Unreal Engine 5 - Create Professional Cinematics & Trailers!

1. Introduction: Hello, my name is Martin and I will be your instructor for this Unreal Engine Cinematics Course. We'll create a video composed of six scenes. We'll work on Cameras, Scene Composition, Lighting, and VFX. I will show you how to use characters in your film along with animations. This course is built entirely on free materials which you will download in the first lecture. If you want to learn how to create cinematics in Unreal Engine 5, you are in the perfect place. Let's get started. 2. Downloading UE5, FAB assets & Creating Project: Okay first things first let's start by downloading Unreal Engine 5 type Unreal Engine in the Google search bar or simply just go to Unrealengine.com, on the homepage you will see a download icon in the top right corner click it to proceed. To get started you need to download the Epic Game Launcher and the download should start automatically it might take a while to load, next just install the Launcher and follow all the instruction as you can see I already have the launcher installed so I move on to the next step on the left side select Unreal Engine then in the top right corner you'll be able to choose the version you want to install as you can see I have version 5.4 aleady installed. You can also select the library icon where you will see the option to download different version of the engine you can choose any version depending on your preferences but for the purposes of this course we need the latest version as you can see this is the older version of Epic Launcher, however I updated the video now you can see the new one we'll see the FAB window, once you click it you have to select start exploring and it will open new tab in your internet browser then you have to go to discover and select game engines, obviously select Unreal Engine. Here we are going to add our assets first one I'm going to add Twinblast character. Type twin blast and filter by free in the price tab and this is our asset, however I already own it if you don't own asset you will see two options add to my library and download so you want to select add to my library. Here I can see View in my library because this asset is already added to my library, second one is going to be VFX again be sure you have filter by free and we want to use that one M5 VFX fire and flames and another one is called Vehicle Variety Pack you can type vehicle, again filter by free and you will see different packs. The one we need is Vehicle Variety Pack Volume 2, add to your library and go back to Epic Launcher if you select your library and you type vehicle you will see your assets supposed to be added here and this one is a little different because by selecting this asset we basically are going to create the whole project instead of create the empty project we going to create project based on this asset. So now we have to select the folder location, name for your project and once ready click create. It will take a moment to create your project I already created mine so once you double click it will open your project it will take a moment and probably you will see that kind of the window missing Project Settings Shader Model 6 - SM6 so what we have to do? We need to go to the edit tab and select Project Settings scroll down okay go to the Windows and here you will see SM6 click it and you're going to be asked to restart your engine, so restart your engine and during that process we're going to add another asset next one is called Weapon Silver Pack however because this is very early access to FAB this asset is not already transferred from Epic Marketplace I hope it will be if not I still prepared link for you so you can download it from our company's Google Drive however I have this asset in my library so I show you how to add any asset to your project. Once you select the asset click the tab - add to project and that kind of the window may appear it happens if the project is not compatible with the latest version of the Unreal Engine, however it will work fine all you have to do is click Show All Projects then select the one you want to add to and also you have to select latest version compatible with that specific asset in that case it is going to be 4.27. And then you have to select add to the project I'm not going to do that because I already added this asset to my project and I'm going to show you how it looks with different assets like Twinblast. Here, this asset is already compatible with the latest version so all you have to do is select your project and click add to the project okay our project restarted so you can see empty level we can create level however I prefer to use the one we're going to have so in that case I wanted to go with Australia Rural environment which is really great quality free asset, just similar process add asset to your library once it's ready go back to your Epic Launcher, to your library search for the asset and just add to your project as well you can refresh the FAB library. Okay once ready we can start with our Unreal Engine project, I see you in the next Lecture. 3. UE5 navigation, hotkeys and fundamentals: In this lesson I show you how to navigate the Unreal Engine 5. If you are already familiar with the controls, feel free to skip the basics and jump to the more advanced functions. To move the camera or rotate the view. Hold down the right mouse button and move it in any direction. If you hold down both the right and left mouse buttons, moving the mouse forward will move the camera up. Moving it backwards with lower and moving it left and right will allow you to navigate around the level. As well, if you press the left mouse button and move your mouse, you can move the camera freely. You can also change the camera speed. Click in the upper right corner and select the desired speed. However, most often you'll use the keyboard and mouse to move. Hold down the right mouse button. Press W to move forward as to move backward, A to move left and D to move right, just like in games. Press E to move camera up and Q to move it down. Additionally, while holding down the right mouse button, you can use the Z key to zoom out or the C key to zoom in. To return to the starting position, release the right mouse button. You can also use the mouse scroll to zoom in and out. These are the basic functions for controlling your view. Just try to play with it and test it. Okay, now let's move on to some more important program functions. Clicking on file will show you options for creating a new level. Saving the level. Saving your progress which is important and very good practice. There is also an option to import assets into the project or export the assets from your project. The Edit Windows contains the frequently used shortcut Control + Z for undoing action. It also has functions related to objects and projects elements like cut, copy, paste, duplicate, or delete. The windows tab is essential for creating a workspace. For example, the Place Actors window can be activated here. I show you in a second, but let's start with the content browser. In the bottom left corner. This is your primary workspace. It contains all the folders in the project, giving you direct access to all of them. You should see every set of assets we just downloaded. You can scroll down open them. Okay, to change the icon size, click settings on the right side and choose the icon size. You can also pin the content browser permanently. To do this. Just click windows again and select Content Browser, Content Browser one. one. Now we will have it pinned. Similarly, you can open and pin place actors window. This will allow you to choose many useful elements such as shapes for blocking. Um. In the cinematics tab you also find systems, like camera rig crane or camera rig rail. Which we'll use in this course. You can see them there. Okay. In the visual effects tab you find post-process volume, which I will discuss in detail later in the course and teach you how to use it quickly, effectively. Sphere reflection capture, sky atmosphere or exponential high fog. All will be covered in the lighting chapter, where you see how easily you can dramatically change the atmosphere of your scenes. Another important element is the outliner window. It contains all the elements used in a given level. Every actor used in the level will be automatically visible in the outliner window. For example, let's choose a basic cube. Click and hold the left mouse button. Drag the element onto the level area and release the button. The element will be added to your level. And will automatically appear in the outliner. You can also control the visibility as you see of this object by clicking the eye icon. This is very useful where you have elements that consume a lot of GPU power. You can temporarily disable the visibility. Now let's learn how to control this actor. We already know how to change the view, so let's start with translate object, use to move the object in the x, u, and z planes. We also have the rotate and scale option. Click and hold the left mouse button, on the selected arrow indicating a specific plane. Then move the mouse to move your object. We also have snapping function for very precise translation. As you can see it is enabled. Let's change the scale and test how it works in practice. Distance in Unreal Engine is measured in meters, giving you very realistic and accurate scale. Okay. The next option is object rotation. We control the change in position exactly the same way as with translation, test just different planes. The last function is scaling the object. You can scale as much as you want, just test it. All right. To reset, you can use the small Arrow in details window which contains all the necessary information about the given actor. You'll see the transfer tab. You can also control the objects position in your level. Here for example, let's change scale to 4. If the lock is checked, all values will be scaled automatically, then reset okay. And we have also two option for controlling the actor's position in the project the Gizmo Local and Gizmo world. Why is this useful? Let's say I change the object rotation and select the Gizmo Local option. I will be able to move our mesh according to object's axis. Choosing the world option. The world will be relative to our object. Test how it works yourself. Okay, to wrap up, let's look at how to control an actor using the keyboard. Press Ctrl and then hold down the left mouse button. Now you can move the object along the x axis, the right mouse button for the y axis, and both mouse buttons for the z axis. Now let's see what happened when you reset our object position zero position. As you can see, our object has disappeared from. However, you can easily find and select cube in outliner. Hover over the level and press the F key. You'll be automatically transported to your actor. And just to delete the cube, press the backspace. Okay, let's move on to the next UE5 features. Click the icon in the upper left corner on the workspace, which will open Viewport Options. Here you will find options such as turning real time on off, shortcut control plus R as well show FPS field of view and see how it affects your current view. Another option is screen percentage. If you have powerful graphic card, you can comfortably work at 100%. Okay, next, explore the view settings. The standard is perspective, which is most commonly used. Check out the other option and test them yourself now. Okay. Another useful functionality is the various scene view option. Lit shows the scene in normal light. Unlit without light. Useful for heavy project. Okay, as you can see. The next one is wireframe. Probably needs no explanation. And personally I like to use as well detailed lighting as it allows us to check and work on the lighting in our scenes. For example, I'm going to use two shapes. See how in this view you can control the light. We basically cover all the basic functions that you see in this course. Of course, in the following chapters I will gradually introduce new interesting information that will definitely be useful to you in the future. Many of these are tips and tricks based on experience, which will help save you many hours of work and searching for information in tutorials or forums. Okay, to conclude, let's open the level where we created our movie in the content browser, choose the Australia folder, then the maps folder and double click on example 01 map. Now we begin the best part, which should be not only work but also great fun as it is a creative process and there is no wrong or incorrect effect here. Everything is subjective and as long as you adhere to the basic principles, the rest is just a matter of your taste. As you can see, we have our level open. Okay, let's see you in the next lesson. 4. Master Sequence, Your 1st Scene: Welcome in the second chapter of this course. To keep a naming convention on the left side in the Content Browser. Right click on the content folder and create new folder. Let's call it cinematic. Okay. This will be our folder for the cinematic sequences. Go up, select the cinematic icon. Now you will see two options add level sequence and add level sequence with shots. We are going to choose the second one. It will create the master sequence. When you click it you will see another window. Here you can name your sequence. Let's call it My Cinematic. You can choose the suffix, but we don't need any. We can delete it. Select the path for your sequence. Of course it will be the cinematic folder. Then select number of the shots. We are going to create six shots and default duration. Let's keep the five second the rest of the settings You can leave it as it is I think is fine. Just create level sequence with shots. You will see six different shots or scenes. And this is our master sequence. So right now we are in the main folder. I prefer to move the shots, which are between 2 to 5 and six, because we are not going to work on them right now. Okay, here you can scroll the frames. As you can see here is also the number of the frames. This is the place where you can choose the frames per second for our video. We are going to use 30 frames per second, so leave it as it is. Okay. And let's just move the other sequences. The left line is the beginning of our master sequence. The red line is the end of our master sequence. So it controls the duration of your whole movie sequence. Okay, let's just select the shots between 2 and 6 and move them to the right. So we'll have more space for our first shot. As you can see, we have 150 frames. But I want to change the number of the frames. I want the shot to be 240. So how can you do it? Just press and hold Ctrl. Scroll the mouse and you will zoom in and then just move it to the right. As you can see there is 240. That's correct. Now to enter the shot. The first shot you have to double click. But here, as you see we have only 150 frames. So we need to change it. Okay. On the bottom you will have the working range start on the left. You can change the number. I prefer to keep it around -20 to have really nice workspace. And on the right side you will have working end range because we want to have 240 frames. So let's just keep it around 270 okay. This is the end of our sequence in master sequence. But in this particular shot we need to move the red line to 240 frames, and then we have to increase our camera cut as well to 240 frames. Just press and hold the left mouse button and just scroll it to the right. Okay. So our workspace for this shot number one is ready. Here again you can select the number of the frames but we stick with 30 frames per second. Okay. How you can control the sequence. You can control it here or as well there I prefer to keep looping the sequence I show you later why? It's much better for the preview. I show you how it works. We can play forward so we can play reverse. So when our shot will end, it will play again because we have looping selected. Okay. Here we can move to the front of the sequence to the end of the sequence to the previous key in the sequence. And to the previous frame. Okay. As well, when you press right arrow or left arrow, you can move by one frames in the sequence. If you press up arrow, you will move to the front of the sequence. Okay. Let's take a look at our sequencer space. The camera space. Let's just make it a little smaller. And we are going to search for sign in our outliner window. let's select the kangaroo sign number five, and if you press F, you will be transitioned directly to this mesh. Okay, this is the place where I want to start our first scene. Okay. Let's make our sequencer workspace a little bigger. And now just try to set up our camera. As you can see, we have Camera actor 160. When you press that icon, it will lock the camera screen view, but it will move you somewhere else in the level. I made it intentionally because first you're supposed to choose the camera and then select again kangaroo sign number five press F key. Transition to the sign and right now try to set up the camera view. Once you're ready there is a transform window on the bottom and you have to just keyframe. Okay, scroll down. Here you see the transform and just press in the middle to add the new key. Right now your camera basically is locked in that position. Okay. Let's try to add one more key. Just move our camera in different position. First, change the frame to the frame 90 and just make a little zoom and again keyframe. And maybe you can scroll it a bit more. As you can see you can move it left or right. And when you move the the red arrow right now you will see the sequence actually started. So basically we created our first animation with the manual camera. I think it was very easy. This is how we can work in a sequencer. Okay. Also we can move the keyframe anywhere you want. So let's just move this keyframe. And also we can change the way the keyframe behaves. Right now we have the Cubic Auto. We can also select the Cubic Smart, Cubic break as well the Linear which will be... which will be static value. So if you choose it, you can also select it here by right click on the keyframe or by press 4 on your keyboard. Okay, if you press play, you will notice that camera move instantly from that position because right now we have Linear keyframe. Okay, if you have the automatic one, it will accelerate gradually. Just be sure we have Cinematic Viewport. Okay. Let's play again. Let's take a look. It looks quite nice. Okay, let's see what happen if we move it, if we move the first key frame. So from the 0 to 150 frames, right now we'll have the same angle, the same shot. And from 150 to 180 we'll have very fast zoom to the second frame. Okay. I just deleted the first frame. Start with the first one and we are going to create the first camera shot for the first scene. So let's keep it on 120 frames. Just change the angle a bit. Of course this is just a suggestion. You can create different angle if you want. I wanted to show you how to navigate the sequencer, how to control the camera in the shot. And I want the sign because it will help us to work with the focus. It will be much easier to understand the process. Okay, I created another point because I want a bit upper, higher camera for this shot. I want to start and slowly move down to the sign. Okay. As you can see there is a transform window. And here we can control as well all the values. So we have location with all the axes as well. You have rotation window. So you can change it manually or you can type any number to control it. Okay. Let's see the rotation. Very similar. You can control it. Pitch the roll. Okay, let's move to the next frame. As you can see, sometimes it happens in unreal. If you create the keyframe in front of the of the sequence, and later on you try to create another one before that one. Sometimes the yaw, it's in the minus position. So what we can do, we can just copy the first one, paste it here and just set it up correctly. And now it should work fine. Okay. Let's check the camera. Okay. I think it looks nice. Okay, let's move to the basic settings of the camera. If you go to the details, details panel. Okay, give me a second. Let's just delete it. If you go to the details panel, you will see the film back here you can select different type of the camera. Most of the time I'm using 16 : 9. DSLR is a full frame camera. In my opinion it works the best but you can choose any of them. This camera gives you a lot of freedom in terms of the aperture, focal length and other settings. As well you have some lens settings very similar to real life camera. You can change, manipulate them. Focus settings... okay. You can see the current focal length and current aperture as well you can see it on the left side of the screen. So let's change the focal length to 25mm. It will be wider camera. So less millimetres the camera is wider the more the camera is more narrow. And the aperture, aperture basically describes how much light is getting into your lens. So higher the value the sharper your scene will be. Lower the value. The higher the depth of the field. As well with the focal length. If you have 25 between 80 to 35mm, the depth of the field will be just, let's say, cosmetic. But if you go with the higher value, like 70 or 100, which is called macro, then you will have very strong, very nice cinematic depth of the field. Okay, let's play this shot again. It works quite nice. So we have very nice slow transition. Okay. And I'd like to add a little movement at the end of the shot to make it more cinematic. Let's try something like that. I will change the camera speed to have more control over the shot. Okay, Just a little zoom out there, very small rotation. Should work great. Just keyframe and let's take a look. Okay. It's quite nice. Let's move it a bit to the right. As well, I'd like to add a little roll to make this shot more interesting. Let's make it 2 here. Delete that one keyframe and start with let's try minus one. Let's see. Okay. So we have very nice slow movement at the end of the shot. Okay. Just select transform Position and move it outside our Outside of our sequence. Okay, one more thing. One more tip. If you move the shot outside of the our working space, our sequence, you will not see the camera. You have to come back and then select again. Lock the camera. You will see the blue icon. Okay, let's take a look. It's quite nice. I moved the last key frame outside of the working space, because this automatic keyframe cubic will gradually slow till it will stop completely. I don't want camera to stop. I want to keep it with the little movement in the end of the shot. That's why I gave it a little. A little space, like a few frames extra. Okay. Right now let's try to play with the focus. We have different type of the focus in the shot. When you select the focus on the right side of the screen, you will see the option for the focus... focus settings. But right now we're going to use the manual one. And there is a great function in Unreal Engine. As you can see you can choose the do not overwrite. Everything will be in focus, you can choose tracking or you can just disable. But we are going to use the manual here. And below there is the draw Debug focus window. Just select it. Okay. You're not going to see it because you need to change the value. So decrease it. And you will see that plane. Okay. So it shows you where is the focus in your scene. It's very useful and very helpful. Okay. So we need to have the focus on this kangaroo scene. Correct. So let's move it. Once you've keyframe once each time you change it, it will keyframe it automatically. Okay, let's try to set it up according to our camera movement here is okay. Okay, let's set it up at the end of the shot. And the little fixes here. Okay. As well I want to move the first keyframe to the right, because I want to start with the focus in the middle of the road. Something like that should work. Let's test it. And when you play our shot right now, you're going to see really nice smooth transition. And as you can see in the background there is nice depth off the field. Okay, let's play again. Keep in mind this is just a basic setup. This is more likely layout blocking for the final shot. So we are going to polish it later of course. Okay. Bring it a bit closer. Like 1060, something like that. Okay. And I want to change as well the aperture. So right now we have 2. Let's make it 8. Maybe it's too much. As you can see I just want to show you. But let's just make it. I think 4 should be fine. Okay. That works really nice. Try to play around with different settings. To find the one which suits you the best. Okay, let's play the shot again. So in this lesson, you'll learn how to set up the manual camera in the sequencer. And we created our first shot. Okay. Just save your progress and see you in the next lesson. 5. Take Recorder, Car animation: Welcome to another lesson. We try a little bit unorthodox approach. I want to animate the car. Open the Vehicle Variety Vol 2. Go to the blueprint. Select camper van. Double click the blueprint. You go and get into the blueprint. Select viewport. Here you will see the mesh of the car, camera and spring arm. If you will not see the camera, you can add it. Click add. Select the camera and just select the camera. It will add it automatically. You can change the position of the camera. Also the field of the view, I will stick with 100 degree. It should be fine. Compile. Save. Close the blueprint. Add it right now to the shot. Just rotate it to the right position and into the details panel. Scroll down to Auto Possess Player and select player zero. Okay, so basically right now you're going to force engine to play a blueprint of the camper van as a game override standard blueprint. So when we simulate, we are going to play the game as a camper van blueprint so you can drive the car. By the way, you can change the preview of the blueprint, go to Editor Preferences, search for the preview. Scroll down. You will see a look and feel. Here you can preview, select the camera, turn on or off or change the size. I like to keep it 2. It's fine for me okay save it. Go to the window cinematics and select Take Recorder okay. In take recorder, just hold left mouse button and drag the camper van blueprint into the space of the take recorder. Then change the frames to 30 frames because we have 30 frames in the video, so we need to keep the same. And once you will press the red button to start recording. So let's check if we selected select the viewport press play. The game will start and now start recording. 3..2..1 okay. And press W to accelerate A or D to turn left or right and space to brake. So basically you are playing the game inside the editor. Let's try it like two corners I think should be enough. We need to gather some speed and just have the real physique of the car. Okay, just try to brake to finish the sequence. Press the escape. Okay, so we basically recorded the animation of the car with all the physics. It's much better than just the keyframe. You see here the show/hide takes browser. Just click it. And it will show you recorded subsequence. We can move it here. As you can see, I will change the name just to know that's the recording. So right click on the cinematic on the top. Rename it. The recording should be fine. Okay. And take a look. We have takes. We have the date. We have scene 01. And below it we have the scene 101 subsequence Blueprint campervan. This is what we actually need. So. let's just open our cinematic master sequence, open the shot number one. And drag this blueprint campervan subsequence into our shot. I will just attach it here just to have it in any case. We can close the recorder right now. Select the camera. And right now, when you move this subsequence, as you can see, we have subsequence. You will see the animation of the van, which is pretty cool because we have the animation with all the physics and it looks very, very natural. . Okay, I think it's a little too slow. You can always try, like, you know, record it again, try maybe better route, maybe try that. Like more dynamic and different approach. However, you don't have to. We can change the speed of it. Yeah. We have to make it faster. Right click on it. Go to the properties here. As you can see you can have the section range start and you can manipulate it. But we go to the time scale and let's change it to 1.5. So it will be like 150%. Let's see how it's going to work. So we have to move it a bit and let's play again. Okay. That's... that's much better. I think it's... it's looking better. I want to keep the dynamic movement of the car because later I'd like to add the camera shake blueprint. I'm going to show you how to make it. It's actually quite easy. And we'll have this, like really nice cinematic shot. When you open subsequence, you see how many keyframes is there. So it will be almost impossible to imitate that behavior of the car. That's what I tried is a little different approach. Hopefully we can we can use it that functionality because of the asset. That's why I wanted you to use exactly these assets in our project. The best part? The asset is free anyway, so and it looks really good. Like the quality of the car is absolutely great. Okay, let's see you in the next lesson. 6. 2nd Scene, Camera Rig Rail: I hope you manage to create a really interesting car animation and create an really cool shot for our first scene. In this lesson we are going to create the second shot. As you can see, I want to have it 90 frames. So I just change the duration just like before. We're going to change the workspace and range. Move the red marker. Move the camera cut. Change the working range end, and working range start time as well. -20 should be fine. And we can slowly start with our second shot. Just save in any case. Again, select the camera. We are going to use the same 16 : 9 DSLR. We have to select it. Just delete attached, I had it before but we are going to make it again later. I show you how. Okay, let's go to the takes. Just like before. Select our animation which we recorded. Drag and drop it. Just scroll. I already moved the camera in the location of the level where I'm expecting the car to come. I decided to start here. I think it's really nice. Really nice spot. Like, we have this pretty cool tree and the wide area behind. So as you can see, I selected this part of the level for the second shot. And this is our animation of the car. So basically we have it ready. Now we can focus on the camera system. In this lesson I want to show you how to use camera rig rail, which is really, really great system for dynamic shots like the car chase. You can also use for any other shots. However, it works great with all the dynamics, constant movement objects like the car in this case. Okay, just change the camera speed to one. Save it again. Yes. Let's just find the better angle. Okay. We can just make it smaller. I like to keep everything in the order. Like it's much easier for me to to have very nice organized workspace. Yeah. Let's just keep it. 10 should be fine. And again, let's change the workspace. Start on the ending point. Okay. It looks nice. Okay, go to the place actor, select cinematics. And there you have camera, rig rail, drag and drop. You will not see it. To see it you have to press the G button. By the way it's very nice. Short key. Basically when you press the G button you will see all the functionality of the actors. If you press it again, it will hide everything. So just press G to see all the axes and basically all the controls. Okay, so this is camera rig rail. How does it work? So we have the starting point. As you can see it's just the rail like in the movies. Here you have to select this little square. When you select it, you can move the axis and it expand this rail. All right. So for this scene I will keep probably just one extension. However you can add as many as much as you want, but from my experience, the less you have, especially if you have, let's say the corners and angles. It always better if you have less of them. So I just basically follow the car. All right. We have 90 frames. Just go to the 90 frames. Okay. We are going to rotate in a second. I think it should be fine somewhere here. Yeah. Right there. It looks nice. Okay. And now I'm going to rotate it. So as you remember we can press E. And as you can see the rig rail is rotating. But of course we need to set it up properly. I added another one extension. To do it, you have to press and hold alt and just drag from the axis. Okay. Control z, control z, I wanted just to show you how to add another one. And we have to rotate at the beginning. So E, rotate a bit. There we go. It looks really nice. Very smooth. Yeah. It looks very good okay. Let's see. Okay, now we are going to add our camera rig rail to our shot to the sequencer, because we have to control it inside the sequencer. So just like any object, just press and hold and drag and drop into the sequencer. Okay, you see, we have camera rig rail. Press this plus button. And here you have to select current position on rail. I just explain you how it works. So the position on rig rail is between 0 and 1. So zero is the base position and one is the ending position of the rail. I'm going to change the behavior to the linear just press 4. I selected both of the keyframe and I pressed 4. Because I want them to move. Also, I moved them outside of the... outside of the sequence because I want them to start and just finish little in a little different moment. That way I will keep them moving all the time. So from the beginning of the sequence till the end of the sequence, they still will be moving. Okay, let's continue on the next lesson. 7. Tracking Camera & Manual Control: Welcome back. Let's continue with camera Rig rail. As you can see, we have the position on the rail between 0 and 1. We set it up in the last lesson. Here we can change the section range and I'm going to change to 180. And again I'm going to timescale the speed of the animation of the campervan. I wanted a bit faster like 50%. And because of that we have to change camera position as well. So I'm going to add another spline point. Just hold alt, press left mouse button and drag the arrow and you will have the new spline. And you can right click on the rig rail and just add the new spline. As you can see, you can control it the same way. Let's try to get the perfect position. I think I changed the view mode to unlit. It will be easier. And we have to keep really nice smooth angle. Okay. It looks fine. Let's move a bit. If you want to have the camera in a different position, it's absolutely fine. That's the way I like to have it, especially for the car scene. It works really good. As you can see. Yeah, I'm trying to keep the rail similar route as the driving car. Let's change here a bit. We almost there. As you can see, the environment is not flat, so you have to control the z axis as well. The idea is to keep the camera in the same position during the shot. Of course we can change the translate position later. I show you how to do it. Okay, there we go. So it looks like our camera rig rail is in a good position. Now work with the camera, change to the 16 : 9 DSLR plus select plus and you see the option. Attach a new bindings. And here you can select where you want to bind the camera. So we are going to bind it to camera rig rail, ok. And if you press the camera you may be a little bit confused. But don't worry, it's because we save the transform position before just delete it. As you can see, we need to reset. Transform location, rotation of the camera. And also we have the option enable lock at tracking. Change the speed. Just it will be easier to manipulate. Okay, so right now our camera is attached to the rig rail and it will move the same direction and with the same speed. And I want to add look at tracking, enable look at tracking. And I want to track our actor, which is a camper van. So Cameron real System will automatically track our actor. Just don't forget to keyframe it. Always keyframe. If you don't, you will lose the settings in a sequencer. Okay. As you can see, if you change the position, if you have enable lock... checked, it will move you away. Okay. Here we have also relative offset for the tracking. I would suggest also keyframe it. We can use it later because the relative offset was in different position. You have to reset as well. And now as you can see, the camera is tracking our actor, but in the same time it's moving on the rig rail. Okay. And use the tracking focus method. Before you remember, we use the manual. Now we go use the tracking and obviously keyframe it. You have to keyframe. As you can see, if I move over the workspace and I go back right now as I keyframe it, it will still be tracking my actor and keep the focus in place. Okay. And then you go to camera component. Press the plus button. Okay. Uh, just before I show you the relative, as you can see, you can control the different axis. So this is very useful. However, you are limited just to x, y and z and we want to have the full control of the camera. So press the plus and add the transform, but not from the camera actor, but from the camera component, so it will be likely second transform window. That's the way I like to do it and it works perfectly for me. So here I have the full control over the camera position. So we have camera attached to the rig rail. In the same time the camera is locked and tracking the actor and we still can change the position, which is absolutely great because you can create different angle with the full speed of the camera. Actually, it's almost impossible to do it in a real life, but we are in Unreal Engine so we can do wherever we want. Okay, let's have some fun with the camera and let's be back in the moment. As you can see, I'm going to change the focal length as well. I like to start with 35 and then go to 50. It will make a very nice, very nice angle for the camera. So we have the closer shot as we are, as we are going faster. And in the same time we're going to change the angle of the camera. I hope it will work. Nice. Let's see. Okay, as you can see, I just keyframe the different position. So here I'm going to set it up again. It will be easier that way. Just start from the end and finish with the beginning of the shot. I like to keep the tree so we feel the we have the kind of the speed feeling. Yeah, something like that. Maybe we want to add a little more rotation. Let's go a bit higher. I like the angle. It should work fine. It will be very fast shot. It's only 90 frames, which is three seconds. So we want to keep it dynamic. Okay. It works pretty good. Still remember this is just the first approach. We are going to polish it later. It's not the final version. I'm trying to find the perfect angle for my scene and it's great to experiment. Try different angles, try different approach. Be creative. You never know what may works best. I like to use different concepts and ideas. Sometimes I change completely the shot if I decide it looks better from a different angle. But here I think we're going to stick with that concept. Okay, we have actually selected. We don't have to. Here we have actor to tracking. I'm just checking all the options. It's keyframed. That's fine. We can change the relative offset right now because as you can see, we have this rough movement to the right and we can use it in the shot. And I want camera to follow our actor a bit more abruptly. So let's try to make it with relative offset because we have transformed position in camera component setup. We can easily change it right now just in the relative offset, and the camera transform position stays the same. That's the big advantage of that kind of the pipeline. Most of the time artists work only with relative offset, but I prefer to work with the transform position camera component. Like I just showed you in this lesson, it gives you much more control. Okay, let's try a different approach. And see you in a minute. Okay, let's come back to the lesson. I changed to the lit again to see the scene with the light in the full quality. Yeah, it looks cool. We are going the good direction. Later, I want to polish this shot and add some interesting elements and actors to the scene, but for now it looks really good. I'm not just happy with the speed, so let's change it a bit. Let's make it 1.4. And of course, when you change it, the position of the camera track in the shot will change. So we need to fix camera a bit here. So we can change just the transform position because relative offset I'm going to leave it as it is right now I'm going to change just a bit. The location and the rotation. Okay. It should be fine for now. Okay, last more thing. I'm just going to move it outside because we have this camera movement, which is auto keyframe. So we'll have kind of the deceleration at the end. I want to move it a bit, so keep it more cinematic. Okay. That's it. That's great. Let's see you in the next lesson. 8. 3rd Scene, Camera Rig Crane: Welcome back. In this lesson we are going to use another camera system which is camera rig crane. So we have the shot number three. Just like before, change the duration of the shot. I like to have 135 frames. double click to open. You remember all the procedure. Just change it to 135. There we go. We have workspace. Change the camera to DSLR. And add the BP campervan. Chaos scene 01 again to the shot. We need to scroll it a bit. Okay, I already set up the camera angle so I can see our car coming. We need to catch the campervan basically braking animation. That's the concept of the shot. So the main character will drive in the campervan very fast in the first two shot. And the shot number three is going to stop the car. And shot number four will see our character outside of the car. So let's try to keep it very much cinematic for that shot. Okay. I think it should be fine. Let's just change the speed of the animation again. 125 should work. Okay, I like it. It looks cool. Yes. Okay. I want to car to stop around 105, 110 frames. Yeah, it should be perfect. Yeah. There we go. Okay. It looks good. Okay, so around frame number 90. The car position will be the same. Like the stop position. Just save it. That's a very good habit. As I mentioned before, always save your work. Okay, let's go to the place actors. You see camera rig crane, just press and hold the left mouse button and drag and drop it into your level. It will be automatically in the outliner. And what is the camera rig crane? It's very similar to the real world movie rig crane. You can again attach the camera just like to the rig rail. We are going to attach it to the camera rig crane. And here we have also the transform. I like to use the transform just to keyframe it in the position. And there is crane control, crane pitch, crane yaw, crane arm length. And as you can see, when I manipulate it, the arm of the crane is going to change. To have it in a sequencer, just keyframe it. As you can see on the left side already you have in our sequence and you can control directly from here. I will use Always use Transform because I want to keep the crane in that exact position. In this shot. Maybe I decide to use it in another shot, so it's good to have it keyframe in the specific shots with the translate position. Okay, there is our camera. And again we want to control it with the rig crane. I show you how it looks from the side. As you can see it's already attached. So we... we follow the same. The same procedure like with the camera rig rail. Okay. You can move it. And when you keyframe transform it will stick to that exact position. Let's change aperture: 2, focal length to 25 I think that little wider shot should work great for this specific scene. Okay. Let's try it. Try to test different approach. Have fun with the camera crane. See what works best for you and for your concept for the shot. Maybe you have different idea. Just go with it. Also, you can see we can lock, mount, pitch and we can lock mount yaw, um. It's up to you. I don't like to use it, to be honest. I prefer to have the full control over the camera and the transform, but maybe sometimes it can be useful in some type of the shots. So right now we are in the camera view. As you can see, I can control the camera with the rig crane. And the same way like before I'm going to keyframe it and when I want to change the position of rig crane, I just change the values and it will keyframe automatically, as you can see. Try to set up the rig crane in the position you like to have it, and then you can still control the position of the camera with the transform. As you can see, it's very nice, smooth movement. It will give us the really cool cinematic feeling of the shot. Okay, let's try to find the best angle and see you in a minute. Okay, as you can see, I changed the position of the camera and just keyframed on the transform. It works much better right now. I also moved the camera crane in the world. That's why I keep the transform. Okay, it works much better right now. Well, let's try to polish a bit more. As you can see, you can move different, uh, different crane controls separately, like crane yaw. I want to move it a bit further in a sequence and just test the different, different concepts. Yeah, we are getting closer to the really nice cinematic look. Let's try to change it to the linear. Select all of them. And again just to remind, press 4 on your keyboard. Or you can right click and select the linear. So I want the camera to starts immediately after the shot starts. It looks much, much better. I wanted to show you how to work with the camera crane in that lesson, because the final version of this scene will be completely different. I want to use camera crane, but later on I show you how to make it look even more interesting. The concept is basically to follow the car as it's coming into the scene and then just brake. So you have to feel that,... that speed and the movement of the car. And we need to know exactly when the car is braking just to make the continuity of the shot. So shot one, we have the car driving very fast near this kangaroo sign. And shot number two, we see the car turning on the corner, and later on we'll add some more actors to that shot. And here we want to see the car stopping. I'm just testing different concept, as you can see, to find the best angle. I believe we are very close to the to the concept. I will need to add a little more rotation to the camera to make it more interesting. And as well later on for this shot I don't want to add any camera shake. I want to keep it very smooth because of the camera rig crane. Okay. Let's move. Let's move the crane control over the workspace. Yes, it should work perfect right now. Okay, just save the progress and let's add a little bit of the rotation to the shot. As well we change the focus here I'm going to use the manual. You remember draw debug focus plane. Super helpful function. As you can see, we can control focus there. Just keyframe the first one. And right from here I want to keep the focus on the road. And here around frame 90 let's keep the focus on the car. And just follow right here. Yeah, it looks perfect. Okay, let's test it. It's not bad. It's not exactly what I want, but we are going into the good direction. Okay, let's add a little roll. We start like minus 3. It should work. You can press keyframe or you can just press enter and go to 2. Yes. Let's see it. Yeah. It's much it's much much better. Let's try 5. And the pitch. We need to change it a bit. I like to keep car for now just more in the middle. Okay, there we go. It looks really cool. Test it yourself. Find the best angle. Try a different approach. Let's try to play with camera rig crane and the camera transform and see you in the next lesson. 9. Static mesh & Foliage: Welcome back. In this lesson I want to finish scene number three. Select the camera. You will see the blue icon. As you can see, this is our shot we created in a previous lesson. but I want to make it a bit different. My concept was to track the car, so we have to enable look at tracking first. You see the option to select actor to track, so you can just pick it in the level. I just selected Blueprint Camper Truck and right now enable look at tracking. And let's see. This is exactly where I wanted. Okay. It looks much better. Just quick tip. If I save or move out of the working space, the camera will be reset. Because I just forgot. As you can see, it's just there is error because I forgot to keyframe actor to track. So once again select actor keyframe. You will see the keyframe in the sequencer right there and then enable lockout tracking again. Okay, now your shot is saved and you will see it in the sequencer. I think it looks good, but I'm not happy with the environment around the car. The area looks a bit empty. I'm going to show you how to control the foliage. When you select elements you will see hundreds of them highlighted, it's because they are the foliage. Foliage is the system to populate the landscape with vegetation or any other meshes you're going to choose. How to control it? Let's choose the foliage mode and I just select one of the foliage, the meshes. And just like any mesh, I can control it because it's foliage I cannot snap it to the ground, so I have to move it manually. Let's just change the camera speed. And play around? Yeah, maybe to the right. Yeah. Let's just keep it here. To unselect just click anywhere in the level. Now just focus on the tree. Select any tree. And here in the foliage window you will see all of the foliage in the level. Also you will see the number how how many of them actually is used in the level like you see 288, 242. So let's select one of them. Let's say that tree and just click the scope. I had take browser before so I don't see the content browser. So just close the browser and again browse to the assets. As you can see this is the tree static mesh. And we can use it 2 ways. One way is to use as a foliage. And another option is to use it as a static mesh. I want to show you how to use it as a static mesh. Let's let's see which one we're going to use. There is a ton of different vegetation. Yes, I think this. Anyway this SM tree. Yes, L01 should be fine. You just have to drag and drop into the level and you can play with it. Okay, so I just populated the static mesh. Let's change the scale 0.7. Press enter. Okay. Change the position a bit, but you cannot move it right? Because you have foliage mode, you have to change back to the selection mode. Okay. Because this is not the foliage, this is the static mesh. And now you can control the mesh. You can rotate, you can move it. You can snap it to the ground. We have the snapping option turned on. Let's try to find the best, the best option? I think it should work really nice. Yes, it looks really good. On the other side of the road, we can populate the area with different type of the tree. This one looks great and again I use it as a static mesh, not as a foliage. I will show you how to use the foliage later. If you press in the middle of the selection, there's like a white dot, then you're going to snap it the object to the landscape or to the ground? Okay. Still, we need to add more trees. Let's check our shot. It looks better, but I'd like to add more vegetation to the scene. It will give us nice shadow area later on when we start working with the lighting. The trees are great to create the kind of the cinematic atmosphere, so select the foliage again, go to the foliage selection and here we are going to populate right now the trees as foliage. So just a second before we populate it as a static mesh. Now let's try to do the same but as a foliage. Scroll down select the one you'd like to use. I like to use this one. Choose paint option and here you can see the single instance mode. If you don't select it and you start to paint because there is a high density of the foliage, there will be hundreds of the trees. Basically, you can change it, but the easiest way to populate just with one tree is to select single instance mode. And you can just click on the level. It will be one tree, depending of the settings of the foliage you have. Uh it can be different rotation, scale of the mesh, etc.. Try to find the best settings. I want to show you just the basic how to work with it, but I strongly recommend to spend some time and try to have fun with the foliage. It's a big part of cinematic to create really nice, really nice environment. And especially for cinematics, you don't have to focus on the whole area of the level. You have to focus only on the place which we are going to see in the camera shot. Okay, we can also copy the foliage, so press and hold alt key and press and hold the left mouse key on any of the arrow. And when you drag it, it will automatically copy the tree. Let's try this one. As I mentioned before, when you have foliage, you cannot snapping to the ground. So we have to find the manual position. I'm afraid it may be too close to the camera, but let's see. Yeah. That's right. So we can also move it. Yeah. It will be to close. We can also move it just like you remember in the first chapter press and hold Ctrl press and hold left of or right mouse button and you can control the position of the mesh. Is very useful. Okay. And I think we can change the scale a bit. Let's try a different scale of this foliage. Okay. Yeah, something like that. Yes. Keep it like this. Yeah, it should work. Perfect. Okay, so our shot looks much better right now. It's more interesting. Let's just play the video. In the next lesson, I want to show you how to use Quixel Bridge Library, which is amazing. Amazing ... software library of the free assets. There is a thousands of materials, meshes, decals, and anything you can use absolutely for free. Okay, just save your work and see you in the next lesson. 10. Megascans, Polishing your Scene: Welcome to the next lesson. Let's see our shot number three. It looks really good, but we are going to add some more assets. Let's open window and Quixel bridge. You have to log into the Quixel bridge. I already did, so I will pin it to our workspace. And when you open it, you will see a different materials, meshes, vegetation. Here we have latest collection. You have buildings, rubble, interiors, anything you want. It's I think it's around 20,000 assets right now. Maybe even more. But I want to search for a sandbag and select the category 3D assets. Here we have four different sandbags. This sandbag barrier is really nice. Here you can see the sides compared to the human. This is the collection sandbag and on the bottom you can select the quality. The high quality will be the 4K. So I think it's absolutely enough. And just click download. And you have to wait a moment for the assets to download. High quality is the best solution. However, you can use also nanite because in the new Unreal Engine 5.4 most of the time we are going to use nanite as well. The medium is okay, it depends where do you want to use the assets. If we are going to use it in a game maybe you don't need to have the highest quality all the time, but for the cinematic, I prefer to use the high quality. Okay, our asset is downloaded. Click add. It will automatically create the new folder in your project. In the content browser you will see it will be called Megascans. What happened? The Megascans Quixel will create the master material for all the assets. So here you will have the mesh. You will have the texture like albedo, normal and and the other. I think it's, uh, it's ambient occlusion is roughness and metallic just in one compile texture when you open the object here, you will see the Lod version. I will suggest to change it. Go down to LOD settings. Select High details, select yes and below we have number of the LODs. Just select only one. We are going to use only one LOD 0. Which is the highest quality of the LOD for this specific mesh. Why? I'm going to do it because for cinematics sometimes if you are not going to use LOD 0, there may be some issue like a shadows or the issue with the shaders, especially if you render in PNG and if you render in 200 screen percentage, most of the time there is no difference, but it's much safer to play that way. Okay, so we have this mesh prepared. Let's just drag and drop into our level. I think it's too small. Let's change the scale I will just rotate first a bit. The concept of the video is how to how to say, uh, action, kind of the game, like with the some VFX shooting and explosion. So I wanted to add some kind of the military feeling. So sandbags should work perfect. 2 is too much I think. 1.5 yeah, that should be perfect. So we'll have that kind of the feeling in that scene when the car is coming, you will see the sandbags. It will naturally create the atmosphere of the warzone. Yeah. It looks actually great. Okay. Make it 2. Yeah. Just test it. Just for testing purposes. Now it's. Now. I think it's too big. Yeah. Just keep it 1.0, 1.5 will be fine. We can add another one later and compile meshes together. So let's take a look. Yep. This one will be fine. Just select it. As you can see, the quality is really great, so let's just download this one. I also selected as a favorite one, so I will have access to all of them. The best part of the bridge is actually pinned to your workspace. As you can see I have the bridge icon and I can use this directly from the Unreal Engine. I think, uh, it started in Unreal 5, so we can use the Quixel bridge directly in the Unreal Engine. And the library is really huge. Especially in terms of the materials, you have basically infinite possibilities. Okay, I try to populate with the same mesh in different area of the shot, just to show you how you can do it. Okay. The same way you can, you can rotate. You can scale it. It looks nice. Okay. We have a downloaded, add it to the project and you will see in 3D assets under Megascans folder you will have the second one. So change the scale to 1.5 and just rotate it and try to match with each other. Let's see how it's going to look. Yeah, it looks very, very natural. Most of the assets in the Quixel bridge are 3A with very, very high quality textures. And they are extremely easy to use. And the best part, they are free. Okay, as you can see, we can compile it. You can just rotate it. It will work. Let's follow the same. The same steps like before. Open it. Go to load settings. Select the LOD, the high detail group and number of LOD decrease it just to one. Apply changes and save. For this particular example, I used the sandbag 3D asset, but you can check different assets. If you decide to use some of them, you are free to go and as well, if you decide to change materials, you can try it. However, to work with the materials from the Megascans, it actually should be the topic for another tutorial or another course because it's quite complicated and there is a huge, huge area of possibilities. You can use them as well as a part of the landscape. If you have master material for landscape, you can use just texture from megascans for your landscape. There is basically infinity. There are infinite possibilities to work with it. Okay, save our project. And let's see our shot. How It looks quite nice. Yeah, let's just move it. You can select both of them and just move them. Okay, let's play the sequence. It's much more interesting than before. This shot still needs some polishing, but it is good direction so far. Okay, this is basically how you can use the Quixel bridge Megascans with the 3D assets. When you download other assets like materials, they will be in the same folder under the Megascans folder in your content browser, and you will have directly access to all of them. Just save our work and see you in the next lesson. 11. Lighting & Lumen: Welcome back. We are going to start the chapter three. This is pretty exciting part. We are going to work with the lightning. The lightning in Unreal Engine is amazing functionality. It gives a lot of possibilities to create amazing shots. I created a folder. I called it light. As you can see here we have Directional Light. Exponential Height Fog, Post Process Volume. Okay, let's go to the Place Actor and first search for the Sky Atmosphere. We don't have Sky Atmosphere system in this Australia level, so let's just add it. Just drag and drop. Doesn't matter where. Okay. We have it right now in the level. As you see, it directly changes the atmosphere of our shot. So here in the details mode you have option to control this settings atmosphere. First we need to open the window and search for the World Settings the world setting type force and select Force No Precomputed Lighting. You will see this message. Click okay. Next go to build and Build Lighting only. We are basically resetting all the lighting settings in our level, so I like to start from the scratch. Go back to the details. Move the Sky Atmosphere to our light folder. As well in the Sky Atmosphere you have different options. You can test them yourself. Just try different settings to know how it works exactly. But right now just focus on Directional Lighting. Okay? When you open the Australia level, the Directional Light mobility will be set up to stationary. We don't want it. We need to change it to movable. If you can't do it, just delete Directional Light and add the new one from the Place Actor. Right here you have intensity of the lightning. The base one. I just keep it for 5. Now drag it to the sequencer because we want to control the Directional Light in this exact shot number 1, okay. Select the transform and just keyframe it. Here you can control the position of the light. Directional Light is kind of the sun in our shot. Okay, so there is another option to control it. Just press and hold Ctrl and L button. And when you move your mouse up, down, left, right, you will control the position of the sun in your shot. Just try different angle. Just try to have fun with it. It's great function and it gives you total freedom in terms of creating the lighting scenario in your level. I like to keep a little bit shadow on the side, but in the same time I want to keep the very sunny, very sunny atmosphere in our level. Okay, just keyframe it. As you see right now we have it basically save in our level. It doesn't look bad. We have nice shadow from the truck. Okay. So here you will see the Directional Light is is attached to shot 001. And just select for scattering option. You will see Volumetric Scattering intensity in the light. I will change it to very high number, but as you will notice, there will be no difference in the shot. Let's try even 50. Okay, even if you change the position of the light, you will not notice any changes. Scattering gives you amazing effect of the god rays, especially when you have a scene where the sun is directly, is directed front to the lens or the camera. We don't see it. We have to change one more thing just to notice it. Okay, so now go from here and select Exponential. You have to select Exponential Height Fog. Scroll down to Volumetric. Just delete it and scroll down and select the Volumetric Fog. When you select it right now, you will see the Scattering working okay in your level. However, this is too big. I think it's too much. Yes 20. It will be absolutely too much. Let's just search for Scattering. I will stick with 9. Something like that. Okay. Go back here and again you will see Volumetric Fog and Scattering Distribution. I like to keep the higher value like 0.8 or 0.9. Sometimes 1.2. The higher the value, actually, the more realistic, the more natural the lighting will be in your level. Okay, let's focus on the Fog right now. As you can see, you have Exponential Height Fog components. Here we have Fog Density. If you change it to 1 which is likely maximum, you will have kind of like super foggy atmosphere. But I don't want it for my shot. Maybe you want for your shot. It's all right. You can test it there. You have also second Fog data. There is density as well. Fog Height Fall off, Fog Height Offset. Just try to play with different values and test it. I usually use very radical numbers just to see the difference, and then I'm trying to set it up exactly like I want. Sky Atmosphere ambient as well, and Fog Opacity. We can also control the Start Distance of the Fog. Let's type like 5000. Okay. You see, it's... it's a huge difference. There are multiple settings. You have to check all of them. Play with all of them and find your best setting. Fog Height Falloff. Usually I'm not going to use it. I just keep it random. And Cutoff Distance as well. I prefer to keep it at random value. These are most of the settings for the Fog. And basically right now we are like, let's say 70% ready with our Lighting as well. You can change the color of the Fog. If you want some different variation, you can make it warmer. It's up to you. They are basically infinite possibilities. And as you can see, there is the keyframe option. So you can keep specific settings just for that one shot and add completely different settings of the Fog or Directional Light for another shot. Okay. Let's go to the Post Process Volume and search for Lumen. We are going to use a Lumen in our project and increase the Lumen scene Lightning, Lumen scene detail. Because we are going to work with cinematic, we can have better quality. It will be more cost for GPU, but it's all right. Quality of reflection as well. I like to keep 2. And right now let's go for the Bloom. From standard just change to Convolution. And I want to change the intensity. I think standard is 0.675. Yeah that's correct I like to keep it a little bit more like I show you how it works. When you make 50 it will be completely blurred. You will see the bloom intensity obviously in the shot where it's more intensive light from the sun. Yes, but 1.2 should be fine. Don't keep it too... too strong because it will... It can completely crash your shot as well. You have Convolusion Scattering, but I like to keep it standard. And the most important thing is the Exposure. So what you have to do, change to the Manual, select Exposure Compensation. And the third option is Apply.. Apply Physical which only affects manual exposure mode okay. So let's see what happens if you, if you select it and you increase the Exposure Compensation. It looks fine from that angle, but let's just, let's just keep it 10, 10.5 maybe. Okay. It looks fine. But look what happened when we moved the camera. It's completely wrong. Okay, so we have to turn it off. And right now we can control the compensation and exposure. Compensation is all you need. Here you can control the brightness of the shot. You don't have to touch anything else like Directional Light. Directional Light intensity or the Sky Light intensity. You can control the Exposure just right here in that setting. And I suggest you to do exactly that. It works perfect for me and not just for me, and I strongly recommend that to go that way. So once again Manual Exposure, okay. And just control the Exposure Compensation okay. We are back to the Directional Light. As you can see we have the intensity. Let's just check the Fog again. Yeah, we can change the Opacity to like 0.2 I think will be better. Okay. Again let's select for Scattering and let's make it 11. Okay. And now I want to show you how the lights will look when we change the angle. Just look at this. You see that really nice natural god rays. That's because we change the settings of the Exposure. Because we change the setting of the Fog and the Direction Light it looks amazing. So we can keep this very natural feeling in that particular shot I like to keep it more neutral, but in one shot we are going to use that option. Again, it's up to you how you want to set up, if you like it. If you want that way, it's absolutely fine. You have to be happy with the final result. Okay, let's try to find the best angle for our sun. Just as a starting point. And this is basically 80 - 90% of the Lightning work You need to know if you're going to follow that setup, you will be fine. You will be fine in a more case scenario, of course, for super advanced Lightning Levels, they are more advanced techniques. But this is not the part of this course. We should follow it in different course, especially dedicated just to the Lighting in Unreal Engine. But for the beginner level, I think it's even more than you need. Okay, let's just have some fun with the Light. Try to find the best scenario for yourself. And let's see you in the next lesson. 12. Static Light: Hello again. In this lesson, I want to show you different types of the Light. We focused on the Directional Light and the Sky Light system based on the Lumen here. Let's go to the Place Actor. You will see the Point Light, Spotlight and Rectangular Light. Let's start with the Point Light. Point Light is the most basic Light. Here we have the option to change the intensity. Intensity units I like to personally use the lumens, it is more control over it. Here you have also the Attenuation Radius. You can use Temperature. You can go from very warm to very cold Light. It's just up to you. It depends of the scene and the atmosphere you want to create. Okay, so Point Light is the most basic one. It depends of the situation. I used to prefer to use Spotlight or Rectangular Light. So the second one is the Spotlight. Just as the name suggests is a spot of the light. The same settings for the intensity and the intensity units. Let's just move a bit in the level. I want to show you how it will affect our, uh, car, our mesh. Okay, let's keep it here. You can change as well the Color of the Light. Red, blue or the green? Wherever. Here we have the radius. And we have two options here, which is Inner Cone Angle and Outer Cone Angle. I really like to use it because it gives really nice smooth transition between both of them. Let's just increase the intensity and change the Temperature. I want to show you from different angle how it looks. In outliner. We can turn off the visibility so you will see in the moment the difference okay I just press G. If you press G you will turn off all this visibility in the level. Okay here we have Spotlight. Okay. Turn off and turn on. As you can see, it's a huge difference in the shot. So let's say we have the the road lamp. It will be perfect to use the Spotlight for it. The third one is the Rectangular Light the most common light in the photography. I'm sure you saw it in your real life many times, and as well in Unreal Engine we are going to use it very often. Lumen is basically 90 - 80% what you need. But because just like in a movie, in a real life, you have to use another separate source of the Lighting. Usually you need to have 2 or 3 source of the Lighting to make a perfect scene. Here we have also Source White and Source Height for the Rectangular Light and the same similar control the radius and as well we have the Barn Door Angle and Barn Door Length. Just try to play around with all of the settings to find the one that suits you best. So once again, except of the Lumen and using for example, Skylight in Directional Light is really good. It's really good habit to use the extra Lighting in the shot, especially when you have characters and and for example, other meshes, because you can attach Lighting to them directly in a sequencer and just make them follow your mesh. Okay, that's it from the basic. Just try it yourself and see you in the next lesson. 13. Add Character & animations: Welcome to chapter four. As you can see, I already set up blocking for our new shot. We are going to work on the shot number 4. Here we go. 150 frames. Just double click to open it. I think we're going to stick with the 150 frames. Change the camera. I already have DSLR 16 : 9. Okay. Just select it. Like before. Set up the basic camera angle. I prepared the camera angle earlier, so as you can see, I already have all the settings for this shot. This is the base camera setup. I want to have the camera smoothly move forward and rotate a little bit to the right to show our main character. I want you to work with the Paragon character in that shot as well. We are going to use the... just the static mesh of our campervan. So these are our shapes used as the... just the blocking. Okay. Go to the content browser and search for the Paragon Twin Blast characters. There you have heroes. Go to the Skins Tire Twin Blast, and then you're going to find our Twin Blast Wasteland Skeletal Mesh. Not the blueprint, just the skeletal mesh. We're going to use the skeletal mesh. Drag and drop. Here, you see there is the option to surface snap settings. If you turn it on and select this white dot in the middle. I will rotate a bit. First you see here it will automatically snap the character to the ground or to the object. You can use it for any other mesh as well. As long as the root is the zero position. Okay, jump into the sequencer. Let's see my camera shot. It looks quite nice. Okay, then go to the Vehicle Variety Vol 2 Pack and select the campervan mesh in the meshes folder. Drag and drop into the our shot and just replace with this blocking shape. You can delete the blocking shape right now. Sometimes I use blocking shapes, sometimes I don't. It depends on the complexity of the scene. If I have to create the layout first is a good practice to set up the blockout. But if you have really nice storyboard or you have great concept already prepared, you don't have to do it all the time. Okay, again, select the same. Use the snapping. You see, I will rotate it. It will be hard to set it up manually. Just use the snapping and then we can we can change a rotation a bit, but it's much easier and much more accurate to go that way. Okay I think it looks nice. Check it in the outliner. Go to Directional Light and just add the Directional Light to our shot. Drag and drop into the sequencer. As you remember, we can change the Lighting just for this particular shot. Just select the transform, edit intensity 5 should be fine. Let's try maybe 6. Yeah. Okay. Just keyframe the transform, Control plus L and move your mouse to change the position of our sun in the scene. I like to have the light the front of our character. But still, I'd like to keep some kind of the shadows, just don't make it plain, but make it, like, more interesting because we have the wind system in our level. Um, all the leaves and the trees are moving and the shadows are going to play on the ground, on the asphalt. It looks pretty cool when... you once, you start to render it. It's much more natural, as you can see. Okay, let's let's go with this one for now. We're going to change it anyway later. All right. So this is our shot. So here I'm working a bit unorthodox. First, I set up the camera based on the blocking, and then I'm trying to match the character and the car mesh with the camera I already made. It's not wrong approach. You can, you can, you can try it that way. It's just completely up to you. I wanted to that specific camera because I I'd like to show this background with the really nice depth of the field. With the fog. I think it will looks great. So let's try. We're going to see how it's going to work okay. Go to the focus method. Select the tracking. Pick the character. You can select him also here in the actor. Or you can just pick him and select him in the level. Draw Debug focus plane, and we are going to have a bit of work with the relative offset of the focus. Okay. But before let's take a look at our character, how it works. This is our character. These are all the materials for the character. Double click the icon of him. This is our Paragon Twin Blast. It's great quality of the character. It's free asset. You can use it in your project. Okay, click that window to see the whole library of the animations we have for this character. So that's the little icon with running... Running man. Okay let's try different of them. Double click on any and it will load the animation. Here you will see the frames. This one has like 470 frames. You can pause it if you want but just keep it play to see it. They are the better one the emote and we are going to use probably that one is really nice for the shot, so you can copy the name of it, close it because we have so many animations for the Paragon character, it's a good idea is just to copy the name, drag and drop our character to the sequencer. You see the animation, select the plus icon and just paste the name. You see Emote Show M2. This is exactly the animation we want. Let's just move exactly into the place you want and as you can see, it's really nice animation. Right now we have to change the position of our character because he's not in the right spot. I want to move him a little to the right. Something like that. Just keyframe. Always remember to keyframe. Yeah. It's much, much better. We almost there. Don't worry about the focus so much right now, because we're going to change the relative offset of the focus anyway. Right now, the automatic tracking, it tracks the zero point of the root of your character. But because he has animation and he moves in the shadow, we need to change the relative position of the focus. Otherwise it is not going to be accurate. Okay, I have already prepared before the character. I just mute him in the shot just to save time. I'm going to select him again for this camera. It's the same character, exactly the same animation. Instead of spending a few minutes to setting up, I wanted to show you how it's supposed to look in the final, final shot. Okay, so here we go. We have the relative offset as you see. Yeah okay. And we have to control it frame, different frames I want to focus on the face not on the weapon or the body. My main point of focus will be face of the character. Here he moves. So I will just keyframe before. Okay, we have to move it a bit here. You see how the depth of field and focus change? So yes. That's... that's nice. It's already keyframed. We move a bit. As long as you keep auto keyframes it will be very nice. Smooth transition between all of them. Doesn't have to be perfect. Just as long as you keep the focus on the face, it will be fine. So here we go and let's see it in the real time shot. You can press V just to hide all this. All the functions, and the controls in the sequencer. I will change light a bit. You can play yourself as well just to keep the nice effect. This is the most important part of the shot, so I will focus with my lighting exactly on that moment and later on probably I'm going to use, the another extra static light like Rectangular Light, just to just to create the perfect lighting atmosphere for our character in the shot. So here we work with the Directional Light. That was something nice, but still, I want to have the sound in the front of our character. Oh, this looks really cool. A little bit more shadows on the left side of the face. I like to have the light lightning the character from the little angle. Something like this. Okay, there we go. This looks nice. Okay, just keyframe it. Delete the other keyframe. The first one because we changed. Now you can see, compare and if you keep it, the light will change during the sequence. We don't want that. We want to keep the same light during the whole sequence. So as you can see, I just deleted that one. Okay. I set up the aperture. Let's make it 2.8. I don't want so much depth of field. I want some, but not so much. Yeah, it's starting to look very nice. So focus is in the place. Light is in the perfect position. We have very nice camera angle for this shot. It looks really good. Okay, save your level. Save your scenes. See you in the next lesson. 14. 4th Scene, Spawnable actors: Welcome back. In this lesson, I want to show you the good practice how to work with the assets in sequencer. Here you can select the all the shots like in the master sequencer just to play all of them. The icon of the camera will be blue and you will play all of the scenes. But the problem is, as you can see, we'll have 2 campervan track. The reason is this one is just the static mesh, and the other one is our animation. How we can work with that to make it correct okay. Just select the selection mode. Choose the campervan. This is our static mesh, not the blueprint animation and right click, and go to the Convert to Spawnable. What happens? It will be spawnable just by this exact scene, this sequence. Just select it. Move to the beginning of the shot Keyframe it so it will be spawnable as you see, it will be Green Line. Then move one frame backward unselect. You will see the red line behind. Move to the end and one extra frame because it will move you 149 we need 150. One more frame and unselect again. As you see, there is the red line behind the workspace and there is a green line inside our sequence. Just save our progress and let's take a look. Okay. Everything is perfect. So our mesh, our campervan static mesh will be spawned only in that scene. You can do it with anything, even lightning and mesh as well. I use it very often. It helps a lot and is actually a good habit, especially if you make cinematics for, for renderings mostly. So okay, one more thing to show you what I mentioned before. We're going to use the extra light. Here we have the Rectangular Light. I will just rotate it. It will be just an example. So don't look at it as something... something super polished. It's just the example how to work with the static light. So let's say I want to add the Rectangular Light which will be connected with our character. So basically what I can do I can attach this light to our character as well. So once he will move in the shot when he will be animated animation like walking or running, the light can move with our character. Okay, we change the radius here. We can work a bit with the settings. Just try to make it at least interesting. I change the camera speed. Okay. And the position of the light. Something like that. Too intense. Make it 2. We can play with temperature. Yeah, let's... Let's say we're going to make it. a little more warm light. Okay. And I want to turn off the cast shadow because I have shadow cast by the Directional Light. So I don't want another extra shadow from the Rectangular Light. It will look unnatural as you see. Turn on. Turn off is a huge difference. Okay, I hope you like it. Just test it. You can try a different type of the light. You can try the Spotlight, for example, but the Rectangular Light is probably the best, best selection in that... in that shot. Okay. Now we want to add it to the sequencer. And again Convert to Spawnable because we don't want this light to be in the level all the time. We just want in this specific scene again, select keyframe, move one frame back, uncheck, and just repeat the process like we did with the campervan. As you see, the light is visible in the shot, but it's not going to be visible in the other scenes. So let's select the main camera on the top. Let's play. Yeah, it works perfect. So this is how you can use the Spawnable object actors in your sequences. Go back to the selection mode and just save your progress. See you in the next lesson. 15. POV Camera & Layouts: Okay, in this lesson we are going to create our next shot. First, change the duration of the scene to 105 frames. I will open the previous shot. I show you why. Select the camera and in the transform select this one keyframe and copy it, Ctrl plus C and you can right click and copy it. It's up to you. Go back to the next shot. The shot 05 we just created. Prepare the workspace to 105 frames. Already you know how to do it so I don't have to explain. Select the DSL camera again. Okay. And keyframe transform. Select that keyframe and Control plus V. But first select the camera okay. And Control plus V. And now you have the camera from previous shot copied as you see. And we can rotate it. And there we go. The idea for this shot is to keep the POV camera view from the view of the main character, the Paragon one. Yes, he's going to encounter the enemies, so we need to have the POV. So that's how we can do it. Really fast and easy okay. Another very useful tip. You see that little icon of the key? If you select that icon, anything you will change in the sequencer automatically will be saved as a keyframe. Be very careful with that because it's easy to make a mess. Okay, go to the layouts to the left and select the layout. I show you how to work with different type of the layout, so I selected two screen layouts left and right. As you can see, you can select different camera here. Just choose the cinematic viewport. Select our camera. Second one select also Cinematic viewport, okay... so on the left side we have our camera view. And on the right side we basically see our landscape with the perspective free view. So I want to move back. Find our camera. If you don't see it, press G button. The controls may be hidden. Okay, now we can see it. And from that view, you can move the camera freely and keyframe it in our sequence. But before I think I'm going to change our focal length. Yeah, let's just try 70. And we make it close zoom to 100, just like in half of the second. I want to make the macro shot with really nice depth of field. There we go. And you see, we have the transform control of our camera. So I can move the camera, I can rotate. And because we have the key selected it will be automatically Keyframed you will see. You see there is a keyframe for the location. Okay. Now let's just rotate it. Okay. It's just example. I want to show you how you can use that kind of layout in your future project. So as you can see, all the keyframes are already saved. Okay. We have this key selected when we move the frame. And we move camera again we'll have another keyframe marked. And let's just move it a bit more. Yeah. Just move camera up to the front. Okay. You see the preview? Okay. Unlock the key. Move the location and come back to the standard layout. And let's just play our shot. Let's see how it works. Okay. Okay. There we go. So we have the full shot created. So one of the way you can create your scenes as well. Save your progress and see you in the next lesson. 16. Refine your shot, add camera shake: Welcome to lesson number 4 of chapter four. Now we'll have more fun with the animation. Let's just play our shot number 5 we just created a moment ago. I hope you made really nice macro camera. We supposed to use something between 70 to 120mm. Then go to the Paragon, Tier 2, select Shadow Ops folders. Go to the meshes and there you will see Twin Blast Shadow Ops Static Mesh. Once again go to the Paragon. Yes, or you can search. You can search in the Paragon folder. Just type shadow, scroll down and you will see this Static Mesh character. Okay. Drag and drop into the our scene. It will appear in the outliner. Is the same character but just different version of our main character, and we can use it as the enemy. I think it looks great. Okay, just keep snapping on, you remember from the previous lesson. And just translate the position of our character. Okay. This is our character, Twin Blast Shadow Ops. Let's just move him to the sequencer. Drag and drop. And here we can select the animation. Let's search for Emote and select this one. Emote. I think we're going to use. Yeah that one. Emote Alt. Yeah that's, that's correct. Okay. It's very nice. Very nice animation. As you can see. You can change the position of the animation when it starts. When it ends, you can just scroll it in the sequencer window. Okay I will move the character a little backward. So and just transform the position, always keyframe the position. So as you can see that's it. Basically we have the ready animation for the shot. For the first enemy. It looks great. So we need two more, and we can simply copy that character and add him to the sequencer as well. Okay, it looks great. You see, in the outliner, right click, go to the edit and select duplicate. We have the second character. As you see, it's not in the sequencer yet as you can see in outliner. So let's move him in, uh, in a level, and now add him to the sequencer. And again select different animation search for Emote. They are really nice Idle animation Emote Dab. As well. It's very nice. Just move it in a time. It's up to you how you want to play it. I like to start with the nice pose and just move forward so we can finish when he's pointing guns into our character. Something like that. Yeah, it should work. Let's play. Yeah, that's very nice. Okay, so we have two characters in our shot. Just always keyframe the transform position for the character, and we are going to convert both of them to Spawnable, just like we did before. Okay. Because we want these characters to be visible only in that one shot. We don't want them to be in our level all the time. You see, I created the folder. I just deleted the character I made right now because I have a folder I have muted. You see, I can unmute the folder and as you can see, they are 3 characters which I prepared before with animations and all... each of them is already Spawnable. You can see it in a sequencer. I need to just move them to the right position, just... just a bit to the left. If I select transform on all of them and I press enter, it will automatically keyframe. So let's move that ... enemy here and also keyframe his transform position. Okay, we are almost good to go. Yeah it's very nice. So we have 3 different animations, 3 different enemies. Yeah. Just that guy is sliding. Let's take a look. What's going on here? Ah, okay. By accident we have two keyframes, one after another. So let's just delete the second one. Okay, you see, I created the folder, so I have all of them in the right order. You can basically select and move to the new folder. Any asset you can create the new folder okay I created also the Directional Light before and I muted it. Let's just click this icon to unmute it. As you can see it's very nice atmosphere. I use the Scattering which I showed you before in a chapter 3. And we have very ... very nice cinematic look here. Save our progress. And actually, we're missing one more thing for that shot. Which is called camera shake. I already created few camera shake Blueprints. I show you how it works so you can select it here and add to the scene. And when we play it, it will looks like that. It's much more interesting right now. You can create as many camera shake Blueprints as much as you want. Okay, so let's just delete it for now. And I'm going to show you how to do it. It's very simple. Let's select the folder. I'm going to select the folder my cinematic folder. Right click go to the blueprint class. Select and type shake. Okay. Scroll down and select just the Camera Shake Base, or you can select Default Camera Shake Base. But let's go with the Camera Shake Base. Name it. I usually name it by the number of the shot. It's easier for me to remember. This one. Let's just call it Camera Shake Preview. Okay. Double click. It will open the Blueprint. It will be empty, but on the right side you will have the details window. And there you can control your camera shake. So Root Shake Pattern. I suggest to use the Perlin Noise Camera Shake Pattern, it is most common and here you have the location, rotation, FOV and the timing. Just to save it first compile and then save. Okay. And I show you again how to add it. Click the plus button Camera Shake and select our Camera Shake Preview. You see it's right there. Okay. And as you can see right now, it has limited time of duration. But we're going to change it in a moment. So open your camera and you see the timing. When you have timing more than zero it will play in the seconds exactly what is selected. But if you set it up to the zero, it will basically play infinite. So make this smaller so we can still see the sequence. As you can see, it's just infinite time. So if you set up to the zero it will play infinite. Okay. And start with the location. You have all the axis you can control them versus this location amplitude. Second is location frequency. The same is with the rotation. So you can increase the amplitude of the rotation. Let's just test it. Let's just make it five. I want you to test different settings before you find the perfect camera shape for you. As you can see, it's really, really huge rotation right now. Let's try 1 and go with the 5 frequency. You will see the difference okay. The same is with the location. And FOV is basically the amplitude and frequency increase the move of the camera backward and to the front okay. So. It depends of your shot on the concept. I'm not using it very often as well with the rotation camera. Be very careful with the roll. Usually you can focus on location, pitch and yaw option. Um they are most common. Just try different different approach. It depends what do you need, if If you need really nice realistic like POV camera, you can make it work with the Camera Shake Blueprint very easily. Okay, in the properties, if you right click you have Shake Class and you can also change the camera shake for any other one you created. So let's change it for this one, which I prepared before. And let's play our shot. Okay, I think it looks really nice. So the prototype of our shot is almost ready. Of course, we have to polish this scene later. Okay, how to search the camera? Similar way. Click the scope and you will go there. Double click and you can change it. You can. You can control everything right here in the Blueprint. Just like I showed you before. Just change the rotation. Let's see again how it works. I'm afraid maybe too much. Let's just stick to 1. Maybe increase the frequency multiplier, but just to test it. Okay, I will keep it 0.8. That's much better. More natural. Yes, I really like that. That version. Okay. Compile. Save. Save your progress. Go back to Master Sequence and let's open our first shot. You remember at the beginning of the course I mentioned, I want to add camera shake to the first shot in the moment when the car is passing by. So I show you how it works. I already made one camera. Okay, so I'm not going to create it from the scratch. I just show you how it looks. Go to the properties, search for the camera. Double click. I called it Car Shake and on the bottom and select the time. So you see the duration is 0.75 seconds, but blending time beginning zero 15 and blend out of time 0.3. That's why we have really nice smooth really nice smooth shot here. Let's just play it again. One more thing, one more tips here you can change if you click this settings you can change also the playback speak if you want to preview your shot. So for this particular shot let's select the 50% of the speed and you go in to see the camera shake. Okay. I think it looks really cool. Okay. There you go. This is how we create camera shake. Let's come back to the speed 01, save your progress and see you in the next lesson. 17. Blending animations: Welcome back. We created five first shots for our sequence. Now let's focus on the shot. Number six. The last one. Change the duration. I want to go with 125 frames. Just zoom in and move our end mark of the master sequence. So we have all our shots. Okay, I'm going to copy the camper van and I'm going to copy the character and paste them into the last shot because we are going to use them again. So select Camera Cuts and Control plus v. V. Now select the camera. Change to DSLR like usual. And you see we have the camper van, static mesh and tween plus actor already there spawnable in a sequence. Okay, let's just move the camera. There we go. And for this shot, I'm going to create the side view camera to show you how it works when we move the character. It will be very nice. Smooth camera movement. We have surface snapping on. Let's move our characters somewhere here. Keyframe. Transform. Position. Prepare our workspace. Change duration to 125. Okay. There we go. As you see, it's form. But we need to move it. The same we have to do with Twin Blast actor Hero. And we have different animations. So deleted animation, we're not going to use it. We're going to use different animation. And in that lesson I want to show you how you can blend your animation. There is two different approaches to do it. One with we can call it automatic way to do it. And second one is like half manual. So select for the walk animation you see walk forward. Just select that one. And as you can see animation is going to play. Just to make it work, we have to manually select the transform position for the character from the point A to point B. Because this is animation for a game, sometimes you can have animation which is in the same time the translation of the position, but most of the time it will look like this. Okay. Add another animation and I'm going to look for the idle one. Just classic idle. And now you can see we have two animation and there is the weight of the animation. But we can blend them by just moving one into the direction on the other one. As you can see, it's blended so they smoothly will go from the wok to the idle animation. Let's take a look. Okay, as you can see, it works quite nice. We just need to set up the correct transform position for our character. Okay, we'll start here. And in the middle somewhere there. Our character supposed to stop. So let's just move him. It should be fine. Let's see. And obviously keyframe. It's not bad. Actually. It actually looks quite good. It's not perfect, but you see how it actually works. So you need to polish it a bit. That's the one. That's the one approach. That's the first one. And you can easily use it. As long as it works fine, you can use it. Okay. It looks nice. We have little slight movement at the end, but it's actually easy to fix. At the end of the sequence I will add also one more animation. But right now. Okay, just let's take a look again. As you can see, I can change the weight of the animation. So if I change it to zero. It's not going to play. It's just going to completely deactivate the animation. The idle one okay. Obviously we don't want that. Let's just add another animation. We need the animation of the shot. Select for the shot. Choose this one shot fire art additive. It will be additive animation on top of our idle animation. We can make it a little longer. Or actually, we don't have to. We can. We can just move it. Just change in the shot. You can always press Ctrl Z. To undo your action. Okay. And it will be perfect. Later on we're going to add the VFX. I'm going to show you how to do it. Actually, it's not very hard. Yeah, it looks nice. So this is how you blend the animation to create the shot. That's the first approach. We are not going to focus too much on the camera. You can set up your own camera later. You know how to do it right now after previous lesson right here. Let's just focus on the animation. As well you can create different lighting scenario for that shot. Okay. So we have this two animation walking forward and idle one. And let's just try the second approach for both of them. Let's just mute them and use again the same animation once again. Select for walk forward. I just muted so in any time we can use them again or we can delay them. It's up to you. But that's actually the good good habit. Okay. Select the mode. Okay. As you can see, we have two animation one up top of the other. So how are we going to make them play and just create the transition. As you can see we have the wait. Wait one means the animation play in 100%. So wait zero Obviously it means animation is not playing anymore. So what do we have to do? We have to just keyframe it and just change it. So here change to the zero. And for the emote animation on the place where the work animation has won, just select zero. As you can see, they just very smoothly. Yeah, it works perfect. Probably even better than the blend before. So let's take a look. Yeah, it works very nice. I really like it. It's really good. Okay, so this is how basically you can work with the animation of the character in your sequencer. We can delete it. We have the other one. We can play it right now. Just unmute it and your shot is ready. The mute button is very useful because sometimes if you don't want to use specific actor or asset, you don't have to delay them. You can just mute them in a sequencer because you don't know if you're not going to use them in the future. Okay, so So let's say you're going to create 2 or 3 different versions of that shot. You can just mute some actors and just test it. If you don't like it, you always can come back to the previous settings. If you delete it, basically it's gone. That's very nice. And then we have a shot. That's it. Now all you have to do is create the camera for this shot and obviously create the lighting scenario. But. But you know how to do right now after the lesson we finished before. So I hope you will make amazing scene for that shot. Okay. Just don't forget to save your progress and see you in the next lesson. 18. Particle VFX, 5th Scene: Welcome back. In the next lesson we are going to focus on VFX. This is one of the most fun part of each project. I'm going to show you how to use the particles. I prefer to use the Niagara system. However, for this particular project, I want to show you as well how to use the older system, which is like particle cascade system in next lesson as well, I'm going to use the Niagara. So we'll have the full spectrum of the VFX. Okay. Open the content browser, go to Paragon Twin Blast, select FX folders and go to abilities. Abilities. Search for the primary FX. Let's take a look. We need to find the one which will be like short VFX muzzle. Kind of the flash. So maybe let's take a look in the ultimate folder. It's just example. You can use any of them, but I'm going to use one and just show you how to set it up. Okay, when you double click, it will open the VFX so you can see it in the preview. This is not something we want, we just want only one shot. Let's just search for muzzle. Okay, there we go. Let's maybe try. It's a wide range, actually, of them, but let's try this one. Yeah, this one probably looks fine. Yeah, this is quite nice. Okay. Let's just drag and drop into the level. So right now it will be in your outliner. And we want this VFX only in that one particular shot, and we have to attach it to our character. So how you can do it? Actually it's very simple. So you can just attach the VFX to the character in the outliner like this. And you have to select the bone. So in that case there is a specific place for it. We see the Muzzle R, so it will be muzzle slot for the right weapon. Just completely reset the position of the VFX, okay. Change the direction. As you see, the Green Arrow shows you the direction of the VFX. This is actually quite nice with the particle cascade system, with Niagara usually doesn't work like this. So you have to change the direction inside the Niagara, which is a little bit more complicated. Okay, let's make it unlit. I don't want the project to be heavy. Right now is pretty heavy for my GPU, so let's go to the unlit. We can come back to the Lit when we have the whole sequence ready to preview. As you can see, I manually changed the position. Yes, it should be perfect for this shot. Okay, let's just drag and drop into the sequence. You will see. This is our muzzle flash VFX and... Okay. And first wait a second. We need to select with the right button or the plus plus. No we need to select the plus and then search for FX System Toggle Track. It helps us to control this VFX in the scene. As you can see, there is the option to activate with a keyframe. From that moment this VFX will be activated in the shot. So as you see, it's very simple. Pretty intuitive to work with. And that's it. We have the first VFX set up. Just save our shot and let's just play it. Let's see how it works. I will just change the camera a bit just to see it in a full spectrum. Yeah, maybe just set up a camera a bit. At least we'll have it. Okay, something like that. As I mentioned before, I like to keep the side camera. The kind of the game style. More camera with a little shake. We can add Camera Shake Blueprint later to make it really nice feel. So we start moving from here. We'll follow the character with a little rotation at the end, so we'll have this nice feeling of the shot VFX at the end of the shot. As you can see, we have little slide, so we need to change a bit in the animation. First of all select the keyframe. Yeah. And move just a bit and add another keyframe. Yeah it should work. I think we can change also the start to the Linear. Yeah. Just press 4. Okay. And let's play. Yeah that's much better. It's a little sliding but now it's actually fine. As you can see I didn't use blending. I use Weight to connect animation together. It works better for the idle and walk forward somehow. And now move the camera and rotate a bit. As you notice I like to use the manual camera, but it's just my preference. Okay, actually it looks really cool. So we have this shot, we can rotate a little bit more and maybe just add the zoom out. I want to catch the moment when the character stops, aim and just prepare for the shot. So to have it we can start with the faster camera and during the scene we're going to slow it down. It will keep really nice pace for the whole shot, as you can see here. Yeah, we just need to polish it. But the concept is exactly like that. Okay, let's try to move it here. Yeah, it looks quite good. Okay. So we have first VFX attached to our main character to the weapon. So we have the shot. And right now I want to add the explosion. So search for the grenade, as well in the particles of the Paragon you will have different explosion. I decided to choose this Twin Blast Vortex Grenade Explode Summer, just again, place it into the level. It will be spawned automatically and now just drag and drop into the sequencer. As you can see, press the plus button again. Select the FX system. Activate in the moment you want to explode, and for any case, you can also select the place where you want to end the animation. So select deactivate because sometimes if you keep it too long, the animation can play twice and we just want to play it once. The animation of the VFX of course. Okay, it looks really nice. I think we can add as well the transform just to keyframe the position of it. We don't have to do it for the muzzle flash, because muzzle flash is already attached to the weapon of the character. So as you can see in just maybe 5 or 10 minutes, basically we created really nice shot with the VFX, mostly because we planned it very good before. Okay, add another one. It will be Grenade Dirt VFX. I check it before it works pretty good. Again, drag and drop into the sequencer, FX Toggle System Track. The same procedure like before. Just deactivate it here. All right. But for this one particular VFX, I want to add a little more complexity. I like to add the grenade launched just falling down and just exploding in that specific spot. How we can do it. First, also add the transform position just to keyframe it. Okay. Save your progress. And right now go to the meshes. Actually, I think we can find it here. Or let's see, maybe it will be uh, maybe it will have it in different in different folder. Yes. I think we can use the weapon folder just for the grenade. Let's just type it. Let's just see now, actually. Yeah. There we go. We have the grenade. I think. There we go. Twin Blast Grenade. That's exactly what we need. It's a static mesh. If you double click, you can open it. It's just one material slot. I think that's perfect. So it will compile perfectly with our shot. Just add it to the scene, change maybe the scale I think it is too small. Just make it like 2. And now we have to rotate it and we are going to manually create the trajectory of this grenade. I'm not going to polish it too much, I just make it as an example. But later on you can test different approach and just try to make it looks great. Okay, so as you can see I have snapping for the rotation and I will start from the end of the shot. So not from the beginning, but actually I will start from the end of the shot and then I will move backward. It will be much easier. So here we go. There is our grenade. You can see the visible. I can turn off the visibility of the campervan. It will be much easier for me to work, it do not delete the mesh, it will just turn off the visibility. Okay, that's perfect spot. Again, drag and drop. Or you can use add plus button and add. But this is the fastest way to do it, okay we have a transform. Just keyframe it move backward. And we are going to create the trajectory of the grenade. Just I'm going to try to make it as much realistic as possible. I select snapping because it will be much easier for me to keep the constant position. Okay, I think I can add a little rotation here. It should work like this. Just. Ah, I forgot to move it. I have to do it again. But that's okay. So once again, let's move it. Press and hold Control. Okay. Let's rotate twice 20 degrees. Keyframe. Let's see how it's going to work. We need to add one more to have the parable, because right now it will be just straight line. So let's go there and let's see. Another one I think like this will be fine. Don't worry about the speed right now. I want to set up just the right trajectory. Later on, I'm going to fix the speed of it by just moving the keyframes in the sequence. So you have auto keyframe type selected. We can change it. As you see I can select 0 to make it even more smooth. But I think we need to go a bit up or maybe down. Just. Let's see. Let's go with 50. Okay. Let's try. Okay. That works. Cool. And go a bit up. That should work. Okay. It may be pretty nice. Let's see how it works in the shot. Something like that. But of course you have to polish it to make it better. Right now I just give you time and I'll be back in a minute. I will try to make a little changes. Okay, something like that should work. Just save the progress and go to the Military Weapon. And we are going to use the VFX from that pack, which is Grenade Trail. This is as well the Cascade particle system, but this is different type. This is trail. And that's... that's the main reason why I wanted you to to upload all these packs, because you have really nice free VFX. You can delete the other meshes and other assets which you are not going to use. But this VFX is something particular we need. As you can see it looks great and we just added the same way, like before to the character we just added to the grenade. Okay. And automatically it will stick with that mesh. So this is our VFX Grenade Trail and just drag and drop into the our shot. And I prefer anyway just to keep the transform position. And as well I will select all of them, all of our VFX and move to the one folder, add new folder. It will create the folder. Let's just call the folder VFX. It's a good habit to keep the naming convention and all your files organized. So this is shot 06. So call it VFX shot 06. Now we'll have all of them in just one folder. If you decide to mute, you can disable all of them again. I just turn on the visibility of the track. As you can see, we have really nice VFX of the Grenade Trail. Let's just play the shot. I think it works really good. It's not perfect. You can polish it of course, but so far it looks really good. So once again, this is how you work with the cascade particle system. In next lesson, I'm going to show you how to work with the Niagara as well, which is a bit more complex. However, in the sequencer I prefer to work with the Niagara. There is more control over it. Basically, you can control the full behavior of the VFX, as well. you can change the VFX here. As you see, I just set it up and I can change in the template. I can just change for different type of the VFX, but in that case I'm going to stick to the to our um, VFX which is here. So once again we can find it in Military Weapon Silver folder. And here you have the Grenade Trail. Okay, one more thing. Just to add more realism to the shot, because we have the explosion near the campervan. So I like to make a little, little translate of the movement of the car itself. So let's just see where the grenade hit. And just before just I forgot to mention I need to hide the grenade because we don't want to see it in the next part of the shot. So you can use the visibility option. As you can see right now, it's not going to be visible anymore. And now focus on the campervan. We can do it with the transform. So let's just select the keyframe. And I think we need just a small rotation. We don't need a lot of movement. Just a very little small rotation. Okay. Just rotate the camera. There you go. I'm not going to polish it. I just want to show you the possibilities. Let's try it like this. Just just keyframe. Go back to the one before. You can actually copy the keyframe we had before as well. Let's just try this one. You see, if you select, press and hold Alt and click left mouse button and just move it, it will automatically copy any keyframe. That's also very useful tip. Yeah I think it looks really good. Even it's not polished, but it looks really nice. Okay, this is our Grenade. Grenade trail. And this is our grenade explosion. I think we can make it bigger with the cascade system. You can scale it. So let's make it 1.5, keyframe. You have to keyframe. If you don't keyframe, it will reset to the previous settings. Okay, it looks much better. So we are almost ready to go. So save your progress and see you in the next lesson. 19. Niagara VFX in Sequencer: In Last Lesson, we worked with the cascade system. Now I want to show you how to work with the Niagara VFX system. Let's open the master sequence and the shot number 2, select the camera and unselect it. So we'll stick in this place. And I want to place another mesh of the car here. And I want this car to, to be burning. So let's open this folder. Go to the meshes. Find the sedan. Don't be surprised I already changed the materials a bit. I'm going to show you why I did it. Okay? Just leave it for here right now and click the scope. You will see the material. I also made a copy of the material, so when I select them it will be just the standard standard model of the car. I want this car to be burning. So I made kind of the material instance which imitate destroyed car. Okay. So we don't want to spend too much time because it will be somewhere in the distance. So how we can do it? Open the material instance and here you will see the alpha mask. Basically select any kind of the mask I just type noise and I select one of the noise which was fitted for me. And I just saved the material instance. Okay, if you unselect the alpha texture, it will be the same material like before. If you select, you will see it with the mask the same you can do exactly with the material for the glass. If car is going to be burned in the real life, obviously the glass will be broken, so it will be more natural if you will have basically no glass in the car. So I did exactly the same. I used the mask I just opened to show you. I use some kind of the noise mask for the glass material instance as well, and it actually imitates the destroyed car pretty well. Okay. So next thing before we start with the Niagara, you have to go and set up the correct settings. Okay. We are going to use this VFX pack and go to the Niagara and go to the Fire for BP. Okay. You have a lot of fire VFX here. Then go to the edit and to the plugins. Just type Niagara. And you have to select the Niagara effect system. And as well one more. You need to select Niagara Sim Caching. Unreal Engine will ask you to restart, so just restart. Upload your project again and we can move to the Niagara VFX system. Okay, here we are again. You see our sequence? This is our car, the sedan. Let's choose the NFire BP_10. Just drag and drop in the level and you will see the really nice fire with the Smoke Niagara system. I don't want to go and explain too much about the Niagara, because this is not the part of this course. I want to more show you how to control it and how to set it up in a sequencer. So again from outliner grag and drop into the sequencer and then you will see here Niagara component just like here. Select Niagara component then select transform because we want to keyframe the position of the VFX in the level. Again select the plus and here you will see a lot of different options for the Niagara VFX. That's why I like Niagara because in sequencer you basically can control everything. Okay select... Niagara system Life Cycle Track. You will see the red the red mark okay. And this red tab basically will control this VFX as well. I like to, uh, make it spawnable just like before you remember, like we did with the meshes. Just save our project. Okay, so as you can see, it already looks really cool. But we need to add one more thing, Niagara Cache. So as you can see it will be the error. This is the bug in Unreal. So you have to move it front or backward one frame. And then when you click record it will start recording your VFX. Why I want to record because I want to play it exactly the same every time. So if you don't record it with the cache, it will be randomly generated and it will be quite heavy for your engine and for rendering. So what we can do, we have to move with the lifecycle one frame before the sequence start. Okay, let's just move it in a time, or we can even move it more in the lifecycle. Okay. And as you can see it is right now just recorded, select another VFX. I think this one may be good NFire BP 02. And we are going to use it here. Exactly the same procedure. Find the perfect spot for your VFX. You can rotate it as well for that particular VFX you can rotate them in the level. They are very good quality free assets as you can see. They are quite complicated VFX with the smoke and everything as well. You can change the scale. So let's try 2. Yeah, I think it will looks great from... especially from the distance. So we want to again record this VFX in our sequencer. Okay, let's change to the 3. As you can see, once I set the VFX, I can change to any of them. So I just change the version 2 to version 3. If you didn't load them before, it will take a second before they... Before you can see them, they have to just load and compile all the shaders. They are quite heavy. Okay, this one will be better. Let's try 3 as a scale value. Okay. That's nice. And let's just drag it to the sequencer. And again. Plus, transform, keyframe, plus Niagara Component. And now plus Niagara Component. Niagara Life Cycle System. Okay. Niagara Cache and just record it. Okay. But you can see it's still running real time. So you can change the tick delta data to desired age. Now it will be recorded. So we wanted to start before. So we have to move the life cycle a few frames before our start of the sequence. Okay. Let's just test it again. Just convert. Spawnable. Save. And there we go. Let's see. Yeah, I think it looks really good. It will be very interesting background element for our video. You can use any other VFX. You can use explosion as well. Okay. Let's move more frames before start. So we'll have more fire. It will not start with the sequence, but actually before. So it will looks much better. Okay select both of them. Right click move new folder. Create new folder. Call the folder. Let's call it VFX and shot. This is shot 02, just to keep the name convention. Okay, there we go. Also, we can move the sedan to the same folder so it all the files will be together. Okay. Select lock on the camera. I will move camera up. I like to have it on the top. And let's just play in our sequence. Let's see okay. This looks very cool. So this is basically how you can work with the Niagara VFX inside the sequencer. So just remember you need to use the Niagara Component and then you can control anything. Transform, position. Also you can control the life cycle and you can record it with the cache. So let's play our whole sequence in the cinematic mode, because it will looks a bit different than the high quality. We'll have much better quality of VFX and also of the foliage. So let's take a look. Okay, that looks pretty cool. There we go. Here we have our car on fire. I added some more meshes as well to the shot, and it's still before the final polishing. Here, as you can see, there is an extra car and we also have Niagara VFX here. I added the fire at the end of the shot just to make it more interesting and cinematic. Okay, see you in the next lesson. 20. Post Process, Camera Advanced Settings: Okay, we have our shots ready. Now is the time for the final polishing of the shots. We are going to use the Post Process Volume which is super useful system in the Unreal. As you remember before we set up the Bloom. And the next important thing it will be Chromatic Aberration, its effect which naturally appear in the real world. However, in the games or Unreal Engine, usually you you're not going to notice it, but you can see it in the movies. So sometimes I like to use it, but not too much. I show you how it works. Try yourself different values go to the radical one just to see it. As you can see, it changed drastically the way it looks. It's kind of the natural real world camera lens effect. However, to make more cinematic quality and make it more realistic actually we have to add a little bit of the let's call it dirt to our picture. Of course, we can do it later in Post Production, but I want to show you how much you can change in Unreal Engine, because maybe you decide not to create the cinematic which is going to be rendering, but maybe you want to have it as a cutscenes in your game, so then it will be very useful to use it. Okay, so another one is a dirt mask. So basically you can choose a mask like a texture just to add extra dirt for your scene. Yeah we can choose any of them. And below we have dirt mask intensity and you can control it as well. You can control the tint. Okay, but let's just keep it the standard. I'm not going to use this one. I just wanted to show you that there is the option to select it and use it. Okay. Just turn it off. Then we are going to the camera settings. You have all the camera settings in a Post Process, but most of the same settings are in the camera inside the sequence. So you can either use the Post Process Volume or just the camera. Another interesting one is a Lens Flares. It's also very natural real life effect, especially if you have strong sunlight scenes like we have with one of our shot. I will just show you. Let's just move the camera into the direction of the sun and let's just add more Lens Flare. You will see. You will notice. Okay, you see, this is really nice. Very realistic effect. If we decrease the threshold, you will see again you can change as well. You can change the, uh the size of it. Try to play with different settings and find the best one. So Lens Flare. Very nice. Again, you can change the color pretty much you can make very realistic shot inside the Unreal. As you can see when I change the camera it looks really great. So I really like to use it again. You can keyframe it in the specific sequence or in the whole master sequence. It's just up to you. Okay. So let's go to the next one. There we have the image effect which is Vignette intensity. So let's take a look how it looks if I decrease it to zero. Oh actually we have the random is 0.4. But let's just test it completely like 10. Okay. So you will see. So basically they are dark areas in all of the corner of the picture. I really like this effect is as well very natural very realistic. Nice effect. And it gives kind of pretty cool cinematic feeling for your shot. I think for that sequence I just kept like 0.75. Yeah, that was actually... actually the the best settings for that master sequence. Okay. Again, you can control it inside the camera as well. It's just up to you. Here you have another option where you can change the Blur. So let's say you have very wide angle like 80mm or even 60mm. It will be very hard to achieve any Depth of the Field. So you can use this setting basically just to get the Blur. Okay. Just go to the Depth of the Field. First one is a Depth Blur KM. Second one is the Depth Blur Radius. So you can just test it for now I'm going to... Just change the value to show you how it works. If you look at the background you will see okay so this one we change like 0.1. And the second one the maximum I think is 4, but we can increase it drastically. Let's try like maybe maybe 20 okay. As you can see we have very strong extra Blur Depth of the Field. So it's not the best way to do it. The best way actually is using the correct, uh, Focal Length and the Aperture. However, if you need it, sometimes you can use it as well. Okay, let's take a look at the other function of the Post Process Volume. Okay there we have the temperature. So basically you can control the temperature of the whole scene if you need it. For some specific shots you can change it. It's just up to you. You can control different way by the white balance for example. Also you can add the tint. You have to test it as well. But I'm not going to use it for our video. In a global, you have a wide range of, uh, of values to work with. And another one which I really like is the film here you can achieve really nice film effect for the cinematic scenes. First one is the Slope. Basically all three of them, they control the brightness and the contrast in a little bit different way. So I like to use the slop to make kind of the like old style, old fashioned movie. As you can see, when you decrease it, the scene will lose completely the contrast. Second one is the Toe. So but this one is... Let's say I will use it just cosmetic, but as again, it's just up to you if you want to get that kind of the view of that kind of the field. That's all right. And the third one is Shoulder. As well it controls the overall view of your scenes. Okay. There we go. There we have Lumen Global Illumination. But in a lesson one lesson before we are ready to discuss it. So that is good to keep it and just check it. If all of the settings are correct before you finish your video and start your rendering. Yes. Reflections method. We have lumen as well. Lumen reflection. Everything is right. Okay as well. You can see here we'll have the Motion Blur. So you can control Motion Blur for each scene as well. Different way. So you can change it. You can change it for each of our shot. So for example if I want to have stronger Motion Blur here for the shot number 2, I can just keyframe it. Target FPS the more, uh, frame per second, the less intense the Motion Blur will be. So you can notice on the shadow of the car right now is very crisp. But when we increase, as you can see, the blur is much, much stronger. Just be careful with that, especially with the scene with the car, because the motion blur may may give you very negative, very negative visual effects on the wheel of the car, as you can see right now. So you can play with it or you can leave it as it is in the standard one. It's just up to you. It can be nice for the some shots. Let's say if you have a character running and you wanna, you wanna, you want to see the speed of of the character, let's say passing the other object. Then you can play with it a bit. Or if you have very dynamic fast scene as well, you can try different values. However, most of the time I'm just staying with the standard one. Here let's try different. Just like radical, the big one, as you see the most we can get is just 1. So among these between 0 to 1. But the max settings we can increase a lot. But right now I think it will be too much. And again we can get really nice Motion Blur and Depth of Field by using the basic camera settings. And this is how we supposed to actually work. Just keep in mind the Post Process volume is extra factor is basically like the post-production build inside of the Unreal Engine and can be used also for the game for anything, not just for the cinematic, obviously. And most of the settings can be also used inside the camera for each particular shot. So if I'm going to change anything right now for the Post Process Volume in general, it will affect all of my shots. If you don't want it, you can just keyframe it, or you can use the similar settings inside your camera. Okay, I just play a bit with the Motion Blur and let's go to this shot and let's just take a look how it may works here. So change the value. Let's just make it let's say 10. Yeah 0.5 should be fine. Just keyframe. Okay. There we go. As you can see increase maybe to 25 here like 0.75. I just keep it lower because I wanted to keep the global value smaller, and then I change it inside the sequence just to change in that specific shot. Okay. Let's see. Okay. But I still think it's too strong. Yeah, like the car is getting really blurred. But just to see and for comparison, I think it's a good example. Okay, so let's take a look for the other settings of the Post Process. Here we have also Film Grain. We can change the intensity. So you can make kind of like the old style old movie. Okay. You can also add the texture. Let's just try like a kind of a noise texture. We have a lot of them from the assets we uploaded. So let's maybe try this one. Okay. As you can see, it's pretty intense. However you can use it, you can control it. You have to just check all the settings and find the best the best one. Okay. Come back to the random settings. Just reset. We're not going to use the Film Grain for the video. Here is Path Tracing, but this is not for this course. Okay, I think we we actually checked most of the very important settings in the Post Process. And if you go to the camera and you scroll down in the details panel here, you can see very similar settings, like for example Chromatic Aberration okay. Bloom as well exposure. So you can control in two ways by the Post Process Volume on directly by the camera. It's just up to you. Okay. As you see it works exactly the same. Just like in Post Process Volume. It depends of the shot, depends of the video. Sometimes, I prefer to work with the camera inside the sequence. Sometimes I work with the Post Process Volume. It just depends at the end of the shot before we start render. As you can see, we have two blueprints for the campervan and I want to hidden one. So just select it. Select the hidden actor, hidden in the game in the details panel and just tick it. It will not delete this asset, but it will make it hidden during the render because in any case, I don't want it to appear as in our video. Okay, I want to have just the one blueprint of the campervan in our video. Okay, that's most of the settings. See you in the next lesson. 21. Add SFX, Effects, Prepare Render Settings: Welcome back. I want to show you some extra functions in sequencer. If you go to the left you will see add button. Just select it on the top you can notice Actor To Sequencer so you can add any actor this way. I used to drag and drop. Another interesting one is Time Dilation track. It basically changes the speed of your shots. 1 is the standard 100% speed. Let's try 1 to 3. As you can see, we have 300% speed. I believe this is very easy to understand and to control. Just the latest. Second one will be Fade Track. Let's say you want to create the sequence and use it in your game so you can Fade. The start of the sequence one is 100% on the edit section. You can change the color as well. Let's just play it. Okay. I'm going to mute it for a second. And another one is the Audio Track. So if we go in to use this sequence in our game, we need to have the audio tracks. Now you can see in the sequencer let's just add some files I prepared two audio files. Right click in a folder, go to Import to Game and select both files, open. Okay. Just drag and drop them to the sequencers to the audio space. First one is there. Let's add another one. And now drag and drop the second audio files. We can now play and just test it. As you see, it's pretty straightforward, very simple to use it. So this is how we can add the audio track to your sequence. And if you decide to create the shot, I'm going to show you how you can use it for the beginning of your sequence or beginning of your game. Select... select your master sequence. In that case, my cinematics level sequence asset. You have to select the right one. It will be My Cinematic. And in the playback settings just... just select the Auto Play okay. And in the world settings just be sure you select Blueprint because we need to have the Blueprint to start the game and you can use this Blueprint campervan. So let's take a look okay. And we don't see it because as you remember in the last video we hidden this actor. So go to the Details, select hidden and check the box and just move it because the second one will start to moving in a sequence, and we don't want to both of them to collide. Now if you play the simulation, the shot will start just at the beginning of your game. But where's the car? No worries. It's actually very easy fix. You just need to know how to do it. I'm going to show you in a second. The rest of the shot is fine. Exactly how we create it. Okay. And you can right now start your game. I'm not going down into the details. How to use the Sequencer, how to trigger it in the shot. I want to focus more on different options. You can make it by creating the blueprint. It's not complicated. It's a ton of tutorials how to do it. It wouldn't take you more than a few minutes. Okay, how to change the disappearing car? Go to the car, select mesh vehicle mesh and you will see Simulate Physics. Just uncheck it. And right now when you play your simulation your car should be there. Okay there we go. Just remember you have to do with... even if you decide just to render your shot for the video sequence. Otherwise it is not going to work, especially for this type of the assets. Okay, now I'm going to show you how to render your shot. So you will have to option. The first standard one will be the Legacy Mode. The second one is going to be movie render okay, quick. So if you select the Legacy Mode, you will see the new window. And I'm using it mostly for the preview. This is not something you want in your video. You have some options like resolution like output format as well obviously directory or the compression quality, but this is not something we expect and something we want in our final video. We need to use the Movie Render Queue how we can do it. So first of all we need to activate it. Go to the edit, go to the plugins and just type Movie. Scroll down and you will see Movie Render Queue window. You need to select it. Unreal Engine will ask you to restart. Of course you have to save your progress and restart as well. I suggest to select Movie Render Queue additional render pass. It is very useful if you want to render for example in the alpha layers. Okay, now just select the Movie Render Queue. And open the window. Always check all the scenes are in the right order. And here you will see on the right the sequence check if it's the right sequence selected as well the right map. Everything looks fine. All the shots are activated and we can click the Settings. So you will see usually that kind of the setup. This is not something you're going to use. So let's just delete select png. PNG is absolutely fine and enough in most cases. However, in next video I'm going to show you how to use the highest quality which is EXR, different rendering. Just leave it as it is. You can select the output, obviously the directory, the resolution of your video and the number of the frames. In that case we're going to use 30 frames. Another one very important is Anti-aliasing. You have two options on the top. First one is Spatial Sample Count. 2 is absolutely fine. You can go for 4. But from my experience 2 is absolutely okay. And second one is Temporal Sample Count. First one we can say is responsible for the static images. Second one for images in movement. So I usually prefer to use around 32. Just keep in mind it multiply each other. So if you have 2 and 32 it means the engine have to, has to render 64 subsamples in each frame. Okay. Just select the Override Anti-aliasing. And at the bottom you have important option which is Engine Warm Up Count. I prefer to use 128 frames. It just gives time for load all the assets and the level before it starts rendering. Especially useful if you have some VFX in your shots. So these are let's say the most important one as well. You're supposed to select the Game Overrides. It will force the cinematic quality. Also the LOD 0 in all of your scenes, and last two settings will help you to keep really nice foliage quality in your shots. And and the very important is the Console Variables if you're aiming for very high quality. So here you can add very specific settings for your rendering. The more information you can find in the Epic Documentation, however, don't worry, I prepared the full rendering settings for you so you can just easily copy them and paste into your project. So, as you can see, it's Render 2K Settings. So you just need to copy them and paste into the folder for example My Cinematic folder. Once you open it just double click Select yes. You will see different Console Variables. The first one is Screen Percentage and Depth of Field quality Tonemapper, the Screen Percentage is very important. It depends on your graphic card. If you have good graphic card, know where you can go easily for 200%. However, if you want to render in 4K, be very careful. 150 should be fine. As you can see, here is also EXR option and the Color Output. But for the PNG rendering we are not going to use it. So once you accept that and you select the Render Local, your rendering will start and after some time you will have ready PNG images. 22. EXR Files Render: Okay, let's focus on EXR render. First, change the scalability to high and also change the view mode to unlit. We don't want to force our GPU when we go in to render our shot. Check all the cinematic sequences if they are correct. Okay. And as I mentioned, you can load the settings I prepared for you. Just double click. You will also see the EXR, but I want to show you how to add them. So go to the settings add the EXR. Okay. And you have to remember to add also the Color Output, if you want to use ACES, you can go for it. I'm not going to explain. We're not going to use ACES. In that case you have to remember to disable Tone Curve. It's very important to select that option. Okay. Turn off the PNG when you are ready for rendering. Otherwise you have to turn off the color output and EXR and you are ready to render as a PNG sequence. EXR is recommended for the highest quality of the videos. Let's check your sequence if everything is correct. If the map is correct, you can just press render and wait till the end of the process. 23. Create Video - EXR pipeline: In this bonus lesson, I want to show you how used to Exr files to create the video. I'm going to use the DaVinci Resolve, which is free software. You can search for DaVinci Resolve or just go to the Blackmagicdesign.com, download the free version or if you want, you can buy. It's not very expensive. I'm not promoting the software. I'm not sponsored by Black Magic. I just love this software and I'm using it for very long time. Okay, once installed, open it and create a new project. Let's just name it CC. And first thing you have to select the file and project settings. That's the most important part. Go to Project settings. Select the right resolution. This is correct. We need to change the frame rate to 30. And now we have to go to the color management. And this is important part in the color science. Select the ACEScct. Even if you're not using ACES, select that option. And in the ACES output transform go to the Rec 709 and just save your settings. And that's basically most of the work already done. Now select the first option on the left. You go to the media pool and on the left you should see all the folders. So I'm going to find the location of our render. So just remember which file folder you selected for your render files I rendered in EXR. Select the render, As you can see, the DaVinci automatically created the video from your EXR files, so you have to right click add it into the Pool. Now select the edit option edit window and here is basically your workspace. But as you can see the colors are out. They are not right. Don't worry. This is exactly how it's supposed to be. What you need to do next. And this is basically the last step. Right click on it. Go to the ACES Input Transform. And if you scroll down you will see the Color Space Conversion. And because you didn't use ACES you have to select sRGB Linear. This is the correct settings. And right now you're going to see everything looks exactly like in Unreal. The colors, everything is correct. Drag and drop your video into the workspace. And here you can start to work with your video. Most of the time they may happen, You will see some... It's called dead frames. You can cut the video in that shot. Okay, select the first option. Control and scroll to zoom it and just move one frame. Just change the duration. You can actually set it up in the Unreal but I didn't want to show it to do not create too much confusion, especially for the beginners. So go through the whole video check for all the dead frames if you see some of them. Just that's the way to delay them. Okay, if you select this edit window right now, you can work on the multiple variations of your video like curves, color, HDR. As you can see, temperature, tint, contrast, shadows, highlights, okay, saturation and Da Vinci is amazing because you create different layers. So if you press and hold Alt and press S, it will create another layer. Then you right click and you can addvNode Label. For example you want to change saturation. Let's call it saturation. And this layer will be responsible just for saturation for our shot. Only for example, I go into edit it, I created another layer, let's call this one temperature. And we go into to control temperature. In that layer you can have as many as you want. Sometimes I have eight, nine layers. Okay. And now you can also very easily. Have the preview. And also you can deactivate them. Select both of them, Control plus D and you will deactivate and control plus D to activate them again. It's very useful, very fast and absolutely great option as well. You have multiple effects you can use in the paid version. All of them are unlocked, but in a free version, for example, you can have glow. I just quickly want to show you how it works. So let's just move the video forward. And here we can, for example, see how the glow effect may affects our shot. Just deactivate saturation, temperature edit and in the threshold you can control the glow easily. You have to try yourself. Have fun with it. Select different options and probably as well it will be great to watch some kind of tutorials. It's a lot of free tutorials. DaVinci Resolve is great software and there are multiple artists working in the software. Okay, so once you will have your edits ready, you can go to the media pool and also you can add the sound effects. You can add some kind of motion design, anything you need. And the last step obviously it should be render the last window on the right. You will go to the render. Here we have file name location, the format of the video. I prefer to use mp4. Okay as well the quality. And when you press the add to render, you have to select the destination and obviously the name. And in the render queue you will see your video ready to render. And when you press render all the process will start. Hereby we have reached the end of our course. Thank you very much for dedicating your time to learning new skills. I am convinced that the knowledge gained in this course will help you develop as an artist and provide an excellent foundation for further learning in cinematics and Unreal Engine. If you have any questions, I will be happy to answer them. I also encourage you to rate and leave a comment after completing the course. I hope that you will be able to apply the skills you have acquired in your future projects and work, and I wish you good luck and future success.