make essentially use our same type of functionality that we had before. And we're going to go into middle layer adjustments like this. We gotta sell saturation and brightness, and that's pretty much all we need to get ourselves a similar type of result. Keep in mind that the landscape has a sort of a noise applied on top of it that darkens the entire texture. So we got to match it up a little bit like so something like that I think will do as quite nicely. I don't worry about saturation itself. Just the brightness will seem to do. Then afterwards we can go into the top layer. There is a base layer adjustment as well, which is going to be the main texture for our glyphs. We can now start adjusting them to fit a little bit more with the cliffs themselves. Let's go ahead and do that. Actually, I'm going to reposition this real quick to get something like this. And it's going to be looking quite nice. We need to paint them out a little bit as well. But for now, let's go onto the base layer adjustments. Again, base layer, this is going to be the main layer. We need to make sure we enabled this one over here that has a saturation and brightness. We're going to start playing around with the values, getting ourselves to look more like the stone. It is next to something like that. I'm going to look at a distance a little bit more, get down the saturation, perhaps a little bit more. And essentially, we want to make sure we are getting it as close to it as possible. Contrast will allow us to get sharper edges a little bit in regards to the overall texture. So that's kinda nice. Think something like that will work quite nicely. I'm going to increase the saturation, actually, going to increase the contrast. And it's really sometimes hard to get the right app, a result. Something like this. I think we'll do as quite nice looking like it blends in nicely. I quite like the overall. Let's go ahead and move on to back onto the texture painting using the material blend that we set ourselves up with. And one more thing that we need to essentially cover is going to be, if we select multiple pieces at once, we can go onto mesh paint. And we can also select, by the way, all of them with the Selection tool so we can grab them all like this. I'm just going to grab coupled. The more we grab, essentially, the harder it's going to check in regards to our performance, we're going to go onto the paint brush like so only the red channel selected. Now it's going to set with a black paint color. And we're going to lower down this brush size a little bit, which we should be able to do, doesn't seem to want to work in regards to the shortcut I'm using, I'm going to lower it down manually, which is a bit unfortunate, but it is what it is that I'm going to start painting out all of them and essentially only the ones that have selected, we'll start painting. Again. It's going to really check down in regards to the performance. If we have a lot of them selected, we can hold shift by the way, to take off the lecture quite a bit as well. That's also an option. Yeah, let's just go ahead and paint out some of those areas. Get ourselves a really nice type of setup. And there you go. That seems to be in regards to the performance, perhaps the selected too much of these sections like so. And to get ourselves a nice setup, and I don't really like a circular areas. It becomes too obviously when we're using a brush. So I usually just kind of break it off by the edges like that. This is a little bit too much, something like that. Look quite right. And we can spend as much time as we need to on these type of areas. I think might spend an extra lesson on it. Really just making sure that I'm tweaking all of these values nicely. So yeah, thank you so much for watching and I'll be seeing you in another lesson. 94. Vertex Painting : Welcome back everyone to building, studying medieval worlds with Unreal Engine five modular kit bash course. In the last lesson, we set ourselves up with a nice type of a blend material that we are now able to adjust and blend it in nicely with the cliffs itself in regards to its textures. Now we're going to continue on working with this and make sure that we paint in some nice type of grass detail within our areas. We can also make use out of it to blend in some of those corners a little bit. In regards to where the grass goes next to the edges, like so. That also helps out to overall blending the values with the terrain itself. Just by going in and out like that between the materials that we can help ourselves to get ourselves a more organic type. We'll look essentially. Yeah, this looks quite alright. We can move on to the other sections as well. Or actually I'm going to add a bit of a brain area over here, e.g. to help us break down this cliff, which I think looks pretty nice right now. In regards to this, this is not selected, so we need to go back into selection mode, select this system essentially, and then start heading in those detail manually like so. And yeah, we're not going to go too much to close into it because essentially these cliffs, deer mountain, they're not meant to be worked on. We just need to make sure they are going to be good enough in regards to the overall aesthetic of the castle. They can be worked on in regards to the character and they're not going to be standing out too much in regards to the overall layout. But again, they're not exactly meant to. So we can cut some corners in regards to those type of details. Just making sure that it looks nice overall in regards to where the clips are positioned. So this perhaps needs some grass over here. Go ahead and add it like so. And again, just going to make sure everything looks nice. And regards to where the grasses were only positioning essentially the grass or the very top, we just need to sell the idea of it being overgrown with the grass. We don't need to necessarily put it in between, like all the gaps vertically or whatever we could do. So like in this example over here. But all in all I think I'm just going to leave it as is and keep it as a sort of a dead type of cliffs looking with the breeze next to it and stuff. Yeah, going back to this, because these were changed to from virtual texture. So normal textures, we're getting this sort of a result. Essentially what we wanna do is select them all right-click and change them to a virtual texture again. There we go. We've got ourselves the rocks back-end. So every once in a while we do get these sort of issues in regards to going back and forth from conversion. And the main reason for it is essentially because Quicksilver blend is a totally different type of material than week's material itself that they usually use by default for their material instances. And so we're going to get results where some of them need to be virtual texture as well. It's Alberts, if they're not using, if they're not using materials that are blending in the values that are essentially going to be different. Though. Going to continue on painting with this type of a setup. Let's go ahead and just make sure that everything is painted out nicely. Like so maybe some bits on the top over here. I want to increase the process. I can also increase the strength, which would be this one over here. Now, it should be a bit easier for us. Yes. Like that. And sometimes it doesn't seem to want to work. I'm trying to figure out why it seems to want to work on certain slope isn't but not the average slopes of pink. I'm just going to keep it as is. No need to overdo it. We just need to make sure that the main platforms like this one over here, e.g. as a bit of grass and just a little bit is enough. You get some nice look out of it. Maybe not even this one, to be honest. So yeah, we're just going to go over all of them and make sure that the ones that we need to setup like this one, this one, e.g. this one, this area for sure, this section needs and these couple of ones that heat as well. Essentially, we want to make sure that we have all of these ones that we're looking to blend in with the terrain and the standout a little bit too much. They don't look like you're part of it. Just quite yet. We want them to be added with the terrain mesh paint and we should be getting some nice blends in with the overall grass. So after I have them all selected now I'm just going to go for all of them and it would increase our entire process by quite a bit. Something like this perhaps is going to be quite alright. This section and also have a bit more of grass like so. This should also be selected. I'm not sure why it's not selected. We'll just go ahead and select it like so. Just like that, making sure that it doesn't look like it's completely off. In regards to reset up. Just like that. The other side is quite okay. I reckon this for sure though it needs a bit of an extra grass. I'm going to go ahead and click Control Z because I think I did it underneath the water itself. Where to go ahead and select this, make sure that we add some grass over here. The top section. There you go. I'm going to remove some of the smaller brush. So that's going to be quite alright. Let's go back onto the selected areas, which being the de-selected. I'm not quite sure why that is the case. Maybe it's because I had so many of them selected, ended up raising over the computer real quick and then it just clicked off whenever I tried to paint. That could have been the case. But all is alright because we can just quickly select each one of them individually, add some bit of greenery like so. And again, we're not going to spend too much time on them. We just need to make sure that they have a basic type of blending and values to make it look like a, have a nice setup overall. So there is that. And I think this is a fun piece that I'm going to want to add it onto. So let me just go ahead and do that. Just like that, we can add as much greenery as we want, essentially blending in the values and from a distance you can see it's already looking quite nice. So yeah, One of the thing that we forgot to talk about is going to be within a blend material. Real quick. It's going to have essentially blend controls. And if we were to select it, enable it, we have a blend them out. So this one, the first bar over here. And actually that's not the one, the one that's going to be the one underneath. I'm actually just going to extend it to see the full name. Bass middle layer blend controls. We're going to go ahead and enable it. And if we were to scroll in closer, we can start seeing how it blends in and out. And essentially, we can play around with the values as much as we want and get ourselves a nice blend. Values like so. Something like that. Maybe blend fall off as well. We can play around with that. You get a nice transition, essentially photographs and yeah, there's that. And actually whilst working on this, we're still struggling with the overall artifacts in regards to the textures themselves. So what ended up doing though, is I went back to the mega Scans folder, are turned on all the textures, made sure that everything is selected and then convert them to virtual texture. So you can see the BT on the bottom right-hand corner. And essential that made everything properly pop out. So I'm wondering maybe there was an issue in regards to that. I'd been converted and converted back and whatnot And yeah. And also afterwards, I made sure to get everything in regards to converting it converted. And that includes if we were to go onto our materials material instance, we're going to scroll all the way down onto the parent. We're going to go onto our default materials or the parent itself. We're going to select one of them and we're going to go onto its albedo value over here. So again, this is a bit messy or process. I'm going to go ahead and open it up. You can see them being set up as virtual textures now. So, yeah, Once I went into this folder, automatically then refresh this entire setup or the plugin. So you can see I'm actually within engine, a folder itself right now, which is located within here. So if you were to go open up the settings tab, show engine content, show plug-in content. You should be able to access this type of a setup and just make sure that these textures are also using virtual textures. And once I have them turned on as textures with virtual textures, if I were to go back real quick, these textures in MS v d t textures, they should be set up as virtual textures already, but just in case they're not, make sure they are. And again, going back to the setup, everything worked fine afterwards. So I'm not really sure why the issue originally was in the first place, but after a while, it seemed to have sorted itself out. So that's a bit messy in regards to this lesson, but I hope you were able to learn something new in regards to that and we were able to follow along. So thank you so much for watching and I'll be seeing you in a bit. 95. Small Foliage Setup: Hello and welcome back everyone to buildings standing medulla worlds with Unreal Engine five, modular kid best course. In the last lesson we left ourselves of waves, setting ourselves up with nice cliffs and have some nice blending in, in regards to the vertex painting. And now it's kinda blends in nicely in regards to our sections of the side of the glyphs. And of course, we now need to add ourselves a bit of an extra in regards to vegetation to make the overall scene look a bit more lively. So for us to do that, we're going to go on to quickly add to Project button and we're going to click bookstore bridge. And essentially this will allow us to get ourselves a nice vegetation and we're going to click on the Home button over here. And there's a category called 3D plots. If I were to click on it, we're going to get all the nice vegetation with for our scene. And essentially this is just small vegetation. We're going to learn how to set ourselves up with larger vegetation later on. But for now, we're going to get ourselves some nice shrubs. And this is the one that I'm looking for, European spindle. You can always click on the top bar to search that up as well. And we're just going to get ourselves that I'm going to make sure that it's also set to high-quality as a fight. You work best in regards to the scenes, even if it's a large environment, I usually tend to work with high-quality. And then afterwards, in regards to optimization, and I'm just going to click Add button over here, like so. This should give us a nice setup. I'm going to now close this down and just look at what we get. We get ourselves essentially within omega Scans folder, we get ourselves a third folder now that's called freely plants. For your plants will have a folder and so on for the setup of our foliage. And I'm just wondering why It's not showing up properly. We have ourselves meshes that aren't working at. I think it's because of the virtual textures that could have been the case. Sometimes they don't seem to automatically work quite as nicely. So I'm just going to go into it real quick to check what's up with that. I'm going to check the material itself, going to see that Albedo has an invalid mega scans lecture requires. It requires virtual texture. So I will try to actually just flip them over real quick, all of them into virtual textures. Let's see if that works in regards to the setting it up. And let's go ahead and see that. Interconvert it out real quick and see if it works. Take some time to reload all the shaders, I suppose. Let's give it some time. Which still didn't seem to have fix an issue. But now if we were to go on through material itself, we now having a different type of an issue. It's saying sampling virtual texture for opacity mask material attribute is disabled and render settings. So I'm wondering why that is the case. Going to try to go into the parent setup itself, going to see that there is that over here. And then we're going to see if I can go ahead and fix it. So for opacity mask is saying, so I'm going to check the opacity mask. Got it over here. Going to scroll all the way through it and see what is outward that it should be alright, So I'm not sure why that is the case. I'm going to essentially flip over the place holder and see if that fixes the issue. So I'm going to click Control and S and see if it fixes an issue. But to also try changing with the white placeholder. That's a virtual texture to just a normal texture. If it had more to fix an issue. There you go. We can bring this sort of result. So yeah, I'm not sure why that was the case. I'm just wondering if anything else is broken at that point or no. Sometimes it does get a bit finicky in regards to the virtual textures, but yeah, just converting that initial material to the setup seems to work now and we do get an issue with the billboard, but we're not going to be working with the billboard itself, so not even worried about in that regard to it. I'm just going to select the meshes that we imported. I'm going to start moving on with in regards to setting up a within our scene. They're going to grab all the static meshes or we can actually just make use out of a filter. I'm going to grab all the static meshes, going to convert them tonight, like so. And this is going to give us a nicer type of result. Let's go ahead and just wait for the shaders to load up first and compile. Like so. We're going to get this result. And now if I were to go out and in words, it's essentially a real nice type of a setup for a night in regards to optimizing over all fields and whatnot. That's why I'm not too worried in regards to using a high-quality mesh at this point. I just wanted to make sure that when we get close up, we're going to get ourselves a nice setup and I'm just going to wait for to save out the finish. There we go. And I'm going to tick off the static mesh from the filters. Now, we essentially have not only this setup, we also have a folder called foliage, which is essentially the information for static mesh foliage. This is going to be similar to the information that we set ourselves up with, the static bolus. And now we're going to start working with them a little bit more in depth, in detail. And essentially, if we were to go into the foliage tool itself, we should have automatically enabled all of them when essentially we brought it up into our project with the Quicksilver bridge. But just in case I'm going to let you know if you're not seeing any of these files over here. You can always just go to the foliage folder. You can grab all of them like so, and essentially just drag and drop it into the system like that. I have them at the moment. I'm going to click Escape to make sure that I don't drag it. And again, I don't think it would matter much, but we're going to do it since I already have the files. Now going to go ahead and start working with the foliage mode itself. We're going to close down the Minitab, and I'm also going to delete this lonely tree over here since we're not needed within regards to that. And actually one more thing before I forget, we are going to need to readjust overall setup for them. So I'm going to real quick going to just grab them and just place them down like this in a mask. Just not going to worry about it in regards to the overall setup at the moment because I'm going to want to go into the setup for a mega scans. Are freely plants going to go open this up and now we're going to adjust the material instance or European bushes, essentially, we're going to open this up and by default, I think they're really too bright for this type of setting. They're just green and luscious and we wanted to make it a little bit more darker to fit overall scene settings that we can just go down into if we were to open this up. So I have the material for the plant setup or opened up. We have the essential stuff for color overlay. And I'm just wondering, yeah, we're going to aerosols color overlay. I think that's going to be the one I'm going to take it on. And essentially I'm not going to set it up over here. I'm going to click on this overlay and start dragging this down. And just by doing that, we can see that we are setting it up with a much darker type of a value. And one more thing that we should set ourselves up in regards to this overall setting, I'm actually just getting an error which worries me a little bit to check whether it is sampled requires known virtual textures. But it's, I think it's because of the billboard type of setting itself. Again, because we're not using the billboards, it's not going to affect our setup. I'm just going to ignore that menu, going to scroll down. And within a z-test steps, we're going to find the enabled when settings for this one over here. Going to make sure that essentially we enable this and have it on like so, which should give us a real nice that we're setting. I'm just going to wait it out until it's setups, the shaders. And there we go. We have some now some motion within our brushes, which is really nice and all. And we can finally start working with them with after we set up the right color and whatnot. And let's go ahead and do just that. I'm going to go back on to the Polish mode, voltage mode like so, and start talking essentially in regards to how we should set them up. I'm going to hold shift for now, just going to click it off like so just to remove everything. And first things first, I'm going to just select them all actually just in case we're going to take it off just to make sure that everything is TikTok offers, including the rocks that are underneath. To actually scroll down a little bit, we can see that it sometimes confuses me personally. We have 2 bar, essentially one that scroll down in regards to the whole menu. And the second one, Let's scroll down through the menu of the icons themselves. So we just got to make sure we're aware of our mouse position whenever we're scrolling up and down in regards to that, as it starts affecting how we're scrolling through this entire menu. Now going back to this, we're going to start by selecting all of them. We're going to start by placing them. We have essentially two variations in regards to this overall setup. One, smaller plants we can see on the top, and I can probably make this a little bit larger. I'm going to try to make it a little bit Roger, in regards to that. So they go, We get ourselves as setting setup like this, which if we were to start scrolling up, we can see more of the icons a little bit. So hopefully that'll be a little bit better. And I'm going to make sure that the rocks are off. And in regards to the bushes, we have couple of wishes. And then as we go up at its very top, we have smaller ones. It's not based on the scale or anything like that. I think it's more in regards to the name itself, but just visually we can see or we can also make sure that we check each one of them individually. We can have them all ticked off. We can select one of them, have it ticked on and click on the area and we can see that the small shrubs and whatnot. Yeah, when I'm working with them, we're going to work and make sure that we set them up as well. We also are probably going to make sure that we have filters to turn down as well. So if we were to scroll up, we have within the paint menu itself, there are filters that says landscape static meshes, BSP. Then essentially, we want to make sure that the landscape and static meshes are turned on us. It'll allow us to build that foliage on top of these areas if they were ticked off for landscape, e.g. if I were to take this off and try to paint it now, I can't do it because it's ticked off. But e.g. because the static meshes enabled this rock is static mesh. I could totally painted on this mesh and we totally be fine. But again, I'm going to make sure that the landscape and static measures are both dictum. Moving on. In regards to the settings themselves. I'm going to start by probably having some variation in regards to everything. So I'm going to have everything TikTok except for the rocks. So that includes the small shrubs and bushes themselves. And moving down. In regards to the density, the density itself is going to control how much thickness and people want in regards to how the placement itself, if we're to start placing it all now, it's going to be way too dense and it's going to be too much. But that's also going to be a sort of a multiplier in regards to our if we were to scroll down or paint density on the top. So the pain density at the top is essentially going to allow us to have a multiplier value of the density set as 100 right now. So we can either set this up or the one on the top I had both of them would work quite as well. I'm going to start by just setting it up the paint density to 0.1. I think that's going to be a bit better. Like so I like to have this value little bit lower as the starting point and then probably the density overall with whilst everything is selected by the way, I'm just making sure that everything is selected like I did previously. So the first one and the final one like so in regards to only the bushes, making sure that density when all of them are selected, it's set to something like 50, e.g. let's see if this is better. And yet it's already looking much better in regards to that. We already getting a real nice type of setup. We are getting some below pop up, but that's more in regards to the planet itself. There are certain controls to the engine setting itself, but I'm not going to touch it as it actually looks quite nice in regards to the overall setting. I think I'm going to leave it as is in regards to that pop up. As we are working with real-time after all. And by changing the engine scalability, you'd be able to essentially remove that popping up anyways. So there's that. And yeah, we're pretty much got ourselves sorted in regards to their overall setup. That we're going to start painting it and we're going to continue on with this in the next lesson. So thank you so much for watching. And I'll be seeing in a bit. 96. Building Our Shrubs: Hello and welcome back in front of buildings studying medieval world with Unreal Engine by modular Git Bash scores. In the last lesson, we left ourselves off by setting up with small foliage we can now make use out of and actually start populating the world. We're still going to be left with larger foliage, which we're going to learn how to set that up in a bit. But for now though, let's enjoy ourselves. That actually starts setting ourselves up with the overall foliage. In regards to the main area, we're going to come back to the overall large-scale later on though. So yeah, let's just play around with the shrubs. I'm going to go ahead and just start building it up. And essentially, when we're starting building it up, we want to have, in regards to the clusters, making sure that they're kinda cluster up a little bit in that regard. So they're not just going to be just a noise essentially, we're not Dutch want to do that. It's not, it's not going to look quite as nice. And we want them to start slowly building it up. And as you can see over here, I've just painted in a little bit, I deleted while holding shift, some of them like so. If it's not working in regards to delete, by the way, just make sure that all of these are ticked on. If they're not ticked on, they're not going to allow us to delete. It's only the leading, everything that's ticked on, and also it's affected by arrays density. If we were to start increasing this, we're going to start deleting less and less of our foliage. So e.g. if I were to set this to something like a point or I'm going to start holding Shift, going to grow across this and you can see it not affecting it as much. The reason being is that it's actually painted low, higher up than pain density. So I need to set it up to something like 0.5 legs. So then hold Shift and then it starts to actually affecting it like so. So it also is in contrast to the pain density itself. So keep that in mind what working? I'm going to keep this as zero as I wanted to just make sure I have an ability to delete and add as I go along. And I'm just going to start adding bits of here but severe. And also we should definitely talk about in regards to the slope, we want to essentially have same slope as the automatic setup for our landscape where the hill essentially starts, where the ROC area starts. We want to make sure that it doesn't start touching, it, doesn't start building up on it, which it almost is good. But we're going to play a little bit more extra in regards to that. So scrolling down, we have some setups for it. We're going to have to go over here. We have grants slope angle and maximum is set as 45. So essentially what this means is if I were to set this up higher, something like 90, I can start building it up and it should allow us. You can see over here the trees are just hanging off the side like this. We don't want this obviously. So 45 was the default value, which was okay, but I'm going to lower down to 45. And this should make sure that we have a nice type of a setup overall. We are also going to make sure that we have random pitch angle. Random pitch angle will allow us essentially to have our bushes to be slightly more rotated. So that is something to an extreme value like 90 is going to show that some of them are just facing sideways completely. And essentially what this allows us to do is have some of the trees that are slightly more sideways and whatnot. I usually tend to keep this at zero or close to zero, something like five e.g. but just adding that extra touch, It's going to help us out in regards to building or shrubs a little bit more. We can see some of them are a little bit more, rotate it a bit more scattered out. And it's going to give us a really nice type of setup. And I'm just going to go back and forth in regards to that. So by having it like so we can see they're broken up. The entire foliage is setup. So it's already looking quite nice. I'm going to have a bit over here or over here. We're going to just get some intricate shapes in regards to that. So certainly splashes of water, e.g. a. Blobs or something. We've got to consider when working with this in regards to how e.g. are well, firstly, how our trees are going to be placed. And then secondly, we also got to consider in regards to where you'd have a certain amount of fertile soil, e.g. so you'd have more closer to the water e.g. as there'll be more of a moisture around the air, maybe you'd have a little bit less next to the cliffs themselves. Maybe they're a bit harder to grow in regards to the wet soil that's closer to it. Somebody an asteroid, or you got to consider all of that. And essentially, we want to make sure that it's broken up. It doesn't look like a sort of a pattern when placing them. And it has an nice way of adding an overall view to the composition of our scene. So that's essentially what we're doing in regards to this type of setup. I'm just going to go all the way around like this and just going to hold shift maybe and just kind of break off from surfaces just like that. So it wouldn't look like a straight line. Suddenly like this thing, it will do us quite nice. Maybe some that over here. Touch-up area for these sections over here. And in regards to this section, obviously we don't want to raise to be growing on the rocks themselves. Maybe we do. Maybe it does look quite nice actually, but not in this particular case. So I can also turn off myself a static mesh filter over here, which essentially is we'll start building only within the sections landscape is at. And one of the thing that I forgot to mention is because we're sticking onto the landscape itself. We can also go onto the landscape mode and just start adjusting and sculpting out this area over here, e.g. which will essentially allow us to make transitions while still maintaining that overall set and put a tree. So e.g. I. Create a bit of a hill over here. And it's still going to keep that overall setup. It's actually preparing shaders. That's why it's working a little bit slower in regards to that. Just overcome that. So I wouldn't have to wait. I'm going to go on to unlit mode. And this way, it'll can still get our shaders setup while some doing some better or work on the side. And you're just getting this type of a hail e.g. I. Can go back onto foliage mode, can go back onto the live mode, like so. And we can see that these trees are still stuck on top of the surface is, although the area when angle is, they're also going to have certain bit of a foliage for them. So we gotta make sure that we clean up afterwards a little bit. In regards to that. And all in all, I think it's going to look quite okay In regards to this setup, this area perhaps needs a bit of an extra. I'm also using larger and smaller ALL type of shortcuts with the brackets, square brackets. I'm not sure what they're called. I'm just going to make use out of them and just set up a nice typo area. I'm not worried about in regards to the background at the moment as we're going to come back to that in a bit. For now, I'm just making sure that this overall setup is looking quite nice. Redesign of our area and just making sure we're enjoying our process, just having some fun in regards to the setup, adding couple, removing capital, just not overdoing it. We don't need to be just having like a jungle type. We just need to make sure that we make it look like it's part of nature essentially. And that's exactly what we're doing. We need to add maybe a couple of extra round just like that shift to remove them. In regards to the shape, something of that sort. I think it's going to be quite alright. Just like that, a couple of tabs, couple of clicks to remove. Something of this sort is going to be pretty good. Like this, like this, and maybe couple of over here as well, just like that. Alright, now that we're done with this, we can also add a bit of an extra in regards to if you want to take a step further, we can go ahead and select them all. We can click on the blue over here. And essentially we can select the smaller shrubs that are at the top. And now, if we were to start building, can see these shrubs like this. So what I tend to essentially do is go around in a smaller brush size, something like this. And maybe I'm just going to check how they look like in regards to the overall setup. And it look quite right. And essentially, I'd like to sometimes just go around the edges of where we have larger that up for the foliage or where do we have a larger chunks and kinda help to compose a bit of a look that makes it look like this. Larger voltage is trying to spread itself out and have some smaller of it's like the sentence, grow out from their sides. So that's pretty much it in regards to that. And we've got to consider potentially some of them to be just sticking out and making it look like they're growing. Also, it helps to kinda break off the surface of the road, I suppose as well. That's looking pretty good. Getting some couple of extra shrubs near the areas like so. To add an extra touch of nature, essentially not going to spend too much, we're running out of time. So I think I'm just going to add couple all the way around like this, just tapping real quick, intense steps, essentially just rushing through this entire setup. And all in all I think that's going to be quite alright. So now we don't need to worry about the shrubs themselves too much because they're going to be so small, barely going to be visible. So I'm not even concerned in regards to the overall shape setup. What m, because we only have the shrub selected if I were to want to e.g. add a lot of shrubs over here, but I want to delete them. I can hold Shift and start deleting them and not worry about the trees themselves being deleted because they're not going to be deleted, are going to be fine as they are because we only are deleting only the tick on foliage. And all in all that's going to be quite alright. We might get some shrubs over here. Totally forgot about this area. But it's going to be okay because we're adding a couple of larger trees. And all in all, I think that's going to be quiet. Okay. This area probably needs some shrubs as well. And that's going to be it in regards to this lesson. Thank you so much for watching, and I'll see you in a bit. 97. Setting up Large Trees: Hello and welcome back everyone to building standing medieval worlds with Unreal Engine five modular kit bash course. In the last lesson, we left ourselves off with setting up some nice shrubs in the area around the castle. And now we're going to continue on working with this and make sure that we have some nicer trees as well. And I'm just going to check real quick that they have motion. You do have motion. That's alright. Just making sure I'm going to go back into selection mode so we wouldn't get away with intercourse or tab on the left-hand side. We're going to now essentially not go on to the Quicksilver bridge, but instead, we're going to go back onto the Epic Games launcher because the trees themselves are actually set up within the marketplace. I'm not sure why they not have it within a crystal bridge itself, but we're going to essentially manually extracted out from the marketplace. Let's go ahead and go on through marketplace itself, like so. They're going to be permanently free anyways, there are set up by the same Quicksilver company. And again, I'm not quite sure why they not have anything set up in regards to it being on the Quicksilver bridge essentially. But yeah, let's go ahead and search for quickselect tree. We should be able to find it just like that. That's not the one that I'm looking for. I'm actually just going to click on this yellow area over here. You go onto its name. That way we'll be able to see all the assets that Quicksilver mega scans as provided within the setup itself. And actually, we're just looking for this three over here. There we go. We're going to essentially make use out of this. And it is quite a large project. I'm not quite, I don't quite remember how the size is, so it might take a while to download it, but essentially, after you download it, just add it to your project. And I'm going to select my castle could bash course, going to add it to the project like so, and wait it out a little bit. And essentially the first time you download it, it adds it to your bolt within a library. If I were to, just while waiting for adding the project, There you go, it starts verifying, starts adding onto my project. And essentially, once you download it the first time it's going to add it onto your volt over here. We should be able to then add it onto your own personal, essentially added onto your project. They are going back to the project. We're going to go ahead and enter our own scene. We're going to then see if it already added our trace, which should have added Black Adder. So that's the one we're looking for in regards to the folder. But I'm going to check the geometry first and it's going to be simple wind, I believe. And that's the type of setup you're going to have. I'm going to check real quick by adding it onto the project if it loads properly, which seems to be greater than moment. I'm just wondering, yeah, it's preparing shader. So the bottom right-hand corner, so I'm just going to wait it out a little bit. That's the tree I'm looking for and it's looking pretty good. Although I will set this up with the night. So for that, we're going to actually, I'm just going to drag this into the layout itself. I'm going to select all of these trees. I'm going to right-click and I'm going to have weight this to be loaded up properly. There you go. And it's loading up with everything. Again. I'm just going to select everything going to go on tonight and enabled that export selected. And yeah, that should be pretty good in regards to the world's setup. We can also go on to that. I can just select one of them and see if it's ticked on. If it is thick tone is going to be essentially set up properly. And I think just in the same way as we've done for the bushes will need to adjust the overall color for them. We have a couple of settings in regards to the trees themselves. I'm dragging them out like this right now because I want to set them up first. And in regards to retrace, we're going to need a couple of start-up first. And one of the things that we'll need is essentially when system, well, the wind system, we're going to click on a top left-hand corner. We're going to search for wind. And there's going to be a default wind directional source, which we're going to just drag it into the world like so it's going to be used as global settings in regards to our wind overall setup for both the trees and the plants that we're going to start attaching it later on, on the video. And yeah, just by looking at this, it seems to be quite alright. And overall, movement is going to be affected mainly by the speed itself within a directional wind, we were to go onto the content browser. Actually, we're going to search for MS. presets. We're going to open ourselves up with the MS presets and then there's going to be MS foliage material, which I'm just looking for it, a mesh to polish material. There's going to be global foliage actor. That's the one we're looking for. Essentially, if I were to click and drag and drop it into the world, we're going to get this result, which will have all the settings over here. The wind itself or the trees are going to be controlled through the actor. And then this is going to be, well, it can be deleted right now, is going to be affecting in regards to the simulation for the fabric itself. So they are going to be two separate controls essentially. And yeah, if we were to increase now this wind strength, e.g. we can see them moving much, much faster and whatnot. So that's pretty nice. And by default, I think I actually like to take them down a little bit more. In regards to that, I think it's for the speed mainly I'm going to take down the speed to 0.25. So it's going to look a little bit slower, but it's going to still give us a nice result. Overall. Any other speed increases the frequency of the motion and the wind strength, the overall strength on how much it bends essentially. With that being said and done, we also have something called seasonal strength, which if we were to start increasing it, we can see the leaves start turning orange and whatnot. We can see them turning a real nice type of an orange and it's actually really nice type of setup. So that's pretty nice for when we want to set ourselves up with the overall type of a look. And we can have some variation in regards to health, e.g. where they look like somebody I'm indicating and whatnot, I will keep them all as green and luscious. I think it's going to look quite nice though. Maybe lowering them down to something like this might do us quite well as well. Going back to the setup for the color itself, we can also just essentially go into the material. We can find ourselves element one, I believe that's going to be element one. And essentially, we can adjust this to change the color of albedo just like we did with the previous pushes. We have a couple of additional options over here. We're going to go to a better controls for the leaves. We're going to take this on and we're going to lower this darkness. And there we go. That's controls. Controls it much better in that regard way to lower the sound to make sure that it fits the overall setting. Maybe this is a little bit too much green, decrease it a little bit. Like this sort of blends in nicely with the rest of the bushes essentially. And I might also increase the saturation a little bit like so just by a little bit, I'm going to lower down and darkness, the brightness. And a little bit too much saturation. Something like this. Not quite like it. I'm going to actually lower down the saturation, a value of 0.9. Even. They go do the opposite essentially out of, we'll make sure that it looks quite nice. Then we can click get close-up of view as well. And it starts breaking down to the overall setup. I'm not sure why that is the case, but it looks I think it looks quite okay. Alright, so now that we have everything set up, we have the global foliage actor that controls the wind and the seasonal changes. We have overall colors setup as well. We can now start using it and actually set ourselves up with some nice trees in regards to the overall environment. But of course we're going to do that in the next lesson. So thank you so much for watching and I'll see you in a bit. 98. Planting Trees in Unreal Engine 5: Hello, Welcome back everyone to building, setting medieval worlds with Unreal Engine phi modular kit bash scores. In the last lesson, we left ourselves off with setting up nice trees for the environment. And I'm just wondering, in regards to the overall setup, it looks like some leaves are quite missing. I'm just wondering why that is the case. I'm actually just going to go back onto a static mesh, drag one of them and see if it is. Okay. And that seems to be alright. I'm not sure why that is the case. So we're going to play around with the overall foliage. In regards to that, we're going to go onto the foliage mode. It should already, I have it up or actually I'm going to go onto from geometry, like adder going to go on to the folder for foliage. Going to, I think I'm just going to make use of a simple wind in regards to the overall large scenario, it's best to use that. And this should be included. Yeah, I think it's only being included automatically if it's from within Quicksilver bridge, we're going to manually essentially add this all in. So I'm going to click Control a to select them all. And I'm just going to drag it in. And I'm wondering if it's actually best to do that or not. I think I might just grab couple of trees and just not overly complicated. Essentially, that might be a better choice. I'm just going to grab the first couple of tree bushes like so. First three is I'm going to grab two that we're looking longer and maybe this one over here for 05. This is looking pretty nice. So these trees I think, are going to be perfect for our scene. We don't need any more, which is going to track this foliage into our setup over here. I'm going to close down to conduct browse and see what's over that. Going to make the scale for the list a little bit smaller perhaps, with a little bit too much in that regard. I'm just going to select all these selected all, and now see which ones are actually set up as black adders essentially. And this is getting complicated in regards to the overall setup. So what I personally like to do is I personally like to select them all, make sure that they're all de-selected lysosome. Then because we're looking for black Adams going to type in Black Adder, like so. Oh, that doesn't seem to be the name. It was black. Older. Sorry. There you go. Those are the three essential that we dragged in. I'm going to select them all and we can start building them up. And this is the type of method we're going to get if we were to just use them by default. I think the default trees are actually quiet too large. In regards to the setup, I'm going to just see how they look. And I'm actually going to, what I'm going to do is I'm going to use a single tool which is going to be over here single, I'm going to start clicking and cycling through selected this mode over here to see if they're all this large and they all seem to be quite massive giants in comparison to the castle itself, we're going to make sure that the castle doesn't get overwhelmed with that. So we're going to make them quite a bit smaller. Overall, we have them all selected. We're now going to go down and we're going to change up the scale, the minimum, maximum. I think we can just set it up to 0.5, 0.8, something like that. Perhaps, there you go. That's much better in regards to the scale itself. So it's going to help us out in regards to that. Now we're going to essentially start building them out. And in certain cases we're going to use paint. I think that's going to be a good starting point. We're going to have a good small paint density. So I'm going to actually increase the brush and see what's up with that entity is still too big. So I'm going to lower down density of the world treats ten. Going to see how this looks, maybe to one even this doesn't need to be large setup, something like this. I think that's going to be pretty good. We're going to essentially start building them up. Just a couple of them. They don't need to be a lot. We're not making a forest in this area. Maybe more in here to be honest. Like so. And maybe top of the hill would look quite nice. Just wondering in regards to the scale variants might need to increase that. Going to increase that for sure actually the minimum, we're going to set it to 0.1. So essentially, we're going to have some smaller trees as well. That's going to be pretty nice. And I'm just going to grab a couple of them to make sure to kinda break off the surface of the overall type of setup for our terrain. Going to set it up like this, just tapping in couple of areas where I think they're going to look quite nice. So if we want, we can hold Shift and just tap it over again and kinda reset that all setup. This is obviously a floating, just make sure that we don't have that. Going to add a tree over here, maybe a tree over here, three over here. That overview here. And now it becomes a bit more of a hassle in regards to controlling them. So let's go ahead and start actually making use out-of-order, more finance, a type of controls and have more of that. So essentially, what we can do is firstly, we can make use of a single tool. We can manually tap in next to the areas. So e.g. I. Want a tree over here. We can totally have a tree next to this area, like this, something like that would actually look quite nice. Couple of trees over here like this. And now, if we want to make some adjustments, e.g. I. Don't like how these trees variants are set up. We can go ahead and just click on the Select tool. We can select one of the meshes and essentially this is how we control them. We can now move them around and it's going to be moving around. And also, I don't think we can move it upwards or can we sometimes it goes. In regards to the gizmo itself, it doesn't go back onto the selection. I'm just going to delete that. There you go. Alright, now going back to the trace, we have some controls with the basic selection. And now this one is completely off in regards to that. Now they're starting to get mixed up. I think. Yeah, I think it's getting mixed up in regards to the engine itself. Maybe it's one of the updates that are getting it mixed up. But essentially, this shouldn't be happening. Once you have one of them selected. You should be able to just move it around. You can click E to rotate them slightly. You can click are to have them scaled up and down. And essentially this is the fine tuning of our overall setup. And we can have them as much control as we want in regards to the world settings of our foliage essentially. Yeah. When working with these kind of areas, just make sure to break off the surface of the castle, just to kind of highlight the overall setting. I'm just wondering which one is that is when selecting that. And if I select that, it's going to select this one. I'm not sure why that is happening. I'm just going to go along with it. I'm going to click F and just kinda make sure I set them up nicely in regards to that. So all in all, when we're done with setting it up like that, I'm just going to spend a bit of an extra time in Europe. I see that. I'm going to go onto single mode and I'm going to start by getting some bushes a little bit more accustomed. So I'm going to take all of them off, going to select these first couple because I know they're similar shapes. So I'm not going to be too surprised in regards to the variance. And then I'm going to also take off the maximum scale to be way less, something like 0.3 and minimum scale to 0.2. So to have more consistency in regards to that, sometimes consistency is also important when we want to add specific detail. So e.g. this one, I want to just help us break off the overall shape of certain trees. There's three line is obviously not looking quite nice. But if I were to add a bit of an extra bush over here is going to help us out in regards to breaking out the overall surface like so. And also the strength of wind seems to be way out of control, trying to figure out why that is the case. Then they seem to be going down properly afterwards. I'm going to look at it into that in a bit. I'm not sure why that is happening. I'm going to go back into selection actually real quick. If this is still being affecting it. And if you get an area where it's just too much, might mean that we need to lower down the strength overall. It might just go with wind strength of one. And we just want basic motion. We don't want it to be wobbly or anything like that. I think that's going to work much better. In regards to the wind strength going back onto the foliage, I'm going to start setting it up with in regards to a single type of setup. Going around with more consistency in regards to the overall nature, essentially, you have more control of breaking up the surfaces of our plants. And this time in particular, I just want to make sure that we have some nice way of breaking off the overall shapes when you're going off in a distance like that. They just look like singular trees and just don't look quite as nice in regards to the overall setup. But when we place it next to a smaller trees, when we combine them, it looks much better overall. As the competition becomes a little bit nicer, I think, in personal opinion, but this is a little bit too much. I'm going to click Control Z. We can also go back onto pain mode and just kinda hold Shift and just remove those scrubs like so. That will also work out when to add couple of like this, anything that's going to be quiet. Okay. Adding one over here. It's quite okay as well. And yeah, I think that's all in all that's going to be quite alright. In regards to the controls, That's pretty much how we build up those closer pieces of Polish. What we're working with larger areas, like the ones that are background, we're going to learn how to do that in a bit. Now though, that's pretty much all there is to it in regards to setting up your own foliage within Unreal Engine pipe. Yeah, that's going to be at it from this video. Thank you so much for watching and I'll see you in a bit. 99. Cloth Simulation for Flags: Hello, Welcome back everyone to building stunning medieval worlds with Unreal Engine Pi modular kit bash course. In the last lesson, we set ourselves up with some nice trees around the castle. We still have the planes in the background which we're going to be working in the future. But well now though, I think we have some time to go back to the castle real quick and add some extra details. First things first that I like to add. When regards to that, I'd like to ideally add a bit of a foliage and simulation this time. And yet to have some motion within the scene. And VRA have some bit of a wobbling. In regards to the trees themselves. They're just slightly moving around and looking quite nice. But yeah, we're going to make sure that we're setting it all up. In regards to their overall looks of the flags. For us to do that, we're going to go ahead and open ourselves with the content browser. We're going to go onto content browser itself, and then we're going to look for the labs themselves. There should be within. I'm actually just going to check that out real quick over here on the app itself. So we have couple of flags over here. And if I were to click on the Browse to content, we should be able to get to diego catholic Git Bash, skeletal meshes. It should be over here. The ones that we're going to be using are going to be highlighted in pink. These are going to be essentially skeletal measures. So you can see the icon itself. There is a pink stripe and that's exactly the ones that we're going to be using. And you started off, I think we're going to set the wind system properly first. I'm going to grab one of the flags over here and I'm going to drag it onto top of this tower just to see how it looks. And this is going to be shaped into position. It's sideways, going to maybe rotate it around a little bit like so. All in all it's going to look good. But now let's actually go ahead and start setting up the wind. Essentially because their skeletal meshes, they're going to be already set up. If we were to go ahead and open it up, we can see that they have clothing setting on this one over here. It's going to be having clothing data. So we don't need to essentially do anything for them. They already have everything set up. And all that we need to do is just simulate and essentially played the game itself, play the Unreal Engine project. But instead of playing, we're going to simulate it. And we're going to click on these three dots over here. We're going to select Simulate like so. This will allow us to simulate the clothing physics. Let's go ahead and wait it out. Since it's the first time building, it is going to have new assets that says that needs to be rebuilt and whatnot. I'm going to wait it out. And there we go. We go essentially got ourselves this type of setup. It's not going to be moving, it's just going to be flat, somewhat flat. So we're going to be working in regards to that, fixing it up, making sure that it looks quite nice for us to do that. We're going to first of all stop the entire setup. Going to see this arrow over here. Physical material needs to be rebuilt. And I'm just wondering why that is the case. I think we can just click on the top button over here and where it says built. Then we can just click Build all levels and fix up this error. There, HLR, this save everything. It's going to wait it out. It's going to take some time. It gets his building everything. So that includes the level and the data for lighting and whatnot. Essentially, we're just making sure that we're fixing the errors so we want to be seen knit the next time. I'm just going to click on continue. Every time I see a pop-up. I think it was a material templates. So again, we don't need to worry about that as it will just make sure that the data for the level itself is going to be saved out and everything is going to be at right. Now if we were to click Simulate and broadcast, last time we click simulate, It's going to pop up with a button over here. But the last option that you use are these modes is going to be replaced with this button over here, we can click on this button now to simulate, it, probably needs to rethink the recalculate everything. So just give it a second. There you go. Alright, so now it's moving properly. And to get some wind, we're going to go ahead and add quickly to project select wind. We're going to add when directional source like so. And essentially in regards to this, when we're going to just make sure that the wind is positioned accordingly. So if I want to be blowing this way, e.g. it should be blowing it. And just as a real test, real quick test, I'm going to enable this speed to be much higher. So big to ten, going to simulate it should be simulating it. So I'm just going to click Play. And there you go. It starts, increase the wind. Essentially it's going to be blowing it this way. And we can even e.g. move it upwards like it should also be going upwards. And something like this. And I'm just going to increase as something to our ridiculous amount to in regards to the speed wind and see what it does. And there we go. It's a little bit the way all over the place. Obviously we don't want this to happen. I'm going to change the speed to, I think the default was set to 0.1, going to change it to one, going to change the location of the overall rotation for this factor rotation for default one and rotate it may be to the side just like that. We can see the blue arrow pointing this way. There's going to be blowing the wind that way. I'm going to maybe move it a little bit more to the right. So it's going to have our nice, ourselves a nice setup. So now we can add the flags that are our type of life. So e.g. a little flag on the front section that's going to look quite nice over here. Went to rotate it quite a bit. Actually, I'm going to make sure I use snapping to angle. So that will help me out because all of it is snapped to an angle nicely collected at the very top. Maybe make this one a little bit smaller, is going to also affect the cloth simulations as well in regards to when making it smaller. And if we were to hit play, we should have a nice setup, although it has an iron bar at the very bottom. But I'm thinking it will be moving much, but you can see some small motion in regards to that. That's looking quite okay. Alright, So in regards to the flags, Let's go ahead and add couple of them in regards to decorating the entire setup. We're going to, for this part, we're going to add something nicer as well. Maybe this flag over here, there you go. That's going to work quite nicely in this area. Going to make it much smaller in regards to that. Or maybe I'll just add it to be over here. Actually. Something like this. It will work quite nicely. There you go. Now we can check this one. I don't think this one doesn't have an iron bar. I'm going to click Simulate, see what's up with that. And we can see it moving it just like that. And one more thing I need to say in regards to making cloth simulation and adding the wind and all stuff like that, is if you're making a flag that's going to be e.g. over here that's going to want to be less windy because it's in a closed-off space. We can also set that up for that. If I were to drag this out like so at a flag over here, maybe make it smaller, something to this amount. Like so. Alright, if you want to essentially make it less windy in this area, to make it more believable within its area, we are going to be able to do that. And the way we do it is essentially going to be true. If I were to look at it. Essentially going to be through laugh weights of parsers for weight, it should be, there you go. Cloth. Ben Wade. If I were to increase this to something like 100 and then hit play is going to be the opposite effect is going to just be all over the place and the habits actually too much in that regard. So maybe exaggerated a little bit too much. That might work a little bit better. And essentially, it will help us to exaggerate overall simulation. And if we were to go the other way, which I often do from one, I'd go to e.g. 0.3, something like that. At essentially lower down the overall physics of the cloth simulation only for this particular flag that's still being affected by the same wind simulation. But essentially it's just a bare amount of minimum in comparison to what you'd have. Normally. It's really useful for that in regards to controlling it overall setup. And so yeah, we've just using these controls were able to add some flags throughout the city. I'm going to start by adding couple at the very front. Over in this area, finger's going to look quite nice. Going to grab one of the flags, going to add it in this section over here behind a tree, maybe. I don't want it to be covered behind a tree too much. I might move the tree itself later. Yeah, we'll move the tree later. But now though, I will make use out of these flags to set it up nicely like this. It's all down to you in regards to where you want to place it. Like this sort of setup definitely helps in regards to adding some extra touch of an overall look. For this top flags, I'm going to use just smaller type that up. And these are more basic and comparisons that are top of that tower over here just to kinda make sure doesn't look like it's too bizarre. Often overall setup. So we want more simple flags in probably the tower of tavern owners or whatnot wouldn't be buying super expensive and fancy-looking flags anyways. But it just again, as a bit of an extra touch, who the overall city. So something like that. Perhaps it's going to look quite nice in hit simulate to see how it looks like. I'm going to click Simulate from here. You go. Now we can see the flags moving and it's nicely setup. That's like that. Alright, one more flag on this corner. We can pretty much move on. In regards to the whole section. I'm just going to add one more flag over here, make it a bit smaller. Overall, just like that. Add it in. And we're pretty much done. I'm also making sure that the rotation is going to be general position in the genital area. Otherwise, even with the wind. If e.g. if I were to set up like this, click Simulate like so, even with the wind itself is not going to look quite as nice visually. If I were to have a flag like this. And the motion of the wind is going that way. It's just not going to look quite right when all the blacks are weighing in one direction in this flag, which has a different type of shape. But yeah, we're just going to make sure that most of the direction of the flags are facing the right direction. And that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 100. Adding Fighting Ring to Castle: Hello, Welcome everyone to building, sending medieval worlds with Unreal Engine to Pi of modular kit best course. In the last lesson we left ourselves of wave, a nice setup for a foliage and overall flags and everything nice in regards to the appearance of the entire castle on the outside. But now we're going to go in a little bit closer to the overall setup and make sure that everything looks nice or from the inside a little bit more. So for that, we're going to start with this area over here. It looks a little bit too plain. Ideally, I wanted to add some better via cord and make it look like there is a fighting stage. So think we're going to come back to the castle and add some of that detail as an extra, essentially, we're going to go onto Content Browser. And actually for this particular piece, I'd like to ideally just go into landscape mode. So let's go ahead and do that. Or actually I want to go ahead and click Place. I'm going to click play with a selected viewport like this just to make sure I see how large my character is in regards to this area. So yeah, there's plenty of space to work with and to set it all up nicely. Let's go ahead and do that. We're going to essentially go on to the landscape. The landscape mode. We're going to go ahead and open ourselves up with a paint. And this time we should already know how to set ourselves up with some variants for dirt and whatnot. And we're going to make sure that we are using third. So let's go ahead and select it. And we will want to make use of a fall off that is essentially nonexistent. 01, something of that sort. You need to be quite alright then we're going to start essentially adding are up, adding it up to this entire area. We are going to want to make it square type of a look, something of this sort. So currently it's obviously not squared. I'm actually just going to make a general area like so, something of this sort. And then I'm going to go back onto the tiles. Like so. Make sure that tool strength is set to one. And I'm just going to, oh, that's going to remove this puddles over here, but I'm not quite worried about that Actually. I just want to make sure we set ourselves up with as a square overlooking type of a setup as we can for this what is area essentially something of that sort. I think that's going to be quite alright. There is a bit of a gap over here which I want to bill. And also we can't exactly work in regards to reposition itself. There is, of course, that the transition with the overall setup, because we're using landscape mode painting, it's not going to give us a completely perfect type of a setup in regards to where we want. So essentially we've got to work our way around it then e.g. now I'm going to raise it over here and you can see it just pops in like that. So yeah, we gotta make sure we work with what we have in regards to that and lie and nice that up ourselves, ourselves like this. So this is looking quite nice. We get a nice to transition to that because it will be affecting the entire landscape. But it's already looking pretty good. And now we're going to add some labs. I think they're called slabs. We're going to search for slabs and the entire section like so. We're going to get ourselves some nice labs to work with. I'm going to make sure we have some grid lock that to 50 in this case. I'm going to drag it in and going to drag the smaller one in as well. Went to see which one is needed at the moment. And I'm just going to start building it up essentially like this. Just by adding one to another, looking pretty good. I'm going to start just grabbing all of them, actually going to put them off to the side. Something like this, 90 degrees in pretty good. I'm not too worried about the area over here in the corner is going to make sure it looks quiet. Our K in regards to oral setup, something like this. Not going to spend too much time in regards to the overall area. I'm going to grab the smaller one and actually readjust the little bit. We just want to get an overall general type of a shape like so. And this is already looking pretty good. Now we can actually turn off the grid lock like so, and we can start building them up with a little bit more financed through a little bit more control. And I think I'm actually just going to drag all of this that other side because the middle, this inside area is a bit, how should I say it as a straight? We're meant to be next to the houses, but we can do it like so. And I'm actually just going to grab the whole thing like so. Move them downwards into the ground like so. And we're getting this result, which is already looking pretty good. We're going to grab all of these essentially right now. We're going to hold deed duplicated. Turn this around, click E, make sure that we are turning this around 180 degrees, like so. And we are going to reattach ourselves. If this setup, I think that's going to look quite alright. Yeah, it's actually quite perfect. Now we can click Play and see how the scale is in regards to this overall pit. And that's a pretty good fighting pit, as you can see over here. We're going to get some maybe benches. Like so on the side. Just like that. We can grab some tables as well, kind of like four spectators or something for commanders or something of the sort table. Like so. Wrap a couple of barrels, perhaps just filling in the space is essentially going to be quite alright. A couple of barrels perhaps I think I have I have a nice barrel preset over here. Going to put them in here, going to move them around like so. So it wouldn't look like a duplicate from the other. And now we can pretty much keep it. I don't need to work in regards to this entire area too much. We can add some bits and bobs and that's going to be down to personal preference. Honestly, I'm going to leave you guys to it. Now, going back to the overall layout and set up, we still have some areas to touch. So first things first, the doors or have none of those in here, I'm going to search for door. I should be able to find some of them. Stonehenge doors. That's exactly the type of one. So we're looking for and I'm just looking for a specific door actually going to actually click on one of them, going to drag it in here and going to go onto its folder. That's the ones that are we're looking for. Okay. Ideally for this particular wall, I'd like to have more rough plane type, going to drag it out like so, and going to grab a door for it as well, attach it to the side, make it partially maybe open just a little bit like so. And then attach both of them. And I'm actually just going to click Control G. So we can reuse this just like that. And putting up, up to the side Excel. And that's going to be quite alright as a nice hinge. And I think it looks quite nice actually. Let's go ahead and duplicate it off to some areas that needs some doors as well. Maybe we can about this area over here actually. That's good. Also need some door. And in regards to doors themselves, we also got to consider how how this structure, it is a setup for the building itself. E.g. middle of this area might be quite alright for a door, even though it's covering up the declaration, It's still going to look quite okay, like it's part of a setup as this is supporting the overall wall. So it's looking quite nice. I'd like a roof or something that was stored, but I don't think there's much of a need in regards to that. Now, as for the main doors, I'd need to e.g. add some doors over here. We could totally do that. I think in this particular case, I'll go ahead and add some wooden doors. I think it will look nicer for the castle. Edges of the wall's going to go ahead and select them both at this point, I don't think I don't think I'll add any of the open doors. I'm going to go ahead and keep them close like so. I'm going to just attach them, criticize like this. And on one end, we could add it to the other end as well. Like this, it'll make it look a little bit more believable in regards to the setup of this area As in which way people walking through. And essentially that's pretty much it in regards to how we need to set it up. We need to go for each and every piece individually, but all in all, it would look quite nicely. So for this area, e.g. we could set ourselves up with the circular stone door would look a bit nicer. Or the rounded off type of towers, mainly because I think it will look, it'll fit a bit better. What aesthetics, where doors with circular towers, I don't know how well they work in that regard. Let me just go ahead and add it up like so. Make sure you Bring it in quite a bit. And that should give us a nice setup, although the yellow tint is not going to be quite as visible anymore, I think it's still quite okay. We were to set it up like this. It would still look quite right. The way to go around this would be to click Shift G to select this frame and drag it out. In this way, we're able to put it inwards, while at the same time keeping that yellow tone from the side of the door. So now we can open it and it's going to be or should have been there to be honest, might need to do it a little bit more in that regard. Or we can also rotate the door a little bit as well, in that it's an issue, Diego that fixed an issue for us. So yeah, that's pretty much it in regards to that. In regards to the rounded towers, I'm going to now go ahead and quickly check of which ones need those doors setups. And I don't think I'm even going to worry about setting them all up. We don't need to make it look like each one of those areas has an entrance, e.g. in this clay in this case, we don't need this entire setup to be going to the other side over here because there is actually a hatch door over here. So it makes sense that you can enter from one end and you don't need to call enter our side of the tower. So just like that, we can set ourselves up with some nice type of doors which I think I've lost it. Actually let me just go ahead and grab these coupled like so I needed to group them up actually like that. Now I'm going to grab it and there we go. Alright. We'll just go ahead and set it up. Just like that. And we're going to spend one more or less than I recommend this, making sure that we're polishing up the houses and I think we're going to start working on chimneys. I'm going to talk about in regards to that in the next lesson. So yeah, thank you so much for watching and I'll see you in a bit. 101. Setting up Chimney and Slabs To Decorate 3D Huts: Hello and welcome back everyone to buildings standing medieval worlds with Unreal Engine five modular Git Bash course. In the last lesson, we let ourselves off with building and nice area over here that can be used for fighting, fighting pit or somebody who's sort. We also added a couple of doors in regards to their overall setup of our castle, which is looking pretty nice. And we can also make sure that we add now a couple of chimneys. And also not only that we have floor gates as well, so we're going to work in regards to setting them up as well. So in regards to Chimneys, I usually leave that out as one of the last items because mainly when I'm working with the overall building setup, you don't want a chimney to be just used as an orderly type of a pattern. You want to make use out of it in order to break up the roof tiles themselves. So what I mean by that is actually if I were to go real quick search for that in the asset section like this. I'm going to select them like so, and we're going to work with them. I'm actually just going to select one of them, going to go ahead and search for within the folder. So this is the one we're looking for. We're going to start building it up, using it. So long story short, we're going to start just adding it up to the roof tiles and just bringing them in like so. And it's simple enough that overall setup. But all in all, what we need to do now is instead of just having like this on each tile, like so we're going to break it up and the entire surface a little bit like so. So these two have a bit of a similarity that's totally okay in certain cases, e.g. an oversight, I might want to use this other type of roof and you can see how it has like a zigzag type of a form. I don't want to place it in the same type of error is just like this. Sort of wouldn't look, it wouldn't look quite right. That would look too formal, not formula to organize. And that would be a big no in regards to setting it up in, within aesthetics. So we're using essentially the chimneys to kinda break off the forums to get an overall shape, somewhat disorganized, yet organized form in regards to the overall rooftops. And yeah, we already have a nice triangle over here. We could set up a couple of chimneys perhaps on the other side as well. I'm going to think I'm going to get a smaller chimney over here and set it up on this one. So I'm going to Bring it in quite a bit. Actually, it's not going to be quite as visible, so I'm going to bring it out like so. Now it looks a little bit weird in regards to that. We're going to go take it quieted down quite a notch down. So it's not going to be visible from the main shot if word click one. But all in all, we are going to add some smoke. Later on. The smoke is going to be visible and it's going to be visible from other angles as well. So that's something that you need to consider as well. Now, I want to add more chimneys over here, but all in all I think it's already clustered up in this area. I'm going to move on to this section. This section could have a small type of a chimney will not spoil. The biggest we have at the moment. And this area over here, we could set up with a chimney. I do like this chimney actually quite a bit more mainly because of the form and whatnot. We could also rotate this around as well. It doesn't look like it has much of a variation in regards to the texture itself, but it does bring out the different, slightly different form which when looking from certain angles, is going to give us a different effects, e.g. this one over here, I'm just going to rotate this around. And you can see that it has a slightly different formation in regards to overall setup for the brakes. So that's going to help us out and break off that and duplicate a look from them. And yeah, going back to this and add some chimneys over here. Like so one chimney over here maybe I'll add a larger one over here because it's quite a chunky house. Like so wondering if I should add a chimney over here, which I perhaps, well, I'm going to make sure I align it to the roof edge, bring it in. This time I'd want to make it more visible from back in to check how it looks. Yeah, I need to definitely bring it up words, it's not actually quite visible anyway, so I'm going to go ahead and just make sure that it looks okay from other side for angle, Something like that, I think is going to look quite alright. Yeah, I think we're pretty much done in regards to the chimney. It's not much of a setup, but we definitely add a bit of an extra. Maybe there's a need for a chimney over here on this set and this house as well. But I quite like this overall flow for the roof. It already has a declaration over here in the middle. I don't want to take off that setup. So I think I'm going to leave it as is. And yeah, I've definitely want a bit of a chimney over here on the side, something like that. I almost forgot about this more on the side. And that's going to look much nicer. Bring it in even actually like so. Something like this. It is going to be quite alright. Okay. So yeah, moving down with in regards to the detail, we also have those slabs which we haven't talked much about in regards to them. But I personally like to make use out of them for whenever whenever I have certain house that area that needs to be broken off a little bit. So e.g. this area over here, we can make use out of the tiles to kinda get ourselves a nice That type of setup. And I think I'm going to delete that first. I'm going to turn on the grid lock, going to set it to ten. And I think I'm just going to work with that. And just by doing that, we can get ourselves a nice corner over here. I'm going to rotate it 90 degrees. But an app like so. And something like that. Real quick, real simple, but we're able to blend in the tile is just a little bit more in regards to the style of our setup. So you can see how it blends in nicely now with the labs that are on the ground. And I think the main one that I like to do, ideally, it would be this street over here. We're going to go ahead and just drag them into this area like so. I'm going to make sure I positioned I'm properly and just drag them couple out like so over here as well. And maybe this one needs a bit of a smaller ones. It doesn't seem to be the case. Go ahead and continue on and just grab a couple of them over here. Maybe that looks quite nice. Worried in regards to the slab overlapping might just remove it like so. It might be quite okay. I'm going to be quite as visible and I think they're actually floating. I'm going to take them down a notch like so. I'm going to put them inside actually, the main terrain itself just a little bit. I think that's going to be quite okay. Yeah, just keep on doing that and make sure that we have some variation. Essentially, we could go all the way around and add some of those styles we going around it and whatnot. The purpose of them is not to have nice type of paint consistency in regards to that is just mainly to help us break apart the overall shape in regards to the houses between the houses and the terrain itself. And that seems to help us do that. In this case, in this particular case where it has stolen, we might not even want them here, but I think I will still make use out of them just to try it out, just to see what I can do with them. Going to go ahead and rotate them around, see if I'm able to push them off to the side and if it looks good or not. So it's looking a bit bizarre. Maybe it can make them a little bit thicker actually by just scaling them up. And I think in this particular side, it might even look quite nice. But we're having an issue in regards to this attachment over here. So I might even just delete this part like so. And just have a couple of tiles just like that for a bit of a nicer overtones, I'm scaling it stretch. I'm gonna models well in regards to where needed. And I think it'll make it look quite fitting. The texture itself makes it look like it's part of it quite nicely. So all in all, I think it's going to be quite alright. Yeah, I'm just making sure it looks like we're sticking them out towards like so. And just by seeing this, you can see how much nicer it is in regards to the world setup and slit looking already so much nicer to that. I'm going to grab couple of these like so real quick. All of them great to hold Alt. Drag them out all the way through back, like so somewhere in here perhaps as needed as well. That's the case. In to delete couple of them. Just going to probably going to make a duplicate out of this and replicate it with the smaller ones. So we're just going to replace it like so and I think there you go. That's perfect. Yeah, that's all there is to it. Maybe we want to add couple of tiles over here. Actually even I'm not too sure about that. I will do I will do that though, just because I think it'll look nicer overall. Even though it's not willing to. I don t think it will fit quite as well. Now, does it actually does fit quite nicely. There we go. Alright, so we got ourselves couple of tiles. We might need to do it some in regards to this marketplace over here, but it's so full pack that I don't even know where to add it. Maybe over in this section that might help us to break up the form shape. I'm not even sure if it's going to be visible, but all in all, going to help us just to decorate the house a little bit. Like so. Now I'm actually going to see it from a distance if it looks fitting and I think it looks quite alright. We might add some, yeah, we could add over here, e.g. we could move them forward in regards to the salts and add them somewhat the back. But I'm wondering that it might not be worth it because there's so much going on already in this place that I think we're just going to leave it as it. So yeah, that's pretty much it in regards to this lesson. Thank you so much for watching and I'll see you in a bit. 102. Setting up Day Night Cycle Using BP: Hello, Welcome back everyone to building, sending medieval worlds with Unreal Engine modular kid bash course. In our last lesson, we left ourselves off with some extra detail by adding some chimneys and adding some slaps to the side. But now we're going to continue on moving with in regards to the lighting itself. We barely touched this. And although we can click and hold Control and L to move or lights around, it's not exactly a nice kind of a Cycle, day-night cycle or keeping on the sort if you wanted to set it up as a nighttime, it's not going to give us much of a nice results. So we gotta make sure we set that up nicely first. And for us to do that, instead of just doing it from scratch, we're going to make use of a marketplace just like we did with the trace. We're going to go ahead and go on to Epic Games launcher. And there is a real nice type of a day-night cycle within the marketplace. So let me just go ahead and go into it real quick. We were to search for something called goods sky. Like so, sorry, good sky. Doesn't seem to pop up a whole I missed out the space, so give me a second. There we go. Good sky is going to give us this. And essentially this allows us to make use out of a nice night cycle, day-night cycle. That's a basic, very basic type of a setup for sort of atmospheric look. And it's going to look really nice in regards to our stylists projects. So let's go ahead and add this to our project. We're going to download it first and add it to the project. And after it's done, sorting everything out, we can then go back onto our project and we've been as content, we should have something called good sky. So there's good sky is essentially what we're going to be using for our setup. We're going to grab this good sky. And first things first, I reckon we can just delete the Cloud system and what not. We're going to just select on the sky that we always keep on clicking and clicking. We're going to essentially delete it like so. And we're going to delete Volumetric Clouds as well. So we're also going to, I'm wondering if she deleted this guy atmosphere in this particular case. We're actually just going to leave this guy atmosphere for now. I'm going to come back to it later if needed. And yeah, we're going to go ahead and click and drop and then drag it interval, the blue's a blueprint for good sky. And this is what we're going to get. So yeah, I'm going to click G, going to see essentially this type of a setup, which as you can see it says sunrise in the east. And it's going to be all in all a nice type of setup. If we were to click on this blueprint, on the one on the world itself. So on this icon over here, we're going to essentially have a good sky settings, so there's a bunch of options to play around and whatnot. But essentially we're going to set ourselves up with a day-night cycle, which is a bit harder for us to do because I'm not sure why the sun, stars plus moon never seem to have worked for me in regards to the day-night cycle. The day-night cycle I'm talking about is in order to actually enable it. There's going to be something called Sky beta. And there is within it a day GO enabled day-night cycle. We will essentially want to enable this. And it says how long you want the date to be, if it's set to one, I think it's going to be 1 min. If it's set to 60 is going to be 1 h. Essentially. If I were to set it to 0.1 and click Play, you'll see it'll end up being quite a fast day, night cycle. The sun goes up, the sun goes down, and it should be seeing the sun coming up. Wondering why I'm not seeing that. And I'm just trying to figure out why I'm not seeing the sun itself. It might be because of the brightness of the directional light. You're going to try to figure out, out real quick, oh, we are seeing it. Here we go. Alright, so yeah, it's actually coming up from the other end and going down over here. I want the opposite of that. Actually, I prefer, I prefer the opposite of that for sure. I'm going to rotate this 180 degrees then. And now if we hit Play, we can see the rotation of the Sun. This is important to set ourselves up so we can have a nice moon as well. When to try the moon real quick. In regards to this, again, I'm not quite sure why, but in version of Unreal Engine, it never seems to work in this regard. So it just never seems to be the moon over like so. But lucky for us, we do actually have ourselves a nice setup in regards to the moon itself. And we're going to go over that actually real quick. Yeah, for us to do that. We're going to go into the sky itself, we're going to go into the resource. And it should be something called textures like so. Within a texture there should be something called moon. If you look at the moon, the moon itself is not quite there in regards to the whole area, in regards to the whole setup, looks quite a bit green and that's because different channels represented different that up. So if I were to turn everything off, we can turn on blue, we can see nothing is there. We can turn on green is just the green circle or if I were to get closer, yeah. Mainly it's a green circle, like so. And then red is going to be the main texture essentially. So we're going to make use out of it. You'll get ourselves a nice setup or are essentially moon. For us to do that. We're going to go ahead and actually create ourselves a new material. We are actually running out of time. So I think we're going to continue on with this in the next lesson and just do it from scratch. So yeah, that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 103. Setting up the Moon in UE5: Hello, Welcome back everyone to building, studying medieval world with Unreal Engine pipe module kid bash course. In the last lesson, we left ourselves off with setting up a nice day night cycle, which we can now play and see how it looks like. And it's looking quite nice and all. But we need to start off getting that moon in. First. Of course, it's a little bit too fast in the whole area. And actually we're going to start by getting the moon and then we're going to adjust the night sky in regards to the stars themselves after we set ourselves the moon. So yeah, for us to do that, we're going to go onto Content Browser. We're going to access the resource, pack, the dash, the mesh, and textures, and we can just copy this section, bring it out yourself. So I think we're going to do just that. We're going to hit Control C to bring this texture. And then we're going to go on to our own effects folder over here. We can just paste it in so it could easier work with this. Now we're going to right-click. We're going to create ourselves a new material. We're going to call this moon, a moon. M underscore MM, molar mass of material. We're going to then double-click on this, open ourselves up with unsterile graph. And then I'm just going to simply drag and drop the material texture like so into this area over here. And then we're going to select this material graph itself. We're going to make sure that it's not as opaque, but sorry, it's not going to be this shading model. That's the one. We're going to make sure that this is set to unlit so it won't give us any type of shadows on the moon itself or anything of the sort, which is going to have a default nice texture, like so. And I'm also going to double-click on the texture itself, essentially just selecting texture sample double-click on this area here. And then I'm going to remind myself which one is which so rich analysts, the texture and green channel is essentially going to be our alpha mask. That's exactly what we want to set up. Let's go ahead and do that. We are going to click on this. We're going to make sure that the blend mode is from opaque set to either mask or translucent. And I'm going to check the mask real quick. I'm going to zoom in to recite and you can see how it has a slight blur on the edges. It's not actually Sharp or anything of the sort. I think it's actually going to help us out in regards to that, in regards to getting the blend mode to be not just a quick sharp mass that just ends on the side. So for that reason we're going to make use out of translucent. Because otherwise if were to have said that to mask, it wouldn't allow us to have a nice transitional. It was either zero or one in regards to the opacity itself, in regards to the opacity mask. So yeah, that's exactly why we're setting it up like this. So for the moon color, we're going to firstly going to hold em, going to tap on the screen. Then we're going to hold S and we're going to get ourselves a parameter. This is going to be Moon strength, like so. We're going to set this default value to one. We're going to attach this to a, attach this to red channel like so we're going to get this result. And as for the color itself though, we're going to make sure that we get a color as well. So we're going to hold em, we're going to tap on the screen. We're going to get herself a multiplier of color. We're going to hold three. We're going to tap on a screen to get a vector free. We're going to right-click changes the parameters so we can control it and call this moon hello, like so. Attached a straight up to the multiply. And we're going to change this default to be essentially white, pure white. So go into effect this. By default. Everything is alright. We're going to attach this to emissive color. As for opacity, we're simply going to drag and drop the green channel link. So that's going to give us this result. And it might be easier if we just look at it on the plane. There we go. We're just going to change this to a plane just like that. And we can see the type of results that we're getting. And this is looking pretty nice actually. Well, that's pretty much it. In regards to setting ourselves up with a moon, we're going to have a little bit more control in regards to it. I'm going to hit, Yes. You apply this. And now we're going to grab ourselves a simple shapes, simple plane. We're going to raise it up. We're going to rotate this 90 degrees like so. Going to extend this by a little bit. That's a moment for a little bit. We're going to get much bigger sky that up later in a bit. We're going to then right-click on this moon mass of material create material instance and we can just call it, we can just delete them to be Moon instance. Now we can just drag this onto our sheet. You're going to get this sort of result. I'm going to just make sure more than 90 degrees like so it doesn't exactly matter for this particular case. Then this plane, I'm going to go ahead and select it, going to just click F2 and call this one moon. And I totally forgot about this. We need to set up this sky sky setup. If I were to just find where it is over on our area, we can just click over here and it's going to give us a selection. We need to make sure that this is essentially going to be placed within the right folder. So I'd like to get this underneath the lighting folder. And the easiest way to do that is by right-clicking on the setup. And we can just move if we were to find it, move to hago and lighting folder. So hover over, moved to and just go on to lighting folder. And that will drop this entire section on to lighting. I'm actually just going to do the same thing for the moon as well. Move this due to lighting. And just like that, at the very top, if I was to find a lighting over here is going to be this one over here. I'm actually going to rename lighting folder as well to one lighting like so. So we'd have essentially highlighting a folded at the top because it's alphabetical order. So, yeah, now going back to the moon, we got ourselves couple of settings to play around with. We've got Bootstrap, we've got moon color, and we can just change up these. We can get more of a yellowy moving and we can get it like a rare type of a moon, blue moon or things like that. It'll give us more control over all. And yeah, First things first, I want to make sure that we have a nice setup in regards to not quite like how this exposure is changing in regards to the sky. So, so strongly, we're going to might, we might need to adjust that in a bit. But now though, Let's go ahead and set ourselves up with a moon. And the way we're going to set the moon up is essentially going to be first just positioned in the moon at the top, at the highest section of our location. I'm also going to crease the camera with the speed of something like 87, something like so. I'm just going to scale this up by using the transformations themselves. Going to lock the transformations of scaling and just set it up to 1,000, I think should be quite alright and not seeing the moon, I'm wondering where it is. Maybe it's not enough in regards to the scale going to add couple of extra zeros. See what's up with that. And there we go. It's actually outside of boundaries for our entire setup. That's okay though, because we can move it backwards and see how it looks like. I'm just going to move it back like so and we should start actually seeing it. Not sure why we're not seeing it. There he go. Similarly, we're looking for That's exactly the type we're looking for. I'm going to set this back to your files and see what's up with that. And maybe add an extra zero. There we go. That's the type of moon were looking for. Real depends on personal preference, honestly, in this regard, I'm not seeing the moon again. There you go. It's essentially because the blueprint creates a sort of a box around it, around this entire area. And we need to essentially readjust the setup to be it is similar scale of this. And I'm going to change it to maybe 3,000 is going to be just right though. You go, That's a nice moon. Maybe it's a little bit still too big. You get uncertain. It's probably bigger than sign. It's going to be too big. If I wasn't. There you go. Alright, so we're going to set it up close to the walls, but not quite there, so to have enough space to rotate around. And now we also got to consider the shadow itself, so it wouldn't be giving us any type of shadows at all. We're going to select the moon itself. We're going to search for shadow, like so. And we're going to turn off dynamic, we're going to turn off static shadow. We're actually able to just disable the shadows altogether, which doesn't seem contact shadow. This dynamic static shadow. We're just able, Oh, there you go. That's the one we're looking for. Sorry about that. We're going to It doesn't matter actually at this point, we're going to disable the cast shadow will completely, and that's going to disable everything in this regard. So I wasn't sure why I wasn't able to find it. Yeah, that's pretty much it in regards to setting up the moon. And now we just need to make sure it rotates together with the sun itself. So now if we were to look at it, like play, to see how it looks and the moon, It's going to be or should be there. I'm not sure why it's not there. What is going on right now and just trying to figure out going to bring the moon closer a little bit. Maybe it's just not bright enough. Going to, Yeah, There you go to implement, is there the moon is there for us. Alright, That's a very good. I'm going to go ahead and actually make the moon smaller. Actually. It's a little bit too daunting for me. I think it's going to be just the right shape. There you go. Nice moon, good mood. Are they set up? Alright, so first things first, what we need to do is get ourselves a nice setup for the moon itself in regards to where we want it to be the highest point of our area. In regards to the castle itself. I'm going to set it up over in this kind of a section like so. So it would go from here around to here, and it will essentially follow the rotation of the sun itself. So keep that in mind. Once we got the moon setup, we're going to now essentially dropped the light, make it go all the way to the top. Or this should be refreshed with the overall mean. I'm going to drop it all the way to the top. So while holding Control L and making sure that the rash directional, directional light is facing downwards like so. So now only the skylight from the blueprint is affecting this overall setup. But now we're going to go back onto the blueprint itself. We're going to scroll down and there is something within this guy better called Refresh sky shader. By clicking on this, we should get ourselves night sky, basically because we're not sorry about that. We're not set ourselves up properly in regards to the skylight. We're going to need to essentially direct the overall skylight in regards to our direction skylight With indirection, skylight within this box over here, we're going to just search for direction light would be over here. And then when we hit Play, it's going to be this direction. Light is going to be starting to be affected by the position of the rotation that's within a blueprint itself. So essentially you were to hit play though. We're going to see the setup of a sudden going up and down. So all is good, all is well, we're still going to need an extra listed Point app, so we're going to continue on with this in the next lesson. Thank you so much for watching and I'll see you in a bit. 104. Adding Moon Cycles: Hello and welcome back everyone to building standing medieval worlds with Unreal Engine five modular can batch course. In the last lesson, we ended up setting ourselves up with a moon, which we're still going to make use arrow. And we got ourselves attached directional light onto our sky. Like so, which should based on Refresh, I'm actually just going to rotate. So the sun should be from this area over here. I'm going to refresh now the shader. And there we go. We got, we do have a suddenly it was just hard to find it and it is within the sky. Forward to lower this, I should be able to see it over here. So even if the sun is over in this direction when we hit play, it doesn't matter which direction it's in, because the direction of the sun is going to get picked up by the overall setting. And so to set up the light, we're going to firstly readjust a little bit, something like this, in this angle. Like so we should get, yeah, we do have some control over the sunlight, but essentially it's really finicky and I wouldn't recommend you improving it, to be honest. And afterwards, we're just going to rotate this than manually downwards. We're just going to grab or to find the one that I want. There you go. That's the one that we want. And once we have the moon to where we want it to be in the round, we could say this area over here. We now need to consider in regards to the sun itself, how it's going to behave for our blueprint of a good sky. And yeah, let's go ahead and check that out real quick. I'm going to check my intensity of the light, of the sunlight. It seems like the exposure is going off quite a bit and getting irritated in regards to when looking up everything dog is down. And that's because the exposure of the sun itself is not enough to support the overall light. So yeah, just checking the light itself. It seems like it's way too low. I'm going to try something like five e.g. and now it should give us a better result. I'm not sure why. I must have mistakenly changed up the intensity for that at some point. But yeah, just changing that up. You can see there is a way less of a difference in regards to their setup. And the shadow is the only thing that we need to consider and be concerned when changing up the directional light is the shadows itself. In regards that when it's a little bit too much in regards to the overall son, It's going to bleach out, wash out some of that shadow election essentially. So I'm going to keep it as intensity of 58, something of that sort. That's going to give us a nice type of sunlight. Now, coming back to this skylight, the sunlight itself, I'm going to bring it out. Words like so, I'm going to click G and see what it looks like is essentially looks like this sort of an icon which will show us how it behaves and the thing that we need to consider the most when having this is essentially how it is connected to the goods sky itself. I'm going to scroll all the way down just to see, just to make sure that we have it connected. And that's going to be over here. So after we have it connected to the rational actor within the sky better tab itself. We can refresh it after we changed up the essentially the overall scene. And sometimes it doesn't exactly work in a way that I wanted to be. I'm not sure why if it's because of the update or not. But in certain cases, as rotating, this will not affect how it rotates when we hit play. I'm going to simulate this real quick. I'm going to see how it looks like. Now. We can see that it rotates from this area over here, goes up from here, and goes all the way around, like so. So if we look at this overall setup for the grid by clicking E, we can see that essentially because this is rotate this way, we're going to change up the gizmo from the world Gizmo to local gizmo. And we can see that it actually makes use of the green type of rotation. This rotation is what controls how it rotates around in regards to the axis itself. It constantly being added up to the overall axis, like so. And it just goes all the way around like that. We need to be concerned in regards to that and how it behaves as essentially when we adjust the angle, we are going to have this kind of emotion. So yeah, we're going to readjust the overall setup for the sun a little bit. We're going to go into the rotation for the world because we want to essentially rotate it on its own axis, and not this blue arrow over here because it will disorientate the whole setup. So what we're going to do is we're going to go back onto the world setting. Now we can see as a nice flat type of rotation which we can rotate. And it's going to give us a nice result. I'm going to rotate it this way, like so, which should give us this arrow pointing downwards like this. We can now go ahead and click on a local axis and try it out and see that by adding angles. So you see 80, it says 90, 95 and so forth. If we can just essentially drag it up like so. And that means that the sun will start setting in that area over here. Real quick. I'm just going to go onto good sky itself, going to go down, refresh the sky shader just in case. Now it should work perfectly fine going to start simulating this area like so. Going to see how it looks like just as a quick check, again, sun is looking pretty nice. I'm going to maybe rotated a little bit extra. In regards to that, I'm going to select the Sun itself and go back onto the world. Gizmo. Little bit harder to control. So I'm just scrolling down while I'm doing this, making sure it's not too fast in regards to the setup. Going to slightly move it to the side, perhaps something like this. And then I'm going to click Simulate to see where the Sun looks like it's coming from. Maybe I wanted to from the other side. Yeah. I think I want it from the right-hand side. That's exactly what I'm going to do. Like to see it how it looks like now and now. It looks much better in that regard. Okay, so now we know that it goes around in the green axis over here and we can now attach ourselves a moon. So we have it set up all the way back like so. And essentially, if we were to just attach it right off the bat, it's not going to give us the right result. We can go ahead and try it. We can attach a directional, directional light just like that by dragging it into it. And it's going to work straight off the bat. Then just make sure that it's at, again, mobility to movable over here for the moon. Otherwise it's not going to let you attach it. And let's see how it looks like. We're going to click Simulate and see how it looks like. But because the sun is at the top, I think is the moon itself is just going to rotate it only when it comes out for daytime, which is of course not what we want. We want the opposite of that. What we're going to do is essentially we're going to do, to go onto direction light. We're going to rotate this around, this green rotation. And it has to be also local, local axis. We're going to rotate this all the way around until the nighttime, until it's pitch black, like so. Then we're going to go on their goods guy, refresh the sky shader so we can see that it is a nighttime effect. We're going to now go back onto the moon itself. We're going to position that moon to the way we wanted it to be. So just like that, something in this area over here, something like that. I think that's going to be quite nice actually. Since we're done. We can now go ahead and click Play. We can see how it looks like. And it should already they go nighttime, moon. All good. Alright, so that's pretty good. We got ourselves a nice setup or the moon itself. We are now going to go ahead and just hit stop over here. And first things first, we're going to set ourselves up with the sky, proper sky at night time. And the stars are a little bit too big. The moon itself and needs to be readjusted. And it needs to have a certain direction light, which we're going to set ourselves up with in the next lesson. So yeah, that's going to be it from this. Thank you so much for watching and I'll see you in a bit. 105. Setting up Night Light: Hello, Welcome back everyone to buildings standing medieval worlds with Unreal Engine five modular kit bash course. In the last lesson, we left ourselves off with a moon over the nighttime and now we're going to continue on working with this. We're going to make sure that first of all, it's positioned nicely. And once we're done with that, we're going to go into material instance first, we're going to play around with the strength essentially. Have talked much about the strength itself. What it does is going to help us make it glow a little bit more or less, even depending on what type of mood we want essentially. And I think I'm going to increase it to a value of one point to somebody like that just to get a bit of an extra glow, it's not going to give us a glow for the scene itself, which we're going to need to fix it. But for now though, let's just make sure it looks nice and allright than regards to the overall setup. So this is looking quite okay. We can also make it a bit more orange Etsy, like so. Really nice red moon and we can get out of that. But I think we're going to keep it as a bit of a yellow tint like something that's going to have a little look, look much nicer in regards to the scene. Now, as for this scene itself, for this guy, it's, the stars are a little bit off. We have a lot of control actually in good sky. In regards to the setup of the sky atmosphere itself, it's going to look quite nice in regards to that. So if we were to go to the sky effect, there is some stars. And essentially we can just increase the tile for this and get ourselves much more intense type of a looking starry night like so or we can make them the opposite and make them super big, which I don t think is going to look at that. Well, we can also probably increase it by, we can also increase it by adding extra value is just like that. And star E, star Starry Night is looking quite nice already. I think I'm going to leave it to, I think there's going to be more than enough. And there is star brightness as well, which we can also control. I think we're going to actually lower this down by quite a bit to 0.5. That's going to give us a nice sparkly type of a setup in regards to the overall height. And now to set ourselves up with a nice light, nice type of sunlight. Not a sunlight, sorry, the moonlight. We're going to go ahead and create a sells. A new direction lies so quickly add it to the project late. So we're going to make sure that we add a directional light just like that. And right away we're going to right-click on it. We're going to move it into lighting folder, like so. But I'm going to go all the way to the top and straightaway. We're going to essentially make sure that the position of this light is in the same exact location as the moon, which is easy enough to do. We're going to select the moon itself. We're going to go all the way to the top right. Click on the location, select the location by copying it. We're onto direction light right now and right-click on this, base that off. And so we're going to get it in the same position. And sometimes there are cases where we are going to get this sort of a message where it says duration lighting is not set up properly. Essentially, we're going to go ahead and need to finish that up. And essentially what we need to do is we need to go onto directional light, the first one, the original one. We need to make sure that the priority set to be a bit higher than the one that we created. We're going to search for priority, like so. And we shouldn't get ourselves forward chaining priority, which if we were to switch it up to a higher value, is going to give us essentially better results. So let's go ahead and increase this to one. And this will go ahead and make use out of it to be the main light. Then going back to this directional light to which is our moonlight, we'll first of all have to make sure that it's the overall location is set up nicely, properly in regards to the rotation, we're going to essentially go into its rotation values, which is going to be over here. So rotation will just want to essentially rotate it to the point where we'll get a nice type of shadow coming from the moon light itself. So let's go ahead and do that real quick. I think it's this one over here, which doesn't seem to be the case. I think it's actually going to be to rotate a reset it. Perhaps. There you go. That's the one we're looking for. And we wanted to rotate it to something like this. Essentially making this moon gave us a nice type of a shadow. It's making sure it's set up properly in regards to that. So mainly looking at this wall over here and the shadows casting and the moon itself. That's going to give us a nice estimate. And there we go. I'm going to give us, There you go, right away and write shadow to be facing that exact location. Now once we're done with that, we're essentially going to firstly change its color. So let's go ahead and make it blue, give it a blue tint. And right away we can see going to give us a real nice type of look. We also would probably want to decrease the intensity. The intensity that we want to use is essentially going to be way low is less than the original one and it's going to be the moonlight would by default have a really, really low type of a setting. But we don't want it to. Make it too low in that regard, because otherwise it won't look quite as good in regards to our visual. So resetting it to freeze quiet, okay, I think then we can just play around with the value, make it a little bit more like this. And that's type of a look we're looking for out of our night scene. It's going to give us a real nice type of result. I think though it's a little bit too blue. So I'm going to take down the saturation maybe a little bit or maybe increasing. The essentially, the colder the night he wanted to be, the more of a blue tint you want to get out of it. So if I set it up with this and with within a nighttime, within a snowy area, that would be perfect actually, but I think something like this will be quite alright. This value is quite alright. Let's go ahead and click. Okay, and now we need to essentially attach this to the moon itself. And if we were to hit play, after attaching the directional light to the moon, we're going to get this result, which is looking really nice. Actually, the one downside, as you can see over here, when it goes to the DateTime, is that the sun, the nighttime, is actually giving us some really bizarre type of glow, which the easiest way to fix it would be to just grab a shape, grab a cube. I'm going to put it here, going to rename this one to platform and right-click on it. If I were to find it, I'm not seeing right now, so I'm just going to search for IT platform. So going to right-click, going to move this onto. If I were to look for it, it doesn't seem to let me move it onto the being. I think it's because I'm searching for it. I'm just going to take off the search and I'm still going to have with that selection going to right-click, going to go ahead and add it to lighting like so. And now essentially we need to take off the scale with the platform selected. We're going to take off the scale ratio log essentially. Then we're going to start increasing it on x and y axis. We're going to set these up too crazy. High values, something like this will do the trick. Something like this, I think will be quite okay. And I'm also going to increase those that are valid just in case. So to get a larger block, and maybe I need to increase it by bit higher. So it would cover essentially the entire range just like that. Then I'm going to lower this down into the ground all the way to the ground like so. And essentially now when we're moving, we're not going to have this kind of glow coming out from underneath the ground from the light source. So if we have a look at it, we're going to have daytime proper. Nighttime proper. There's no extra glow coming out of the ground, so yeah, that's pretty much it. In regards to the day, night cycle, we can now go back onto good sky. We can now change the, essentially the length of our day-night cycle. I'd say. How long is the day-night? We can keep it as one, something of that sort. I think 1 min is enough, or a nice type of a setting like so. And I'll dub right now. But once we're done with the settings for the day-night cycle, I'd go back onto the sand main sun itself and then I start switching up how high the sun is. I'm going to make sure that we are within a local gizmo going to click E. And I'm going to just bring this back up. And I think we need to, we need to go ahead and just use negative value like so. And well, there you go. Going back to essentially nice default type of a lighting just like that. So it will start always within this. And we can also see how it looks like. And yeah, there's going to be it pretty much hit in regards to that. We're still going to work on an 18 a little bit in regards to the lighting setup. But we're going to leave that for the next lesson. So that's going to be it in regards to that. Thank you so much for watching and I'll see you in a bit. 106. Window Light Sources in UE5: Hello and welcome back everyone to building stunning medieval worlds with Unreal Engine phi modular kit bash scores. In the last lesson, we left ourselves up with a nice night cycle that has proper direction light setup. And now we're going to continue on working with the nighttime. Actually, we're going to add some nice lights to make sure that we essentially make it look much nicer within the castle walls. For that, what I tend to usually do is essentially just take off the direction light itself to get pitch black type of a source like so. And it can work quite well, usually when setting it up, especially for working between lit and unlit modes. And I'm just wondering if that's the best choice for this particular case because we need to have a bit of an extra type of a light source. I can see that from here clearly, usually it gets a little nub by atmospheric light quite a bit. But in this particular case, I think it's best if we were to go back onto directional light, turn that on, and set this to be quite a low value, something like 0.3. So this is quite okay. Actually, this is going to be quite, quite alright because now we're going to make sure that we add some extra lights into our windows and we can see that they're glowing up. It's because the way the lumen is set up is based on the screen space. We're going to get ourselves lit up with the overall end atmospheric light coming from the mission and messiness of the windows themselves. But for the moment we turned away from this area, e.g. over here, which should be working. I'm not sure if it's a good example in this area. But essentially, the moment we turned around in regards to the lights themselves, they actually somewhat disappear in regards to glow itself. So the way to fix it, the easiest way to fix it in regards to that, is going to be adding some light sources. And the way we're going to do it is actually going to be super simple. We can create ourselves a new line sources by simply holding L and tapping on the window like so. And that way we create ourselves new point lights. So holding L and tapping on an object essentially creates a new light source. And I'm just going to do just that essentially create new light sources, route each and every window. Well, not for each and every window. I'd say proof the main windows that we want the light source to be in, because we're going to get ourselves some real nice type of setup are of the light coming from the windows anyways. But even so, we do want some of those windows to be lighting up our streets essentially a little bit more. So that's exactly what we're doing right now. We're adding those up and we don't need to worry about some of them getting and giving us errors because they're going to be too close. We're going to be fixing them all at once. Essentially, we're not even worried about the colors themselves. We are just making sure that we have enough light coming out of these areas, maybe some light from here as well. I'm going to click W2, just move this light manually afterwards, like so, I think there's going to be quiet okay. Something like this. Perhaps it's going to be quite alright. I'm not sure though. I don't quite like this in a door. Let's go ahead and move on. Maybe a light from here as well. Maybe a light from here. And just play around with the values from the lights, just making sure that when I'm adding them, they're going to add that extra touch to the overall setup within those specific areas. And that's exactly what we want in regards to that. E.g. this window over here, I don't think it's going to add much, so I'm not even adding light. But for this slide, for this window over here, it might give us a nice step of setup. This one over here, it's going to be constantly covered up with just the background type of Stoll. So I'm actually just going to add an extra light just in case to get those nice shadows over here. Once we're done with that, essentially, we can now move on. I'm going to add couple over here as well. And yeah, by playing around with them, we can get ourselves this type of look of our entire setup. I can even just from this distance do the same as well. Alt L tap on the windows just like that. And maybe couple of over here in the corner, like so I think that's going to be quite alright. We don't need to add too much of them, but we can essentially add as much as we want. And once we're done with them, with them, we can finally go ahead and select all of these lights like so or Cyrus. We're going to right-click and we're going to move into new folder. Actually we're going to create a new folder and we can call this lights like so. I think that's going to be quite alright. And with that done, we can now go ahead and right-click on the folder. We can go ahead and click the leg, everything from moving the folder, all descendants like so. We have all the options on the bottom right-hand corner for them. First things first, we're going to change up the attenuation radius. We're going to change that up to something like 200, maybe 300, just playing around with the values. Something as little as possible to get the best results as we can essentially are on the slides. We're also going to make sure that the source radius is turned up quite a bit because otherwise it's going to give us some really bizarre harsh shadows in some areas where they're not properly aligned essentially. So. Offset that we're going to increase this to something like 50 perhaps or even 100, something like that. I think it's going to be quiet. Okay. We have as this sort of a result, I think that's going to be quite okay. And finally, we're going to switch up the color lights. So that's going to give us a nice yellow tint like so. We also have intensity for it. By default this is, I think is a little too much. So something down to a value of free or maybe to even one. I'll keep it at 22.5, I think is the value. We also can look at it from a distance like so. And you can see how they start popping in and out like this. The main reason for that is because it tries to save out. In regards to the performance. There is a huge performance issue when we're using so many light sources. So in the best way to solve that is actually to firstly take off The shadows themselves. And that will give us a nice type of an overview. We're going to search for shadow, like so we're going to take off cast shadows. We're going to get this result which if we were to get super close, will notice there's going to be a huge issue in regards to that. Well, not too much of a huge issue. It just helps us to lighten up the area around it with light source, with playing around with the light source is going to help us out. So light source, the one that we used previously set to 100. If it looks a bit odd, just make sure to increase that and it should give us a nice kind of result. Then in regards to the distance itself, we're going to essentially get ourselves nicer type of a setup. So it's still disappearing. But now because the performance has been increased in regards to that, we're going to go ahead and fix up the overall calling itself. We need to go on to edit. We need to go onto project and find ourselves somebody called rendering within the tab. There you go. That's going to be it rendering. So that's going to be actually within an engine settings rendering. There you go. Alright, now, once we go into it, there is a section for lights. Let's go ahead and find that as well. I'm going to scroll all the way down until we find cooling. And essentially this is what we need to change. You need to make sure that minimum screen radius is set to a bit of a higher value. And if we start placing ourselves in a camera that starts pumping out like this, we can add, we can add an extra zero. And that will essentially fix the overall issue. Never recommend you to never use a zero for a value because it will not break on in regards to the engine, it'll increase the performance massively. So just adding a couple of zeros seems to be enough for this particular case. So I'm going to go ahead and leave it as is. Having some variation in regards to light is quite nice. And I'm wondering now if it's actually okay In regards to the setup that we have, we're going to hit play and see the difference between when a light goes up and down. And we're going to see just that. We're going to actually took down the speed at which it goes. I'm going to go all the way up. You are good sky. We're going to increase the speed and real quick just as a quick check. So we wouldn't have to wait a whole. We now need to make sure we go back to intensity and change this back to previous phi of a value. And when it's a day time, it's actually going to be quite alright for this light setup. But when it turns to a nighttime, then makes it look much nicer in regards to its variant and whatnot. So, yeah, that's pretty much it. In regards to that, in regards to making art night scene look at much nicer. And yeah, that's going to be it for this lesson. In the next lesson, we're going to continue actually working a little bit more with the lights as well. We're going to make sure we set ourselves up with some nice torches since we haven't done that just yet. So yeah, thank you so much for watching and I'll see you in a bit. 107. Setting up Fire Particle within Torch Blueprints : Welcome back everyone to building standing medieval worlds with Unreal Engine five modular kit bash scores. In the last lesson, we set ourselves up with some nice light source is coming out of the windows within our night day cycle. And how we're going to continue on working with the light source is a little bit more and actually get some of the light sources to be sticking in in regards to the torches themselves. So right now we have some light source is over here. We have a fire place like this, and we have a couple of torches over on this section like so. We're going to make sure we set that up with a little bit of an extra buyer in regards to the world setup. And actually, I'm thinking I might set up the light source is over here for these ones first, since they're so simple to do, we're going to essentially do the same thing as we did for the Windows. We're going to grab them a couple of. First, we're going to make a duplicate out of it so we wouldn't destroy them in the bag. And yeah, we're going to hold L, we're going to tap on each one of them like so. We're going to click G to see what they are. We're going to select them both and move them inwards. We're going to change the source radius to something like 50, I reckon that's going to be alright. Or even an 80, that's going to be quite okay. We're then going to make sure that they are burning in a yellow type of a tint like so. Going to take off shadows since if we have a lot of them, we usually put them, want them to be on like this is going to look so much nicer. So much nicer from a distance at an ancient radius also needs to be lowered down to something like 500. I think that will be alright. And that's pretty much it in regards to setting them up. We can now go ahead and wrap them. Actually, I'm going to make sure we grab the light source and the lantern itself. We're going to create a blueprint out of it. I'm going to convert this to a blueprint, a class just like that. And for the path, we're going to make sure we get ourselves blueprint custom area over here. We're going to essentially create it like so. We're going to do the same thing for the other one as well. So let's go ahead and do that. And actually before doing that, I'm going to real quick grab both of these and make sure that it is set within a nice world origin position. Going to go at the very top and just move them out to the side just like that. Oh, that's was a little bit too much. I'm going to make sure I grab the light source and the position of Lambda now going to grab the shared loop, shared route, I'm going to move them out to the side like this and this should fix an issue in regards to the overall setup. Now the gizmo is going to be nicely placed for this one, we're going to pretty much do the same thing. We're going to grab this end. There shouldn't be a light source coming out of it as well. Into select them both. You're not seeing the light source. You can search within a search bar or point light. And it should give us the right type of setup. Anyways, going back to this, we're going to quickly make sure we convert them to a nice type of a lantern essentially. Like so. I'm going to go ahead and select them both. And I think in this case, I'm going to need to drag them upwards a little bit. Yeah, I do. We need to go ahead and do just that. Something like this. L will be alright to figure out where the main barrier is in regards to the location. Going to select this actually going to reset its location, see where it's at. So it's over here. And actually I can just reset the location and probably just move this to itself. Essentially, it's going to be a little bit easier to sort that out. I'm going to close it down and now we should get ourselves a nice typo set up just like that. In regards to the fireplace areas themselves, we're going to make use out of the fire assets by particles that we can get it from the Unreal Engine itself. We can click on this Add button over here and there it is, something called Add feature or content pack. We're going to click on this, and then there is a button called content. We're going to click on this. We're going to select Starter Content and add it to our project. And then we're going to give it a second to wait for it to load in. Within the sada project, we're going to get us started content folder. And within here, we're going to search for something called particles. If we open up and we get ourselves particles for fire, if we were to drag this out. This is already preset type of a foreign particle. It works quite nice, although I will say this right off the bat, that it doesn't exactly work. Nice in regards to ray tracing, if we had ray tracing turned on, it wouldn't actually show up quite as nice. But this should already have, if I were to drag it down, it should have already somewhat of a light source, although it's not quite there. So we're going to set it up actually ourselves. So first things first we're going to set this one up. We're going to grab it like so. And we're going to hold L, we're going to tap on the screen. We're going to increase the intensity. Or actually we're going to lower the intensity of this to something like to set it to a value of this or read type of look at an ancient rate is 2500 doors radius. Two. If I were to look at it, it's going to be 50. Something like this is going to give us a nice type of a setup for our small type of a fire. That's going to be quite alright. We're then going to do something similar in regards to this setup. But in this case, if we're to drag it, the fire itself is going to be a little bit too big. And so we need to go ahead and fix that. We're going to first of all, go ahead and select this fire like so we're going to hit Control C, Control V. And as you can see, it is a legacy type of a particle. It's an easy setup, but it's not quite there. In regards to setting it up within Unreal Engine five, it doesn't make use out of Niagara particle system. Which if we were to open up, we're going to see quite a messy type of a setup over here. And we do need to open it up because if we were to just simply scale this down, in regards to our particles, we can see that it starts scaling it down and making it look nice. Then I'm actually just going to grab this real quick. Move it off to the side. We're grabbing these and moving them off to the side. Like so. I'm going to put it off over here, then I'm going to fix up the scaling. So by scaling the particles like that, we're able to scale the particles themselves. But they're spawning location, they respond position of the spherical on where they are being spawned, essentially where they've been created. They are not going to be scaled down. So we need to go ahead and fix that right off the bat. The way we're going to do it is going to be within the, once we open up the particles, the copy that we created, once we double-click on it, open it up, we're going to get this result. I'm going to make this window quite a bit smaller. So we can see, we're going to start playing around with the overall settings. And the ones that we're looking for is going to be initial size. Now, it's not an initial size, sorry about that. It's going to be the sphere. If I were to click on a sphere, we're going to be able to roll. On the left-hand side. We're going to go on to the details, vendors, radius, distribution and constant. And then we're going to change this based on how well we scale this. And the particle that we scaled it down to is going to be, if I were to look at this, seem to find it, That's alright. We can just eyeball it. Essentially. We just wanted to make sure that it fits kinda the overall area of this torch. So for us to do that, I'm actually just going to lower down the camera speed. Now. Going to set it up before. I think I had it. I've scaled a little bit just to help us with the environment. Now I'm going to make sure I have it positioned nicely, maybe even turn off the grid lock like so. Once a position it nicely, I'm going to go ahead and go on to the sphere. Going to change this constant for the sphere distribution radius is something like ten e.g. and we can already see it changing. And that's exactly what we want. We have two variants of flames essentially. So we need to go on to the second flames and change that up to something like that as well. So it's already changing up quite nicely and we can already see the flames. It'd be way different by just changing them around the flame. We should be a right, the smoke itself, she seems to be. Okay. We can go ahead and leave it as is, although I would ideally change the numbers themselves. So let's go ahead and do that. We're going to change the ambers to be well, five for this one is okay because I see it dropping out from the center point. I'm going to change it to something like two. And just in case, then there's a second sparks over here, which also has a sphere. We're going to go into it. We're going to make sure that this is also changed up. So something like one I'd say in this particular case is going to be okay if we're not sure which ambers in which sparks are which in regards to the effect which we can see on the top left-hand corner within this viewport. I can also click them off and see them like so. By just taking them off, I can see that this was it. In regards to embers and the emperors themselves. I'm going to leave the sphere too. I think that's actually quite alright. Going to leave it as is the sparks themselves though. Let's go ahead and see it. I don't think we even need the sparks to optimize it. I'm going to actually disable the sparks. And this will give us a nicer performance. Now I'm going to go back onto flames, going to check. One of them going to actually increase the size of this one to 21st one. Like so just to make sure we're getting it. In regards to being nicer, that seems to be a little bit too much. I'm going to change it to 15. And there we go. We got to get ourselves a nice type of a setup. So yeah, that's really basic and simple type of a setup and it's going to give us somewhat of a nice results, although I'm still y not liking regards in regards to the smoke going upward so much. So I think I'm going to go ahead and change it. There is one more setting that we need to do basically in regards to the smoke. If we were to go into it, there's something called lifetime. We're going to go onto smoke lifetime. We're going to open this app distribution. We're going to set this up to different values. And something like 1.2. I think that's going to be alright. We get this result. And the, I think we also need to do the same thing for both the flames. Let's go ahead and do that real quick. Minimum, maximum. This is actually quite okay for this flame, but it's still too much. Let's go ahead and change that up to 0.3 and 0.8, something like that to both of them. Like so Let's close it down and see how this looks like. And there we go. Real nice type of small flame for our torches, we're going to make sure we get ourselves a, actually we're going to get the same type of a duplicate. I forgot to duplicate it, so I'm going to go ahead and make a duplicate of this. I'm going to delete the essentially the particles from here since I duplicated onto the second one, going to grab the slide, move it over here. And without select deselecting, I'm going to just make a duplicate out of it. I'm going to put it up onto the torches themselves. Onto one of the torch. Over here. We need to increase the cameras speed a little bit, just because it was getting in the way of the controls. And there we go, going to put it over here like so, we're going to decrease the intensity to something like 1.5 and change the light color to be a bit more orange. That's going to give us a real nice type of result. And then I'm going to make sure I make a duplicate of this slide as well. Like so I'm going to grab these ones as well. I mean, sorry, the second one over here. Going to put it up to the side. Going to, then I'm going to grab it like so in regards to the particle for a firearm and just reposition it just like that. And yeah, that's pretty much it in regards to setting it up. It's a bit of an easier type of walk around and it is a legacy. But it's still, is giving us a real nice type of results in regards to the fire themselves. You can see these are quite small, quite nice, and this is quite large. Raging fire was quite alright. I think I might just try to make it a little bit smaller in regards to the scale. And although it doesn't affect the spherical spawn, it is affecting the overall type of dispersity for it. So we're going to get nice detail in-between. I think that's going to be quite alright. Yeah, we now need to make them into blueprints and set them out throughout our castle. We're going to continue on with this in the next lesson though. So thank you so much for watching, and I'll see you in a bit. 108. Setting Torches in Medieval Castle: Hello, Welcome back everyone to building, sending medieval world with Unreal Engine five modular kit bash scores. In the last lesson, we'll ask ourselves up with some nice setup where the particles and we got it placed in regards to the light sources as well. And we're actually just going to grab everything real quick and set them up as blueprints. I'm going to go ahead and grab these three assets over a year. The asset itself, the light source and particle. We're going to go ahead and convert it on us. Blueprint. Make sure that we harvest its components, set it up within the path of blueprints customer, like so. And I'm just going to click Select. And this is going to give us this kind of result. I'm going to actually reset its location. I think that's going to be a little bit easier for us going to select the asset itself for the lame asset like so I'm going to reset this location. Then I'm just going to move the light source and the fire particles upwards like so. And I think that's going to be easier in regards to making sure that the gizmo is going to be placed in the same exact location. And let's just do the same thing for the other two. We're going to select this. We're going to go ahead and grab the viral particle. And if you are struggling with selecting light source, by the way, just make sure that you move it out on the side. I think that's going to be quite okay. In this particular case, we're going to grab the light source and converted as a blueprint. So let's go ahead and do that. We're going to convert it as a blueprint, blueprints custom path. Let's go ahead and do that. We're going to then click on this arch itself. We're going to reset its location. We're going to move its particle to the proper setup like so. And light sources. Well, let's go ahead and move it into position just like that. And that's pretty much it in regards to that. Go ahead and move on with the final one. We're going to select all three of them. Just like that can seem to select the light source. There we go. Or actually one more quick tip in regards to that is if we were to select it like so and we can select one more acid, we can click H to hide everything out of the way. We can then select it by holding Shift, select it like so. And then we can click Control and H to unhide it all. And this should help us to select a light source like that. We can then move on to selecting the particles and move on to select an object itself. And that's pretty much it. We essentially hide it then unhide objects, you help us with the selection. Then we're going to go ahead and go on to converting it to Blueprint Class horizontal components, and click Select. And there we go, we're going to reset it, its scale, of course, not scaled to location. We're going to make sure that these are placed on top of it. Like so. And that's pretty much it. In regards to that, we got ourselves a light sources for or castles were going to make use out of it. Let's go ahead and actually increase our camera speed a little bit and start placing them around. We can four-stars, place one in this area over here. I really wanted to place one like so just to light up this entire area a little bit. I don't think I'm going to be placing them these towers on the top. But I do want to place the entrance wants over here just to make it look like it's being guided and constantly kept on phi n regards to the guards essentially making sure that everything is saved. Then we can place couple of torches on the sides as well. It's all down to personal personal interests in regards to how well we want to place it. But I will say that we might even go back onto the main light source direction light over here. We can simply go ahead and change the intensity 2.05, something of that sort and is going to give us real nice type of looks in regards to the light sources themselves. And that's all it takes to set ourselves up with them. We can always go back and adjust whichever way we want them to be. Though some torches over here maybe like a type of a fireplace over here. And this owner, I don't like being too dark, so we can change it. In regards to this darkness. This could definitely have a bit of an extra light source like so. And this is way too dark for such an open Alloway. Let's make sure that we have some bit of light. And this area looking from a distance might look quite okay, but when we get closer, especially from this section, you can see that it's not drawing in the eye in regards to attention to the eye. So I'm going to place a fireplace over here but move it a little bit off to the side, like so, so we can have the door being highlighted a little bit when we're going through this Alloway like this, and not going to spend too much time on it. Again. Just making sure that we have some nice light source is covering up the entire area. And I think all in all, it's going to be quite alright. So making sure. That is looking quite okay. So areas like this where it's so closed off and looks them actually is better to leave unlit. We don't need to make it look like it's a Christmas light-filled type of setup. All in all, we just got to make sure that it's filled with light sources, but it's barely broken down in regards to where I want them to have. So e.g. this is going to be an entrance to the boat area and we don't want it to have the entrance to be just hidden away. We're going to add some extra lights, but e.g. or to just keep it like this. E.g. this area over here is only okay to leave it hidden and dark and terribly serious, I'd say. So. Yeah, I'm going to maybe add an extra light in regards to that with this one, but maybe that's a bit of an outside light. So I might take this out. I'm going to add a light source over here. Maybe, let's say something like this is going to be quite alright. And no, it doesn't seem to work. In regards to this area. I was thinking maybe adding some over here as well. But it really all depends on what kind of setup you want it to have, maybe down the road like so would give us a nice type overlook. But I'm not going to worry about this light up over here. I just want to focus on the that are within a castle itself. And I think all in all, it's already looking quite nice and we still have a little bit of time. So let's make sure that we actually set it up nicely in regards to the intensity of overall values. So first things first, I'm going to check the intensity of the light side of the head coming out of the windows is set to 2.5 white. Alright, then if we go on to the blueprints, so the blueprints within the folder itself, I'm going to check each one of the light sources. We have to make sure that we have it set nicely so we can click on a light point, light like so, and check the intensity on the bottom right hand corner. And I'm actually just going to go ahead and check the viewport itself. So this intensity is way too much. I'm going to make sure it sets similar to what you would see in the windows are actually even less. I'm going to set these wants to 0.5. I think that's going to be much better. Are actually two just in case there's going to be quiet. Okay. I'm going to close this down and see how it looks like in regards to just adding this up to the wall. Like so it's still a little bit too much. I'm going to go ahead and open this up, play around with value itself again. And we can also minimize this window by clicking and holding and dragging. Select the point light on the left hand corner and change the intensity to maybe 1.51 is going to be quiet okay. When to keep it as one. Then as far as this is also way too bright in comparison to change this up to be, if I were to select this one to 1.3, I'd say a little bit brighter than the one on the wall, if that's going to be quite okay. Now, we can also make sure that they are. If I were to click on a light and within this detail search, I'm going to search for shadow. We need to make sure that the cast shadow is off. So I think it's going to be off on a second one. Or the lanterns for the torches themselves are going to make sure that they're set up nicely as well. 1.5 value is quite okay, making sure that the shadows are taped off as well. So on all of them. So the value for density is okay. The shadows are needed to be ticked off just like that. And finally this one as well. Let's make sure we do the same white light shadow, like so. And we're taking it off. So now if we were to drag this, It's going to be quite alright. Yeah, we pretty much a, set ourselves up with some nice light. And we can play around even more with the settings afterwards as well. Once we get the main sources of light in our scene, we can see from a distance how it looks like in regards to that. And we can even now go ahead and change back. Let's not forget to change back or light source. We're going to go all the way up, change back to light source of our son to be back at five, like so. And I haven't said much in regards to the sunlight, but by default, it's set as just pure white. It's not quite as nice when it's like that. It's usually just a little bit with a splash of yellow. Let's make sure we add a bit of yellow type of a tint, just a minimum amount of saturation, as you can see over here. You need to make so much of a difference in regards to the sun itself. And I don't think it's enough actually even I'm going to make it a little bit more yellow, something like this. Actually looks quite okay. Yeah, it's going to give us this type of a look. And if we click simulate, we can see how it's going to look like in regards to the overall setup for our day-night cycle. So let's go ahead and click Play. We're going to then get a nighttime. Nighttime comes up. And we're going to get ourselves this sort of a result. Yeah, it looks quite nice. The night 19 looks quite nice. Everything in regards to the overall setup, even at our over here in the back, looks really nice. And I'm quite happy with the result now actually, yeah, that's pretty much it in regards to the setup of the light sources. Also going to take down the intensity a little bit for the light, you can see how much it affects the overall lighting off the terrain. And just by changing this to something like two, e.g. you can see a darkening way down. But I think for this particular case, I'm going to, I'm going to keep it at a value of three. I think. There you go. I'm going to give us this result, which is quite alright. So, yeah, that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 109. Large Scale Terrain Sculpting: Hello, Welcome back everyone to building standing medieval worlds with Unreal Engine Pi modular kid bash course. In the last lesson, we left ourselves. We're setting some extra light sources for our scene, for our castle. And how we're going to continue on and make sure that everything around us look pretty nice in regards to revolt setup. So far I Syria, we already have couple of mountains already set up and whatnot. We are going to adjust and tweak one of them a little bit extra erecting this one over here, make sure we have an extra, he'll essentially to make use arrow. And then we're going to start making sure that we're populating this entire area. And then afterwards we're going to grab couple of trees in regards to the larger scale and learn how to set it up in regards to the whole terrain. So without further ado, let's get started. We're going to firstly adjust this entire area. I'm just going to check this piece over here. I'm not sure why this is still here. I'm going to flick fc what this splatter on that we used previously. I'm just going to lower this down a little bit, like so just a tiny bit there. I'm going to select one of the assets and just click F to go back into the terrain. Yeah, it was this particular area was a little bit too low end the platform there was catching up the light from the moon needed to go lower essentially. And so now we can go ahead and slightly tweak this up this study Hill. We're going to go onto landscape mode, going to make sure that we set up some variation for it. So the top section, I don't think it needs much touching. I'm just a bit worried about in regards to the sides over here. So I'm just going to go ahead and select platinum tool to make sure we are within a layer. One, brush size should be quite a bit higher and then I'm just going to start tapping it out. Or actually tool strength is not, doesn't seem to work it out quite as well. So I'm just wondering why that is the case. It doesn't seem enough that I'm able to touch this area over here. I'm just trying to figure out why it doesn't allow me to do that. Actually it within the paint mode. So let me just go ahead and switch it up the scope note, there you go. I'm going to make sure that we are within a flattened tool and I'm going to increase the brush, going to change the brush, fall-off, be quite a bit lower to something or 4.3. And then I'm just going to start adding that extra depth essentially into our terrain. So something like this perhaps would do the trick. I'm a bit worried in regards that we're only having one layer out of this. We're actually going to start setting it up a little bit of an extra. And yeah, I'm just working with this essentially. I'm just making sure that there are no rounded off edges too much. So I have this type of a thing sticking out. I'm just going to go inwards with a bit of an extra touch and fix that up. And then we should have something like this essentially. I should also be able to get another layer out of this. And yeah, I think that's going to be quite alright. Yeah, Okay. When we populate it with Tracy is going to look quite nice overall. Might want to add some detail on the top a little bit perhaps, to play around with this value over here as well, going to tap it once and I'm going to just start elevating this area in regards to the overall section. And I think that looks overall quite alright. Okay, so now we can go ahead and make use out of the coffee tool. When we click on it, we should get it within our setup. And we're going to actually go ahead and clear it gives more data. And I'm going to click F to see where it's at. I'm going to click G also to make sure we see the entire area. And now I'm just going to use this gizmo to reposition it for the top of my hill, something like this. And at this point I might grab this smaller hill as well. Or actually no, I'm going to do them manually. But yeah, when we set ourselves up with this overall terrain, I'm going to click are as well in case we need to scale it up a little bit, something like that, perhaps a little bit wider. Like so. Repositioning my gizmo, making sure that I'm grabbing it all in regards to its height. Now we can go ahead and within the school setting, click copy data to Gizmo. So just like we did originally with setting up the landscape ourselves with those smaller hills, we're going to essentially just make a duplicate out of it. And I'll just point, we can just stretch this entire area like so. Then play around with the information just to get more of an interesting shape for our setup. And afterwards we're going to make sure we increase our brush larger amount and just start building it out in this middle area like so we're not going to touch the corners too much because now when we move this out of the way, we can see that it's going to look something like this. So that's quite alright. Actually. We can also rotate this around, squish this up a little bit, and so forth, and just play around. I miss clicked. I'm going to go ahead and go back into the Copy tool. And so in this particular case, if we want to fit in this entire mountain a little bit more in regards to the overall terrain, but we can also do just spit it in-between those two. Maybe rotate it around actually like so. And click are just upscale it a little bit since they are hard, some rain already set up in a background. And now with these mountains in-between the area, we can essentially just click and hold and tap it out like so a little bit and we should be able to get ourselves a nice setup. And we can also click G just as quickly check this is what we're getting. Essentially, we're going down a little bit in this area, so don't quite like this, we might need to come back to it, but all in all, it's overall this type of result that we're going to get. So that's looking pretty nice. We can then go ahead and e.g. add some extra over here. We can lower this down a little bit and we can see some bits sticking out. And that's sometimes just enough for us to get a nicer results. Sometimes we just want this one area to be sticking out. So if I were to just click and hold on the top click G just to see how it looks. This is a type of hump we're going to get and that might be just enough for us overall area. We can then move on to this section, e.g. move this around, maybe stretch it out as well a little bit like so. N, just like we did previously, or actually I'm going to click Control Z. And our thing that we can do is the pace mode. We can just click on rise like so. Then it won't be going down. And it's only going to add that extra topology on top of it. Not apology, sorry about that. The height, we're going to click G and see how it looks. And yeah, it's just a bit of an extra hump. Maybe we need to increase this, raise it up a little bit like so, so we should be able to now it like so. And one more thing that I should mention is that whilst if we were to click G to hide the subway, we can also hide the overall gizmo visualization. So sometimes there might be useful to that it up like so. Anyhow, just a bit of an extra variation within this hill area is going to be enough. And then we can move on to the upper section. And essentially we're just going to quickly set it up with some variants, Excel and then add a bit of a halo over here. Maybe we need to tap and hold and release it. And that should after some processing, if it hasn't crashed the engine, which has crashed her engine, I'm going to go ahead and just reset restarted. This sometimes happens and we can't do much about it. Hopefully though, going to be okay. We're going to just get ourselves a restore packages that are going to select everything and restored selected. And that hopefully will help us do restored our project. Let's see how much we lost it essentially, to go ahead and see the overall process and we seem to not have lost much. So that's quite alright. I'm just gonna go on the landscape mode just to see if it has saved up the copy. Just go ahead and head and see that. I'm going to click F and now I need to reset it, but that's actually alright. Go ahead and do just that. We're going to just select this area over here. And that's going to be quite alright, the same as before. Quickly reposition it up, scale it like so. And after we copy it, we can go ahead and move on and continue on adding some data for the variation of our landscape, going to move it around. And at this point, I'm not quite sure about this setup over here. I think what I'm going to do just in case we need it. I'm going to go on to the selection mode, like so. And at this point, we are going to hide it all. I'm going to select one of them, going to go onto its folder which should be set up within the previous items folder over here are all of it is it is. So we can just go ahead and hide it actually. And that would be alright. Although when we do press Play, it's still going to be visible. So one way that we can fix this is simply, well, first of all, we could delete it. Secondly, we could go ahead and select this entire folder, all of its items. And then we'll finish the tellers stabs. There would be a visible section if we were to just add tick, visible in rendering, it's not going to affect our world entirely. And the third option, it would essentially be to make a copy out of this level. If we were to go back onto our content, we can make a duplicate out of this and this is going to be castles seen by the name of it. So this is going to be here. Hit Control C, Control V to make a duplicate out of it. Like so. And now we can go ahead and select the folder which the preview items are in. It's going to make sure that all of them are the only ones going to go ahead and select it all, like all immediate descendants, like so. And just in case I'm going to click app just to make sure that I see what I selected and other parts were actually duplicate it from this area. So this is what we're going to get. I'm going to go ahead and select one of the objects. Click F to zoom into the scene. The area going to go on to the top-down view, like so I'm seemed to have misconduct going to click Control Z and it should give me the same selection. So there you go. I'm going to go all the way to the top, make a selection for this hold Control, to select the area, the plane hold control and F. Essentially clicking f every time I want to refocus my camera. And now this is the type of setup I'm going to get. This is going to be Platform going to hit F, something selected. So it's going to be this one over here, which I'm not quite seeing from this area. So what I'm going to do is I'm going to go onto the side view. So this one over here, essentially de-selecting everything with Control and clicking f over and over again until we get only to our selection, which is this one over here. I think I messed it up in regards yeah, this is the one that we're always looking for because I saw top left hand corner, it says real-time off, which is the reason for it is because this was top view. So I don't want to mess them up, going to make sure that this is set. So as top view, I'm going to go back into perspective view like so. And actually going to click Control Z to make sure that this is the selection. Now we're going to go ahead and delete this. Click yes to all. There we go. We now have deleted them. We have couple of options over here. I'm going to go ahead and actually make quick selection to them all. It's going to be quite fast since all of them are grouped up. Going to go ahead and delete it. And yeah, that's pretty much going to give us an empty type of result for the scene, which we now can continue on setting it up, I'm going to click Shift, Control Shift and S to make sure that everything is saved within a project. Just in case the pressure is again, going to wait out for loading time. After which I'm going to go back onto landscape mode, going to add quickly those scenes in, again for the terrain. And then we're going to continue on moving with the trees. So we're actually running out of time. So I think we're just going to finish that up in the next lesson. Thank you so much for watching, and I'll see you in a bit. 110. Sculpting out Large Terrain for Castle Scene: Hello and welcome back everyone to buildings standing medieval worlds with Unreal Engine five module kid bench scores. In the last lesson, we left ourselves off with a nice scope around the areas and we're still not quite there yet. So real quick, I'm just going to continue from where we left off. We're going to go back on to sculpt layer one, going to make sure we are at a copy. And actually real quick, I'm just going to go ahead and copy one of the pieces. Like so it's going to reposition this, going to make sure it's up scaled nicely. Then the ground and the other area is not touching. Now we're going to go ahead and copy this, just like that. Or pig copy data gizmo. And I'm actually just going to scale extended just a little bit more like so they go, alright, so now we can go ahead and continue dragging this out. We're going to just put them in the right positions around our scene. I'm wearing this area e.g. going to make sure that base mode is only set to rise, wouldn't go inwards down on our landscape. I think there's going to be better. And I'm going to extend the brush like so going to play G At this point, I think I'm going to start extending them out like so. And the total strength is a bit low, so I'm going to increase this to 0.8. There you go much faster in that regard. Going to get some variance over here. Like so. I'm going to move this to the side, like this, rotate this around just like that, and continue on with the setup. Just like so. And yeah, it doesn't need to be much, but this amount is actually going to be quite alright. Couple of extra, let's go ahead and continue on with that. I'm going to position it over here. Rotate this around, going to actually increase my camera speed. So there's multiplier for camera speed, which we can increase it over here on top, which I think is going to be better. I'm also going to lower down the sensitivity one, moving around with my mouse and scrolling my mouse wheel. So I'll be able to essentially, with this multiplier down to six, I'll be able to scroll my mouse wheel and have a great control over setup. Going to continue on with this overall layout, like so. And set something up just like that, maybe increase this height a little bit as well over here. And my products seem to have crashed again. I'm just going to go ahead and check it out, but log. And yeah, there you go. There's an error, red arrow over here, something about the moon. So perhaps I'm just going to go ahead and it's asking about spatial loaded active moon. So the reason being is probably because we're, the terrain is set up in chunks and it's set up with spatial loaded. If we're good to go ahead and actually select the moon itself, I'm just going to go ahead and search for spatial. Diego is spatially loaded. I'm going to make sure this is ticked off. And now to go ahead and quickly simulate this world. And yet now everything is still working. Is going down the moon should be going upwards and everything's okay. Alright, so we, to make sure that by taking this off, we're just making sure that their terrain isn't attached to the moon itself. And that fixes the issue. Again, going back to the landscape mode like so, we're going to continue on with this. We're going to just go on through copy mode and now I have to reset the setup again. Let me just go ahead and do that real quick. At this point, I might scrap the island with the setup going to Claire gizmo data. Make sure I don't see anything with it. And I'm just going to grab all of these setups like so it's actually giving me a large type of a box. I'm going to take off the Details tab, search as well, might as well do it at the same time. Any I'm grabbing those both at the same time. It's going to help us out to have this small island within here. I'm going to go ahead and hit Copy. Going to start duplicating it throughout this entire setup, going to make sure that the paced mode is set to rise. And let's go ahead and continue working with this. I'm going to click G, increase the brush, start sculpting it out. Oh, need to make sure that the layer is set up for L1. Now we can go ahead and do that. And of course, brush a strength has to be set to 0.8. Something like that will help us out a bit more. So and I'm just going to click GC. What's up with this? Seems like, yeah, I need to increase the height a little bit. But here you go. That's what we're looking for. And something like that. Maybe it's a little bit too high for a mountain. Integrate Control and Z actually for that controllers that again, going to reposition this overall setup. A grabbed a little bit too much in regards to the overall area. To go back real quick, going to copy another setup like this, or that's much better. We can see it visually that it's actually nicer setup now. So let's go ahead and make use out of it. I'm going to move it over here. I'm going to hit G to move it out of the way. And start building it up like so. Yes, like that. And at this point, my paced mode, I'm going to set it to both because I don't quite like that mountain in the back over here. Going to ahead and fix that up. Take it back to raise and kinda equalize this area over here. Like so. Alright, so this is looking alright. Continuing on, I'm going to zoom out a little bit, makes sure that the camera is set to six, like so. And now I'm just going to quickly play around with the terrain essentially. Get some nicer rotation stretch out in certain areas. Just to have some variants like so. And yeah, that's going to look quite alright. Actually gave me an error, again, crushing my software. It's going to see what's up with that. And spatial loaded actor goods sky, going to actually go on to the good sky add-on and makes sure that it is also spatially loaded, ticked on, there you go. Facial loaded. Let's go ahead and make sure we take this off as well. Now, hopefully it'll give us better type of a setup. And we're going to, again, continue on with the landscape build. When we're not going to be discouraged by that, we're going to make sure that we have a camera set up to six, move it out, grab some of these areas. And actually at this point, I might actually just grab a smaller type of a mountain and, and play around with that. Instead. We're going to go ahead and do just that. I'm going to grab one of these like so copy the gizmo. And now we have some variants to play around with it. I'm going to go ahead and just scale this all the way like so rotate this around, perhaps something like this. Going to, oh, actually I'm going to click Control Z, make sure that we're touching the entire terrain like so. Go ahead and select layer one. Now copy the gizmo, and there we go. Alright, now we're going to move it out to the side, making sure we are expanding this entire setup, like so, rotating it around and going to make sure that we are having a good tool strength, increasing the brush, and increase it enough like so I'm going to click G, playing around with the shapes like so. This sort of a look, That's alright, let's go ahead and move it to the side. Is going to be quite okay as well. Go ahead and get some variants just like that. Move it down to the to the side as again, outwards like so extended. And yeah, it's all down to you in regards to how you want it just to you need to make sure that you have some breaking points in regards to the overall range. Just to get nicer variation out of it. Something like that perhaps will be quite alright. Yeah, but just using this tool to copy and paste the setup is going to help us out overall in regards to just getting a nice type of look or are seen. To put it over here. And at this point I'm just making sure that we are setting up some nice mountains. I'm going to probably raise this up a little bit, move it to the back. So it doesn't have to be perfectly aligned. We can do diagonal as well. Just going to give us a nice type of mountains setup as well in that regard. But that's a little bit too much. Maybe I can use a lower perspective as well. And just lower this down a little bit like so. Picks that up. And now because I set up an area where not quite getting to the very end, I'm actually just going to lower this entire down, this entire thing down a little bit. If so, until I get the nice position and I'm actually, I'm just going to mix it up a little bit like so. And if we do get or sulci setups, we can also just go back to flatten or even better back to smooth. Smooth will allow us to essentially like average out to vertices and except those issues. So it's way better than flattened in this particular, particular case because as you can see next, as long as we go towards the story and at the very end, we're going to get a bit of a slope towards it. So we might as well just use a smooth to average out. These are vertices over here, like so. And yeah, I think, I think that's going to be quite alright. I do actually have this one section that I'm going to fix it real quick in regards to the rock being placed over here. I'm just going to go ahead and weekly change that up, which I think the brush is a little bit too small, so I need to raise the scale of the brush. And there you go, fix that real quick. So now that we have nice kind of a setup in regards to the terrain itself. And to finish it off, we can also of course just sculptor out. And in regards to the large scale itself, I'm just going to decrease the brush, just tap a couple of times, make sure that the scale of these mountains are not too high up. And then I'm just going to go ahead and go to flatten and and kinda drag them out like so just a little bit just to get some nice variation out of them. Just like that. Simple hills, simple humps and whatnot. All of it. I think it'll turn out quite nicely. But of perhaps over here, make sure it's not too much in regards to that, again, we have already a nice reference to the overall scale. So I'm just working in regards to its side, making sure that we're getting not too high up of a hill. And I think I'm also going to take down where is fall off to 0.5. Maybe something like that might give us a nicer result. Something like this, I think is quite alright. There you go. Yeah. All-in-all. All is great. In regards to that. I don't want to add too much of mountains in certain areas. So I think I'm going to go ahead and leave it as is. And then the next lesson we're going to continue working on with this and set ourselves up with some nicer type of foliage. So we're actually going to go ahead. And for this, I want to add a bit of an extra over here, are kinda falling off onto the distance itself. Like so, making sure we have some variance. And of course we also have hydro that we can just get ourselves moving out with that some erosion essentially, which I'm not going to go too much into it because they're going to be more in a distance. Or that I'm not planning to have much of a playable area for them. They just need to blend in, in regards to our setup. So that's exactly what we're going to do. And especially with the foliage, it's not going to E2 off in regards to that. So yeah, a couple of hills over here, couple of hills over here, a little bit of variation. And in this area, I don't, I don't like it, how it's set up. These hills are two lane in regards to one another. So I'm going to just flatten this out a little bit in regards to set up, making sure that this doesn't look like a circle, a typo brush. And that's pretty much it for this area. So that's going to be it for this lesson. Thank you so much for watching. And I'll see you in a bit. 111. Creating Clusters of Foliage for Large Scale Environments: Welcome back everyone to building standing medieval worlds with unrealized your five modular kit best horse. In the last lesson, we left it off by setting ourselves up with some better, more landscape in the background. And now we're going to go ahead and continue on setting ourselves up with that background landscape. This time, we're going to go onto our foliage. We already have everything set up when we were creating this area over here. But now we're going to essentially work with a bit of a larger type of setup. So I'm going to close down my Content Browser, going to go into this entire section and make the icons a little bit smaller, like so. Just to see which ones we should start with. The ones we're going to start is going to be black, older. The trace essentially. And when working with largest scale type of foliage placement, what you need to figure out is how the shape of the overall assets are going to be an easiest way for a city. That is firstly, by starting off with the largest ones which are tracing this case, we're going to make sure that we have everything selected or actually I'm going to double check that we have everything deselected by making sure that we have everything selecting and de-selecting districts over here. I'm going to go ahead and select the Greece again, like so. We're going to have them selected and we're going to go on to the pain mode. This time. We're going to start by just painting it across, seeing how the density is. The density for it is not quite there. So what I'm going to do is I'm going to click Control Z, going to decrease the pain density to point to see what it looks like, a cross like that. Looking at it a little bit better but maybe a little bit more going for I'm actually just going to double it. And that's actually looking much better in regards to the overall setup. Let's go ahead and increase the entire brush, like so. And we're going to start brushing or trace around. And actually I'm going to make sure that they're not placed on the edges there looking quite nice in regards to that. Which TR, and I'm going to make sure that the settings themselves are also that up nicely. So random pitch angle is set to free ground slope angle maximum is 0.25 basically to 525 degrees. And I think all in all, that's going to be quite alright. Let's go ahead and start brushing it off. When you want to brush them off, you don't want them to just cover it up entire section like that. You want to work in shapes and overall kind of setup for them. So in regards to clusters of them, you want to have a bit of a cluster over here, e.g. and you might not want it to be completely rounded off. So I'm going to hold Shift and just delete a bit over here. In regards to, if you look at it from the top, we see it's kinda going inwards and outwards from the castle. Little bit like that. And yeah, we're going to make use out of them to kinda brush it out nicely like so. And get some interesting shapes of overall typo setup. We can also, just to make sure that we are seeing a little bit better. We can also go from lead to unlit mode, which sometimes helps us out to see the trees a little bit. I don't think it helps out in this particular case. I'm actually going to go back onto the lid mode itself. Again. Just continue on working with that. I'm going to grab couple of trees over here, couple of trees over here, and making sure that we're working in clusters as we are. And we're going to go all the way outwards. And then closing a bit by bit until we get the right type of a setup. So that's pretty much it. In regards to the trees. We're not going to be worrying about the bushes or anything of the sort of we're just worrying about the clusters of forests and whatnot. And yeah, just making sure that I began having some like e.g. in crevices, maybe I'm around the mountains. Mountains, e.g. might need some extra trees, but a little bit less. I'm just going to add just a little bit like so. Because they're in that light, we don't need to be worried about the performance themselves in regards to this large amount of trees. I'm not worried in that regard. Something like this is going to be quite alright. Then over here, but over here, in regards to the backside, we're also going to add a couple of trees, but at this point, the guests are going to be so far off. What we can do is we can get even larger type of brush. And we also got to consider now the elevation of those streets. So they're going to be like so high up that they don't exactly matter in regards to the density, they're going to be less sparse in regards to the overall setup. So I'm actually going to go back to the top of our settings, going to change brush paint density to 0.1, something like that. Just making sure that we are adding some trees. But obviously it's going to be a very sparse in the top section of our hills right now, just adding all of them around like so. And then I'm going to break it up afterwards. So I'm just going to do that. I'm going to continue all the way around. So not worried about it too much in regards to setup, just breaking them up. Afterwards as I go along. Something like so. And the thing that's going to be pretty good, Alright, now I'm going to hold Shift and just going to start deleting some clusters, can pull up chunks, maybe with a smaller brush as well, that might help us out to break it up. And I'm just making sure I'm going in zig-zags while holding Shift and just kinda breaking off the pattern a little bit like so. Just like that. And getting some nice results for the background. And it's making sure that we're brushing out the overall shapes a little bit to get more harmonic type of a setup for our nature. And I think that's going to be quite alright actually, we can also add a bit of over here as well, just a little bit like so they're going to be so much far in the background that they don't need to help us out in regards to setting up anything for our visuals. We just need to make it look like it's not just plains and we have some bit of silhouette coming from the background like so. Going back to the forwards though, going back to the front, we're going to go ahead and set this back up to 0.4. Let's continue on with the foliage. So at this point, I just want to kind of like streaks of lines a little bit like so with the foliage. Just want to overhear bits over here. And every time when I set up with a certain shape, I go back onto them and just kinda refine it by holding Shift and deleting some of those. Greece. At this point, we're going to be coming closer to this overall main section. I don't want to touch it too much. So I'm going to lower down my brush a little bit. I'm going to make sure that the chunks are all chunks are quite similar anyways. And I'm just going to continue moving along with the overall setup like so. A couple of trees over here, couple of trees over here. Obviously we want to have a bit of walkway over here, e.g. we should actually continue on with the path. But I'm going to leave it as is. I think that's going to be quite alright. Main reason for it is that I'm not planning to have a playable of field going off for this particular reason. And main focus is just the castle itself. So yeah, I'm not going to and anything too much in regards to the exit, just leaving it as is. And once we're done with the trees, we can now go ahead and start doing the bushes. And I think though before doing that, I'm going to continue on with the trees, making sure that the areas next to the castle is set up nicely as well, just smaller clusters. And I think it's going to be quite alright, making sure that we have some certain shapes over here. And once we're done with this, once we're filling out the shapes itself, if we're thinking about the trees themselves, when we look at it from an aerial type of Charlotte, e.g. go in with a plane over them or something of the sort. We need to imagine them as like sort of chunks or cluster center my thoughts. So when we look at it from this setup, is looking quite nice. But to take it an extra notch, essentially take it a bit further. What we can do as well is play around with our arrays density. By default it's set to zero. But if we were to set it to a same density, which is 0.4, we're now going to get any difference because it's going to be the same or it should actually give us half of that density. Sometimes it doesn't seem to work as well anyways, by playing around with eraser density, we are able to determine what kind of density we can get out of our deleted areas. So e.g. if I were to hold Shift and just drag it across, we can see the type of density and we're going to get out of this, which is going to be something like this. And also, we can go ahead and just switch that up to a bit of a higher value at say, something like a value of 0.6, let's say. And then if we were to click and hold and drag and we can see that we're actually spreading those forests around. So this is another way of just kinda making sure that we have some variation in those clusters of our tree. So maybe a little bit over here, maybe a little bit over here. I'm just making sure that I'm breaking out oval shapes just a little bit more over here, e.g. that over here all the way to the side edge. And mainly it's on an edge is I'm making sure that the inside of those clusters are not touched as much. So edges like so. Just again to break up the shapes overall, something like that. But over here, maybe over here as well. And yeah, that's pretty much hit in regards to that. We're going to leave it as it is essentially, we can see that the whole scenery is coming back to life now with all the foliage in the background. We're still going to continue on with this. The bushes and a couple of stones in regards to the main area section. And we're going to continue on doing with this in the next lesson. Thank you so much for watching and I'll see you in a bit. 112. Setting up Bush Clusters for Large Environments: Welcome back everyone to buildings standing medulla worlds with Unreal Engine phi modular kit batch scores. In the last lesson, we'll ask ourselves off by setting up all the nice trees around their terrain. And now we're going to continue on working with this setup and get ourselves some nicer type of refinement out of them by using couple of bushes, couple of setups like that. Let's go ahead and get right into it. We're going to go onto the foliage mode and we're going to make sure that everything is selected first. Cough the tick mark over here. So everything is going to be de-selected. And I'm just going to search for a European, since that's the foliage and we were using for our setup, this is all the foliage that we're going to get. And I think for the background, I'm only going to use couple of variants would have more consistency. I'm going to select the last four, like so. I'm going to go ahead and take them on and use paint just to see in one area how they look like. This is what they look like. And I'm not sure about these ones. I don't like the berries in the background. I think they're going to look too far fetched in that regard. Going to take these off, going to select the couple of our four. So going to go ahead and stick them on, see how they look like. And I think some of them should not have the various I'm looking for the ones that don't have the virus. I'm gonna go ahead and see these ones over here. If they have berries and these ones on how various, alright, so essentially I want to have the ones with various a little bit and the ones with width not so I'm using these ones over here. I get hovering over the name to see the variance and variance 16 invariant 17. And I'm going to take one of them bearing 16, variance 17 and maybe variants five thing that one has, that one does have the barriers, so I will want one variants of the various lake. So there is four is also going to be quite alright. I think something like that is going to be quite okay from a distance is going to look something like that. So again, it's just mainly to break off the overall shape. And then yeah, because in regards to the camera overall setup, it means that we need to just make sure that it looks quite nice from this area, which we are going to be doing right away. With those selected for the variances of our bushes. We're going to just click and hold and then drag it across like so. And I think the density is a bit too large. I'm going to click Control Z, the paint density. I'm going to change it to four it for, let's see how this looks like. This is looking quite better, but I'm not quite liking in regards to the variance for the size. I'm going to scroll all the way down for the size. I'm going to switch them up a little bit. Going to make sure that the scale minimum and a maximum, it's switched. So the maximum is okay, but the minimum is quiet not so scale x, I'm going to change this to 0.5. Let's see how this looks like and this is looking much better already. You can see the variance within it. So that's quite nice. Let's go ahead and make use out of it. Now, we're going to simply start from the back a little bit. Not too much bag because the main reason is there's not going to be a lot of visibility for these brushes anyways. I'm just making sure that I'm breaking off a little bit in regards to the mountains e.g. so sections like these over here, making sure that they're slightly syrup going to hold Shift and just kinda take them off. Or in this particular case, I'm going to go onto, going to delete this search. E.g. are going to go all the way to the top, going to make sure that the density is set to zero. Now can hold Shift and just take off the ones that I don't want to be used. So next two hills like this, some bit of clusters like that, and some areas next to the trees, just like that. Think is going to be quite alright. And actually erase density. I'm going to set it up to 0.1. So couple of them would be stuck behind. I think that's going to be quite alright. So I'm going to have some classes over here again working with the cluster itself. And the AI will need to go back, I come back to it. But firstly, making sure that every sensor is set to zero. Just getting some smaller clusters that are closer to the trees mainly to get some nicer shade for them, like so. And yeah, that's going to be pretty much alright in that regard, making sure that some of this is set up nicely as well. Like so something like this. It's going to be looking quite okay. And we can spend as much time as we need to on these particular cases, refining and retuning this particular case, because we just need to make sure that the castle itself looks quite nice with these in the background. I'm just making sure again that they're facing forwards. All of these bushes, we don't need anything in a bag. And this way, we're also able to cut down our time essentially. So let's go ahead and continue doing that. Just making sure we have couple of brushes over here, couple over here, maybe some next to the mountains again, just a break off the shape, like here. Here. And over here. And what else do we need to do? We need to make sure that we transition nicely with the bushes in regards to the hills of the castle as well. It's going to be a little bit harder in that regard because there are some bushes in these areas already. So if we've got to make sure that we use smaller brush, we're going to just add couple of them up, like so. Maybe some ove here. And in B, some bit of over here next to this exited, this large type of a terrain is going to be quiet. Okay? Then once we're done with this, we can also refine it a little bit extra. In regards to the paint eraser. I'm going to play around with a little bit of an extra shapes before doing that though, like to ideally have some variance in regards to this overall setup. Just a way, bit of a way to break up shaped like so. Again, just by tapping that, we can get some real nice overall type of shapes, making sure that some of them are next to our entire castle as well. Just kinda nicely ease in. So e.g. this area is completely empty. There's nothing in regards to breaking off the edges or these. I'm going to add couple of them over here just to kinda ease in, in-between the nature and the terrain of our castle. And this is looking better. So that's pretty nice. And yeah, that's already looking quite good. I'm just checking shapes from a bit of a distance as well. They're going to be less visible based on distance. And that's quite alright. And we're going to make sure that they are looking quite nice. And I think this is this is as nice as we're going to get for this particular case that's looking from a distance from different angles, we can turn around our camera went to increase my cameras PD bag to six when working with large scale is better to do that. I'm just going to go around real quick, just kinda make sure it looks quite nice. We might even try to squint your eyes a little bit to make sure blurs out the view. And just to make sure that the overall shapes are quiet nice as otherwise, we might get lost too much in detail and we can get the nicer overall picture. Yeah, just by looking at it. I think it's quite okay. Maybe we can get some bushes over here as well. The final thing that we need to do, of course, is just to kinda get some variance in regards to the density. We're going to go on to erase density of points for I think that's going to be quite alright. Let's go ahead and hold Shift and see how this would work out. And working out. Well. Cartel, I think we need to lower this down to point to something like that. Let's go ahead and see this working out. And there you go. Now it works quite nicely. So I'm just going to use that from a distance and just kinda tap it quickly in couple of areas just to break off the shape even further, make it look a little bit organic, whilst at the same time, keeping that overall type of curvature shapes that we'd have within clusters. This one over here don't quite like I'm going to just break it off a little bit. Like so. Just like that, it's looking quite nice. It's looking quite nice. This needs to be broken up like so. Clusters. Alright, lets us there, okay, over here, breaking up the shape. Yeah, that's that's all there is to it in regards to setting up the polish is nothing too fancy. It's just a matter of technique in regards to when we're breaking them up and whatnot. We can also do it a little bit closer to the castle. For the ones over here, I think they're using different variants of foliage, in which case we wouldn't be able to do much about it because we are using different selections and without the right selections, we're not going to be able to delete anything in that regard. So yeah, there is that I will spend some time actually to set up the path a little bit over here. I think that's going to look much better. It was bothering me a little bit. I'll be honest with that. But I don't want it to continue off too much. I'm going to turn it to the side of the forest over here. I think that's going to look much nicer. So I'm going to go onto landscape mode, going to go onto paint that makes sure we have the dirt selected and layer one selected. And I'm just going to go top down view excel going to make sure that the brush is smaller. Strength is set to something like 0.5. I think it's going to be quite alright. And just essentially to strong strengths that the point free. Let's try that. Still too strong. Wondering what's up with that. There you go. Something like that. 0.1 is going to be quite alright. Follow-up though, we need to make sure we have a nice fall off. 0.8. Going to be quite alright, just brushing it out, rushing around like so, just making sure we have a curvature going all the way to the side. It's worth touching another chunk. It's going to start preparing shaders for it. I'm just going to wait it out before continuing. And there we go. Alright, so there is that we have couple of rocks we might need to set up as well. But I think all in all, it's quite okay In regards to the overall setup. I don't think we even need those rocks to be honest. I think it's going to be quite okay if we just leave it as this. So I'm going to end it here in regards to the setting up the foliage in the background. Though. Thank you so much for watching and I'll see you in a bit. 113. Adding Decorative Mountains In Background: Hello and welcome back in from two buildings standing medieval worlds with Unreal Engine module kid bash course. In the last lesson, we'll ask ourselves, are we adding couple of bushes to have variants who are terrain? We also added a bit of an extra path going off to the side, although it's not necessary. I think it adds a little bit of that extra because it was ending over here, wasn't looking like it's leaving anywhere. Just ended up fixing that. And now we also need to fix up in regards to the terrain itself in the background. Because although we have couple of mountains in the back area is still not quite there. So even if it's an open world type of a setting where you want your character to walk around in pretty much any place. You still want, but you still might want to consider certain aspects to the background. So e.g. adding couple of landscape type of terrain. That's just for visuals, sort of mountains and whatnot. Yeah, For that, we're going to actually go on to our marketplace for Epic Games. We're going to go onto the marketplace that's permanently three. And because Unreal Engine has a lot of items that end up just being sold off or bought off by the Epic Games themselves just to kind of help with the craters. They usually have a lot of items that we're able to make use out of. And one on which would be if we were to use for a search for landscape. Landscape, Let's try landscape backgrounds. Let's clean background. Should be able to get something. There you go. That's the one we're looking for, landscape background. It's completely free so everyone is able to make use out of it. Let's go ahead and make use out of it right away. As nice type of setup that we can make use out of with different season changes and whatnot. And it works really well for backgrounds. I already got myself and download it version. So I'm going to just simply click Add to Project, going to click Show All Projects. And I shouldn't be able to find this one over here. It's okay for the version. We don't need to worry about that. I'm going to add it to the project like so. Wait it out a little bit, verifying, cleaning up. And now we should, within the project itself, have ourselves a nice setup of mountains. If we were to go back onto the continent folder, I'm going to drop down this onto the Content Browser, go into search for this folder over here, which should be think it's in a landscape mode. Not over here, actually. Just give me a second to find it out. They go for our backgrounds, that's the one we're looking for, meshes. And it should be certain types of setups which we can make use arrow, we have spring, e.g. mountains, we have summer, winter. And I think I'm going to make use out of winter because I want some peaks to be snowy. I'm going to make go onto here. And all of them should be static meshes. So for us to make use out of it, I'm going to make sure I'm going to modular winter folder and then making sure that the filter is that we have Static Mesh. After we select it. If I were to click on it, There you go. I can now drag one of the mountains out, wait until it loads up. And this is a type of setup that we're going to get. So I'm going to make sure the camera speed is going to increase the sensitivity a little bit. And essentially start playing around with our background. If we look at it from over here, we can see some peaks coming off e.g. and it's going to look quite nice. We can also, by the way, it turned a little bit just so we can have some of them peeking out, sticking out a little bit. And we can also just drag them out a little bit as well just to get more of those peaks visible within the background as well as them looking a little bit more intense, but make sure to not overdo it. Otherwise, the geometry of the world's setup gets a little bit distorted, so forth. To do it too much, we can see the peaks actually have only just fair amount of visibility for the pixels. You don't have a lot of shape out of them. So just make sure not to overdo it in that regard. Yeah, I'm just going to drag out a couple of mountains, make sure that we're setting them up nicely, dragging them out a little bit like so, setting up nicely with one another. We don't need to be worried about overlapping too much. We just need to worry about the shape, how they look like in regards to the background itself. So this one, e.g. as a bit of a hole over here, we obviously don't want this to be visible and we're going to rotate this around quite a bit like so. And now, in regards to blending this in with the terrain, we just need to make sure that the shapes are going inwards a little bit as well. Because the main reason for it is that we're going to be fixing that in a bit. We're just making sure that this is nicely set up for now. And I'm going to bring this over here, maybe not this one particularly going to drag this upwards a little bit. No, actually, I don't like this shape, so I'm going to remove this. I'm going to search for another one, maybe something like this. Let's see how this loads up with the shared is prepared. And this is looking quite nice, although not quite sure about that. I'm going to duplicate it for the area a little bit. Like so. And making sure that we have some mountain center back or actually I'm going to delete this, going to make sure that I'm focusing only on one corner. So it would save us are a little bit of some time going to add some mountains in the back. And also let's not forget to click one to make sure we have some nice that are for the back of this area over here we need some mountain variants. So the main shot is probably the most important one. Let's make sure that we have some of that hill section over here as well. And a blending in a little bit with the terrain. And we're going to work again with the texture blending in, in a second. We now making just Sure we have some nice type of setup with the overall EPA mountain. So this one e.g. might not be as tall. I'm going to just squish it down back to the scale. And it's looking quite nice. But it's section. We can also drag it a little bit forwards as well, e.g. again, playing around with the setup. The setup going to make sure blend them in nicely like so. Click once here, this looks like and maybe this particular case I'm going to drag them out. So there we go. Looking quite nice overall. The mountains, this is going to be blended in. I'm not too worried about that. And once our, once we have this section, essentially what we can do is just go back to the setup and play around with the other shapes as well. Or actually, I'm not going to do that in regards to the setup screen to make sure that what area is completely set up and then I'm going to just duplicate it real quick. There are other sections, so I'm going to also turn off the snapping angle as well, top right hand corner. And just make sure that we have some nice type of a look at. Are these something like that? Maybe it looks quite alright. Okay. So yeah, we're pretty much done in regards to the mountain setup. We just need to make sure that we have a couple of variances of mountains essentially, and just kinda blend them in together. We might even grab one more e.g. like so went to stretch it out and see how this looks like. And this actually looks quite nice. I quite like this. It's easy to control as well because it's nice. It has some nice corners. And yeah, we're just making sure that it looks quite nice from the castle angle though, which seems like a does except for this big chunk over here actually. But we can also drag this down and make use out of it and leg just like that. So yeah, that's all up to you in regards to what kind of forms you want to set it up with the cameras set up previously, we're going to make sure that we have a nice scatter background of the mountains. And we'll be able to add some on left-hand side using the same type of duplicates from these ones, I reckon. But for now though we're going to keep them as is. And then in the next lesson we're going to learn how to set them up in regards to the vertex blending, which kind of already did with the small eclipse over here. But it previously, we were using ourselves the Quicksort blend. And now we're going to set one up from scratch. And hopefully that'll give us some real nice results for the background. Yeah, that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 114. Setting up Custom Vertex Blend: Welcome back everyone to building standing medieval worlds with Unreal Engine five module kid bash scores. In the last lesson, we set ourselves up with some nice background type of mountains and how we're going to continue on working with them and make sure that they blend in a bit better than this. Though for us to do that, we're going to go ahead and grab a couple of textures. We're going to make sure we find the textures that these are using. So it's going to be these ones over here. And if we have a look at it, they're actually set up like this, so they are quite complex in regards to the overall setup. You quite a bit more complex than a normal type of PBR values. But we're still able to make use out of them, which is going to be quite alright. The main thing that we need to know is which mountains use, which textures, which mountains use, which materials and whatnot. So this one is going to be just this one over here. Fine. And I'm just wondering if the other ones are using different materials or not. This one is using this one e.g. which is totally understandable, totally fine. And this one is going to be using again, these ones over here. I'm considering to even just set it up from scratch. But I think the best way would simply be yeah, because I didn't use a lot of variants. I think I'm going to be quite right. Yeah, okay. I'm going to essentially start off by making a copy out of this control C, control V, and then reapplying it onto the mountains over here. So these mountains are the same, just going to check it by the name. So Mountain a, these are all bound to a. So by just looking at the name, we can see that it says mountain a, mountain C and mountain D. These are the variance I'm using right now. And I'm making sure that all of the mountain a are using one variable. I'm going to go ahead and drag the copy that I just made, which it should be yeah, it should be over here next to the original one, going to drag and drop it into the setting like this. And now with this coffee made, we're going to access it and we're going to start by making use of the same material that we had for the landscape as it will speed up our process. I'm actually just going to close this down real quick. Going to go on to the Content Browser, going to go onto landscape folder. So open up the mass of material. Search for the grass area, which we added over here, default grass. This is going to already have blend range and have a fixed sorted. So we don't need to worry about that too much. We're just going to grab everything from it. Selected, I'm going to hit Control C, going to go back on to the material setup like so, or actually, sorry about that. I'm going to go back onto this as a realized that we also have a noise that we need to copy as well as credit and make sure we do that. We're going to copy. Whereas default and noise all at once like so we're going to hit Control C. So now we can close it down. We can go back onto our mountains. Have more than two months later they're going to go ahead and check the duplicate and go into it like so. Now I'm going to go ahead and paste this in the very top, like so. And to make sure it doesn't overwhelm it, we're actually going to click Control Z because it doesn't seem like a pace that a properly going to paste it in so it wouldn't overwhelm the bottom pieces. Like so now I'm going to drag this out a little bit like so C, which is a witch, going to see that these are the base colors like so. So, yeah, for us to do that, we're going to select this material itself, going to right-click, going to make material attributes. Where is it? There you go. Make material attributes going to, while holding control, just read, drag them onto the according, onto the same type of setup like so speculators over here, roughness is over here. Normal is over here. Anything else? No, that's it. Okay. Now we can go ahead and make use out of material attributes, which is going to set it up like so. I'm going to drag it out to the side a little bit. And we already have in material attributes from here. Because blend material attributes with the original, we're going to again blend material attributes. So let's go ahead and do that. Land bacterial attributes. This one over here, going to go ahead and select it. Though, a is actually going to be original one like so. Actually I don't think it matters at this point. We're going to set it up as B. We're going to go ahead and drag the blend material attributes. The one that we had from the grass setup is going to real quick check the grass and it looks like it should be okay in regards to the overall setup, then we're going to simply drag the spout, my material attributes itself, the output. And finally, for alpha, we just are going to set it up with a quick, quick, slow blend. Not, sorry, not quite so bland vertex plant and we're going to search for vertex color. Excel, we're going to drag it out from red, so we could only use one channel. It doesn't matter. It doesn't need to use any more channels like so. And now we should be able to click Control S to save it out. See how this would look like. Let's go ahead and see. Well, that's it, it's done loading out. We should have the same exact result like this. We're going to close it down. And one thing that we can do now with it is if we were to go on to our mesh paint with one of the mountain selected the one that we just created the material for. By the way, we're going to go onto its selected, which allow us now to click paint and this areas. So I'm just to click and hold and see what's up. I think the default color is already white. If I'm going to go on the red channel like this for visualize, everything is already white, red. So we're going to change our pink color and erase color. I'm just going to click X to make sure that the pink color is black. Now once we start painting this, I'm going to turn off the red channel. We should be able to see something like this, which doesn't look quite as grasp as I hoped for. I'm trying to figure out why that is the case. Going to probably start off by assuming it's because of the noise. The noise is actually not setting it up quite well in regards to the overall setup because it's actually using UVs and not world scale. I reckon that's the case. I'm going to go ahead and go into the material, back onto the materials, see what's up with that. Going to take off the noise for sada, see if it actually helps out in regards to oral setup. If not, it okay to just drag the both of the colors based colors onto these, instead of just applying the noise. Though, try to click Control S, See if that works out. The scale, the scale of the texture is actually too large. In regards to that, I'm going to click Control Z. Both of them make sure that the noise is still being kept up. Then I'm going to just play around with the texture coordinates themselves. So for us to do that, we're going to, firstly, we're going to set up the one that's a bit larger so we could see it from a distance. I just have some better by painted area like so. Then I'm going to select the texture value, which is going to be something like, let's say we're going to start off with just one, going to click Control and S C. What's up with that? If it works out or not. And there you go. We've got ourselves a nice setup. Okay, so now we just got to match the, the bits a little bit. In regards to the texture itself, we're going to set this up as from a distance to be visible with a value of, let's try four. Let's see if this would work out, which is going to play around with it a little bit until we get the right result. So there you go. We're getting, we're getting there. It's still not quite there, but we're getting there in the center up to eight. Let's see what's up with that. Go eight looks quite nice. Now if we get closer, we should blend in a little bit with the main stuff itself, which I don't think it actually is behaving in the same manner, but I'm considering about just leaving it as is, as we're going to be seeing it only from a distance. But I think just in case we are going to blend it in a little bit better in regards to the close-up as well. We're going to select this top section of extra coordinate photographs. We're going to change that up as well. I'm going to go a bit closer to a value of something like one. Let's see how that works out. And it still doesn't seem to change it. I'm just wondering why that is the case from a distance it looks alright. As we get closer, it doesn't have that distance blends. I'm just wondering why that is the case. I think it's because these are not set up properly for us. For that, I'm going to go ahead and select the landscape itself. I'm going to go and find the landscape instance. I'm going to double-click on it and see the numbers I'm using. So Blend offset, one plan range is set to this and we're just going to hit Control C copy it, lowers down the landscape instance and put it up in blend range over here. Forward to set that up, I'm going to click Control and S see how that behaves. Now once we get closer, we're going to get ourselves change texture, which is exactly what we want. Of course. We want this texture itself to be way higher up for the, the texture setup. Going to select the texture blend, going to change these up to something like ten or 12 or something, got assort. I'm going to click Control and S and save that blends and properly. What's considering about using a world scale itself for this particular case. But as much as I liked that, I tried to avoid it because it usually is either from the top or the side view. And once we get certain elevation and starts kind of stretching out the texture itself as it becomes quite obvious in that regard. So I tried to avoid doing that. Well, is a little bit too small or too large. Still. Check 64. See what's up with that. That's actually going to give us a nice type of a look. And there we go, something similar to that. That's actually quite alright. We're going to have this kind of breaking point, which I think is because of the noise over here. So I'm wondering if we should change that up or not. But again, it's because it's going to be from a distance. I'm not too worried about that. I'm going to go ahead and close this down. And now I'm just going to start painting these out in regards to the vertex painting, but we're running out of time, so we're going to have to continue on with this in the next lesson. Thank you so much for watching and I'll see you in a bit. 115. Blending in Mountains with Landscape in UE5: Hello, Welcome back everyone to buildings standing medieval worlds with Unreal Engine phi modular kid bash scores. In the last lesson, we'll ask ourselves or with setting up a nice vertex painted material from already existing one. And now we're going to continue on with this and actually blend in some values nicely so it wouldn't look like they're just being cut off with the white snow. So for us to do that, we're going to go ahead and actually select all of the variance of a, since this is the material that we create it and we're just going to have them all selected. We're going to go onto mesh paint. We're going to select Paint, and now we're going to start all the fun them with the paint colors. So were to make this brush way smaller, which doesn't seem to want to work. I'm just going to manually do it like that. Add up to something like this value and I'm going to start painting it in and you can see how nicely it starts blending in the colors. That's already looking quite much nice in that regard. Of course, this is based on the vertices themselves, on the information for them. So we need to consider that when we are essentially having large mountains because they're not going to have a lot of lending in. But again, from a distance when we look at it, it's going to look so much better in that regard. I'm just going to make sure that the scale size for this is that there's something like 0.03, maybe something like this. That's going to be quite alright. I'm going to start tapping it and just blending in the values just like that. At the bottom you'll want a more grass at the top, you'll want less. But all in all, you just want to make sure that we're blending these values nicely together with one another. So it's looking quite nice. It's looking quite nice. And I'm just making sure that we have these selected headboard painting and all. This is going to be a different amount than we might need to results up with a different setup for that. And we're just breaking off some edges, some services again, while clicking one, we can see how it looks like from a distance and that's exactly what we need to think about when working with that. So yeah, it might even break out the surface so some separate chunks of snow might be visible. So that's going to be quite alright. I think that's looking quite nice. Overall. Blending in over here. I'm going to do it too much in regards to that. I'm just going to do one variant that nothing that's going to be okay. And then once we're done with it, once we have everything set up in that regard, which I think might want to spend a little bit of extra time in regards to that. We can now make some variance for the other mountains. So see mountain will obviously use a different material, which is going to be this one over here. I'm going to go ahead and select it and hit Control C, Control V to make a duplicate out of it. Going to go on to the one that we created previously, which is going to be over here, going to essentially make a copy out of this entire setup. Zoom out in the fall grass and noise. We're going to make a copy out of it. And also I'm going to zoom in a little bit, make a copy out of this as well. Holding Shift, I'm going to select them, so everything is selected that, that up we're going to hit Control C. We're going to go onto the other one. To close this down. I'm going to go on to the copy that we created, which should be this one over here. There you go. So that's one has underscored to that cell. Usually the copies are we're going to be for doing that, we're going to select all the sea mountains and mountain variation. See, we're going to drop this second variants onto it, like so. Now go into it. Make sure we duplicate what we created like. So change this to material blend, which firstly, we need to set this up as material blends. So make material attributes. Though. We're going to drag and drop this into the channels accordingly. Just like that. Roughness is separate, normally separate. And that's pretty much it. We're going to now drag this into B or make material attributes into B and drag this into, sorry, we need to make sure that this is set up as material attributes. Let's go ahead and select it. Now we're going to drag this into here, hit Control S, save it out. Now we can do the same thing as we did for our previous mountains, were to go ahead and select all the mountains, sea. We can look at it. A lot of them are actually nicely set up. I'm not even going to touch him too much. I just set them up just in case because you want to make a duplicate. You're going to be needed. In regards to the vertex painted versions for d, I think I can get away with not using it. I'm going to check real quick in regards to how they look. And I think what this particular case to save some time, I'm not going to do that. And as if they look quite nice overall as they are, I'm just going to go ahead and start heading clusters of Mountains all the way around going to go ahead and make this entire selection go to hold Alt selected like so, rotate it around just like that and add it into the scene? Yes. Like so. And that's all it takes in regards to setting it all up. We might need to readjust couple of them a little bit like so. Just to make sure that it looks quite nice from the main angle. Just like that, I do want them to add a bit of an extra mountain range with Italy. This one, I think I'm going to duplicate this one over here. Rotate this around as like the shape of it and kind of blend in with the terrain a little bit like so. Making sure that there are no holes like this one over here, we need to fix that. I'm going to drag it in a little bit like so going to rotate this mountain a little bit. Something like this. I'm going to click once, see how they look like. They look quite okay, alright. Maybe you need to drag it inwards so I can down something like that. Alright, so we're done with the mountains. I'm going to actually make another duplicate and put it up to the side. So I'm going to grab these ones like so, yes, like that. Hold alt, duplicate it and put it up on this corner as well so it doesn't look too plain. Just like that. These mountains can be something like that. And extrude them a little bit, not too much again, making sure that shape nicely set up. And you can just looking from the other way around, it looks quite nice. This one needs to be fixed up though. We're sure it goes something like this. Already looking quite nice actually. Though. There you go. That looks quite nice. That looks like a nice way of breaking up the background, just like that of some mountains. We're going to continue on with the vertex blending. I'm going to make sure I save out my map clicking Control Shift and S to save everything. Now we're going to do is just select one by one and just add a bit of an extra touch in regards to the mesh weight paint. To blend in. Again, the overall setup going to get the size a bit higher. So 0.6, maybe, something like that. Make sure that most of it is just blend it in. We don't need to be perfect. We just need to make sure that there is some nice areas within this overall setup. So just like that, nice transitions overall, something like this. I also forgot to say one holding Shift. We can increase the blending in regards to the vertex opposite. So we can delete it, we can add some more to expand and holding shift is going to invert it. And then if you start clicking on it, we're going to add another, another information that's going to be on opposite of that is going to start using arrays of color. And in that regard, we can just make use out of it all. You blend in the values nicely with one another. Just get some nice or type of a looks. Then afterwards I can go ahead and go to Select mode. I can select a couple of mountains like this and add some vertex over here, e.g. something like so. And just like that, you'd be able to get ourselves some real nice type of mountains. It takes a bit of extra type of a setup for that. But all in all, I think we have more control out of these that I think it's more for doing so. And yeah, we can just get ourselves some real nice type of mountains in the background just like that. Nice. This is actually floating. I don't like that. I'm going to go ahead and select this one over here. Bring it in words like so, there we go. This mountain now it's floating. So I'm just going to bring it in words, but a little bit more of it. So I'm just going to do it like so. It's like that. Alright. And again, just as an extra touch and we're going to go on to mesh paint, going to select this, go to paint and blend in the valleys again in-between these dynamics settings for the grass. So maybe some grass even on top of here. If we want to add some bit of an extra gap, a grass, we just need to make sure that we are having some that make a little bit more sense. So the top sections not slopes and whatnot and e.g. over here and just have it. So a bit of an extra grass. Totally fine. Just to add that extra detail to RC. And yeah, I think that's looking pretty good overall. We can go ahead and leave it as is. And then in the next lesson we're going to grab a selves couple of nice that UPS for final renders and whatnot and leave it as is. So, yeah, thank you so much for watching and I'll see you in a bit. 116. Post Processing in UE5: Welcome back and run two buildings standing medieval worlds with Unreal Engine Pi modular, good batch scores. In the last lesson, we left ourselves of way of setting up some nice mountains and blending them in with the terrain. And now we can continue on working off on her overall setup and just finish it off by getting some nice lighting setup and getting some nicer setup overall in regards to the fork e.g. so yeah, One of things, one thing that we can do if you were to within outliner search for exponential fog, we'd be able to get exponential fog at the very top, which allows us, if we're to hide it off, to get some depth in regards to the distance so we can see what it does. And essentially, the further away the camera goes, the more of a fog, the rays, which really helps us to sell that kind of a distance, really helps to get a nice landscape type of debt. Yeah, without it, it's not going to look quite as well. But by default, I find it to be a little bit lacking in regards to the color itself, mainly, what I like to do is there is something called in scattering color. I like to just open that up. Like so, change this up in regards to the color and we can see it change like so. And I just prefer to add a bit of a bluish tint just like that. More sign, perhaps, something like this of that sort. And you can see the difference before and after. If I were to click on this button over here and I click Control Z, we can see the before and after, just like that. And it's looking quite nice, although I think by default I added a little bit too much. So I'm going to lower this down just to get a nice blue type of content. And I'm actually going to increase the saturation just to make it more magical photo background. Just like that. We also have ways to control the height book by selecting itself, by dragging up and down, we can increase and decrease the height at which the fox starts. Which is pretty nice overall. Don't think I'm going to touch it too much in regards to that. Going to leave it quite low, maybe a little bit higher up. And also in regards to the fog density, we can change it up within the Details tab as well. We can increase the decrease in like so. If you want more, we could turn will do so by just changing the value over here. And that would give us a real nice type of foggy setup or our scene. But I think by leaving it by default is quite nice. We're going to go ahead and do just that. And, uh, we'll actually take down the saturation. Now that I look at it in that I just adjusted the height of this fog just by a little bit like so we're going to get so much nicer type of a look just like that. Then start distance, we have a star distance which allows us to danger where it starts. So e.g. if I wanted to start a little bit further down, we can do so. And I recommend you doing that actually a little bit because otherwise, everything is just going to have a bit of that fog, especially for walking around in our city. We don't need that type of fox, so just setting it up 2,500, I think is going to be quite alright. We're still going to get our overall, but once we get started getting closer into a CLOSE-UP sections and whatnot, when the camera needs to be closer up, that fog is going to disappear. So it's actually quite helpful in that regard then, in regards to the post-processing, for us to set ourselves up visually, nicer type of a look. We can go ahead and click quickly add the project. We can search for post-process like so. And then we can just drag and drop this post-process volume into the scene. Which afterwards, if we with it selected, I'm going to right-click going to move this right away into the lighting. Not the lights lighting like so it's going to be one lighting. So now within the folder itself should be able to have that at the very top. So, so anyways, going back to the post-processing volume, we're going to click F to locate this box which everything within it is going to be changed unless we're to search infinite, like so we're going to have infinite extent unbound by clicking on this will make sure that everything outside of this box will also be affected with these settings, which is really good for us. We now have couple of options to go through. And one thing that I want to highlight mainly is going to be if we were to scroll all the way down, we're actually a little bit a lot of options. I'm going to just within the search bar and search for exposure. There are options for where to find it, a go or minimum and maximum. And these ones, if we were to enable, these, are the ones that are going to control how bright or how dark it is based on our brightness over all. So you can see this is what controls essentially what the brightness is based on overall setting by looking at the sky is going to look like this. Well, if I were to just go back, you can see the brightness kinda changing and it kinda gets that sort of assimilation for the overall eye. Let's say we set it up so the light, the night light is going to be a bit darker to a free lux. And the main son should be actually set to a bit brighter of a value. I'm going to set it up to six. So there's two increase that. And then afterwards, what we can do is within the post-process volume, we can play around with the minimum and maximum values to get. Since the right result, I'm going to go ahead and search for exposure again. So minimum is going to be how dark it can get. Basically, at a maximum is going to be how bright it needs to find that these settings by default are set up quite nicely, but you might want to readjusted based on nighttime datetime cycle. And the other option that we have is exposure compensation, which is going to be affecting the overall type of exposure. I like to personally, I play around with this a little bit and I'm just checking that it doesn't seem to want to work. I'm trying to figure out why that is the case. And I'm just going to real quick check the infinite extent, setup. Infinite extent. I'm going to make sure that this is ticked on. There you go. Now with this thick tone, it's going to give us the right results. I'm going to go back onto exposure compensation to reset it was by default set to think it was set to something different. Trying to figure out what's going on right now because everything seems to be looming. And I think it's because, yeah, it's definitely because of the bloom effect. Going to go ahead and check for bloom. I'm not sure why that was on. By default, the intensity of it is way too much. And once we start reducing it, I'm not sure why that was the case. I think some of the shaders were still resetting or something of the sort, but yeah, by default, loom should be okay in regards to the setup, we can make use out of the bloom in regards to getting some nicer type of lights coming out of the surfaces from Windows, e.g. which is actually quite useful. We might want to do that. I'm going to increase the Bloom all the way to the top actually first before changing got to exposure, going to then also increase the threshold and now play around with the bloom itself. This way, we're able to tell apart how bright something is. And I'm going to set this up to value 2.5. I reckon that's going to be quite alright. We can see the bloom is going off from our windows and whatnot. We're going to lower down a density now, something to a value of 2.5. So we're going to get a real nice type of Bloom result. Coming out of or Windows coming out or torture someone. And that's looking quite nice Going back their exposure. As I was talking about, we have minimum, maximum by changing this to something like 50. Actually not going to just look anything. And downside of this is that the speedup speed down also affects how fast it changes in between. So yeah, usually I don't touch them. If it's a night, day seen, I tried to switch up the brightness of the moon and the main sunlight. And then afterwards, we, yeah, we going back to exposure compensation, we have some setups for this. By darkening, by up-scaling this, we can see how it behaves in regards to our Sun as well. So that's pretty nice. I think I'm going to lower it to a value 0.95 just to darken it down. Overall scene just a little bit. It's small factor who actually, I'm going to lower it down to a value of 0.85. Sorry about that. There you go. Just a small dark enough. Then we can go into the color grading itself, which is going to be, if I were to go all the way down over here to global settings. So let's go global tab essentially. And if I were to select all of these, we can make use out of them like so. The main ones is going to be saturation contrast and gamma. And saturation, as it says, we can change that how colorful everything is, our dark everything is. And if we were to make use of this bar over here, we can tell it how, how much it takes off from specific saturation of one value. But now I'm just taking everything off from in regards to the blue value itself and we're increasing. You can see the table results we're getting by just playing around. We can see the amount of changes we're going to get and it's crazy good when we want to get a different type of setting and whatnot. I prefer to go a little bit orange in regards to that, to a value of 1.15, something like that. And we're going to get a bit of that extra in regards to the before and after, it just brings out that extra color, then we have contrast, which is affecting the sharpness of our object. We also have the same bar in regards to this overall type of a tint, which I tend to just leave it as, is to be honest, most often of the cases. But the very start, I think I can just go ahead and click on this button over here, which resets the property to a default value. And then I like to increase it just a little bit to a value of 0.01, 0.08, sorry, there you go. Then as for gamma, this is the one that I use with, in regards to just this over here, I tend to increase this to a bit of a high value so we can play around with the overall setting. And I would increase it a little bit more towards the purplish blue like so or yeah, I will increase it to purplish blue like so. Then lower down this value to original one. So, and you can see before and after a little bit like that. And that's a little bit too much, I reckon I'm going to lower this down. We're actually just going to take this down a little bit like so small tweaks. That's all we need to set up a nicer type of a look in regards to our overall Harrier, in regards to the whole scene. And finally gain. Again, I tend to do the opposite of what I did with my eyes were to increase this. We can see that it also does a sort of an overlay for colors, but with different curvature controls of them. And I tend to go like this and increase this to a value of 1.2. That's going to give us this look. So before and after just kinda helps us to highlight certain color like so or the yellow. And that's pretty much it in regards to the post-processing we set ourselves up with that. We're not going to touch offset as it's just an offset of certain colors, it just bleaches them out. Often. What? Often? Anonymous, going to take that off completely and get ourselves this sort of results. So that's going to be it in regards to the castle built. I'll have one more or less than just to show you how to get some blah, photos and about how to get up player start. Yeah. Thank you so much for watching and I'll see you in a bit. 117. WaterWheel Motion: Hello, Welcome back everyone to building standing medieval worlds with Unreal Engine Pi modular kid bash course. In the last lesson, we left it off by setting ourselves up with a castle. And I did actually forget to animate this wheel turning because right now the whole river is flowing, but we don't have this wheel doing any type of motion, so we got to fix that. And it's quite simple and easy to fix. We're going to go ahead and select this. We're going to hit the Shift G, or actually I'm going to make sure that this is within a folder, just like they always do. And I'm going to call this a water mill house. Then I'm gonna go ahead and re-select. They're going to hit Shift G to ungroup everything. To select this, we'll make sure that the pivot is at its center so you can rotate it easily like so and actually seems like it's rotating off. I'm going to make sure it's set to local gizmo like so I'm just going to check out looks and there we go. That's exactly the type of motion we're looking for. I'm going to then go ahead and make sure that we are transforming this, setting this up as a blueprint. We're going to convert this as a blueprint alike. So going to harvest its components and make sure that the path is set to blueprints custom. Just like that, I'm going to go ahead and click Select. Then we're going to get this sort of a result which all we need to do is to put in the rotation is click on Add Component and search for rotator. Rotating movement. There you go. Let's go ahead and select it and adjust some of the adjustments within as Details tab. So for sorrows pivot transition, we don't need to worry about it. So 00 is going to be alright. Rotation rate is the moment where we need to make sure that this is properly set up and right now it's set to 180 degrees. If we were to start simulating this, we're not going to get any motion. And the reason being is because the wheel is not set up as mobile. So for us to fix that up, we're going to go back onto a wheel. We're going to make sure that this is set as movable and I'm just going to go onto a static mesh as well. For it, we're going to change this to movable as well. Now, we should first of all compile it like so, then click Simulate. And it's still not going to turn hand. The reason being is that it's only going to be turning out of the blueprint. So I'm actually just going to move this out of the way. I'm going to go back to my waterwheel real quick over here. Now when I hit simulate, like so, we can see what's going to happen. And by default it's just going to get us weird motion like this. We obviously don't want this to happen. We want to get that fixed. And the thing we need to fix is the rotation. If we were to go back onto rotation movement, we've got essentially a rotation rate for all set to zero except for the z axis. The z axis is going to be determined if we were to select on a circle on the water wheel itself is going to be. If we were to click E, we can see the gizmo itself and bottom left-hand corner. So this is going to be turning in z like this. And that was what was on by default. Then we've got y and x. So x would be this. And obviously that's not the case that we wanted to rotate it and why it's going to be rotating it like so. So yeah, we want to make sure it's rotated y-direction. So we got to make sure that we delete the z rotation like so from rotation rate. And now in regards to why, We gotta determine also how fast we want it to go around. And if we were to set it by 360, that would mean that 360 degrees would be turning in every second. And that would be a little bit too much. I recommend setting it up to 60, something like a small movement could be bit better. We're going to go ahead and compile it and then we're going to simulate a roll to see which way it's actually turning because I don't actually know if it's going to be the right way, it's going the opposite way of the waterflow. So we gotta fix that up real quick. We're going to now change up the rotation to make it negative degrees -60 like so. Compile it again and now we can simulate it and it should give us the right result. Although it still might be a little bit too fast. So let's go ahead. Yeah, it's still a little bit too fast. Let's go ahead and change it up to something smaller than that. I'm going to change it to -15. Let's see how this looks. Going to go ahead and compile it. It simulate and see if it works out. Well, there you go. Something like that. Looking pretty good. And yeah, that's all there is to it then requested Warum Weil movement. That's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 118. Final Unreal Engine 5 Steps: Hello, Welcome back everyone to buildings standing medulla worlds with Unreal Engine Pi, modular kit bash scores. In the last lesson, we left ourselves with a nice type of setup for our castle. We got the post-processing set-up. And now if we were to just click play with our default game setup, we can pretty much get ourselves character to be played in any of the areas that can look quite nice overall, although it didn't notice just now that this gizmo is setup that's visible to us or the global foliage actor. We're going to actually just lower it down into the ground and hide it off or our sides. Now we can just go around and play around the castle and see how it looks like. And everything should load up nicely and look pretty nice. One more thing before doing that, I did realize that the bridge e.g. doesn't have proper setup of a collision. So for us to fix that real quick, I'm just going to go into it too complex and change this up to be, use complex as simple To close this down. Now we can see how it looks like. A quick check, quick test every once in awhile while walking around the castle is quite useful in that regard. There you go. Now I can just go up and down our scene. Our environment is changing up, which is nice. But at this particular case, I want to make sure that this is set up our proper place, so we're going to go ahead and change that up. Or night scene to be not so fast essentially. So we're going to go ahead and change this to a nice setup. Maybe something like ten. I think that's going to be quite alright along the time of day is that it did turn. I think that's going to be better. Hey, go much slower in that regard. I think that's going to be much better in that aspect. And what else, what else? What else we need to consider in regards to the overall setup within the game so far as to actually check how it looks within the game itself. And I don't like how these graphs are not actually looking right now. Quite as nice. I'm going to darken them down real quick. I'm going to go into the blend material and darken them down, which again, we can do afterwards as well. Raise the brightness a little bit, increases saturation, something like so, so to match it just a little bit better. Alright, going back to this hit Play button and what do we need to do is we just need to go on the three dots over here. We're going to this time click on standalone game, which will let us save out the entire project, makes sure that the compiler is our offering. Then we can see how it would look like within an actual game type of a setting. For that, Let's just wait it out. We're going to give it a second to let it play, which is going to be anytime second and a moment. Now, going to also maximize the view by hitting the top right hand side button over here. Once it's done loading that is, and it should give us this result. And I think my camera went under the setting itself. So one more thing that I need to do is make sure that we have ourselves, our character, playable character start properly set up. So we're going to go on a quick play. We're going to search for players, start one over here. We're going to drag it into the scene. We're going to raise it up a little bit. And there is a blue arrow which points are where the character is going to be starting facing. We're going to just point it over here. So whenever it starts playing, it's going to play nicely in our setup. So now we can go ahead and save it out. We're going to load everything out again, which is going to give us this. And at the top left-hand corner we can see that we are having couple of a couple of issues in regards to the overall game. We're going to fix that up real quick, but before doing that, we are going to hit on Console button over here, which opens up a counselor. We can first of all, disabled all the messages which would allow us to disable all the messages, are messages like that. We're going to find this one setup over here. I'm going to click enter. Fractions are not entered, disable all messages like So hit Tab, then I'm going to hit Enter and then I'm going to hide all the messages top left-hand corner just to see how it looks like, just to visualize the scene. So but yeah, we can play around, we can check how it looks at all. And if we like it, we like it. And if we want to still fix that error, we can go ahead and do that. We're going to just first of all click old enough port to close that down. We get back to our project. Now, I'm not sure if it's a sort of an issue overall, but we fix that. We need to go onto the world petition, which you should have it next to the details tab, or you'd have it in here itself within one of the windows rolled petition world position editor. And what do we need to do is just make sure we have everything selected. We're going to right-click load region from selection like so. Then we're going to go on to build, built all levels and this should build everything up for us. We can just make sure we don't want on you exactly using a shallow depth. We're just using nice. We can just delete them. We can say for everything, it will start loading everything up, building everything for us. Like so. Hitting a small error, I'm trying to figure out why that is the case. Going to check real quick. And this is the error that I'm getting, essentially going to just click on this one over here, see what's up with it. And I'm seeing that this is caused by the moonlight and it's something to do if I were to click on the dots over here, It's an easy solution actually, we just need to probably switch up the scale for this. I'm going to reset the scale and hopefully now we're to close it. Go back to build, build all levels. Just going to delete H, L, or D, save it all out. See if this will give me better results. Let's go ahead and wait it out a little bit. And there we go. Window now have that error anymore. So once we're done with it all, I'm going to go back to zoom in onto the scene itself to see how it looks. And yeah, that's pretty much it. Something real quick as a quick tip, I can also show you how to set it up. In regards to just getting some quick, quick screenshots, I'm going to close down this tab over here. You'll get some nice screenshots. And what we can do is just click on a top left-hand corner. We can click on that icon over here. We are going to click on my screen resolution to get this window like so. And this will allow us to get ourselves some real nice type of shots. So after we're done, like getting a nice composition like the one where we had previously with cameras saved. We're going to click Capture. And this will give us bottom right-hand corner a screenshot where it's saved. We can open this up and see the image that's like that so we can share it with other people as well. Yeah. By this point, we went through the whole process of building up our castle from scratch using modular pieces. We learn different techniques for building large-scale projects. We've learned how to modify meshes on the spot within Unreal Engine itself. And we've also created waterbodies to set it up to be integrated within our castle. Then after which, we created ourselves our own large-scale environment material from scratch, and made sure to use it to build ourselves a suitable landscape for our Castle, which was then enriched with the foliage and mountains. And by this point, we've got ourselves a complete environment of a castle builder. We can now walk around in Unreal Engine pipe. Now we do have a lot of other content out there. We have over 30 our courses ranging from isometric room designs to dungeon style environments and all sorts of wonderful projects in-between, we have courses themed on medieval sci-fi and stylized themes. We teach for both Unreal Engine 5.4 blender, which by the way, recently we got an animation course for blender which shows a full scope of animation setups within a variety of different environments. So yeah, if you're interested in it, please go check that out. And as always, please leave a review or a simple common telling us what you like best about the course and then what we could improve. But that's going to be it for me as always happy modeling everyone. And I'll see you in the next one.