Unreal Engine 5 Environment Creation: A Comprehensive Guide for Beginners

1. Introduction: Welcome everyone to Unreal Engine five, Beginners Guide to building an environment. Now, if you have ever wanted to get into Unreal Engine five, or making a switchover from Unreal Engine four in this course is absolutely for you. You have designed a course from the ground up to make sure that no matter your skill level, you will be able to easily follow along, and more importantly, learn most of the skills to create your own 3D game environment. But let's take a look at what we have pack. The courts will teach you to design your very own building structure and create a nice. With Harvard. We'll learn how to work with Quixel Assets to their fullest by customizing them to your liking. We will go over all of the categories within Quixel library to build our own environment, Assets, textures, Decals, and even 3D foliage. All of those will be used to create a world within Unreal Engine five, find out how to make a poll use out of Quixel Material Instance Parameters to adjust textures and make them fit would fill color palette of your world for any mesh to your liking. Using a built-in modelling mode within Unreal Engine will make use out of the variety of different techniques to bend or even carve into the mesh. You have full control over scanned assets from the Quixel library. Make sure that the only limit building our world would be our imagined patient. During the course, we will build our very own water system from scratch, enhance the visual supports him. And it will include everything that the Water VFX, no matter the type you'd want to create, essentially allowing it to reuse this water or any type of your project. Create a fully dynamic water body system that will allow us to create a flowing river water with waterfalls acid the vertex Painting to blend in the flows of water and develop a realistic Water visuals points. During this part, we will also create additional Water visual effects to be rich, to blow off or liquid. Water system will involve making use out of a variety of different Material techniques, as well as Particles setups to manipulate animation, manipulate animation within and get a certain organic field from our Waterfall. Breathe life into your own virtual world, right? A flock of birds flying over the horizon. Fireflies playfully buzzing around over the water will start off by manual sculpting out the shapes of the birds using the built-in sculpting mode with Unreal Engine five, we will add a randomized motion to them with a Material Setup, the parade, a nice motion of a Bird Silhouette flying over the horizon, giving each individual feathered friend a unique Flying animation. We'll continue this up and create a FireFlies Particle Effect playfully flying over the top of our Water by making use out of animation sequence with the course goes in depth on setting Particles within Unreal Engine five. Learn how to use Niagara Particles System to its fullest throughout this course, we'll start off by making use out of them to create waterflow effect. Fireflies. It then move on to even make use out of them as a Fluid Simulation and grade fireplace visual arts, of course, we will cover multiple techniques for building a terrain with Unreal Engine five. What will learn how to manually sculpt out Terrain Using built-in sculpting tool within the Engine. And how to generate a terrain from a height texture map by making displacement tool to generate a mountain. Lessons will take you through the versatility of Landscape texturing methods. Unreal Engine five as well, you will learn how to create an Automatic Landscape Texture Material to generate sections of your Level. Have to add custom painted texturing details by creating your own Landscape Material from scratch. Only that you will also learn how to add iteration of Textures based on the Heighmap detail for the mountain will finish off the course by setting up a nice sense that within the environment with a dynamic volumetric cloud system. During this stage, we will learn how to adjust our atmosphere and sunlight colour absorption to exaggerate the sudden lighting within the environment, we will learn how to effectively positioned outside and increase its scale to greater lightly stylized in. To top it all off, we, we'll set up a nice camera composition and random route, a video of the finished result to show off the work we've done. This is truly an amazing course. We have put together a vast amount of content to make it easy for you to get a good grasp of the fundamentals for Unreal Engine five. You have ever thought about creating games, and this is a mosque course for use. What are you waiting for? How much? Join us and see where your imagination will take you. Thank you everyone for watching, and I hope to see you in our post 2. Creating a New UE5 Project : Hello and welcome everyone to the first lesson of Unreal Engine five, Beginners Guide to building an environment. Now, to start off, we're going to open up ourselves and Epic Games launcher. And if we were to click on it, will get ourselves all the tabs on the top for the Unreal Engine. So now we're going to go onto the library section, which within it, the very top tab that we're going to find, It's going to be Engine versions. And if you're not seeing anything within this area, just go ahead and click on the plus symbol over here. And it should by default gives you the most latest version that Unreal Engine can provide. But just to make sure click on the version and go on to the very top within the list and select the highest number possible. This way you should have a version of 5.0, 0.3 or anything above that will do that after you selected, you should be able to click install, which will start the download process for the Unreal Engine itself. And once we're done with data, we can go ahead and click Launch to open up our Unreal Engine browser. So once it finishes up loading up, we're going to get ourselves a new window with Unreal Engine project browser opened up. And by default, you're going to see all of the recent projects that you have, as well as we're going to have some of the tabs that will allow us to make new projects. We've preset templates. Now, personally, I prefer to use a third-person template from the games, but let's go ahead and started off with that. So within the games tab, we're going to select ourselves a third-person template. And this will basically give us a real nice starting point with by default lighting setup. And if we want, we can always also use that to explore our environment that we're building. That's quite nice. So once we have this selected, we also are going to make sure that the project defaults are set with a Blueprint elected instead of a C plus plus. This, we're going to create some blueprints from scratch within this course. Then afterwards we'll want to make sure that we have a target platform set as desktop, as well as the quality preset set as maximum. This way we'll make sure that we're getting the best quality out of a project. And afterwards we have ourselves started content and ray tracer, we want to make sure that both of these are ticked off for the slaughter content. If we were to have this selected, we get ourselves additional assets that are provided by default within Unreal Engine. But honestly, they're just use up the folded space itself for the project. And we're now going to be using any of the content for provided. So let's make sure we have this ticked off. Now for the ray tracing, it does give off better reflections if you have this thick tone, as it gives you a different method to preview the world. But that is that of course, a performance. And by the end of this course, we're going to be setting up ourselves to render out our finished work so we don't even need to worry about this anyway. Then moving on, we get ourselves the project location, which if you want to change it, we're going to have to click on this icon over here. And I'm just going to got ourselves a new folder. All this Unreal Engine five project like so. I'm just going to go within a folder, click Select Folder. And now it's going to change the location or the project. Then after which the project name itself is going to be over in this window over here. So forward to click on it and delete it, and then we can just change up the name. So for example, I'm just going to call this one environment hut. Like so. Then after we're done setting it up within Unreal Engine browser, we can now go ahead and click the button, the create, which we'll set up loading up our project. And after it's done loading everything up, we'll get ourselves and Unreal Engine project loaded up. That's going to be it for this lesson. It was a pretty short one. We ended up just creating ourselves a new project. And then in the next lesson we're going to go over a quick introduction to the Unreal Engine CY system and the overall layout for the program. So thank you so much for watching and I'll see you in a bit. 3. Introduction to UE5 Layout: Hello and welcome everyone to Unreal Engine five, Beginners Guide to building an environment. And our last lesson we left off by creating ourselves a project within Unreal Engine five. And now I'm going to launch a quick video tutorial Water introduction on Unreal Engine five UI, which will help you to get more familiarized with the program and ease you in within the course. So without further ado, let's get into it and I'll see in a bit. Hello and welcome everyone to Unreal Engine five basics tutorial video, in which we're going to introduce ourselves to the Unreal Engine pipe software. So Unreal Engine five is an Engine which was firstly developed as a game engine. Of these days. It's been widely used within our creative fields as well, such as architecture and film industries. But even with all this versatility and design changes to appeal the other industries, a lot over the co-design Water Layout has been kept as the game engines. And right now we're gonna go through the cell layout code would be easier to follow along the future lessons. So first things first, we're going to start off with the upper-left corner. And within it will find the Save button, which we can use Control and S to save our project. This however, will only save the current level. And if we're making changes outside of the level itself, Let's say we're having a material or an asset edited. We'd have a different window that we're working on. And we'd have to save this independently. So it would have a save button or we can click Control and S, and that would save the window that we're working on only. So basically if we're working with different window, we need to make sure that we save that out. And then afterwards, if we're making changes or the level itself, we need to save this out afterwards. So if I were to change this, we can only have it saved by clicking Control and S And Saving out, we have made a new level. You'll be prompted up with naming it and selecting for where your location is going to be for level. Then afterwards we have select mode. By default, you're going to be within a select Mode, which you'll be able to use to make selections for within your asset. You can also go ahead and use this to change it into Landscape, Foliage, Mesh, pain, and other types of modes. Just to change up your workflow depending on what you're working on. But by default, most of the time, let's say 80% of the time you'd be working on a select Mode. Moving on, we have quickly at the project, this button will allow you to add more assets into your project. The simple default ones that you'd normally get in within the, any type of rendering software. So Basic lights, Shapes and such. And we found here, if you wanted to search within it, you can click on it and search for light, for example. This way would be able to see all the assets with light within its name, which you need to keep in mind though, is that when you click on it, you need to make sure that your mouse stays the same within this icon over here. Otherwise, if I were to, for example, drag my mouse to Shapes and then search for lights. It notice that it only searches it within the shapes location. Whenever you're searching for an asset from within this bar, just make sure you keep the mouth stable within this icon like so. Next up, we have an icon that if we were to click on it, would be able to have some options for creating Blueprint Classes. Blueprints work similarly to a sort of a prefab. However, for the sake of introduction to Unreal Engine five Layout, we don't need to get into it too much. So, and the next one we have a level sequence and master sequence that we can add from this button over here. This is used when we're going to be needing to set up our project to be rendered out. But again, Let's move on with the rest of the layout. We have a play button. This will just start off the project. And if you have a third person template, for example, like I do, and it'll just set off your character to be played at. It'll also start up all the simulations and whatnot. So this makes it real nice to just check out your project and why don't we click Play. We get to be loaded in within our level. And now we get to walk around it and actually experience what it's like to be within our building level. We can jump around, we can run around the way we wanted it to be. And it's actually quite nice to see what we were like within our own Build level. We also have this three dots over here, which if were to click on it, we have some additional settings Simulating the entire project. This will just allow you to hit Play button, but without actually needing to lose control over the edit mode. Again, we don't really need to go too much into it. But basically this section over here, we'll play and stop your project. Then afterwards we have platforms. But this is only for when we're breaking out our entire package as a game. And we don't really need to worry about this. So let's go ahead and move on. Afterwards. We have a settings button. This will include a sort of settings like Project Settings and plugins, which can also be found within this upper-left corner over here. So Basically this just makes sure that everything is in one place. We don't really need to go through it. They're usually not needed for when we're creating or scene. Anyway, moving on, the outliner. Outliner we'll have everything that contains within your level. So it'll have all the assets within it. And right now, if I were to select any type of an asset from within this level, like this one over here. It will, right away make a selection within our outliner as well. After which, we have Details tab. Details tab will give you all types of options for your selected Asset. So it'll include all the type of information that it requires to be placed within the world. So for example, firstly, we have transforms and this will include the scaled rotation on location on this specific asset. We also have the type of Static Mesh users, as well as the materials. Each type of asset will have its unique type of information set within it, which can be found from Details tab. After which, if we go down to the bottom-left corner, we get ourselves quantum drove our output log. And CMD quantum drawer is by default hidden. But if we were to click on it, we get it opened up. Now if we click on anything else outside of the content door, by default, be hiding it away. We can also open up the content jar by clicking control and space to give us an easy access to where our files are located. But a content rover is basically a file manager. You keep all your folders, all your assets. Or not only the level, but for the entire project of the Unreal Engine five, we can also dock the content door by clicking this button over here. By selecting it, we simply make sure that they're always going to be within dislocation. And even though we click off of the content drawer and it's still going to be within it. Now we can easily undo this step by simply clicking on undisclosed minor tab. And we can open up the country and Java just like we used to, like so by clicking control and space and output logs are pretty useful for whenever we want to find out some information. If something is giving us errors. If our work is not focused on coding, we don't exactly often use this. Let's go ahead and close this down. Cmd is useful every once in awhile for whenever we want to make a command. Right now I'm not gonna go too much into it, but we can make use out of it and do things like taking High-quality screenshots or getting a different type of view within our Viewport. Okay, so now we walked all the way around or window. Now we're finally gonna go ahead and talk about what's in the middle of it. By default, we're going to get ourselves a preview. Going back to the content driver within it. We need to enable certain settings. By clicking this button over here, we'd be able to view the type of different folders that we have. Usually I recommend you to enable the show Engine content and show Plugin content. You ever get more to get more out of our Unreal Engine pipe. So after you enable it, you get yourself a folder of a data content folder, which has Engine. This will have all types of presets and plugins which we can make use out of and speed up our creative process. Something to keep in mind though, is that this is not part of our content. So basically, this is already within the engines folder. And if we were to change any one of these folders, we'd basically be changing it for entire Unreal Engine five. Meaning that even if you create a new project, the things that we changed within it, within this section, according to be changed throughout the entire all the other projects as well. That is why by default in a set of hidden to make sure that none of the content that is set by Unreal Engine five itself is changed in any way and messed up throughout all the projects. But we can avoid this by simply knowing that we can't change anything within the Engine folder itself. And it's better to, whenever we make use out of this content folder, is by simply making a copy out of whatever is inside, then dragging it out onto your content drove us to make sure that we use is only set for the project itself. This way, we can make as many chains that we want without ruining the entire Unreal Engine, five content piles. And that is going to be at for Unreal Engine, the UI introduction Guide. Hope you got a lot out of it and will be quite useful to you going forward in the future for your Unreal Engine projects. And now let's get back to the course. Welcome back everyone. I hope that a quick video helped you get a better foundation for the program, will allow you to follow along the scores. So now we covered everything around the viewport. And now in the next lesson, we're actually going to dig into the report itself and how to navigate it within the 3D level that we have on front of us. So thank you so much for watching and I'll see the next one. 4. Introduction to UE5 Viewport : Welcome back and run through Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by getting ourselves familiarized with the overall UI within the Unreal Engine five software. And in this lesson, we're going to continue on familiarizing ourselves with the program. And this time we're just going to get ourselves the basics down for the navigation within the viewport itself. So let's get right into it. I'm going to launch a video right now, and I'll see another side. Hello and welcome everyone to Unreal Engine five, Basics Guide for the camera motion. And we're going to start off by introducing you to the camera type of motions within Unreal Engine five in order to help you and follow along the lessons easier to start off within the metal section of the software, we have a perspective camera view by default. And Using this, we can move our camera around. The main thing that you need to remember for when you're moving your camera around is that by holding Alt and evil one of the mouse buttons, you'd be able to make a certain motion. So for example, by holding Alt and left mouse button, you'd be able to rotate your camera around like so. By holding Alt and middle mouse button, you are able to pan your camera around just like that. And finally by holding Alt and right mouse button. If you were to scroll up and down using this motion, it be able to zoom in and out of your view. Alternatively, you can simply just scroll your mouse wheel and zoom in or out of the project like that. Now, if we want to zoom in towards the selected object, what do we can do is, if I were to select this box over here, for example, I can click the letter F and it would zoom in right onto the object. Now we can use this to rotate our camera around and simply sea level with the object selected as the center. If we're to select a different one and click F with zoom in onto our assets. And if the acid is larger, like this ground plane over here, for example, if we were to click F, It would zoom out and make sure that the camera view as the entire selection within our view. But this is pretty good for whenever we want to zoom in onto our selection. However, you do need to be careful. Since if we, for example, were to select the sky and click F, it would zoom out all the way. We don't really want this to happen. So make sure that before clicking F though, your selection is not something like a Sky sphere. Now, if you want to have more control over camera, and let's say you want it to be similar to a first-person game, which you can do is by holding right-click, you'd be able to enter a sort of a camera movement mode within your editor. Right now, if I were to hold right-click, I can simply rotate my camera as if this was a first-person sort of a game. Now, what's nice about it is if we were to hold right-click and use WASD, we'd be able to move around our asset like so. So by holding right-click and W will be able to go forwards by holding right-click. And as we can go backwards, a, to go left and D to go right. And also, if you want to go up directly or down directly, you can use the combination of Q and E. So by holding right mouse button and holding Q, I can directly they send anther level. Similarly, by holding right-click and holding E, we can go up to level just like that. Now, if the camera is a little bit too fast or too slow, we can make use this icon in the upper right corner, which says the Camera speed. If we were to click on it, we can use the slider over here. You set the speed of our camera. So for example, if I were to set it to one, I'd have a really slow motion. And we'd be able to have a really fine control over where our camera with an editor mode is. Set it up to eight. Be able to go really fast up and down just like that. But by default, it should be set to something like for there is a value underneath it which is set to one. If we were to set it to, for example, this will multiply or for speed to be all the way to eight. So right now, if I were to go up and down, we'd notice that it is way faster. So this is quite useful for when we're working with different scales. I personally only recommend you to use this value. Or when you're going up and down in scales. For example, if you're working with planetary scale of scaling, we'd want this to be increased to, for example, like 14. And then this way would be able to go all the way out real fast out of a level. But by default, keeping it at one end, simply scaling this up and down. We'll do just fine Within the perspective view, we also have couple of our perception modes. And those would be beams on the upper left corner of the window for the perspective camera. So right now we have set it to prospective. We can change those to be top, bottom, left, and right. And what this would do is basically, it will help you get different types of use for our level right now because I'm set to bottom. If I were to set it to left. And if you don't see anything, we can always make use out of the letter F and go back onto the level just like that. So this is quite useful for whenever we're creating environments and Assets. And we just want to make sure they look good and proportional to the rest of our Level and from all sides of angles. Again, by default, this will be our perspective. If you do want to change it to be into multiple cameras though, and you want to see multiple of them at once. We can click on the upper right within our view Mode button over here, you click Maximize the restore viewpoint. So this way we get three different viewports, all from which are different types of perspectives. Now, other than a perspective, all the other ones will by default be set to wireframe. If you don't want this to happen, we can always set them to be lit, though, especially when designing a level. This sort of a view might be quite handy to go back onto one view, what do we have to do is locate our perspective camera and click on this button over here. We've been this perspective view. We can also change the way our camera perceives the entire level. And right now it is said to be default of lid, which means that all the shading would be seen with proper shadows and whatnot. So in order to change that, we'd have to click on it. And if we weren't to, for example, select unlit, which would show you all the Level without any types of shadows. We can go ahead and do that. We get this result is also something like a wireframe which you'd see an alpha cameras if were to click on it, we'd see the types of geometry that we'd have. Those quiet, nice to know, especially if you buy accidents, sometimes click on one of them and you don't know how to get out of, can always go on this button over here and select LET afterwards. We also have show icon over here. This one will get you a different types of visualizations for your respective camera. But what you need to know though, is if you have something that's a little bit off, like for example, I have my grid right now, which is barely visible, but is often quite useful for when we're creating or level. But if this is not visible, for example, if I have this turned off with this button over here, and I wanted on, but I don't know which one exactly it is. We can always go ahead and click Use default. This will bring back all the selected defaults that is usually set up by the default template. And that's pretty much all. There is three camera controls. I hope you enjoyed the video. And now let's get back to the course. Welcome back everyone. I hope that the video was informative and gave you some good background knowledge to help you follow along this course. And in general, within any of the Unreal Engine five projects that you're going to be working on in the future. But that's going to be it from this lesson. Thank you so much for watching. And then in the next lesson, we're going to start off by building ourselves a gray box. So thanks so much for watching and I'll see you in a bit. 5. Blocking out Basic Design: Welcome back everyone to Unreal Engine five, beginner's guide to building an environment. In the last lesson, we left it out by familiarizing ourselves with the overall software and it's viewport. And now we're actually going to begin working on the project itself. So before we do that, I recommend that instead of using this entire level which already has a template objects within it, it might be easier to start off by getting ourselves a brand new template with no assets within it. So we're going to go onto the upper left corner. We're going to click on File and we're going to select new level. And then we're going to make sure we select Basic. Once we have that, we're going to click Create and get ourselves an entire new level with no template or any of the additional assets is just a nice sky that already has the default lighting and a simple square for us to work on. So right now we're going to be working on writing a simple gray box for our environment. And we're going to do that by getting ourselves a room with a shaved to work with. And then we're just going to use basic objects and build it up just to get an overall idea of what we're going to be working with. So to start off, we're going to click on the plus icon within upper left corner. And we're going to hover over the shapes. And we're going to get ourselves a cube by clicking on it, we're going to get ourselves a cube right in the middle of our viewport. Then if we want, we can start off by getting ourselves to cube within the center of the world. All we're going to do is within the bottom-right corner, within the Details tab, we're going to go onto the transformation step, which is located at the very top of our Details tab. And we're going to reset the location to this default zeros 00 values. We can do so by clicking on reset this property to its default value button over here. And once we do that, we're going to get ourselves an object right in the middle of our world. Now, if we want our camera to be positioned to the center of that object, we can click F and it will automatically snap or camera with our selection to be positioned within the center of our camera. So now that we have it like so we're going to start off by getting some elevation. So we're going to create a cells and environment in which you will have a nice hat at the top. And then we'll also have a water area with a bridge hanging from it. So what are we going to do in order for us to set that up? We're going to get ourselves and elevation using those cubes. And firstly, actually let's go ahead and make this entire cube a little bit larger. We can click our to go into the scale mode. And then in the gizmo, between the red and the green gizmo sections, there is a middle section over here. And if we were to click and hold, we can upscale our entire cube, which will only do it in the x and y values. This way, we're basically stretching our entire cube in the way that wouldn't affect the z values. And we're able to do this, we get a nice foundation that although we have already set up our foundation, we're going to set up our own primitive shapes and just have it kind of nicely positioning within our world. So reckon we can just continue scaling this up until we get a value of, let's say we can have a value of six. And if we were to press Play, we can see the type of scale we have. Actually, let's go ahead and upscale this even more. Up to a value of ten. And that's going to do much better for us. But there you go. We're going to have this kind of a small platform to work with. Then after we have this, we're going to click W to go into our Move Gizmo tool. And we're going to hold Alt and move our sideways, which will duplicate it. Now to redo it, I'll just click Control Z to undo my previous action and then I'll do it again. So while holding Alt, I'm actually just going to click and drag onto this green arrow over here and just move it sideways, like so. And if you notice, I have some snapping turned on. So I'm using the upper-right corner for the snapping. And all of these are turned on with the default settings on. And later on. When we will want to turn them off, we'll be able to do just that with for now. It'll help us to kind of position all of our assets properly and help us to work within a restricted space. Speed up our overall process for setting up our gray box. So now that we have two cubes, we're going to position another cube slightly higher than the previous one. And we're actually going to click r. And this time I think we can just extend it in z value, which will make this a bit higher like so. And we're going to position it just to decide or for our cube just like that. So it doesn't have to be perfect. We're just using them as a base. And so this way we're going to have some elevation. So now what we're going to do is we're going to set up a location for where we want our objects to go. And I think we can start off by clicking on the Plus, getting ourselves a new cube It's going to create a new one. And this way we wouldn't have to worry too much about scaling. And now we're just going to squish it down a little bit and use the x scaling just to kind of stretch it out to the side. And we'll start off by getting ourselves a basic shape for the bridge. I think that's the nicest way to start it off. So I'm thinking is we'll probably want to have the bridge to be touching the upper section of this overall platform. And we'll want it to be, set it up right to the side of this area over here. Now by default, both for the materials are going to be white, so it's going to be somewhat hard to see. So what I recommend doing is if we go to the details tab, we can scroll down a little bit, then a material section. And by clicking on this tab over here, we open up all the default Unreal Engine materials that it has. Now if we were to scroll through this entire list, we'll get ourselves basic shape of material instance. And this one by default is going to give us a real nice base for the gray type of material. So we can just work with these two kind of colors. You get a nice contrast and just kinda set up the overall shape that we want our structure to be set up in. And right now, we're just going to use them to get ourselves a real nice kind of a gray box. And we're just going to extend it. It's just a little bit more. I'm going to go right over this area and click play just to see how my character is going to look like. In regards to the overall scale. I think this is a quiet, nice, but we probably want it to be extended just a little bit more like so. And actually not only that, we should probably have some bit of a bridge to be going sideways as well, to go deeper into the walrus where we'll have our water body. So what we're going to do is we're going to hold Alt and we're going to drag it outside like so to make a duplicate out of this asset, then we're going to position it sideways like so. Because we have a snapping tool on, it's going to allow us to rotate it by 90 degrees and we'll get a perpendicular to the other asset. So now we have it like so I think we can raise it up just a little bit like so and drag it to the side. Now by the looks of it, this might be a little bit too long. So what I'm going to do is I'm going to click our and squish this bridge just a little bit down like so, and put it to the side just like that. Now as for the house, I'm actually going to I'm going to duplicate the same bridge area that I had. And I'm going to position it right on top of this area like so. Then I'm going to stretch it out. And actually I'm just going to make it into this sort of a cube like so. And if the platform that we're having is not big enough, we can always make it larger. So I'm actually going to grab both of these platforms like so click R and stretch them out to the side like so. This way we'll have a better understanding on how our house is going to look like within this environment. So right now we have couple of cubes setup. And I'm thinking that maybe we're going to have this house a little bit more to the side like so. And the way I'm thinking to have our structure is I want to have a little bit of a house extended to the side. And then I want to have some area or where we'll we'll have our rooftop just as an outside area or our location for our structure with a nice band bench and a fireplace setup. And then we'll have another location for a power structure just to cover up the side. So we're going to actually duplicate this cube and set it up in a way that's going to be actually, let's go ahead and rotate it like so. And we're going to set it up to be sideways and position it just like that. So now with this, we can kind of visualize how it's going to look like. And I'm thinking, yeah, let's go ahead and speed up the process a little bit and get some more assets within this area. So I think firstly, I just want to kind of positioned as bridge a little bit more to the front. I want to end bid to be going backwards, but I don't want it to be completed inside because we want to break up the entire silhouette of our environment. And right now we're just playing around with the shapes, trying to get overall design the way we want it to be and how it's going to be set up within our environment. And actually, I just wanted to bring up just a little bit back. I think we might have some foliage sitting in front and that'll help us to break apart this empty wall over here. And I think we might have some Polish over here and this distance as well. And actually, I think we can just bring this up just a little bit more because I want to have a type of a door here as an entrance. And this will help us to see our entire building is going to look like so I'm thinking that this might look quite alright. We might want to extend this by a little bit like so. We don't want to overdo it. We just wanted to have a kind of a casual structure like so. And now what we can do is we can just make use out of the rest of the assets. And actually I'm just going to duplicate this bridge and make it into a smaller cube, like so. Or even. I'm just going to scroll up within a transformation step within a details panel. And I'd like us to reset the scale transformation. So by clicking on this reset icon over here, we're just going to get ourselves a default cube with which if we were to just scale it like this, we'll be able to get a nice sort of a support for our entire bridge like so. I think we can just lower this down like this and get a nice kind of support. We don't have to worry about it going inside of the floor too much. We just have to focus on overall shape of our setup for the environment. So the reason we do our gray box is usually is to get an overall kind of a flow of how we want our entire environment to be structured. And this way it will help us to focus on setting up our assets later on and we wouldn't have to worry about it too much on how the overall aesthetic would be coming up together. So right now we're just playing around with the shapes, getting the overall design setup. And this will just help us to ease off our process later on. So right now we're just playing around with the shapes like so. And I think we can have something like this. We don't want to have too many of these polls in here. But I definitely think we need to have some of them in this area over here, one on one end and one on the other. And then we can grab both of them while holding Shift. And we're again, Actually sorry, I'm just going to click Control Z to undo my selection. Then I'm going to hold Alt and drag it out like so to make a duplicate. And actually this one isn't touching because obviously it's a little bit higher, so we're just going to raise it up a little bit. And now I'm just going to duplicate this like so and see how this looks like from a distance. I think this has just enough. We don't need to overdo it too much. You might want to have the pattern to be a bit more centered like so. So the gate, the gaps would be more or less spaced out nicely in between one another. I think that's going to look just quite nice. Okay, so now to break off the solid for this area, we're going to get ourselves Number cube. Actually, we're just going to duplicate the area from this bridge. And we're going to set it up as a nice kind of a roof that we're going to be using. Like so. Now, by default, the Unreal Engine doesn't have a lot of choices for the gray boxing. And since it is a game engine, it won't have a lot of modeling functionality. We can increase that DO by using a plug-in for modeling toolkit. But I'm going to show you how to enable that in our next lesson. And we're going to make use out of more interesting shapes to build ourselves a roof for this area. And then we're just going to play around with the basics of a modeling toolkit. So thanks so much for watching and I'll see you in a bit. 6. Enabling Modeling Mode Plugin And Saving out Level: Welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson with after all, by creating some of the basic shapes for our environment, which we're going to use as a base gray box within our scene, we set up our assets, but right now we're not quite done just yet. We need to figure out how we're going to set up this Roof and we're going to continue working on this gray box. But before doing that though, we need to set up ourselves a modelling mode. So by clicking on this button over here, if you're not seeing a Modeling toolkit tab, then we need to make sure we enable ourselves and modelling Plugin. And we can do so by going into the Edit tab, clicking on plugins. And then we're going to search for modelling. Like so. We're going to get ourselves modelling toolkits, editor mode. So we're going to make sure we have this enabled. We're going to click Yes. And then on the right, bottom-right corner is going to be something that says you must restart your Unreal Engine to take effect, which you're going to have to do is click Restart now, which will make sure that it will enable the entire Plugin. So just make sure we have this enabled. And I think it will actually asked you to save out your level as well. So before moving on, I totally forgot to say about this level because actually we've worked to close this down. We're going to click Control and S, and it's going to open up save as. And that will just simply ask us on where we want to save the level. So since we haven't had it saved, we just need to make sure we click Save and it's just going to give us the default name of new map than actually afterwards in order for us to make sure that every time we open up this project, it loads up within this specific level. We're going to go on the upper left corner, click windows, and make sure that we need to go on the Edit. And we're going to go onto the project settings. Within it. We're going to click All Settings. And then we're going to scroll down until we get to default maps. So it's not too far off, or we could actually just search for default maps. And that'll just open up this entire tab. And we'll want to make sure we changed edit, Editor Startup Map, and Game default map. So if we were to change both of them to new level. And then second one, click on the third person map, select new map. And we're going to get both of them saved up. Now, whenever reopen them this project, again, it's just going to put our entire level that we have currently and just open up our project throughout this scene. So now we can click Control and S to make sure it's saved out. And this will just basically contain our entire level like so. So now, going back to what we had, the modelling mode, once we had it restarted and the Plugin enabled, we're going to get ourselves within this select Mode tab. Click on it. We're going to get ourselves to modelling mode. We're going to get ourselves a new window with a bunch of options. And to be honest, there's so many of them to use. It just has some real nice functionality and we're going to go through them within the course for some of them at least show you the basic use out of the Modeling Mode. So right now what do we want is we just want to make use out of new Shapes. And we'll start off by creating ourselves a box just like we did previously. If we were to click on the box and then we have a bunch of output options to choose from. By default is going to be said with the width, depth, and height as 100, and the usual subdivision of 111. So that'll just give us a basic, very basic cube with the standard type of vertices. And we wanted to keep them AS is. We also want to make sure that we keep this as a Static Mesh. Otherwise it's not going to give us the right type of a mesh. And if we scroll down, we get our options like positioning and whatnot and how we bind it to be placed. But we're going to keep that as as and then later on, once we place it within our scene, will be able to get ourselves a mesh. And we're going to keep the rest as is, we don't want any of the materials since we are using it only for the gray box. And basically once we get everything sorted, the main thing that we want to make sure though within this tab, is that at the very bottom where it says New Asset location, we want to make sure that it is said with Origen folder, that is world relative. But that'll generate ourselves a folder which we're going to make use out of. And whenever we create a new primitive shape using the modelling mode, it'll basically generate everything within that folder. So afterwards, after we happy with that and actually just want to let you know, if you don't have a Level saved up, that will not work quite as well. It will try to save up within a default engines folder because it won't be able to find where the level is located. But yeah, once we have the auto-generated folder, set the world relative, we'll, we will want to click once within our world, and that'll spawners the cube. And then right away we'll just wanted to click complete To make sure that within our Static Mesh that we just created, it only has this one type of mesh. So once we hit complete, we're going to get ourselves a simple cube which might look like it's the same one, like we used previously. But what this cube will allow us to do is because it generated ourselves a Static Mesh within this folder over here. It'll help us to modify our entire Mesh later on using the modelling mode. So right now, we can actually do that right away if were to click W and position our cube to be at the very top of this building. Like so. There's going to position and just like that. And now we can make some adjustments to it. So the next thing that I'd like us to do using the modelling tool is make use out of the trial moral functionality. So if we scroll down until we get that estab, there are a couple of choices. And now we're going to be using try edit or to select. We're going to get ourselves a tab as well as the selection for this box that we had of a Static Mesh is going to be highlighted since we had it selected, it's going to give us a choice to edit it. So right now, we can either hover over vertices, edges, all the faces themselves, since all of them are selected within a selection filter within this tab. And there are also a bunch of other options that we can make use out of like extrude, offset and even inset your modify this mesh. But right now the only thing we that we want to do is make sure we grabbed the vertices and kinda squish them down to get it as a base for our rooftop. So what we're going to do is actually we're going to go on to the selection filtered. On the left corner. We're going to and take the edges and faces. So we'd only have vertices selected. Now, once we click and hold and then drag it across the top, we're going to make a square selection, a box type of selection Across the very top section of the basis. I think even if we don't see those vertices, we can still make that selection. And that is because the marquee ignore occlusion is dictum as this as this one should be tiff tone. And I think if we don't have this tectonic, we won't be able to select the faces and a bag. So just make sure you have this ticked on. And anyway, we're going to just simply make a selection like that, which will give us this sort of a gizmo. Now with this gizmo, it's basically everything in one area, the rotation, transformation and scaling for the gizmos, all of them in one area. So square icons that are located to the side of the gizmo are going to be controlling basically the scaling itself, the square ones over here. So we can use that to scale it up and down. And then we have a rotation gizmo that is represented by this type of an orb, which you can use to rotate it around. Of course, because we have this type of selection, we're not going to have a lot of results. But right now, because we're only manipulating the top, obviously the bottom section is not going to be Effect. And then finally, at the very center of it as gizmo, we have Transformation Tool or the movement off this entire selection. So I'm just going to click Control Z to undo my actions like so. And basically all we want to do is make use out of the scaling. And we're just going to make use out of the screen one over here to squish it down entire lake. So actually not entirely. We're going to leave it this kind of a small gap in the middle. I think that's going to be quite alright. Or maybe even more. I'm just going to grab back the vertices and squish them down like so, so that we have it like this. We can go ahead and hit Accept. And because we had the new Asset location set to the same folder, which it should be done because we had previously selected so far to go back onto the trial select Edit, It's going to, as you can see at the very bottom, New Asset location going to have the same kind of a choice. And because we had previously selected, it should be saved up as the previous type of a choice which was auto-generated folder world relatable. So if I were to go on to this folder, we see that the new Static Mesh that we just created is going to replace within this area. And so now what that means is that we can just basically put it outwards and it'll give us the exact same kind of a Static Mesh that we have over here. And actually now we're going to be enough from the Modeling Mode, it takes up a lot of our space within or Viewport. So I'm just going to go back on the reselect Mode, which we can do so from the upper left corner. And if we were to click on the modelling mode, click Select, and that'll give us back the selection mode. So with this, we can now select our Static Mesh that we had previously. And I'm just going to click are going into this gives might actually just extended quite a bit to be covering the side of this area. And I'm just thinking of how our roof is going to be going. Obviously, we want it to be going more to the width of this entire structure. So I think as a starting point, this will be quite alright. Then the next step is going to actually, we're going to want to make sure we extended by quite a bit. Not by too much, but where the middle section of this Roof and because the next part is going to be setting up the other part of the Roof. So I'm just going to really quickly grab and rotate this around and set it up to be sideways like so. And then just position this group over here. Because this structure is a bit longer, we're actually going to extend it just a little bit more. And it's going to bring this entire roof all the way through back and extended a little bit as well. I actually like so. And they have it we have a basic Roof which we're going to be using as sort of a placement for how we're going to build up our assets. And actually, I want to make sure that this Roof is being supported. So I'm just going to grab a quick support and set it up over here as well. Like so. And looking at it back, we might need to yeah, let's go ahead and actually make this Roof little bit longer and extended to the back. This way. Actually make this a little bit larger like so. Just like that by playing around with the shapes, we can get nicer type of Silhouette. And I'm thinking that we can actually extend this Roof just a little bit more to the side like so. Or even. I'm thinking of the way we can make use out of this roof. And I don't want them to be two different looking, but I think we can go ahead and extend that. I was thinking that the slope, because it's going to look quite a bit different from this one. It might not look quite as nice, but that's the way we're playing around with the shapes, trying to figure out how it's going to look like. And I just want to get a bit of this Roof to go outside of it, like so. And then I want to have sort of hanging point for over here. This way we're breaking out the Silhouette. I'm actually going to press G to make sure my selection goes away and we can kinda visualize how the entire scene would look like. And yeah, we already have a nice setup over here. So I think right now we can continue on playing around with the Landscape this time and kinda get the Terrain sorted as well or the overall environment. So that's going to be it for this lesson. Thanks so much for watching, and I'll see you in a bit. 7. Using Landscape Tool: Welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by creating a very basic gray box. And this time we're going to continue on working on this project and set up a landscape for our scene. So let's go ahead and get started. Within the upper left corner, we're going to go from the select mode and we're going to change it to the landscape. So let's go ahead and click on that. And then right away we're going to get ourselves a different tab to work with. I'm actually going to go ahead and goes down the content browser just so I could see the entire tablet. So now we get ourselves a green type of an environment. I have a grid that just visualizes the type of landscape is going to create. So right now, all of this is showing us the type of landscape that we're going to create based on the type of properties there were setting up within these settings. It's going to give us 100, 100 Scale with 63 by six free quads. And the number of components is going to be an eight by eight. So you see these large squares that are highlighted with the smallest square root inside. So the large squares are going to be eight by eight. Anyways, we're just going to keep all of these settings as an, as is. And we can actually delete the squares later on or even add them up in the future. But for now, all we're going to do is we're just going to click Create. And we're going to get ourselves a sort of a Landscape Base for us to work with. And I think that's a nice starting point. We can now go back to the selection, for example, and change the way it is placed within a world. I'm actually going to select it like so click F, and then we're going to scale out like so. And I'm just going to rotate it by holding Alt and left mouse button and just going to bring it up just a little bit. Like so. So it's going to be covering up our platform. So I'm now going to select my assets in the middle, click F, and reposition my camera to be back Within where we started placing this gray box for housing. And actually even we can just select the landscape itself. And within a log transformation, we can click and hold on the Z value on the blue one over here, and then drag it up a little bit, just so we're going to have it right where our platform is being positioned. This way when we're going to be building our house is going to be positioned right on the very top of it. And now we're actually going to start molding and modelling the entire section for this area. And the way we're going to do it is actually we need to go back to Landscape tab. So let's go on the upper-left corner and select Landscape. And it will just open up the top type of tab that we had previously, which once we create the landscape, we get and we have free options. We have managed sculpt and paint. And we'll start off with the Managed tab actually, let's go into it and we have couple of choices. The main ones that we need to think of a are the add and delete. So what we're to, for example, wanted to lead couple of settings, couple of locations. We can go ahead and select this one over here, the delete one. Then if you were to click on the corner, for example, over here, we can delete part of section. If we wanted to bring it back up. We can select, Add and add another section like that. And we can even hand up more of the parts, that is terrain. But for now though, because our main camera is going to be positioned towards this area over here. I'm thinking that we can delete some of those parts from over this area over here. And then that way we'll just be Saving up on the performance and just not use anything unnecessary for terrain. So It's going to delete this bit over here. Maybe even an AV1. Actually, actually we're going to leave it as is, and we're just going to sculpt it out afterwards. So right now, once we're done with that, going out of the managed Mode, we're actually going to go onto the sculpt mode over here. We're going to select an it. And what this will allow us to do is it allow us to shape the terrain. So using the basic sculpt tool selected, we have couple of options we've been, and we'll just leave it as the Basic brush type default with a basic fall off. And right away we're just going to get right into them modelling part, that sculpting part for terrain. So with the brush size set, Let's say Yeah, let's go ahead and keep it as 2000. If you wanted to make it larger, we can click and hold and then drag it to the right and make it larger. Or alternatively, we can click and hold or left mouse button and drag it downwards to make our brush smaller. And this way, as you can see, if we hover over our Viewport, we can see the type of size we're going to get. We're going to keep it as a default 2000s. We don't have to be accurate. We can be accurate by clicking on it and just typing in the value ourselves. But we don't have to. Then the other one that we have is the brush fall off. And we're going to get that in a bit though. So first of all, let's just go ahead and make use out of the Terrain. Forming sculpt brush. So if we were to click and hold, we're just going to raise our entire Terrain upwards. And in general, if we were to want to lower this down, if we hold Shift and left mouse button, we can just lower this entire terrain down. And actually looking back now, I should probably delete the part that we had previously, the platform. I'm just going to delete the larger one. We're going to keep the smaller ones for now, the ones that we created previously. It's going to go back into the landscape like so. Now actually we're just going to be sculpting out and nice kind of area for where our water is going to be. The height is going to be kept more or less the same for where our platform was. I'm just going to lower the value of the terrain so I could see barely with the Terrain his position. Then the next part that I'm going to use is going to be something called Platon. This is my favorite brush to use for having more control because in the fault by default, the sculpt tool, we'll just give you a lot of noise when you tried to have more control over your area. And that just not going to give you the type of great results. So by using a flattened tool, it'll basically pick the type of a height from the middle section of your brush. And that'll just basically apply that type of height for the rest of the size of this brush. So for example, if I were to hover over this kind of slightly downwards elevate elevation of this Terrain and click and hold. You can see that it flattens everything to the size of a height that I had my middle section of the brush selected and not just create some nice results. Alternatively though, if I were to hover over the high area and then click and hold, it'll just kinda bring the entire Terrain back onto this entire kind of a height. And that just helps us to have more control of how we want to have are positioned, brush to be. And also, if you want to make sure that we don't cut off too much of this hill. We're going to make use out of the brush follow, which if we're to lower this down to zero, it'll give us the harder edges. But of course we don't want to be too hard with Edges because it'll give us the results to artifacts. So we never want to go lower than the value of, let's say 0.2 or 0.1. We never want to go basically to a zero. And if it were to set this to 0.2, we're going to get somewhat of a hard part of values like we did previously. But it's not going to cut off. It's not going to give us the type of artifacts that we had before. So bear that in mind. Alternatively, if we were to set this all the way to a value of one and try to use the same kind of brush. You'll notice that we're actually going to start getting kind of weather effect. And it'll basically smoothing off the type of an edge for terrain. But anyway, we want to make use out of this kind of a base that we had previously and set it up in the right kind of a height for our late. So what are we going to do is we're going to set up our brush just to be a little bit smaller like so. And we're going to get ourselves a brush actually back to 0.5. I think the default one was quite fine. Then we're going to position the height of this brush to be more or less the same as we had previously like so to the Terrain. And we're just going to basically get it to be the same height as we had this Terrain. And doesn't have to be perfect because you can see my section for terrain is a little bit lower than the platform itself, but that is quite fine. And then we're just going to hold our left mouse button. And just like that, we're able to shape out our entire terrain. And what we want this basically, we wanted to set it up in the way that we'd have sort of a body lake over here. And we'll want to set up somewhat of a stream or river coming from this area and going into this area over here. And then we'll want to have an overall kinda run down for the water going off into the distance. The way we're going to do it is just we're going to set up a nice location for the water like so. We're going to have actually more of an area over here. Just make sure we're not having a perfectly shaped, of course we wanted to have it looking more organic and whatnot. And I think that's going to look quite nice. We can even hit Play and see how it's going to look like. And I think that's quite a nice for the water itself. I think that's going to look quite alright. So we're going to keep it as is. So now we just want to make sure we have sort of a let down over here for the water to go off. And we wanted to just have it somewhat of a straight stream going all the way to the back, like so. So by holding the flattened tool, making sure I'm always centering on the lowest area of the Terrain and then holding my left mouse button and just shaping out in this kind of a canal for the river. So we're going to have it go all the way through backlinks. So now for this part, we can shape it in a way that would have somewhat of a Terrain hanging out from this end over here. And we can even use this terrain that's higher up and build this Terrain backup like so. So that's going to look quite nice. I think that's going to look quite nice as a shape, maybe we want to be a little bit wider or over here. It is getting quite nice. You might want to add some Rocks over in this area as well for the water. It all depends how the water is going to be behaving within this terrain. And so far it looks quite nice. We now want to set up some hills and that's actually going to be quite easy to do. We're going to start off by getting a nice sculpt brush and increasing this overall area. And we'll want to have one hill like this, bid higher than this elevation over here. And then we'll actually want to have another hill that's even higher than the previous one like so. Now that we have two elevations to work with, we're actually going to go back to the flattened brush and we're going to be working with these types of elevations. So we're going to be setting them up like so. But actually, we're running out of time and I think we'll need to work on it a little bit more being before we actually continue on with designing or little house by the water. And I think for now we're going to end it as is. And then the next lesson we're going to continue on working with the largest scales or the terrain in order to shape this environment. So thank you so much for watching and I'll see you in a bit. 8. Sculpting Large Scale Terrain: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it all by starting on working on a larger scale within our landscape and building up a bit of a shape for where the water would go. And this time we're going to continue on working on this terrain and actually get some of the work done for the larger parts of this area. Let's go ahead and get started. We've got to sell us a couple of hills and we can now use them as a reference point for elevation. And actually we are going to just go ahead and get ourselves the second point over here that we continue on working with. And just click and hold and then drag it. This way, we're basically have two elevation points that are slightly elevated above this overall terrain. So we can now use them both and build up this area over here. And although the camera is not going to be picking that up, we're going to be positioning or Environment shot somewhere in this overhear area. So we need to just focus on having some levels of elevation and working with them later on. So actually, I am going to lower this down a little bit, this hill over here. I think it's going to be a little bit too small. And by the way, quick tip, if your camera is moving a little bit too slow when working with this large environment, you can go ahead and click on the upper-right corner over here. But a camera speed. And if you were to increase this, let's say two or five, you'd be able to move around much faster. So that's quite nice. And alternatively, sometimes I like to, when moving around, use a mouse wheel to scroll down, for example, which will slow down your movement considerably. So while holding right-click and WASD while moon around. Then using your mouse wheel, you can just basically change up the speed at for your camera movements. So that's kind of a faster process for using this. But the downside of it though, is that you can exactly tell the type of a speed you're using. So right now, even though the camera speed is kept us the same for, with the camera speeds scalar being set as one as well. It's going to have a consumer inability considerably different speeds. So if I use my mouse wheel and drag it up and have much faster over result for my movement, this type of speed shown here, it's going to be kept the same. So that's the downside to having this kind of a faster method for changing the scale or your camera movement within the viewport. But anyway, I'm just going to slightly increase it and have it be easier to work with this larger section over here. And I'm thinking about just, again, using the flattened tool. And actually we're going to love it is and a little bit. So I'm going to go back to the scold sculpt Mode, going to hold Shift and then lower down a little bit. If you want your strength to be changed up the way it has the intensity on this area for when you're sculpting, you can change that using the tool strength. So if you were to lower this down by quite a bit, it'll have a much nicer result for when we're changing the overall shape for terrain. So right now, for example, we change it to this amount. And if we were to change the total strength to be a little bit higher, let's say two or seven. If we were to hold Shift and left mouse button, it'll just lower down so much faster. But I'm going to change this to a value of 0.2 for now. And just going to, actually, we're going to go to the flattened Tool string, bite back to 0.5 and just go to use the side over here and just kinda lower it down. So the elevation is going to be much nicer in regards to this area. So I think that's going to be much nicer, just going to check how this looks like. So we're going to have basically three types of elevation from the bottom of this river. And it's going to be so much nicer. And I think in a background, we're going to have so much some silhouettes for some terrain as well. But that's going to be later on though. For now, let's just focus on this larger part of the elevation. And right now since we have those kinda levels Setup, I think I'm just going to get this over here. Kinda work with the entire Silhouette for this environment. I think that might be quite nice. So we're going to have some Terrain going sideways like so my maybe cut it off over here and just build it up like so. I think that's going to be quiet, nice. Nothing that'll do. So now that we have it set like this more or less, we can actually use a higher brush size and we were to increase it to something like or five isn't like. So we can use this brush with the same elevation set from here. Or actually, I'll just lower this down a little bit and drag it out. Words a little bit more like so So that's why we don't effect the elevation that's on a lower tier. So I'm just going to bring it out words like so. Then set this to 4,000, like some. And now we can make use out of this brush to change up a large scale of this Terrain, which is pretty nice. So we're going to basically get this entire elevation to be higher. And because we changed the scale of the brush, of course, the brush follow-up is also going to be changed. So we actually want to lower this down to a value of 0.2 and get ourselves a harder type of a brush. So this way or transition between those two elevations are going to be much steeper. So that's going to be much nicer. I think that's going to be quite nice. So this is a type of elevation that we want our reckon, this is going to be quite nice. Now we need to think of where we want our revert to start from looking at this. We might want to have it from going from this side over here. The love of my brush, a little bit more from this side over here, or this section over here. And actually, we might want to get ourselves a nice river coming from this end over here. So I think I'm going to lower my brush even more and make some final tweaks using this type of brush. And actually we're going to set up, start off by getting ourselves a nice terrain in this area over here, like this one over here. So it's going to be pulled out from this section. And now the water is going to be able to be picked up from this area like so. I think that's going to be quite nice. Which is going to make sure we have a nice transition between those edges, the corners, they don't, it can't be too sharp or whites are not going to look quite as nice. I think that's going to look really nice actually. And now we gotta figure out how we're going to set up the water. So we're going to use a sculpt mode, sculpt mode to kinda love it as overall area for where the water is going to be flowing. And now we're going to lower the brush size even more and Tool strength, Let's set it to a value of point2. While holding shift, we're actually going to just lower this, this kind of sections over here like so. And we don't have to worry about it too much because we're actually going to come back to it in a bit afterward, done changing up the overall terrain. So I think this is going to be quite nice now we can go back. And actually, when working with this, let's make sure that we have more or less of a straight pattern like so. So we're going to have water coming down from here, having a small Waterfall over here, and then another Waterfall over here and then landed in this water body over here. So that's going to be quite nice. Now we're going to go use a flattened Toll-like out. I'm just fix up the edges where we had terrain to be deformed too much. I'm actually going to lower the overall brush size to be even smaller and set it to 50, for example, no, not 50. 50 is two months, 200, 200 seems to be just right. Of course, the brush size, the brush fall off has to be increased by quite a bit. Setting it to 0.8, maybe we'll do quite well. So when working with smaller brushes, we've gotta make sure we start off by having the flatten brush going from the side. And this way we're able to kinda get terrain level information from this end and bring it to the side like so. So just holding left mouse button and dragging it out to the side is going to give us some real nice results and we don't have to worry about too much from the shape for now. We're just making sure that the water is going to have a nice type overflow or this type of section over here. And we're only building a base Terrain. We're going to break up the edges using our Props later on. So we're just gonna make sure that we have a nice Foundation. Maybe even have a bit of a low code from here. Like so. I think that's going to look quite nice. We just got to make sure that we have real nice base for the Water section, like so. And we can come back or when we're working with the water itself and make some final adjustments. But for now I think that's going to look quite alright. So, yeah, that's going to look nice. I think that's going to be enough. And actually we're going to go to the Manage tool and delete tags sections over here. So we're going to select delete and delete all the ones that are back. So let's go ahead and just click one-by-one, like so, and delete them just like that. I think we're going to leave them as is right now. That's going to look quite nice. So because a camera is going to be like this, we're not going to be seeing the back basis and we're just going to play around with some prompts to get something in the back. And I think that's going to be good for now. But it's as though we need to go to the sculpt mode. And actually we're going to select the sculpt itself. We're going to increase the brush strength to be set as 0.8 and brush size, we can increase that as well. And because of that, Let's go ahead and change the brush, fall off 2.5. So we can now actually, sorry, holding shift left mouse button. We're going to lower this entire section like so. That way we'll just basically hiding the entire terrains edge. Because otherwise, if we look at it from this angle, we can see that Default, we have some really sharp edges for terrain, so we want to make sure we hide those away. So the easiest way would be to just kind of lowering them all down and we don't have to worry about too much on how it's going to look like actually better yet, if we have some more broken up parts, it's just going to help us with the Silhouette, but it's terrain and I'm just going to go all for the backside like so and just kinda hover over my sculpt brush and lower everything around just like that. So this way we're going to get a real nice terrain in the end. So that's going to be quite nice. I think that's going to look quite nice. Just going to go over this end as well. Like so. And yeah, I think that's going to finish it off over here as well. And this bit is not going to be visible, so that's going to be quite alright. So again, going to look at it from before and after you can see the type of edge, the slide kinda jitter and that we have from the hand painted sculpting mode that's going to give us much nicer results. And I think that's going to be quite alright. We might actually think this part of the water body might be a little bit too little. So we might want to, Let's go ahead and increase a little bit. Just going to use a planning tool. And it's going to lower the brush size first and kind of expanded just a little bit using a flattened Mode. And I think that's going to be much nicer. So now we can actually go into the Select mode and see how this looks like an even delete those basic cubes that we had previously and see how this looks. And of course this is floating because we need to fix that up. So let's go into the landscape. Sculpt mode flatten and we're for small brush like so N can change the fallout, a fall off the viewpoint one or point to. And it's going to bring this back up like so. So it'll be touching the edge of this. I'm Bridge and I think it's going to be quite nice. Let's go ahead and fix it up just a little bit. And before moving on, I figured that we might as well add a little bit of an extra noise in order to get a more interesting shape three terrain. So what are we going to do is actually we're going to go into the erosion Mode, which is this one over here. And if we were to select it, we get a bunch of options to choose from. And what this will basically do is it'll erode all the edges within a clear sign. It'll just give you a more of a noisy kind of a Landscape. It'll give you a more interesting shape to it. So the way we do it is by simply just applying the brush right away. You can see that it just gives you a much interesting and a nicer shape if you do it on a flat surface, it'll also add some variation towards our terrain as well. So if we were to get ourselves a bit of a larger brush size within the brush settings. And if we were to increase this, let's say to something like 2000. And if I were to just apply for outer Terrain, we're going to get some nice results for out our section right now, just by using the default settings and having the strength and threshold set as default values were able to get some nice results. So I'm actually going to continue to shrink band, just reset it to its default property value just to get as 0.3 and just by holding it will get a much softer off a result when we're applying the server brush. And we can see that we actually have a noise mode by default. Usually like to keep it as both. And what this'll do is basically it'll add and as well as lower down terrain within using the settings. So for example, when we're applying it right now, we're not only going to be lowering everything, we're also going to be raising everything up. And usually would like to do is I like to make use out of this whenever we have a terrain that's not near water area. So for example, all the terrain over here on the side, we're going to be using that. So I'm just going to increase the brush by quite a large amount, keep the brush fall off at 0.2. And we're actually going to keep the noise scale as 60. This is what controls how our brush breaks down entire terrains. So by resembled getting ourselves noise scale up to 120 would be able to have a much larger results and by lowering down. So let's say it's something like 20. We'll be able to get much, much thinner, kind of a noise. And actually using something of value 40-80, I find it to be the best. So for example, something like 50 something in-between using this value will give you somewhat of a nice result. And again, I'm just going to apply that to the rest of the terrain just real quick. Just kind of brushing through with my brush just like that. Again, I'm avoiding this area for where the water is going to be and next to the house. And just making sure I'm going with this all the way around our terrain just like that. And just by sculpting it out, using this kind of a brush, we're getting some really, really interesting shapes and real nice results. And think I overdid it in this area. So I'm going to click Control and Z and undo my previous step. And actually I'm going to keep this area as is. I'm going to make sure not to touch this error and extra water. And I think that's going to give us some real nice results or even looking at it from this area, it's going to look quite nice. But next to the border section, what I'd like to do is I want to make sure that the noise mode is set from both and set it to erase. This way when we're actually adding a water plane into this area, it's not going to be clipping through to the sides of this terrain. Because usually when we're adding a water plane and we're not going to get identically to the edges of this Water, Ben. And instead, we're going to slightly extend the plane for the water. And that'll just make sure that all the channel, all the riverbed is covered in water. But again, we're going to use noise Mode set as race. And this way when we're using it as going to raise up the terrain in these areas. And this is actually exactly what we want because this way we're able to get some nice results are of our Water bad. And it will just make sure that the areas that are next to the Water aren't going to be lowered down enough for us to see the water. I'm going to leave the area for Water Housing is, is just going to slightly tap and apply this sort of noise. And just like that, we're able to get some really nice values for our base of the Terrain. Of course, we're not quite done with terrain just yet. We'll need to apply bunch of other items like Rocks, for example, or Foliage in order to break apart this server Terrain and also who need to make sure we texture that, but we're going to do that in the future. Before doing that, though, I reckon we can start on building up our area for Water House is and the Bridge as well. And we're going to start off doing that in the next lesson. So thank you so much for watching and I'll see you in a bad 9. Introduction to Quixel Bridge and Engine Scalability: Welcome back everyone to Unreal Engine Beginners Guide to building an environment. And our last lesson, we left it off by getting ourselves Terrain Setup. And we just got ourselves a nice base to work with. And now we're going to continue working on our project. Set up the Bridge using Quixel Assets. So before doing that though, I'd like you to know that hours currently working on the Scalability set too low and I'm recording and I also have referenced project opened up the second screen. This is just to help me to increase my performance during this course. But you'll be seeing me go in, in-between high and low just to see how visually it looks like for the project. And I can do so by clicking on this button over here and setting it from low. If I were to set too high, I think by default is going to be set aside. You can see the type of different enlightening we're going to get. And of course, if you're having some issues with the performance throughout this video, just make sure to lower this from high to low. And if you're not seeing this kind of a button because I think by default you're not going to be seeing this. What you need to do is you need to go into the upper-right corner over here and click on Settings. And then within this, you're going to find yourself and Engine Scalability settings. If you hover over with your mouse, you'll see the same kind of a menu that I had. So by starting on and just clicking on any one of those, you should be able to get yourself a button appear on the upper-left corner. Of course, you can change up the way your Scalability is as well. And in general, that will just help you to work more fluently within your project. And I'm just letting you know right away though, that you ever want to go between low and high. You never want to go onto epic, onset or cinematic in this case, because these ones are like for the end results. And we're going to be rendering out our entire project. And that'll automatically set it up to be in cinematic mode. But by default, you don't want to turn on the cinematic, usually when you're working on building up your projects. So it will keep it on high or low end. That'll just give you the nice type of results. I think I'll keep it on the high for now. And in the future, I might be switching that up from high to low. So yeah, going back to our project now, we're going to start on actually setting up this Bridge area using a Quixel provided assets. So what is Quixel? You might ask? Well, by clicking on the quick to add to project, you're able to see a Quixel Bridge. And what this is basically an asset library built-in within Unreal Engine. And it just has a lot of realistic Props to work with. But if you're not seeing this real quick, if you're not seeing the Quixel Bridge Asset Library button in this area, which will have to do is you'll have to go on to Edit and go on to Plugins and then search for Quixel, like so. And then you'll see a Quixel Bridge by default, it should be enabled, but just to make sure, make sure that this is enabled and then one year resetting it. You should also have it within your epic Games launcher and something underneath the version of your launcher, something called Installed plugins. If you click on it, you should also see the Quixel Bridge to be within this area over here. So just make sure that this is enabled. And if it is, which by default it should be, you should have yourself a Quixel Bridge button. And now, once we press on it, will open up ourselves a window with the Quixel Bridge Assets. All of them. We've a bunch of different categories and whatnot. And by default, I think you should need to sign up for. So on upper right corner, just click on the profile like this and then you should be able to sign in because otherwise you're not able to pull on any of the ISS from the Quixel Bridge in need to be signing in using the same way you signed up to your epic Games launcher. And basically that will just allow you to make use all of those assets for free because that is out there, LinkedIn to your project. But anyway, moving on, What do we have? On the left side is the home button, which will show you the latest items within a Quixel Bridge. Then the next one we have collections show you is a bunch of assets that are related to one another. And this is a nice way to get a same style Assets. And then once we go on one of them, we'll see a bunch of related assets that have everything within that collection, which is pretty nice to use. Then the next one, what do we have on the left side is something called meta humans, which is something that you might use if you want to have some characters within your scene. And afterwards we have your favorites. I don't usually use the favorites, so it's going to be empty. And then finally, we have locals, which if you don't have anything done on it, you'll see this as empty. What this'll do is basically when we don't learn ourselves and Asset from the Quixel Bridge Store it within your computer and then afterwards, you can make use out of the local storage and just drag it into your thin in a really simple and quick way. But yeah, going back to the default home screen, on the top section, what we have is a search bar. And the way the search bar works in this case for the Quixel Bridge, is it just has keywords that you're able to search for. So every new word is going to be as separate keyword. So for example, if we want something that's wood and that's declaration, we're going to get ourselves. That's something that is cross classified as wood and decoration only does it search something that is Within the name of the asset? It also searches something on let's category. So for example, if I were to click on what are the assets like so and selected, it will get ourselves Detail step off this asset on the right side, and this will give you some nice information, but personally, but we'll need to know is that they'll show you an image on the top right corner and then I'll give you a name. And then afterwards it will give you a bunch of categorizations for this asset. So for example, right now because we wrote in wood and decoration, you'll see that this is going to be wooden. And it also has the curative tag on them. And this will basically just allow you to get all of these Assets, fruits tags we can even actually lake on the tag itself. So for example, if I were to click on wooden, it'll put it in search bar right away. And I'll show you all of the assets that have that tag related to them, which is a real nice way of trying to find whichever assets you want. Then going down the tab of this asset, we also have additional information. So the size one is quite a useful tool to have, which will tell you basically how big an asset is. Of course, within our scene, we can just scale the size and have it in any shape of a scale that we want. But by default will see that, for example, this is the item on the right side, and we have a human, an average human height in comparison. And as you can see, it will give a smaller version of a prop in comparison to the human scale. If I were to select something larger, for example, like this staircase, we can see that the size for it is going to be much larger. And so that's something to keep in mind when selecting your prompts. And afterwards, what do we have? If we scroll down, we have related assets. Sometimes it shows you what collection it belongs to and sometimes it shows you just an asset group, its parents of what we're able to pick from. So for example, if I were to pick a number Asset and see it's related assets, it's not actually going to show me the way I want it to be as an example. But let's say I want to try picking. There you go. I, if I tried to picking modular mine tunnel start, I can see that it not only has related assets, if we scroll down a little bit, it also has related collection. So this is where has all of those items that are belonging within that environment. So that is quite nice. I don't think, yeah, not every collection is being assigned to an item. But for example, if we were to go to your mind, we can see all of the items that has been used for this specific environment that we see in an image, which is quite nice. Or when we want to have a nice kind of a group. And we just want to set up an environment based on those items. But yes, going back to Quixel Bridge and what we need right now is we're actually going to click on X to remove the search from this area. And we're going to search for a small wood boards or we can actually search for wood boards leg. So click Enter. And of course there'll be setting it up into two categories like so. What we'll notice is that it has two categories. Within the Quixel Bridge, we have free the assets, Surface and Decals and a fraud, of course, we're going to give me covering all of them, but right now, we're just going to go onto the free 3D assets, which will contain all of the assets with this category. And if you notice, we are actually getting, this category plays right into the search bar. And actually we're going to get ourselves a couple of choices. But what we want is we want to make sure we get ourselves a small wood boards. Now because I use them previously, set up this course, I'm going to have them downloaded. But before it should be seeing something like dollar and button if you don't have it downloaded to your local storage. And if you're not seeing the little known button and you're only seeing sign-up button, you should be clicking on it and making sure you sign up to your epic Games launcher. And then afterwards you'll be able to click Download, which will download your item like so. And once you're done, you should have an Add button highlighted. And actually before even doing that. But like to talk about is the medium quality. And by default, we're getting ourselves some nice presets for low quality, medium quality, high-quality and Nanite. And I know it's tempting to start off with night it straightaway, but that'll give you a really high resolution of texture maps. And I recommend you to not started off right away with this one, unless you want to build some really close-up shots. And because otherwise it's going to be quite performance heavy. So by default, I recommend you staying with the medium quality. And unless you really want to get some real close-up shots, that is exactly what we're just going to be using throughout this entire course. So by sticking with the medium quality, you're going to get great results nevertheless. And then afterwards, if you want to enable Nanite, we can do so later on, our sellers, since it's that is quite simple to do. So by simply downloading or small wood boards. And then afterwards clicking Add button over here. We're going to get ourselves this added onto our content browser. And I'm just going to close down the Quixel Bridge real quick leg so we can see what we're going to get. By default, it should straightaway drop you into this area like so. But if we're not seeing this within a content browser, you should be getting yourselves a mega scan's folder. If we click on it, then it's going to give us freely assets category, and we click on that again. Then it's going to give a small wood boards folder. And if you click on that, this is exactly what it's going to bring us into our content browser, which is quite nice. And yeah, before we move on though, unlike us to set up the assets that we need to set it up for this Bridge. And we're just going to go on to the Quixel Bridge, back onto its window. And we're going to get ourselves some of the assets before we continue on. So we're going to have everything prepped. And I think the next one that we need is going to be something called wooden pole. So let's go ahead and search for that. And we're going to get some nice assets within it. And this is the one that we're going to need. So let's go ahead and selected old wooden pole. Then let's go ahead and download it and then add it onto our project just like that. Now because we were previously on to our old mega scan's folder, it'll just create a new asset with a different folder and it's not going to open it up within our Condon browser, but just seeing this on the left-hand side that it creates a new folder. We can see that it added up and new item onto our project. So going back though, onto our Quixel Bridge, we will also need something called a wooden beam. So we were to search for wood beam light. So we'll get a couple of options. And just to limit our entire selection, which is going to click on the 3D assets and search for our assets through this way. And by scrolling down, we're going to be able to see a couple of options for us to pick from. And the ones that we actually need are going to be the ones over here. And we're going to pick the wooden post. We're going to pick a wooden beam, another wooden beam, and warn wooden beam. So these free, the ones that we see over here. I don't want that we're going to be using. And there are a couple of other choices which also look pretty nice actually. But these are the free choices that we're going to stick Wave. And actually we have another one, a wooden posts that I have downloaded, but we're going to be using that for the house. And for now we just got to make sure that these are downloaded. So let's go ahead and once we have it downloaded within our project, we're going to click Add for every single one of them. And as you can see on the left side over here, on the bottom left side within our project, we're going to see our folder growing. Quite nice. So now we have multiple assets and each one of them has its own Static Mesh. So that is going to be quite nice for us to work with. And also, not only should we have those, we're going to lead our search and we're going to search for a row as well. So rope freely Assets. Then we're going to get a couple of choices for the rope actually. And we're going to be using hanging rope bundle, this one over here. And let's go ahead and download it and click Add. And afterwards, we're going to need to get ourselves a bundled rope coil. But these ones are just going to be used as probes for breaking up the edges for our Bridge and just making it look nicer overall within our scene. And once we have them set up within our area, we're going to be pretty much leaving it as is in the next lesson, we're going to be making use out of all of these assets that we just all audit and add it into a project and build ourselves a nice Bridge to be sitting at the edge of this environment. So thank you so much for watching. And I'll see in a bit 10. Setting up Nanite to Build a Bridge: Welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by getting ourselves all of the Quixel Assets ready to be used within our Bridge area. And this time we're going to make use out of them and just set them up in the way to actually just going to slow down a camera a little bit. It was a little bit too fast, just going to, while moving, scroll down my mouse wheel. And that slows down a camera by quite a substantial amount. Anyway, going back, that'd be have all of our assets. We have a total of we have a total of seven folders. And that will just help us to make a really nice Bridge or our scene. So we're going to start off by getting the small wood boards. So let's go ahead and open this up. And right away we're going to get a bunch of assets. The ones that we're going to use are the ones that are named as Static meshes. And they have a blue highlighted the bar underneath them. Some of them for me for some reason they're not showing up within images. But if I were to open it, I can see that they are set as normal boards. And actually once I opened it up, we can actually now refreshes the image and actually shows me the board within the preview, within the content browser. But anyway, what we're going to do is we're going to select the first Static Mesh over here. And then we're going to select the last Static Mesh like this. And then we're just simply going to start off by a dragon, all of those boards into our scene. So actually just going to select it again, like so and drag it out, introducing like so. And by default are actually quite small. So to start off right away, we're just going to make them much larger. So enter on the right side a corner within the Details tab with all of those small wood boards still selected. We're going to make a change within a transformation them. And started off, I think, where you're just going to lock down the scale first. That way all of the axis, all of the scaling axis are going to be applied all at once. So we can change that 1-4 and we're going to get them to be much larger or actually even, we can make them even larger, actually set them to eight legs. So I'll do by default they work quite small. They're actually quite nice to be used as Props since they do have a lot of detail within them. And as you can see, Within a Texture, all of these eight assets that we have selected, the boards are actually packed into one texture map, this one over here. That's actually quite nice because this entire Mesh, one we're going to be using, all of these assets are now going to be as performance heavy. So right now I'm just going to select one-by-one and just drag them out just to see how they're going to look like. So right away can see that they're actually looking quite nice. Some of them are thicker, some of them are thinner, and that's actually quite alright. But we just want them to be just to see how they look like. We're just going to drag them out like so. And actually looking from the side, you can see that there are a couple of ones that are actually just straight up really thick. So what I'm going to do is I'm going to grab both of these ones and just drag it to the side. So I'm just going to select two of these like so. And drag one, then drag the other. At some anatomy we have the thicker ones on the side. We're actually going to be making use out of these in order to have figured boards as Supports for our Bridge. But right now we want to set the rest of them up to be used for actual Bridge area. So the way we're going to do it is actually quite simple. We'll firstly make sure that each one of them is set up one next to each other. And then actually for the other ones, some of them are thicker, some of them are thinner. But we want to make sure that we have more or less the same shape. So what we're going to do is we're going to click our to go into the scaling mode within our gizmo. And then we're actually going to expand our entire section of this single prop. And this way it'll just make sure that we have more or less the same length. We can actually even turn off the scaling gridlock as well. If we turn this off, we have much more control over how this is being scaled up. And in regards to the thickness, I think we can leave this as is actually a quite like the way this breaks up the edges. So we're going to leave it as is. And then for the rest of them, this one, for example, this one is not wide enough, so I'll actually make it just a little bit wider just so we could actually have more or less the same type of a look. And we gotta make sure we're careful with how we're extending the scale for these ones because we don't want them to be stretching out too much. Otherwise they're going to give us real nasty results for the texture. So right now for example, if I were to extend this way too much like so, we can see all the types of stretching within our texture. That's not obviously not going to look quite as nice. So whenever we're doing any type of manipulation for stretching within the scaling mode, we want to make sure we keep more or less the same ratio and we only do a minimal amount of stretching for our Assets. I'm going to keep this as, as I reckon. We can even make it a little bit more like so not too much though. And actually put this one, I'm also going to squish that up because the sides are not going to be quite as visible. We can actually make use out of that and just squish it up by quite a bit and even just extend it just a little bit more like so I think that's going to look quite nice. So all in all, they're looking more or less the same width. We don't want to make them to look exactly the same with exactly the same shapes. So we're going to have some variation within them. And then the next one is going to be this one over here. So I'm just going to again connect it to the side like so we don't have to worry about it too much in regards to how the wave is going to be like in this area over here. For now, we're just making sure that they look quite nice with one another. So I'm just going to extend this just by little bit, like so. And then we're going to kind of broaden up the width as well. And I'm thinking that maybe we could. Now let's go ahead and make it just a little bit wider so it wouldn't be just constantly going downwards. So some of them will be shorter, some of them will be longer. And that just helps us to break off the edge of the Bridge, which is going to be quiet, nice, All-in-all. We're just making sure that they look quite nice all together. And I think this one has to be there with mortal sin. That's going to be pretty much ****. We're actually out there is another one that's going to be a complete square one, which I think is going to look much nicer if we just, let's just put it to the side and we're going to make use out of it in order to break away somebody shade. Because these ones that we're going to use in order to support our Bridge. Although they look quite nice that don't have or any way to break off any of the shape. And this one, however, has a nice way to give us a really good Silhouette with its chipped off dipole would shape. So I quite like this one. And actually now that we have it legs, so we're actually going to go ahead and check how the wireframe is going to look like. So within the upper-left corner, if you were to change it from lid and select wireframe, we're going to see them at a wireframe this has and we need to determine whether or not as going to be good or we actually need to optimize it, which is actually relatively easy to do using Nanite technology. So just by looking at it, we can see that as reasonable amount. I'd say it depends how well we're going to use this. But if we're going to use this as a lot of Props, I think we should definitely switch it up to a Nanite. We have to determine when we use Nanite, whenever we have more intricate shapes within our meshes. And for these cases, When we're basically, I think in these cases we can actually make use out of Nanite and it's actually rather simple to do. All we gotta do is we got to make use out of the Static meshes. So let's go ahead and select all of them. And then all that we have to do is we need to just right-click and then go onto Asset actions are actually, sorry, we need to go onto Nanite and select Enable. And with this will be able to convert all of these two Nanite Meshes. Now just take some time to prepare the shaders and just reapply all the textures and a right away, we're going to get a different type of performance. So I think in these cases, if you want to see how the mesh is being affected with Nanite, we can go onto the upper left corner, click on LET and then change this from LET Mode to Nanite visualization. We have a lot of ways to visualize or Nanite, but we're going to make use out of the triangles. And if we were to just click on it, will be able to see how it behaves. And that basically shows the way it interacts with our mesh. And if we were to zoom in, zoom out a little bit, we can say that it actually starts changing up the way it behaves and is actually quiet a nice of a functionality. And there are a lot of different other ways we can visualize it actually. Like for example, Clusters. We can see the way they're being clustered up in our scene. All of the triangles within our Nanite. Or even if you just click on Overview and see all of them are ones. We can see that there's a lot of things going on behind in order to optimize the mesh using Nanite. So that's quite nice. We can now go back onto lead mode and make use out of the planks. Is and actually I'm just going to all this to the side, get the final piece in Setup. I'm just going to drag this a little bit closer, stretch it out a little bit even to decide just a little bit more like so. And we get ourselves a nice scatter of a pattern to use on our Bridge. Now, in order to make a full use out of these blanks, I'm actually going to select all of them at once, all five of those like so. And actually we're going to hold Alt and drag it to the side with the gizmo, like so this way we're able to make a duplicate out of it. And it seems that didn't make a selection. So I'm just going to click Control and Z and undo it. It's going to make sure I have the previous election solid like so. And clicking tried to move that aside and yes, as we can see that there is another one that we haven't selected. So let's go ahead and do that. I'm just going to make sure all of these selected. So now if we move it, all of them are selected. And now we're going to hold Alt that will make sure that we're getting a duplicate out of them. Drag them to the side like so. And now we're getting ourselves the same kind of pattern that we had previously. So in order for us to make the best use out of this, we're going to click E and rotated 90 degrees. Let's make sure that snapping is enabled. And it said by ten degrees, like so. With this, we can just turn it around all the way 180 degrees and it'll just completely flip all those assets up. And actually we're just going to drag them up just a little bit more up like so we get more of a streetcar of a Pattern. And this way, although this is the same as that plank, because it's the other side, we're not going to see as much of a repetitive type of a Pattern. So as you can see, we have basically the same plank over here end. That's just going to help us to break up a bit more the bridge itself. How do we have it like so we can go ahead and make a selection out of all of them just like that, each one by one leg. So and actually since we're running out of time, we're going to continue this on in the next lesson. So thank you so much for watching and I'll see you in a bit. 11. Working with Grouped Assets: Hello and welcome back everyone to Unreal Engine five, Beginners Guide for building an environment. In our last lesson, we left it all by setting all of the planks to be using Nanite. And in this lesson we're actually going to bake use out of them and set them up with in our Bridge. So already we have a nice variation for a Pattern. And all we have to do right now is set them up within this area over here. And actually the easiest way to get a control over them is to group them up first. So with all of them selected, with all of these, what we're going to do is we're going to click Control G, which groups them all up. And now even if we unclick them and click on one of them, all of them are going to be selected a lot once it creates us a group actor on the right side on our outliner that just basically whenever we select one of them, it selects all of them at once. And that's quite nice. And I'm just going to click G to go out of my Game View mode. And we can see that we even get ourselves a green border that shows the entire selection for within this group, which is quite nice actually. And then anyways, once we have this selected, we're now going to be able to drag this out like so, and just put it to the side of our edge. It's going to rotate it as well by 90 degrees, just like that. And just put it exactly where we wanted it to be. So going to place it all the way to this area over here. And now, since we're having it like this, we can actually see how it's going to look like. And I see that it's going to not look as wide. So what I'm going to do is I'm going to click our N scale this up to the side, just like that. So that's where we're going to be able to touch the edge of this terrain as well as just get some of the planks to be touching this area over here. That's quite important. And I can also see that we're not having enough Pattern to be covering this entire Bridge. So what I'm going to do is actually I'm going to ungroup this entire plank areas. So with this selected, I'm going to click Shift G to make sure I removed the group that Eris now I can select the planks individually. And so I think I'm going to grab just a couple of them from the back leg and actually three of them and then hold Alt, which if we use a translation tool, we're going to be able to put it to the side and it'll just duplicate our assets, which is quite nice. And actually we just needed two of them, so I'm just going to delete one of them, like so. And it's going to give us a really nice that will result for the shape of the Bridge. Now think we just need to lower it down a little bit. So I'm gonna do that as well, going to select all of them just like I did previously, one by one like so. And actually going to click Control G to make sure that they're grouped up. So next time, we're going to be able to select the entire mesh like so. We're just going to be quite simple. And then afterwards I'm just going to drag it down. So they'd be like right in the middle. And that's actually going to look quite nice. Just going to delete the base that we had previously and it's already giving us a really nice shape. Now for this section, we're actually going to make use out of the platform that we had. We're going to duplicate it. So we're holding Alt and then drag it upwards, which is going to make us a nice duplicate. Then clicking E to rotate it. Since we had a snapping mode turned on, we're going to rotate it in a nice 90 degrees carve away. There you go. Now we're just going to click W and put it to the side. And we're going to position it right above the upper planks that we had. We're just going to lower this all down. For now. We don't have to worry about the length going this way. We're just worrying about this plank going in the same kind of a length as we had the gray box done. Make sure we have it aligned. Maybe just a little bit sticking up like so. So we can now delete this entire section just like that. Now we're left with this kind of a pattern that we're going to make use out of. And of course there's going to be too long. So we're going to click and undo our ungrouped selection by clicking shift and G. And once we do that, we're going to select the individual planks at our overlaying this area and simply delete them just like that. So we're going to be left with this kind of result, which is going to be quite nice. Now of course, this is not going to be done just quite yet. We need to make sure we have some additional information, additional detail for this upper sections of the plaques. So we're going to make use out of those free Variations of the word Chunks that we had previously. And actually we're going to make sure we make them all longer, just a little bit more. So we're actually just going to select all of them like so each one of them and then we're going to extend them just by little bit. So I'm thinking that maybe we can get away with this amount. It might be a little bit too much. Perfect. That's going to be quite alright. Looking from a distance is actually going to look quite nice. Okay, so now we have it like so we're actually going to just set them all up nicely with one another and make sure that there's no big of a gap in-between them. I'm going to want to leave a bit of a gap. So that way we'll break off the entire shape. I think just having it like so it's actually going to be looking quite nice. And also let's not forget to add this bit as well. This will just break off the entire shape. We're going to rotate this actually 180 degrees, flip it around and put it to this side like so this way we're actually breaking off the entire shape. As you can see, we have really nice way to show off the end of this log over here. And that way we're just getting a really nice overall result. And actually for this bit we can even just rotated a little bit. We can turn off the snapping mode like so just by a little bit and have it slightly rotated sideways. This way, we're not going to have an entirely straight piece of wood. And that's, I think it's going to look much nicer. So now we're going to just make sure we grab them all, click Control G, and group them all up together. And that's going to give us a nice kind of a group that I've section of those chunks. And now we're just going to drag it all the way through ever end like so, and position them accordingly. So we want to make sure we're having them positioned to be sat on top of this area over here. And actually we might even want to make them a little bit smaller. I'm just going to love it is height completely like so. And just going to make sure that this ends a little bit back of our log, just like that. So already we are getting a real nice shape out of it. Although the color right now doesn't look quite as nice, we're going to be fixing that up in a second. So for now though, I think it's going to look quite alright. We're just going to now make sure this is done on the same end as well. Or actually, we might even lower this down by little bit to get a nicer results. So I'm gonna go ahead and do that. Just lowering this down just like that. So it doesn't stick out too much force in the gaps. We're going to see them. They're overlapping. But All-in-all from a distance not closing into much is going to look much nicer as a result. And I think that's going to be looking much better. So now that we have it like so we're going to make sure we put it on the upper end as well. So holding Alt, click and hold and then drag it to the side like so double-click E to get rotated and just going to make sure we have the rotation snap enabled. And now we're going to rotate in 180 degrees, just like that. And we're going to turn get a complete different result. Or even we might want to just rotate this entirely by 180 degrees because we had a different, slightly different shape over here. Just going to break up entire set. And just like that, we're able to get some real nice results. Of course we're not quite done just yet. We need to set the same thing up over here. On this end, we're going to grab, we can grab both of them at once, hold Alt, and duplicate it, then position them to be somewhat in the middle. Rotate them by 90 degrees like so, and then move it a little bit to the side just like that. So just by doing these simple steps, were able to get some real nice results. And of course, we don't have quite good looking edge on this end. So we're going to need to fix that first. And I think the way we're going to do it is going to be quite simple. We're actually just going to select both of them, click, shift and G. Since both of them selected, both of them are going to get removed from the group so I can select individual pieces. So we're going to end up deleting these pieces. And as for these Chunks, I'm thinking we can just grab each one of them and kind of squish them back down like so. Then that's going to work quite nicely. It's trying to think whether it would look nicer if we have the board Overlapping with this end. And I'm just going to move back just to see how it's going to look like. If you had done like in this section, like so, this might actually look better. Yeah, I think it's gonna look way better like this. So let's go ahead and make sure we squished it down just enough so we'd get the end to be sticky into this side like so. Unless you make sure you're getting it in the right kind of way, this is going to look really nice actually, this is looking pretty good. Gotta make sure we did the same on the upper end as well. Just like that. Make sure squish it down a little bit more poodle back to the side. And we're getting some real nice. So as a result already. So just like that, we're able to get some real nice look to our Bridge. Now, what we can do now is we need to set up the bottom bits as well. And we're actually going to continue on with this in the next lesson. So thanks so much for watching, and I'll see in a bit 12. Creating Variations Within Bridge Foundation: Welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by getting the base foundation of our Bridge using the Quixel Assets. And this time we're going to continue working on it and actually set it up in a nice kind of way with some wooden poles and whatnot and get a real nice looking Bridge to have within our scenery. So let's go ahead and do that. We're going to go back onto free the Assets folder. Now we're going to make use out of our acids. So I'm thinking that we can start with, let's go ahead and start with the wooden beams. So we have a free Variations right now, downloader from the Quixel wooden beam, the first one. Let's go ahead and simply added on to our level just to see how this looks like. Just going to drag it up from the ground itself. So it's going to pick it up just a little bit so we can see how it looks like. And now let's go and get all the other variations of this beam as well. It's going to drag it up. And then the third one, like so. These ones look quite nice. And actually let's go ahead and make use out of them right away. Thinking that maybe for the first one, which is going to make use out of these couple of ones that we have. So this, and this one over here. And then put this one, we're actually going to want to make use out of it what a base foundation of underneath the Bridge because right now it doesn't look quite as nice when it shifts kinda flat underneath, even if we're looking from the overview tab over Camera, we're not going to have quite as nice of a look. So what I'm thinking is we're just going to rotate. One of them beams the most, the lightest one that we have probably, this one is quite short and quite nice to use. I'm just going to rotate it 90 degrees, just like that. And just going to position it up, right up above our area for the Bridge. We'll start with the one that Santa, a bit of a higher level. That's going to be quite alright. When we're placing it, we gotta make sure that this end doesn't go out too far off. So only like half of the way what applying since when it usually is getting build these bridges, you get a plank slightly extended on the back, just like that. So that's going to look quite nice. And looking at it now, we might need to squish this entire playing down just a little bit like so, and even bring it to the side just like that. So we're going to get a real nice wide squished up, sort of a plank. Now we can just put it just to decide like so. And just like that we're getting a real nice result. You might want to make it just a little bit thicker just so it'd be kinda sitting those planks sitting on the side just like that. And I'm going to bring it to the side life. So I'm trying to think how we're going to place these main foundations for those Edges of our planks. And I'm thinking that maybe you might just want to make this even wider like so. And this way it will look like the bottom of this foundation is sitting at the base of this plank, which is going to look quite nice. So now even if we're looking from this kind of an angle, it's just going to look really nice. I think actually maybe we want to make it, we want to make this a little bit thinner. So let's go ahead and select it. And I'm just going to love it is down but quite a bit. And just bring it up like some and maybe just a little bit wider. A little bit like so. Not too wide though. I think that's going to help us get a real nice Lloyd overall thing that's going to look quite nice. Let's just make sure we're putting it on right end. And let's see if we get some nice Edges for those planks. Going from the side. Already is looking quite nice right now, although the color is looking a little bit off, we're going to be fixing that in a bit. First of all, we just gotta make sure that we're getting a real nice shape out of them. So right, like this. And of course we're going to make sure that it goes all the way to the bag. Otherwise, it's not going to look quite as nice, delicious, extended by a little bit. And put this to the back. We might have extended it a little bit too much though. So let's go ahead and bring this back and just put it like this. You don't have to worry about it. Kinda looping into this blank because we're not going to be seeing this edge. So it kinda helps us out a little bit in hiding the edge. And right now we are getting some nice result. Might want to actually bring it upwards a little bit. I'm gonna do just that. And I'm bringing it up like so. I think that's going to look quite nice, all know. Alright, so now before moving on, actually I like to bring this back just a little bit on our end as well. And this way, to make sure it's only one of them, which doesn't seem to be working because it's not the issue of having a group up. What we're having right now is we accidentally placed a Static Mesh. One of the Static Mesh is into its details tab. So treatise as a sort of our Blueprint. So what I'm gonna do actually I'm going to select one of the Static Mesh is in the right corner, like so And I can see it only has one selection. Now I'm just going to delete it and redo the duplication. So I'm just going to make sure I have this selected hold Alt and drag this out to the side like so. This is just an easy fix. And now we have them separated and we can now move them a little bit more three back like so. I think that's going to look much nicer overall. Of course, we gotta make sure that these will then be able to sit a little bit more to the back as well. So I'm just going to select them and actually going to bring them back like so that might look a little better. But of course we got to set them up with these foundations. So let's go ahead and do that. I'm going to actually grab one of them and bring it to the side like so. And now just going to position it in a way that would be made use out of in this area. So actually might just want to go grab both of them at once. And an extent them were quite a bit and then see how it looks, game to look like. So already is going to look quite nice. I'm going to delete this and then just see how it's going to get look like within this end. We might want to extended by quite a bit. I think that's alright. We don't have to worry about it's taking too much in the ground, which have to look at the overall result and see if it looks quite nice. And I think this might look really nice, but we might want to make it just a little bit thicker. So the way I'm gonna do it is I'm going to click our and I'm going to hold the area in-between the red and green zones. And then I'm just going to extend these two like so in this way we're getting a much thicker type of a poll. So think this is going to look much nicer overall. So now we need to do the same thing for this one as well. Screening to grab it to river and lake. So position it in a way that would be covering this whole over here. Going to delete this one just like that. And I'm going to of course, make sure stretch it out just like that. Now let's just make sure that it is being placed right underneath the line that we had right in the middle. That's going to look quite nice to bring it up just a little bit like so. And already it is looking quite nice. So now the easiest way to get some Variations out of these and make sure doesn't look too repetitive is if you grab both of them and click Control G just to make sure that they're in the middle. Petrology Degas. Now I'm going to hold alt, duplicate it by dragging it outwards like so. Delete the previous polls that we had as a placement. Now, of course they're going to look too similar. So what are we going to do is we're going to hit E while they're grouped up, the gizmo is going to be positioned right in-between those two. Now, if we were to rotate it, we're going to get some real nice results. So there you go. Now we're going to select them individually. They just liked that. So now what we're going to do is click W, hold Alt and make a duplicate just like that. So of course is going to look exactly the same as the duplicates for now, we're just going to delete the foundations, the placeholders. We've got to make sure we rotate them properly. So let's go ahead and simply grab each one of them individually and just rotated by 90 degrees or 180 degrees. That way it's like so this way we're going to get a different pattern in comparison to our previous pieces. And actually I want to make sure I get the same kind of results. So what I'm going to do is I'm even going to delete this one and just make a duplicate out of the one that we had previously. Or even it's going to click Control Z and make sure that it is placed within the right position, like so, then delete Level one. So this way we're going to get a much nicer a look. And now I think we can even them up four sides. But I'm looking at this type of a wood beam. And this might actually look a little bit to clean for our Bridge because obviously we're going to have a lot of water underneath. There's going to be some Wave smashing into them and whatnot. And the entire Bridge already looks quite worn out. So this looks a little bit out of place or thing. I'm just going to make use out of one variation. I'm going to grab the ones I have done for this variation, delete them, and later on we're going to make use out of, I think for the Roof or something of that sort. But for now I'm just going to make sure I placed them up in a right Composition. We had them previously. So over here. And I'm going to grab this one as well and place it just like that. So this is going to be looking much nicer, I reckon. Course we gotta rotate them around a little bit. Make sure we have a nice variation in-between those two. And just by rotating them around and flipping them up like that, we're able to get so much variation out of it. It's actually going to look quite nice. So I'm just making sure that we're replacing every single one of them, like so. And it's relatively easy to do and simple. So just by doing that, we're able to get some nice results out of it all. And just like that, I think we can also yeah, let's go ahead and replace this one. These ones as well. We're going to grab a couple of those, hold Alt, drag them out like so, and replace them just like that. Final, the final one. Maybe we want we might want to grab this one to be a bit further up. Maybe not. Let's go ahead and keep this as is. And then finally, of course we can rotate this around like this, 90 degrees we'll do. And it's looking quite nice. It's going to grab couple of dose bringing it riverside. Actually we just needed one. So I'm just going to delete one of them like so just like that and bring this. It is bit as well. So just like that we have some nice variation and at, already is looking quite nice as a Bridge. Now, of course the Bridge, it is now looks quite plain and quite basic. The shape itself is just too much of a simple-looking. So in the next lesson we're going to learn how we can break up this entire shape. It's Silhouette. And how to set up a more interesting look for the Bridge. So thanks so much for watching, and I'll see you in a bit. 13. Breaking up the Silhouette of a Bridge: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we created a basic foundation for the Bridge and now we already have a nice shape out of it. But we want to get a little bit more out of it by getting some additional detail towards it. So let's go ahead and get into it right away and decided off, I think we're going to make use out of the other poems that we had previously. So let's go back onto the 3D Assets folder within the mega scans content. And we're going to get ourselves a wooden pole. I think it's called the assets, a wooden pole. We're going to make use out of this one over here. Since this is a real nice typo wooden prop, which already has some nice rope's going around it. And I think all in all it just gives off a really nice that we will look. So let's just go ahead and get it into our world. And let's rotated by 90 degrees just like that. And I'm thinking now that we are done with a setting up a nice kind of a shape, I think we should go back onto snapping our grid as well as snapping our scale. So later on when we're working, it'll just speed up our process and help us get some nicer look for the Environment. It'll just make sure that because we were restricted to our movements, it just gives us a more nicer of a pattern as we work with it. So we're going to click W, raise this up a little bit like so. And yeah, we're getting some real nice shapes out of this one. Of course, we should probably make this a little bit larger. So let's go ahead and increase this in Scale. Go ahead and see how it's going to look like with a value of 1.5. You can see on the bottom right corner within a Details tab, you can see the transformation Values that I'm using. And 1.5 seems to look quite nice. Just trying to think of our way that we're going to be adding this up. This might be a little bit too tall, low, so I'm just going to lower this down. We wanted to be slightly stick it out, but not by too much. And the purpose of the scanner pulse is going to be well, mainly to break off the visual detail out of our Bridge, but we also got to make sure that it looks like it's part of the scenery. So we're going to get it close to the edge of the Bridge, which will not make it look like it's the foundation doesn't look like it's going to support the bridge itself. But instead it's just going to look like maybe it's something that people use to secure their boats. Or maybe we just put like a fishing rod on the top section of this pollex. So and All-in-all, I think it just looks quite nice. So to start it off, because we're using only a one propagate to do it in a more or less kind of a similar way as to what we did with The Supports of the Bridge in which we're going to make use out of this one single-pole to get some nice results. And instead of just using this one kind of a frontal section in order to get more variation out of this, what are we going to do is actually we're going to make a duplicate out of this. So holding Alt, dragging this out like so, and then clicking E and then rotating this around just like that, we're going to get a different end and it's different and also has a bit of a rope coming with it. And we can see some Chunks are the top as well that look quite nicely. Now although this section is a little bit thicker. So I think though, because this one is a figure peace, we might want to keep this as a taller one. And instead, we'll lower the other one. And that'll create some nice variation in height. So we're just going to select this one lower down by quite a bit. And I'm thinking maybe to this height and then we're going to love it, the other one as well, actually, because we don't want it to make it look different in heights. So I think this is going to look quite nicely. So I think we can also just, yeah, we're going to set the smaller piece to be in the corner, does have to be too close, but just enough to kinda look like it's going to be in this section over here. And the other piece, the bigger one over here that we had, the taller one is going to be sticking over in this end. And I think we can just rotate this a little bit as well to this amount of degrees. Now, let's just go ahead and make sure it goes kinda follows the same lowers because there are two sticks together. We want to make sure we kinda have this sort of an angle. We might even rotate it a little bit diagonally like so. There's going to be facing the side just like that. I think it's going to look quite nice one alone. And then for this one we're going to keep it as is. It might even actually bring it back by quite a bit. Going to look much better like so. And yeah, but just doing that, we're ready bringing a nice shape into our scene. Now we want to make sure we get the same kind of a Pattern proud of this entire Bridge. So let's go ahead and grab both of these and bring this to the other end, like so. And actually, I made a mistake when I was dragging these out because I had a local gizmo turned on by accident. I got to make sure that this is set to a world position. So by just clicking on this icon over here, we're able to change it. And by changing to a world position, location of organismal, it'll just make sure that the gizmos always facing that way no matter The angle of our acid. So that is going to be quite nice. We've got to make sure we most often use this one on less. We wanted to move our object in a specific kind of way. But anyway, moving on, we're just going to hold Alt left mouse button and just drag it to the side just like that. And I'm thinking that maybe we might want to change up the way these ones are. So I'm going to have the shorter one on this end and longer one on the other end, like so. It's going to look quite nice. More or less. We want to keep a similar gaps as we had over here. I think that's going to bring a nice look to our design. And then afterwards, we can wrap those two and bring them to the end as well to decide as well, which is going to grab these. Let's hold Alt, let's not forget to hold all to make a duplicate and rotate it around 90 degrees. So this will be able to break off some edges on the very end of our Bridge. So all in all, I think this is going to look quite nice. We're going to make some variations to them in a bit. But for now though, let's just make sure we set them up in the right kind of an order. So I think this is looking quite nice. So now they're now that we have a location of these aren't set up nicely, we're going to play around a little bit with the variation to make sure that they're Setup in the way that would bring out a more organic shape to our Bridge. So for example, this one right away, I think it stands out a little bit too much when it just goes with a flow downwards. I think I'm just going to grab this one and lower this down by a little bit like so. Also, we're going to rotate this around a little bit. We can rotate this by 180 degrees, just flip it around. And that way we're going to get a much different pattern in comparison to this one over here. And for this one, I think we can also rotate this 180 degrees. So I'm just going to click Z because I messed it up a little bit. An easy fix. So what 80 degrees like. So then I'm going to raise this up by quite a bit. Actually. We don't always have to have the larger one to be sticking out at the front. Instead, we can sometimes raise this up and that'll change up the shape entirely. And I can see that these actually are sticking in the Bridge. So let's go ahead and slightly move them to the side and it's going to give us some really nice results and return. So I think that's going to look quite nice. Finally, I think we should probably wrote it this one around as well. Because this one is going to look more or less the same as this one in the bag. And the shape All-in-all is just not going to look quite as nice. I think I'll rotate this 190 degrees. I think that'll do the trick. And of course we gotta make sure that it's not stuck within the side of the Bridge, is going to bring it back a little bit, and that's pretty much it. There you go. We now are able to break up the shape of this Bridge by quite a little bit and get realized result actually. So yeah, that's going to be it from this lesson. In the next one, we're going to continue on with the Bridge. So thanks so much for watching and I'll see you in a bit. 14. Manipulating Quixel Assets as a Whole for the Bridge: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by getting ourselves nice. So nice is Shapes within the Bridge. Looking back at it though, we might want to make this Bridge a little bit longer. Yeah, the overall shape just doesn't look quite as nice. So what I'm gonna do is the easiest way to fix that would be by grabbing these assets just like that, making a duplicate all out of it, holding Alt and dragging it out like so. I don't think we can just expanded by free Planck's just like that. This one sends out a little bit too much. So I'm just going to drag, select this, drag it around like so, and lower down just like we did previously. Just like that. I think that's going to be fine. Now as for these ones, we're going to select them, actually, bring them out like so because we can squish them back down when we had them previously. So we're now able to select them all and stretch them out just a little bit like so. That's why we're able to play around with the overall shape that we have a better understanding on how the Props are interacting with the environment. It's going to give us a better understanding on overall design of our levels. So because of it, we're now able to make better judgment on how they're going to look like with one another. So I think that's going to look quite nice. Ones might be touching a little bit too much. So I'm just going to lower this down and stick it to the side. We might need to, we might need to turn off the snapping grid tool. So I'm going to actually go ahead and do that, especially for the scaling because I want to have more control over it. Now with this, we're now going to have much nicer results overall. I think by doing just that, I think that's going to be quiet. Alright. We can leave it as is. And yeah, that's this way. The Bridge, I think is going to look much nicer. The pattern, that extending pattern that goes outwards going to look much nicer. And because of it, we can now go ahead and select these bits over here and drag them to the side just like that. And that'll give us a nicer Silhouette. And of course, we need to make sure we have Foundation underneath as well. So let's go ahead and grab these ones at the very front like so and put it all the way, your friend, just like that. And I think the ones that we had over here are going to go right in the middle. And we can probably grab these ones and kinda shove them to have a same or similar gap to the ones we have at the front. And because of it, if we look at it from side, it's going to give us a much better look through overall look of a Bridge. So think that's all in all is going to look much nicer. Yeah, by just doing that, we're able to make a couple of adjustments that helps us to change the shape or adjust the shape in a way that we want. And of course, we're going to make sure that the bottom pieces are also fixed it up. We fix them up a little bit as well. So let's go grab them and click our. Let's make sure we grab both of them like so. And click our and extend them just like that. Or we're just going to bring them due to the front like this. And yeah, I think this is going to work quite well. And of course, before we forget, we also need to have some blanks on this end as well. I'm actually just going to grab one plank. I think that's going to be fine and just bring it to the brand section over here. So I'm going to hold Alt, make a duplicate out of the one playing underneath and just put it to the side 90 degrees, bring it back like so. Of course we want to lower this down all the way down like so. And then simply bring it to the back. Just like that. It's going to look quite nice. Course. We're going to click our stretch it out a little bit, like so. And this is going to make it look quite nice, All-in-all as a part of a Bridge. Just like that. And there we go. And I think we're going to finish off this lesson by getting couple of Props in. And so let's go back onto the 3D Assets folder. And we're just going to pile up couple of probes within this area. So we're going to get ourselves to hanging rope, which we're going to just drag it into our world like so. Just going to bring it up. And it's actually quite small. We're going to adjust the scale in a bit though. We're going to actually go back and get another version of the rope that we had previously. And so we basically have couple of versions of a rope. By default there, they are actually quite small. So let's go ahead and fix that up right away. So we're going to grab both of them and we're going to change the scale. So since we have the scale locked up, we can now change the scale to be something like for, for example, let's see how this looks. I think this is going to look quite nice. Maybe you set it to free as it might be a little bit too big. I think this is much better. We can now go ahead and select this broke, the one that is piled up on the ground and just put it in a way that's going to help us get a really nice kind of a look. I think you can just set it up at the very front legs so And in return is just going to give us a nice sort of a design. Or this overall area. Might want to bring it a little bit to the back like so. And I think let's go ahead and actually make them a little bit smaller, maybe a little bit too big in regards to that. If we try setting them to two and we're going to get this result, maybe it's just a little bit better. The reason we want to make sure we scale both of them at the same time is because they're actually the same type of a rope. And we want to make sure we keep consistent carve a look with regards to how big a rope is. I think instead of two, we can change it to 2.5. Let's see how this looks instead. And actually, yeah, 2.5, I think is the right kind of a choice. If you give us just the right kind of result. And although we also have some rope on the side of these ends, this can be used, seen as a different type of rope. So I think that's totally okay. We just got to position it in a way that the rope is kinda breaking off the edge Pattern of this entire Bridge. I think that's going to be quite nice. Now as for this row, what do we can do is actually we can stick it to the side of our Bridge and it's going to look quite nice. So for example, if we set it to 90 degrees, this is going to look quite nice. If we rotate this just a little bit. Like, let's say we selected, haven't rotated by, let's say 20 degrees. I think that's going to look quite nice. And we can put it in this kind of opposition. Going to give us a really, really nice result that we just got to make sure we position it right. And I'm actually going to make use out of this plank over here to make it look like it's going over it. And I will turn off the grid just so we could have it positioned just a little bit to the side like so. And just like that, we're able to get some real nice results are this row. So although I could see that the rope is going inwards because this is the end of the rope is actually okay to have it like so. But actually, we can make use out of this end and can I make it look like it's being covered up by this area over here. I think that's going to look quite nice. Or even because although the gravity is not going to make it look quite nice, but it's end. We can actually make use out of this and just kinda rotated like so. We're not going to see the bottom of this. So we don't have to worry about that end of the rope. So we put it like this and set this up, the poll to be positioned right in the middle. Where are rope is going to look like? It's hanging from the side of this end. A reminder, even get away with just taking it like this. If it's a little bit too much, Let's go ahead and grab this back and put it slightly to the back leg. So actually I'm just going to rotate this 180 degrees, like so. Because this way we're going to have a short end of the rope. I think that's going to look much nicer and turn. And this is looking pretty nice as is. And we're still going to have a nice pattern for this type of Bridge. I think that's going to look quite nice. Let's go ahead and keep this as is. Or actually because we're making use out of this end, we might just grab both of these and put it on the side and the very side like so. And because I want this end of the rope be going the other way to make sure that it is being supported by this log. What do we can do is we can click our with it selected, of course. And then we can just flip this entire scale to be in the negative values. And this will just flip the rope kind of mirror effect and get us this sort of results. So I think this is going to look quite nice. Yeah, we can keep this as is actually a. Now looking at it from a distance is going to give us some real nice results in regards to how it's being broken apart. And yeah, just like that, we're able to get some nice props within our scene and just break apart some of that repetitive pattern for our Bridge. In order to break up the pattern even more though we can actually adjust some of these banks a little bit and get some different gaps, some different Waves in-between those areas. So just by moving these around, just a little bit like so, for example, were able to get some real nice results. So in general, we just randomly shuffle them around and we're getting some different color patterns out of them and in turn, are able to get some more organic shape out of this entire Bridge. So I'm just going to click Shift and Z to undo this entire been like so. And now we're going to be able to select each one of them individually and play around a little bit with the overall design for these blanks. Just like that, we're able to get some nice gaps in-between. All in all, they're going to look quite nice. So just by looking at it from a distance, you can see the different variations in those gaps. And all in all the pattern is going to look a lot more organic than it did before. So yeah, I think we're pretty much done with the Bridge. We now need to make some adjustments with the textures themselves, with how the colors are looking for our Bridge, but we're going to do that in the next lesson. So thanks so much for watching, and I'll see you in a bit. 15. Adjusting Quixel Asset Materials: Hello and welcome back everyone to Unreal Engine Beginners Guide to building an environment. In the last lesson, we completed an entire shape with a Bridge. And this time we're just going to make some tweaks in regards to the colors and make some adjustments that overall texture using a Material Instance provided within a Quixel Asset itself. So let's go ahead and get started. I'm going to go into the 3D Assets folder for the mega scans. And actually, right-of-way, I think we're going to adjust and tweak out the values for these blanks over here. I'm thinking about going into the ones that have small wood boards. Let's go ahead and open that up. And in order for us to tweak the values over here, I've pink. Before doing the tweaks, we're just going to make a duplicate out of the Material Instance itself later on, if you want to have the original kind of look that we have right now, we can always set up and I reassign the Material Instance back to its default state. So by selecting it and then clicking Control C and Control V were able to make a duplicate out of it just like that. And we're just going to leave it as is. And I think we're just going to adjust to Material Instance, the default one that we had previously right away. So if we double-click on it, will be able to open up a Material Instance editor and we get a bunch of parameters out of them. On the right side for the Details tab, I should just going to lower this down a little bit like so, so we could see our boards of the Bridge right away as is. So the main ones that we want to adjust is going to be within the albedo tab. If we were to expand this, we'll see albedo tint, tint and alveolar controls. Albedo tin is just a color tin that we're able to adjust if we were to select on it and then click on this square over here, we're able to get ourselves a color picker. Now, by default, if it's set to white, it means that it won't be affecting the texture itself. And we're only going to be applying a tint once we're starting to darken this up. So for example, if I start to darken this entire thing up, you can see how the boards are being darkened up as well, which is pretty nice. Not only we can darken these boards, we can also change the saturation, a type of thing that we're having for these boards as well. So by change them, for example, something like green, we're going to get a greenish type of a tin, which is pretty nice as is. So I think we're actually going to go back to the default one and a play around a little bit with a orange tint like so. And maybe just darken it up a little bit like so. These are values that I'm going to use. We're going to make justice a really small tweak and we're going to hit Okay, so we can even take this box over here and see how it looks like before it's being applied. So if we and ticket and then take it back on, we can see we're just applying a small bit of a tint onto our blanks. Now for us to have a even greater control of this overall texture, or we can do, is we can make use out of the alveolar controls. So by taking this on and expanding this list, we see we have a bunch of different options for us to use. Things like saturation, brightness, contrast. We can make use out of all of them. And of course, just as the name suggests, by changing the saturation, clicking and holding and then drag into the left or right. We're able to change the saturation of these boards. And of course the brightness goes the same way. And we're going to be changing that up and darken it down a little bit, changing the saturation a little bit. We're going to change it to 0.7, like so. Changing the brightness to be a little darker. I think this is going to be much nicer. Or actually let's try. Yeah, let's go ahead and darken it down a little bit. And then let's play around with the contrast. Maybe a little bit. Or actually because we're changing contrast, we're going to change this to 0.85. I think that's going to be a nice value. And we're going to increase the saturation back up. I think it's going to look much nicer. So let's go ahead and change the saturation to 0.8. And we're already getting some nice results, but I think it's too bright, but even if we were to change the darkness, we're not going to get quite as nicely results. I think I'm going to go back onto retained and darken this down a little bit more and increase the saturation over like this. Like some, I think that's going to give us some really nice results. Maybe we want to make it a little bit more brownish, like. So. That's going to look quite nice. Darken it down a little bit. And we're just making sure that all of these planks have more or less the same kind of a tint applied throughout this entire texture. So it's just going to look like it's more part of the right and a result. We also have something called NA, which of course doesn't do anything. So we can just go into, leave it as a zero. And the brightness actually going to play around a little bit with the brightness. Maybe lower this down even A value of 0.4. And maybe, just maybe it's going to look quite nice. Now as you can see, there's one board that's actually going to look a little bit too dark and one that is going to look too bright. So I think we're going to close this down and we're going to apply the original Material Instance that we had back onto those boards because the standout a little bit too much, I reckon. So what we're going to do is the easiest way to apply them is by simply dragging and dropping them on theorem sports like so we're going to get its original default color. So actually I'm just going to drag it onto one that's the darkest. And it's going to give us Sexual some real nice results. I'm just going to drag this one over here, going to click Control Z because I missed, misaligned it. And Diego were able to brighten this up. Now if we want to darken these ones down a little bit even more, just to make it more suitable, we're going to make a duplicate out of the one that we adjusted our of these values. So we're going to make a Bird Material insulin just like that. And we're going to actually make this a little bit darker. So we're going to go into this Material Instance and we're going to lower the brightness. And by setting this up to a value of 0.2, I think it's going to look alright, we're going to now close this down. We got a much darker Variations. So now if we apply this onto this blank, we can see the difference that it's going to make. This way. We're able to have a lot of control over our color textures and have a really, really nice results of the overall type of look for our boards. So I think it's already looking pretty nice. But I don't quite like the way these are looking. So I think we're going to be changing them up a little bit, the beams themselves. So let's go into the 3D Assets. Go into a wooden beam and adjust Material Instance. And just like we did previously, we're going to click control C control V to make a duplicate of the default one. And we're going to maybe changed up to towards right away. But now I'm going to think about it. We might be using them for our house. And I think, yeah, I think if we were to change that up, the default Material Instance is assigned onto the pole Static Mesh. The next time we're going to be dragging this out, we'll have the adjusted values. So instead what I'd like us to do is I'd like us to make different assigned Material Instance. So right now we have Material, the original one and the Material Instance, the copy of it. So now we're going to click on one of the poles and see it a name in the outliner. And we can see that if I were to extend it a little bit, we can see that it is named Warren wooden beam. And because it's an alphabetical order, all of these warn wouldn't beams are going to be in exactly the same order. So what we need to do is simply click on the first one that's named like this. Then scroll all the way down and while holding Shift, click on the last one. And this way we should grab all of them are one. So if I were to just drag them out, you can see that all of them are being moved to the side. And because we selected all of them and because they are the same Asset there, the Instances of the same asset we're going to have within the Details tab, more or less the same results. So Materials, you can see that all of them are being assigned one Material. We have something additional selected. For example, I'm going to click while holding Shift, going to click on this blank over here, we can see that the material is going to change with two Material selected. But even so, if we were to click on display to Materials, we're going to see these elements being shown. So what we need to do is just simply make sure we replace the original Material Instance with the material that we made a copy Arab. So right now, this is the original one. I know that it has the same look, so I know that it is the same one. We gotta do is drag the copy into this element like so. And we're going to have a replacement out of them just like that. And let me just have a look. I think I made a mistake going to click from lead to unlearn just to make sure I see the Albedo map a little bit more of the color information. And actually, it seems like we're having some artifacts. And I believe the reason for it is because this is not the same wooden beam that I was using. So let me just have a look real quick. I'm going to drag this outwards and I can see that it is a complete different wooden beam. So I'm just going to click Control Z and go back to its original values. And actually just going to delete this Material Instance and click Delete because we weren't using it. It's just going to prompt up with a simple delete window. And then we're going to go back onto the 3D assets. Find ourselves the right one. So Smallwood boards. Oh sorry. It's because we have this selected just going to add ticket. It's going to be called worn wooden beam. So it's going to be the last one over here. We're wooden beam. Let's go ahead and open it up. Again. I made sure I click Control Z to undo my step. I still have all of this selected and I'm just going to go get the Material Instance selected within a content browser. Click control C, control V, make a duplicate out of it. Now we have a Material Instance copy out of it. And we're going to drag this into the material that we have that is basically looking exactly the same as this icon over here. So we're just going to click and drag and drop it into this material like so. And we've pretty much replace it, although we're not going to be seeing a much of a difference right now because we didn't actually make any tweaks to the Material Instance. So let's go ahead and do that right away. Actually, we're going to open this Material Instance like so. We're going to click albedo, albedo controls. And we're going to play around with values a little bit. So we're going to make sure that there'll be no controls. Have this entire tab opened up. There'll be lot Tinto can have it closed down. And we're just going to play around with the values right away. I think I'm just going to try darken in the darkening this down a little bit and see how this looks and it's not being effective. Just want to see what is up with that. Going to close this down, see if they're being applied. And I think they're being applied, just going to make sure that they're being attached to this like so. And it seems like I need to make sure I have them all selected again and reattach them just like that. And now this is going to work. So I just made sure I re-select, remake my selection and then attach it, the material onto it, just like that. And now it seems to make a proper assignment onto the Material Instance. So now we can open this up and make some tweaks. And by tweaking this around, we can see that it is making the changes that we want. So I'm just going to make it a little bit brownish and darken it up a little bit more like so. And click Okay. Then I'm thinking maybe just maybe I'm going to actually adjust the roughness values for this as well. Because by default this would, looks quite a bit dried-up. And obviously because it's going to be next in water, we probably don't want this kind of results, so we're going to actually go and make additional tweaks to it. So by scrolling down, we actually have roughness value over here. And by enabling these both like so, by default is going to be 1.0 and this is just like a clamp, a value. So the maximum result for how rough the value is going to be. If we lower this down, we're going to get a much shinier result. Alternatively, if we increase this value, the minimum roughness, we'd get a much rougher type of a value. So we're going to actually only decrease the maximum roughness value from one. We're going to change it maybe 2.5. Let's go ahead and see how this looks. And maybe it's a little bit too much though, we don't want it to overdo it. So 0.8. And I think, I think that's looking much better as is. We're going to keep it as is actually this is looking quite nice. So let's go ahead and leave it as is. Maybe actually we need to lower the contrast. I'm going to try to love the contrast a little bit just to see how it looks like. And just below ring just a little bit. You might get some nicer results. But it's again, it's just a matter of preference how it's going to look like. Well now I think we're going to keep it as a value of one. And we're just going to leave it as is and worst-case in the future. We might just come back to it and see how that looks. And actually, we might, because we changed up the roughness value and we're going to get a different type of a light bounds on these areas. And I think we should probably increase the brightness just a little bit. Like so the value on my to 1.2, like so. And now we're going to get some real nice results. Maybe even 1.4. I think 1.4 is going to be quite nice. We don't want it to get the exact same value as the planks and atop, we just want to have it looked like it's part of the same atmosphere, the same environment, but at same time it's made out of different type of award because these are planks in these ones are kind of like logs that were used to build this bridge. So finally, I think we're going to just switch up these blanks as well. And for the ones that are here, they're quite light. I think we're going to keep them as quite light because this is going to look so much nice and district going to stand out so much more and worst-case, we can come back to it and switch to Miranda little bit. But for now, let's just go ahead and switch these blanks up. So we're just going to select this blank. I'm going to close down the since material browser that we have previously and select the plane that's underneath. Going to click on this button over here. By simply clicking on this, we're able to go straight into the folder for where this Material Instance is located. So now we're going to make a copy out of it. Control C, control V, make a duplicate, select a wooden beam that we had. We can see that the names, because it's an alphabetical order, we have three of them. We're going to select all three of them and apply our Material Instance that we just made a copy out of it. I can see that the name has changed, so that's good. Now we can go into this Material Instance and change up the tint. We're going to click on it, make it darker quite a bit like so browner even like so. Let's have a look. I think we need to make it look rough and up it looks to play with moments. I'm going to increase the contrast for this one by quite a bit, by just increasing it a value of 0.8, maybe, maybe 0.61, 0.6, like so. And it's going to give us some nice results right away. I think that's going to look quite nice. So yeah, and maybe just saturation, remove that a little bit. Otherwise it just looks a little bit too much. And that's all there is to it in order to tweak all of these values. So it's already looking quite nice. Maybe we should adjust these a little bit and make them look a little bit darker in regards to overall design. Now going back to it. But yeah, okay, Let's leave it as it is for now. And in the next lesson we're going to continue building up our environment. This time we're actually going to start on creating the house area over here. So thank you so much for watching. And I'll see in a bit 16. UV Tiling for the Roof Surface Mataerial: Alright, welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by finishing off some final touches for the adjustment of the textures for a Bridge. This time we're going to continue working on Environment and set up the house, or at least start setting up the house with different Quixel materials. So let's go ahead and get started. I'm just going to close down this Material Instance that I had set up previously. And right away, I think we can start off with the Roof itself. So let's go ahead and do that. So I think we're just going to go back onto omega scan's folder. And since we don't have any of the textures we're going to make use are the Quixel textures that we have. So we're going to open up a folder or the Quixel Bridge window. That is, we're going to search for a wood, wooden roof. So we're to search for wood and then roof like so. Both of these type then we're going to get a couple of options to pick from. And if we were to scroll down, we're going to find couple of choices. So we're going to be using whether wood, slate roof, this one over here. I think it looks quite nice for the type of scenario that we're trying to get. And let's go ahead and make sure we download this one and then add it onto your project. And then afterwards, once we get it into our project, we're going to get it into our mega scan's folder. However, it's not going to be in the same folder as we add our other materials inside is going to create instead of our 3D assets is going to create surfaces. That is because the surfaces is setup for this type of category. So the one that we had for the Roof, though, I'm just going to go back and quickly show you what I mean. So this one over here is actually set up as a Material and not an asset. So that's going to be a little bit different as we'll only have the textures provided to be used for this environment. So right now for where to access the surfaces folder, weathered wood, slate roof. We're just going to get a Material Instances with the Texture set on. So we need to firstly get ourselves something to put on these roof tiles on. So I think instead of just applying it right away under this area on today's entire gray box that we have, instead of going to create ourselves a really quick and simple plane. So let's go ahead and click on the quickly add to project, select Shapes and add plane. And we're just going to get ourselves a real nice plane. And then right away, if were to just drag and drop it onto a plane, that Material Instance that we have, we're going to get this result, which is going to be pretty nice. So now we're just going to be applying it onto this child, these tilted roofs, and we're going to get much nicer results. So we're going to drag it onto the sides like so. And we're going to adjust the overall angle to fit the overall set of a Roof. We're just going to position it just to be decided waste like so. And we're going to actually turn off the snapping to angle like so. And make sure that the average snapping is turned off as well. We will have more control for this particular task. And so we're basically now have it not, maybe not perfectly snapped because there's this tiny gap. But of course we don't need to worry about it too much because we're going to be overlaying our air assets with this group as well. So that's much of an issue right now. What we need to do though, is make sure it covers the entire roof. So we're beginning to do is actually we're going to click, are going to the scale mode and just scale it across our entire rooftop. For now, we don't need to worry about the stretching. We're going to fix that in a bit. We just got to make sure that this entire plane is covering our entire roof. Now if we click our and we gotta make sure that we scaling it up like this sideways when it's, has a gizmo built-in as well in regards to the local position. So this one is automatically set as a local position with rejection quiet, nice, but if you want to move it and transform it using just normal transformation gizmo, we'd have to set this. It gives more coordinate to be from the world space to the object space. And this way it allow us to move and slide it across the Roof just like that. So this is quite useful when we went to position or Roof to be right in the center of our area. Just like that. I'm actually going to rotate in just a little bit more like so and have it covered our entire roof just like that. Actually, we need to make sure we set it up all the way through back like so and cover it, read up all the way just like that. So now we have one end covered up. We're going to of course, set the upper end as well. So we're going to click WW, go into the transformation tab, change the Rotate gizmo from local to the world position. And then while holding Alt, we're going to drag it sideways outlet. So then we're going to click E to go to rotation Mode. Make sure that the snapping is turned on. And we're going to turn this 180 degrees. So we'll be flipping it all the way around this. And we're going to get it nice roof tile on our side as well, which is quite nice. So now we can actually grab both of these tiles This roof tiles and drag it to the side just like that. And position the roof tiles to be on this side. Like so. And I think because they're more or less the same kind of rooftops, we can actually make use out of this leg. So we might need to, yeah, we might need to readjust this a little bit. So that's going to be actually okay. We need to turn off the snapping mode, of course. And I'm going to position this one to be closer. This side of the Roof. It has a bit of a different angle. I think it's going to make the overall design for this roof, the upper section much nicer as it helps to break up some of that Design. I'll actually delete this end and we'll duplicate it in a second. We just need to make sure that this one is set up quite nicely. So we just kinda positioning it in a way that we want, stretching it out as well. And we're going to have it just like that. Actually, we might need to do it a little bit more. Let's go ahead and edit in the right area. Just like that. And think, yeah, let's go ahead and actually turn on the local and just kinda squish it onto the Roof like so. And going to lower it down, maybe we should just make sure that it fills this entire roof area just like that. This entire plane. Again, we're not worried about how the tiles are going to look like Jesse yet. We just need to make sure that they're positioned right for this plane to be right at the side of the Roof. And of course we need to duplicate it for the other end as well. So let's go ahead and do that. We're going to rotate this 180 degrees. So click E, Make sure to have the snapping on. And that seemed to have caused some issues. Just going to click Control Z. I'm not sure why that was the case. Going to click F to reposition my camera. And it seems to be doing the same kind of an issue. So I'm actually going to deselect this and selected backup and it seems like a made a mistake and duplicated it within my Blueprint. Again, I can see that I made it like so going to delete it, make sure I have this plane 3D selected. Then going to hold Alt, drag it out and make a duplicate out of a chest like that. I'm not sure why that was the case. Just going to set it up to the side again and position the Roof. Be just like that. So yeah, this is already looking quite nice. I think. You might need to make couple of extra adjustments. It might actually be quite alright. Okay, so now that we're done with the Roof and displacement, Let's go ahead and actually picks up the way they're being piled. So what are we going to do is actually I'm going to make a duplicate our the original Material Instance. And this way we're going to be able to make use out of it to make some titles. So I'm just going to reapply onto this section of the Roof as well as the other end as its backside. So just doing it like so. And this way we're able to get a duplicate out of this material tiles. And now we're able to just go into it and make some adjustments for them. I'll make the different types of a copy for the other side of the roof of a part of the Roof. But that's going to be in a bit as these ones need to have more or less the same kind of pattern. And because we stretched out this type of a plane a little bit more than this one, it might not look quite as good. So we're going to scroll down all the way to a, actually scroll up a little bit. And it's actually going to be the very first one in Adjustments tab underneath the global tab is going to be Tiling offset. We're going to make sure we take this on. We're going to open this up and we get some options to use. That offset is just going to allow us to move the pattern. So if we want to do that, we can, but it's not needed. Or as moments I'm just going to leave it as the default is zero value. Now as for the Tiling, we're going to make sure we tell this up because otherwise it's too large. I think we assist as the default. We started off with two-by-two and see how this looks like. It might look quite alright, so I quite like it. Or maybe let's try 1.5, 0.5. Like so. What by five? By 1.5 is going to look quite nice. And of course, the stretching is happening sideways, so we need to determine which way that is being faced up and that is going to be displayed playing around the width value can see that it is going to actually be the Tiling X. So that is what we needed to be changed. And because we stretch it out this way, we need to increase this. So the value of two, maybe we'll do the trick or even 2.5 straight out. Yeah, I think 2.5 is looking quite nice actually. So let's go ahead and keep it as is. And yeah, let's check the other side as well because it uses the same Material. Instance is going to give us the same results. So now we can close this down after fixing it up. And now we basically are going to make a duplicate out of the already adjusted Material Instance just to save up some of that time. So we're going to select it Control C, Control V, make a duplicate effort Material Instance. Apply this directly onto the Roof and see how it looks like. And by default, it already is looking quite nice, but we just need to squish in just a little bit in the Tiling, inner Tiling x-direction. So 2.5. Let's change that up to be, let's say three. And maybe that's just enough. I think that's enough is going to give us the same kind of a Pattern. And I think I quite like it is. So let's go ahead and keep it. Actually, I'm going to close this down and now let's go ahead and not forget to hit Control and S to save this entire project. And I think we're going to keep the overall design, the albedo Adjustments and whatnot as default ones. I think the original texture looks quite nice. So yeah, that's going to be, it's probably this lesson. In the next lesson we're going to apply more texture surfaces, pink for the main body of this house. So thanks so much for watching and I'll see you in a bit. 17. Creating wall textures using UV projections: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by getting ourselves to Roof set up with the texture. And in this lesson we're going to continue on setting up the surface textures, especially for the base of the house. So let's get into it and right away, think on the way we're going to set that up. Actually, I'm just going to grab both of these cubes. And maybe instead of just setting up the Planes, we might be able to make use out of this mesh itself. So let's go ahead and try making use out of this Mesh and try to maybe get ourselves a single mesh out of them. I'm going to duplicate it just to put it on the side and see how they look like. It's going to drag this might need to make a selection again, a go. It's going to all the duplicated and see how they look like together. And just by looking at it, that might actually work out pretty well. You have a bit of a gap here. I'm not sure how that's going to turn out. We might need to set them up to be a little bit different. So I'm actually just going to grab of them, delete it and see how it's going to look like on this end. I think I'll try maybe moving it back just a little bit like so and that's going to look better. And yeah, let's go ahead and actually accept this gap a little bit. So the easiest way might be just to slide it up back leg. So we're just going to make sure that the edge is actually positioned at the very corner. And we're going to use a sort of a wood pile or something to hide the edges then away anyway to break the entire shape. So I'm actually just going to grab this entire shape and just kinda hold This stretching bid and just stretch it out. Of course, the snapping tool, let's disable that. And now we're just going to reposition this entire section just like that. So I think let's go ahead and do that. Make sure that this edge is going to look quite nice. Maybe we need to do a little bit less of that. So I'm just going to stretch it back down to the side like so. And I think we're going to get a nice gap over here. And we're going to get a nice gap over here. I think that's going to look quite nice. Maybe it's a little bit too much though. Maybe it's not enough actually, let's shrink it down even more. Like so. Kinda want to have a bit of a hanging area for the house. So it will break up the edges a little bit more for our environment. And I think that's going to look quite nice, just even more actually. Like so. Let's check this out. Now. Of course, because we're scaling it from the center, we gotta move it a little bit to the left as well. And that might actually look quite nice. I'm thinking that maybe this hedge needs a little bit of a hanging areas. Well, so what I might do is I might just squish down this section instead, just like that and get a nice hanging overhang, like so. So all in all I think this will look much nicer. We might need to make a bit of a hanging area over here. So just going to kinda squish this up a little bit as well, like so. And yeah, I think this turned out quite nice. This just makes sure that this edge is being, yeah, we need to make sure we fix this up a little bit now as well. I'm just going to squish it down and pulled to the side. The corner is going to be positioned to the side of this over here. So the reason we're doing it, I haven't explained it properly is because now we can grab both of these. We're actually going to be using modelling mode again. And this time we're just going to combine these two meshes together. So let's go into the modelling mode. Let's go through select Mode tab and go into modelling mode. And this time we're going to drag it down until we find once we have both of the selected, it's actually much easier to see because some of them are going to be unselected and since we can't make use out of them, so which has got to drag it down until we see the mesh booleans. So with the selected, we're going to make use out of it. Which allows us to sometimes cut off the Shapes and sometimes it allows us to get some nice results are of our shapes. So instead of the operation being a minus B, we're going to make a union. And what this will do is just, it will combine both these measures together. So we've now hit Accept, which by the way, should put it into our autogenerated folder, that is world relative. And now if we hit Accept, it should give us a Boolean Static Mesh. Now this is just a one mesh. And the reason we're doing it is because we're now able to have a really nice UV projection onto this entire environment. And this way we'll be able to cover up our material in a really nice and simple way. So let's go ahead and actually do that. So I'm thinking about just making use of Up projection first because right away we're actually not going to get the right kind of results. The default UVs, I think right now are going to be stretched out. And although we could do a similar kind of a way that we did for the Roofs for this area because right now we're having a single mesh. It might be a little bit harder because the ratio of where the stretched out areas would be, they would have basically different results. And of course, we don't want this to have for our textures. We don't want them to look like there's completely stressed out. So by going all the way down to the modelling mode, we're going to have a UV tab. And within the UV tab we're going to project our UVs onto this Static Mesh. So if we select project, we have a couple of options. And the one that we want is actually going to be a box version. So if we select this, it'll basically project the best angles and give us the nicest results for those changes. Because this is such a basic type of a shape, all of the angles are in 90 degrees is going to give us the best results for this particular shape. So by having it set as the default with the default values, I think is going to be fine if we're having a box that doesn't exactly fit our entire shape, just make sure to hit within the action step auto-fill. And that'll just bring it to a like a proper projection box for our entire set. So now that we have a setup like that, oh, we gotta do is hit Accept and also make sure that the material mode is set to original. If you want to see how the prediction would turn out to be, we can visualize using this material mode by clicking on the checkerboard and you'll get this result, which might be quite nice. And actually, that was a good thing, thing to do because I see that the checkerboard is not actually completely square. So I'm trying to figure out what is going on with that. Maybe I'll try playing around with the values, trying to figure out why that is the case, maybe, yes, let's go ahead. Go by switching on the uniform dimensions. It'll give us the right kind of dimensions or this checkerboard right away, it won't be stretching out. Then as you can see, the squares within these textures are going to be set as proper now, so that is going to be quite nice. We can now finally hit Accept and that is going to apply the UV coordinates onto this entire asset, which is going to be quite nice once we're going to be starting to apply our texture map. And so I think we can just go back onto the select Mode just to hide away the toolbar kit and open up the Quixel Bridge, just like we did previously. And within this, we're going to search for correct wooden planks. Like so. This will give us a couple of options to use. And I'm thinking that maybe the best choice would be to make use. Yet hago, I already have this downloaded, so this is the one that I used. And this is a real nice texture for we want to get some additional detail out of the size of the walls. So I recommend you using this one as I really liked this one. So yeah, make sure to download this one then add it onto your project. Once you had a habit added, you can close this down, make sure to go onto the surface folder and then we'll have a whether slate, sorry, cracked wooden planks folder. And then once we open up, we get this Material Instance. And I think we can just use the default one for now. Just drag it onto the ASA and see how this looks. Already, is looking quite nice, but it's too large for this scale. So we're actually going to open this up or rubber Alice just in case, let's make a duplicate out of it. So control C, control V. And I'll think, I'll just leave this as is. Open up the original one. Since we already have this assigned. I'm just going to love it this entire window like so the bottom and enable the Tiling offset. And I'm thinking about just making it by four by four and seeing how this looks like. And it's actually a little bit too much. So two-by-two maybe. Yeah. I think two-by-two is going to give us the right kind of results. It's going to look quite chunky and quite cracked. But at the same time, it has that really nice look or the house. And I think that definitely makes it look quite nice. We might want to increased ambient occlusion strength though, because right now it looks quite flat as a texture. So what ambient occlusion strength does is it simulates cat over the death within the PBR texture and it just gives a bit more shadows in the deeper areas and it kinda works with the normal maps. And in regards to where, for example, the light is hitting on an object. So by enabling the ambient occlusion shrink and setting this to attend, for example, just to exaggerate with a little bit, we're going to get much different results. And actually it's a little bit hard to see. Let's go ahead. It's quite obvious in this one, so let's just get it to sell it at ten. And I'm trying to figure out why it's not being affected in this one over here. Okay. It's a little bit hard to see, maybe it's because of the way the sun is hitting. But I think for now we're going to be done. And in the next lesson we're actually going to continue working with this section over here. We're going to replace these areas. And so, yeah, thanks so much for watching and I'll see you in the next one. 18. Creating roof attachment: Hello and welcome back everyone to Unreal Engine Beginners Guide to building an environment. In the last lesson, we left it off by getting a base set up with a texture the size of the walls or are tiny little hut. And right now we're going to continue adding a little bit of an extra touch with side Roof attached to this area. So let's go ahead and get started. I think we can start off by getting a nice foundation Whole for this section. And I think we just click Add and go to Quixel Bridge right away. Then we can search for wood pole and see what we have and actually are about that It's not a pole, it's going to be a post. Though. He researched for that. We're going to get some results out of that. So I think there you go. This is the one that I quite like. It's simple but nice bit of a wooden texture. And let's go ahead and make sure we have this downloaded and added onto our project. So once we have added onto our project, Let's go ahead and close down this window and go onto omega scans, pretty Assets. And this one is going to be actually, instead of just simply searching for all of our folders, I find it easier when we use filters. So in this tab over here, if we were to click on it, we can see a bunch of different filters that we can make use out of. But this time we're just going to be using a Static Mesh tab. So if we were to select it, it'll show you everything within those folders that has Static Mesh, a label. And that'll include all the assets that we use previously, as well as the wooden posts that we just downloaded. Let's go ahead and simply drag and drop it into our world. And by default it is actually quite small. So we made, we need to make sure we increase that by quiet a large amount. I think we can just make sure we have this snapping tool for the Scale enabled and increase it just like that. It actually going back to the filters tab, if you want to change up the assets and see all of our assets again, we're going to be able to do that by simply clicking on this button over here, which will turn off the filter for this Static Meshes. Now what's nice about doing this kind of away when working with filters is that right now because we use it previously, this Static Mesh tags, tag is always going to be there. So it's actually going to be nice for when we're working for our project. And we want to see all of our Static Meshes. Again, we simply have to click on this button over here, and that'll just straight up show us all the static meshes within or mega scan's folder, which is quite nice. So I'm just going to actually do save down the folder, click Control and S to save it. And I'm going to reposition this poll to be to the side. Make it just a little bit larger. So maybe it's a little bit too large, actually. Make it smaller. This is going to be quite fine because we're actually going to add another frame support on the side. We're going to position it in a way that would help us to get rid of the placeholder just like that. Now for the rest of the Roof, we're going to actually make use out of the same place that we had previously. So we're just going to grab couple of them. I think something like wrapping five, we'll do. Now we're going to hold Alt and make a duplicate by simply dragging it out into the world, like so. And now I'm just trying to figure out maybe we needed six. Let me just go ahead and try to position it accordingly and see if that will be enough and horse that's not going to be enough. So actually we need a couple of extra ones. So instead of five, we're going to need seven. So I'm just going to hit Control Z a couple of times, like so. Make sure I go all the way to before when it was duplicated. And I think I'm just going to grab these couple of XOM and bring it up just like that. So we're going to be able to make use out of these planks just like that to have a nice kind of a texture for the Roof. And I think I think the texture itself is not going to look quite as nice. So we're going to be changing that up in a second. We're actually just going to position the Roof to be rotated a little bit like so. And I think we're just going to delete this place holder right away. And the way we want to have this Roof is actually we don't want to have any type of gaps in-between those two. So we're going to be squishing all of these up a little bit like so. And just going to make sure that the cauda don't have gap in the middle and they only just have a nice kind of a roof. So root actually protect from the rain coming downwards. So that's going to be much nicer, I think. And Actually just going to that them up just like that. And going to move this, our piece like so, and this one like that. And finally this one over here, like so. Now we have it like that. We can select the whole of them. And what do we can do is actually quite simple. We can just click our go-to, our scaling and just scale it up all the way like so. Now this might look a little bit too stretched out, but let's go ahead and check that out before making any changes. I think it'll still look quite nice actually. We're going to keep it as is. In regards to textures. I think it'll look really nice. So there's got to make sure we attach this to the side of the Roof. Let's go ahead and do just that. I'm actually going to move this with the gizmo set as local and just slide it backwards like so. So we'd have all of these sticking outwards just like that. I think we'll have some real nice results by the end of it. We just got to make sure we stick it to the side of the Roof. And it'll give us some really, really nice parents we work with and actually will need to make some additional adjustments. But before doing that, you gotta make sure we're actually stickiness to the Roof. Just going to click Control Z because I missed selected my option. And again, I'm going to stretch it out even more until we get this sort of shape. I think that's going to look quite alright. These blanks that are a little bit too much of, it's going to squish them down a little bit like so. But we can actually make use out of them and have them be just like that. And this is where the variation comes in from, actually by going into the local modelling. So we're going to do it in a bit. But basically we'll want to cut a slide, some of them up and down a little bit just to make sure we get some variation in-between those planks. I think this one we can for now focus on the front a little bit. We can break off the front of the Roof just a little bit more and get a nicer variation out of this overall kind of a tile. So I think this one, we can, instead of just scaling it up, we can just bring it back a little bit like so. Just like that, we're getting some nice variation. And this one for sure, I think we need to upscale it just to make sure we keep the original form or the Roof. I actually even want to make sure that this is a bit of a wider type of a plank at the very end, going to give us nicer results and probably want to squish down this gap like this. I think this is going to look quite nice. And finally, just going to go through all of the front to check out this looks maybe you want the final one to be a little bit wider as well. That's the nice way to break them apart. And finally, of course, we need to make sure we have some variation within this as well, because right now it just looks a little bit too flat. So what we can do is we can grab one of them, make sure that the gizmo is said to the world location position. And then if we were to just bring it down just a little bit, we can see the type of difference it makes within our entire roof. So that is actually quite nice. We can even just rotated a little bit slightly with the snapping mode turned on. And by doing that, over to select the right one, by doing that just a little bit, we're going to be able to kinda have it snapping out outside of this area over here. And I think it's just going to look so much nicer. We do that. So think I'm just going to grab the last couple of ones. Do the same idea where we just slightly rotate them. And in turn, I think it gives us a really nice pipe of looking roof. And we still have some Supports to add to this Roof since it's already just kinda floating by in the air. But I think we're going to do that in the next lesson and we're going to adjust the color at the same time as well. So thank you so much for watching and I'll see you in a bit. 19. Color Correcting for Roof Attachmet Textures: Welcome back around to Unreal Engine Beginners Guide to building an environment. And our last lesson, we left it off by getting the roof tile set up with using these planks as well as a basic support using this type of a post. And that we're going to actually attach them altogether using some wood pieces. So let's go ahead and get right into it. I think for this one, we can make use of a wooden beam perhaps. I think the wooden beam is going to work really nice for us. So let's go ahead and use that right off the bat. And we're just going to position it in a way that's going to be placed sideways. But of course we need to make sure that we have the snapping tool enabled. This way. We're going to be able to nicely positioned it sideways just like that and drag it to the side. And I think we can just put it in a halfway through. A way. I think that's going to look quite nice. Of course we gotta extended to make sure we have it sideways, like so. And snapping tool can probably be turned off for this one operation or the scaling. And I think we can have a just like that. I think that's going to look quite nice. It also has a bit of a different angle on this one. And I'm trying to figure out if it's actually going to look well or not. But before doing that, I think the overall kind of a word that we have for this N is a little bit too thin. So we're going to click our and extend our scale based on the X and the thing zed value. I think that's what it is. I think we're going to extend it. Oh, it's going to be Z and Y value. So this bar over here, we're just going to extend it. So basically we're not going to extend it sideways into its height anymore. And all in all, that's going to look quite nice. We can even just put it straight into her house, the side of the wall. And that will make it look really nice. I reckon. With this. I think we can actually make a selection for all of those like so. And hit Control G just to make sure we have them a nicely grouped up. And said control G, I'm actually going to go and change my Scalability from high to low. Again, if you're not seeing this sort of a menu and just make sure you go onto the upper-right corner to the Settings tab, then a Engine Scalability settings. And in here you'll basically get the same menu. And once you start playing around with it, you should be able to get the same kind of a button in here as well. So I'll just go ahead and use the Scalability set as low real quick and just position my entire object like so. And I think we should get these planks to go underneath this Roof. I think it'll look much nicer that way. So I'm actually just going to position them to be right underneath that roof like so. And maybe you want to drag it inwards, chest like that. And All-in-all, that might look quite nice, although right now these piles aren't looking like they're going to be passing through this. So I'm actually going to click our and extend them by quite a bit. In this area. Because they're grouped up, they're behaving a little bit weird when I'm scaling them up. So I'm just going to use this kind of a Mode. And right now I think this is going to look quite nice. Okay? I think we should get this a little bit to the back though, maybe a little bit higher up. And this is going to look quite nice. Okay? So I'm thinking that although this is looking really nice as is, we should probably get some support or going over in this area as well. And I think we can make use out of the same planks that we had. Or the bottom of this area over here. I'm just going to select this, bring it to reside and position it in the right kind of way. And actually just going to get the default material that we had previously. So I'm going to go in the bottom-right corner with this selected. Open up the content browser for this bacterial by clicking this button over here and just reattach the default material that we had previously by dragging and dropping right onto the mesh. So this was the default color that we had. Since it's not going to work quite as well if we had the previous a Bridge material for this area. I think I can just squish it down a little bit to the side like so. Squish it. In regards to its height. Maybe that's already looking quite nice. But I don't quite like the way this is being pulled out. I think I'm just going to bring it through back like so maybe maybe let's go ahead and play around with it a little bit until we get the right type of settings. And basically we just want to make sure that this is kind of underneath this one over here. So it's going to give us the right type of results. And actually, let's go ahead and make sure to raise it up just a little bit as well. Trying to make sure that this doesn't go beyond this blank over here. But I just want to make sure that we're leaving some gaps over here on this end. And this will just make sure it looks quite nice. Or maybe we can even just put it to the side trying to think what would look more realistic in regards to how this house is being built. And by default, if we were to just leave it as is because I had this setup like this, it's going to be sticking out. So maybe I'll just bring it all the way down. Yeah, I think this is going to look quite alright in regards to how this is being set up. Going to bring it even back. Even more. Yeah, I think this is going to look quite nice. Going to turn off the Scalability from low to go back to high, just to see how the colors are going to look like. I think this is the moment where we actually need this switch up the colors a little bit. So let's go ahead and do that. Actually. Going to select this entire area. Going to actually make sure that we ungroup them all because otherwise we can make use of the materials like this. So going to hold Control, Shift and a G to ungroup them. And now we should be able to, yeah, I think now we should be able to just select them all like so one by one. And once we have them all selected Material because they're using the same material, it's going to be this one. I'm going to actually make sure I open up this within the content browser. And actually I think I'll just, the default one was the second one, the Material Instance that we created a second one. So I'm going to select this click control C, control V, and make a duplicate out of that. So now we have a fourth Material Instance for that. And we have all of those boards selected. So all we gotta do is drag and drop this into the Materials tab on the right-hand side. This way we'll be able to change them all up. Now, if we by any chance, had multiple plank selected, the variation of materials. So for example, like this Flying over here, over here had a different variation comparison in comparison to this one over here. Because we wanted to brighten it up. What we can do is once we have them selected, click display to Materials. And it'll show you two elements. And just basically make sure you replace that Material, both these Material Instances with one of those that we just copied and pasted and created a new Material Instance. So if you have multiple material Instances, basically just make sure you replace both with them. But I just so happened to when I made a copy out of them, had a one Material Instance which made the process just a little bit faster. But yeah, going back to the Material Instance, let's go ahead and open it up right away and make some adjustments to it. And I think this one should be a little bit. I'm going to actually enable albedo tint and alveolar controls. And right away I think I'll just lower the saturation by quite a bit actually, to a value of 0.7, maybe 0.80, 0.8 is going to be quite alright. Going to darken them up by quite a bit. 0.5. Really looking quite nice, maybe even lower the saturation even more. 0.5. Now, 0.60, 0.70, 0.7, we'll do an albedo tint. Lets get some brownish tint alike. So not too much though. So I'm just going to lower the saturation to this amount. Just a little bit, is going to give us some really nice results. So it'll just make sure that we have a more or less the same kind of color tend route all of these boards because some of them where as you can see, just too much variation in them and in return, we get them to look way too noisy. So right now we have this sort of a Setup. And I think right now we can even increase the on trust or maybe lower it. Let's try lowering this down. Let's see how that law would look like. Maybe that actually would look quite nice. It'll change the entire color. So we need to be mindful on when we're changing this. So I think the contrast can be lowered by quite a bit to 0.8. I will just give us a more of a blend looking color for this area. I think that's going to be much nicer. And of course we need to lower the brightness. But in regards to the brightness, we can probably use the tint and just lower it like so. And that'll give us the will give us a real nice result in regards to the wood, I think that just makes it look so much nicer. So as you can see, this area for the water, for the Bridge has a more gritty, dirty looking Setup. It has a server, even I could say like a moss type of a texture, but this one is a more smooth texture, just makes it look so much nicer. And it just looks like it's been dried up by the sun and just kind of bleach down by the overall whether of being on top of the Roof. I think all in all, this will look much better. But of course, we need to make adjustments to these wood supports as well. Quite a look. They look quite right, but we need to make sure we just adjust them just a little bit. I think we need to darken them up just a little bit to make them look nicer. We're going to open up the texture. We're going to make a duplicate out of it. We're going to attach this duplicate. And now we're going to go right into it and adjust the alveolar controls. I think we can just lower down this brightness by quite a bit. And we can probably change up the saturation. And the contrast. To know UE5 know 8.1, 0.4. I'm playing around with the values. Usually the best way to check how the texture would look like is to check the extreme values on both ends and see what exactly is being affected within this parameter. And usually based on the type of texture you're having, it's going to give us often like different types of results based on a coloring of the texture. So right now I think contrast 1.2 is going to look quite nice. I think it actually makes it look real nice actually. So let's go ahead and keep it as is. Now. Finally, we gotta make sure that these beams have the same type of a setup. So we're going to open this up, go and apply a different texture. So I'm just making sure we are within this folder selecting this control C, control V, and probably apply onto this edge. And now we're going to darken it up. We can probably make use out of the same settings we had previously. So I'm going to select this, actually go back onto its folder. And now we're going to double-click on this. And what we can do is we can right-click on the albedo controls like so. Select copy like this. And we basically copy all the values for the albedo controls. So now we close this down, go back onto the settings for this one. Open this up, make sure that this is a duplicate Material Instance. Open this up like so. We can enable albedo Controls, right-click and hit paste. And this way, it'll basically ensure that it gives us the same kind of adjustments that we had previously because it was more or less similar looking texture to this pole over here. It actually gives us more or less similar caravel look as well. So that is quite nice. And we can try doing the same for this poll as well actually. So let's go ahead and open this up. Control C, control V. Make a duplicate, drag this right onto its Mesh, open it up, adjust, that'll be the Controls. Right-click paste. And we should, if we do it properly, that is, it's not, I think it messed it up somehow. I'm going to go back onto the Material Instance that we had previously. By the way, we can double-click on this icon over here and just show up, open up the Material Instance, and I'm going to right-click Copy, go back onto Material Instance, or we just copied, open it up and right-click and Paste. Now it works. Okay, perfect. But I think it's a little bit too dark, but it's one. So I'm actually going to increase the brightness to 0.7. I think now it looks quite nice actually. It looks like it's part of the same weathering system and it just been built in the same span of time and it has the same type of a look as the upper parts of this wood, which is quite nice. So yeah, I think we're pretty much done with the Roof, so thank you so much for watching. And in next lesson we're actually going to start off by breaking up this roof a little bit more, although we have some textures for the size of the Roof, obviously, just plain looking. So yeah, that's what we're going to do in the next lesson. So thanks so much for watching, and I'll see in a bit 20. Setting up Edges of our Roofs: Hello, Welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. And the last lesson we left off by getting this roof attachment sorted. And it actually looks pretty nice. Aldo, looking at it, we have some bits that are sticking out, but that's going to be a right as we're going to use some wood beams to kinda highlight the entire frame of the Roof. But before doing that, though, I would like us to actually set up the size of these Roofs to have some nicer look to them. And of course we gotta make sure we texture them. And so let's go ahead and right away do that. We're going to make use out of yet, but never Quixel texture. So let's go into the Quixel Bridge like so. And we're going to search for something called wood log. And we should get ourselves a category lists. So let's go into categories list and go down until we find wooden log wall. So if we're not able to find it, because there's a lot of options. Actually, let's type in wall as well, and we should be able to see a lot of options. So let's just make sure we pick something of this sort. I think this one is the nicest one since it has so much variation. So let's go ahead and click on it. Make sure we download it and afterwards, make sure to add it onto your project. And once we have it within our project, we can now close this down. And we should have, if we were to go onto the mask mega scans surfaces, we should have wooden log wall. So this texture over here. Now we just got to decide the way we're going to set up for the front bits of these walls. And I think the best way would be to actually create ourselves a plane lesson plan for the front of them. So let's go ahead and do that. We're going to go onto the modelling mode and we finish shapes this time. We're going to use a simple rectangle. So by selecting on it and just placing it right at the front of our Roofs, like so. Then by clicking once and hitting complete will be able to get ourselves a nice rectangle to work with. So if we were to just bring it out just a little bit by getting it outwards like so we can see that it is just a simple planar which is created. And now we're able to make use out of it and set it up in a way to just make sure we put it for the front of the building. So before doing that though, we got to make sure readjust the entire set to be right in the middle and adjusted to the shape of this building. So we're going to do that. We're going to make use out of the triad it. Let's go ahead and select that. And of course we can to make sure that this one is the one that's selected. Triad it. There you go. And now we're going to make sure that only the vertices are selected. So select vertices in selection for filter is selected. And this way we can select both the vertices on the top and use this green icon over here to squish them in a little bit like so. And actually right away we can actually reposition them to be right at the very front leg. So and just position it in Alfreda would cover up this entire section of the Roof. Think we can do that. And I'm just going to make sure I Standard just a little bit more. And we're only making sure that we switching the vertices the way we're manipulating the entire Mesh only on this to plainer kind of a position. We're not going to bring it back or forth from this Roof. We're going to do that later on. We just got to make sure that this entire plane is completely vertical. So we're just going to make sure it's more or less in the same kind of area, then we're going to bring get the bottom ones as well. Bring them all the way down. And we're going to scale them up to the side like so. Now, if by chance your vertices done online, if they're not completely in the center, we can also just select them individually and reposition them individually like so, which might be something that might be even faster to be honest to do. So I think that's quite nice. We don't have to be perfect with them. We're going to use some wood planks to cover up the sides later on, but for now that's going to be good. Let's go ahead and click Accept. And we got ourselves a nice plane for the middle section. Of course, as you can see, even with that unfold material, there are some squares that are just misaligned and the UVs for this material is not going to be applied quiet as well. So what do we need to do is we're going to make sure we change up the projection for the UV coordinates. And the easiest way for us to do that if we scroll all the way down, is by simply making use out of the automatic UVs. If we simply click on it and the default settings are going to be quite nice. It is a simple plane, is basically just going to be a simple box protection to the front of this area. If we hit Accept, we're going to get much nicer results right away. So that is going to be quiet nice. Of course, that is only for the front section. We need to get back and front for this other areas. Well, actually let's try and make use out of this. Maybe it might be quite nice just going to make a duplicate, rotated 90 degrees and put it to the side like so. The video got cut off in this section. But all I did was in this area was just make use out of the Automatic UV unwrapped. And that just gave us some nice UVs. So just in the same way as we did for the house itself, we just make use out of the same tool. And that gives us some nice way to start off architectures. And then all we do is just apply the Material Instance, the size of the Roofs, and then we can continue on and adjust certain values from within it. We're going to make sure they align. So 3.5, That's going to look quite nice. We can now close this down and I think they look quite nice. We can also even make some adjustments to the way they look. You can play around with a little bit of intensity for it. And actually if we scroll down, we have something called normal strength. Which is actually if we increase it, we'd get more intense of bumps out of these. But I think in this case, actually want to decrease them and flatten them out a little bit. I think they look much better in that regard for what we're trying to achieve. So by setting it up to a value of 0.8, I think they look much better. So let's go ahead and keep it as is. Or actually, let's go ahead and keep it to a point at pi over value. I think they're going to look much nicer as a result. Go ahead and close this down and actually, sorry, let's go ahead and open it up real quick and go tell beetle controls and lower the saturation to evaluate 0.8. Just a little bit. I think that's going to look much better as the overall result for this type of texture. And now we can finally close this down and that's going to be it. So in the next lesson, we're going to continue on working this Roof and break off some Edges using some of the word ends. And in general, we're just going to make the Roof look really nice. So thanks so much for watching and I'll see you in a bit. 21. modeling default meshes: Hello and welcome back around to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting a little bit more off this Roof and getting some texture in for it. And now we're going to let up some Supports for this roof. So before doing that though, I'm going to turn off my modelling mode. So I'm just going to go onto the upper left corner, go to Select mode like so. And I think I might actually just lower the content browser as well, since we don't need it this much at this moment. And right now what we're going to do is actually, I think we're going to start off by getting ourselves the things that we're going to use. So within Omega scan's folder, within the 3D Assets group, we're going to go and get ourselves a wooden beam, just trying to think which one would look the best. In this case, maybe it's this one. That might look quite nice. Yeah. Okay. We're going to start with the wooden beam that we had. And that's going to look quite nice for the Base sides as it's going to help us to break it down. It doesn't have too much of an intense detail in comparison, for example, to this beam over here. And it's just a nice simplistic sort of looking mesh. So we're going to actually make use out of that. We're going to drag it to the side like so. Make sure we have it selected Paris. And then we're just going to drag it like so. Now we're going to actually position it will recite of the Roof. And I think we'll start on by having it set up vertically or actually, sorry, let's start by doing in the horizontal lines instead. Think that's going to be much easier to start it off. So let's go ahead and have it selected, rotated 90 degrees with snapping tool enabled, of course. And we're going to position it to our site. Now think by default, this beam is a little bit too thick for us. So we're going to click are. And we're going to, I think we're going to, yeah, we're just going to squish it down. So let's go ahead and have it selected and then have this gizmo be used like that. By just dragging this down. We're going to get this sort of a beam which I think is going to be quite nice. All we need to do now is stretch it out a little bit. Not too much though. I think that's going to be quite alright. Now we're just going to attach it to the side of a roof. So in regards to how we want to attach, it, really depends on the way we want our Roofs to be broken down, but because we have some Tiling of the texture coming from the top and our main camera is going to be more or less focus from a higher perspective. We want to make sure we break apart some of those edges. So we want to make sure that we live a better a gap in this area over here. I think that'll do the trick. Maybe a little bit lower down. And that might look a little bit better, even something like that. That'll work. So now we just want to make sure we stretch it out all the way through end. And let's go ahead and do that. It's going to stretch it just a little bit more like so riverside and see how this looks. So we're not worried about the end too much because we're going to be having another applying going diagonally as well. So we don't need to worry about it too much. I think we just stretch it out a little bit more even so. And that might do the trick. I think that's going to look good. Now let's make sure we do it on the other side as well. Which is going to grab this entire plank, duplicate it, put it on the side like so. Then rotate this around 90 degrees. And we're just going to grab it back. Seems like it's been rotated all the way to end, like so. And just position are over beam in our side. Force. We need to raise this up a little bit this time and to make sure we don't have any of the ends thinking through what this type of Roof, what is attached to that we have at the front. And they actually helps us out quite a bit because this beam ends up sitting on top of the other beam, which is quite nice. It's the way it would be built if we added it in real life. So for example, if the beams or to support this, we'd have it something like that. And I'm trying to figure out why it's doing it in a weird kind of way. I'm going to deselect it and select it back. Now, tried to expand it and it seems like I'm having a bit of an issue while hearing this up and I'm just going to look at my older and I see like both of these are within the same object. So I mess it up while making a duplicate out-of-date. Just going to go ahead and select the Static Mesh, like so. And then just going to delete it because we don't want this to happen. So we're going to delete it just like that, make a duplicate out of it. And hopefully again, I messed it up. Seems like it gets selected the Static Mesh components. I'm just going to deselect it and select the bean bag up. And now the selection is going to be set within the instance itself and not Static Mesh Component So now when we make a duplicate, we can see that it just makes a duplicate within our outliner. So that's quite alright. So if you're having the same kind of an issue everyone's heard of, I'll just make sure you deselect it unselected back onto the mesh. And that should fix an issue. Right now. I'm just going to raise it up a little bit just like I did previously. To the side like so. And of course we need to stretch it a little bit outwards like so. Now on this end, we might not want it to be a sharp. We can switch stretching out so much. We're going to get this angle to be quiet extreme, but I think that might be okay, worst-case, we can always rotate it around when we're building the diagonal edges for this roof. So think for now we're just going to leave it as is. And now, of course we need to do the other end as well. So let's go ahead and do that. Who's going to grab this one over here and just holding Alt, put it on our end, like so. You can just attach it just like that. And I think in this case, because we're having such a long Roof, we're just going to actually shrink this entire beam down. So when I see the scale for this area and it's already being double the size and we're getting some stretch side texture. So we don't want this to happen, although this is somewhat of a small Instance and we're now going to get too close to it. We just need to make sure we haven't overall shape and overall texture that we set up properly. So even if we were to stretch it out across the Roof, we'd probably be able to get away with it. But just to be on the safe side, we're going to make a duplicate out of it. And I'm just going to hold Alt, drag it to the left side like so. And I think it's going to be a little bit too big at this moment, so I'm just going to position it so it'll be next to one another. Grab both of them and shrink them both down like that. And that's going to, maybe we need a little bit more actually. Or we could just show it to the side like so. That might do the trick. Now, looking at it though, this roof seems like it has a bit of a gap, is actually quite an easy fix right now. So I'm just going to grab this one and it's going to stretch it out. I don't think there's going to be much of an issue, even if you do it just a little bit because it's such a small gap that we don't even have to worry about it. Or actually better yet, if we go to modelling mode, is going to modelling mode like so. Going to triangle edit, making sure that the vertices are selected and the edges and faces are de-selected. Then I'm just going to grab this side and simply drag it out like so. And usually that might cause an issue because we have a duplicate on the other side, but because this other side is going into the Roof itself, that's not going to be an issue for us. So we gotta do is hit Accept and that'll fix an issue or it shouldn't be. But we cannot modify this mesh because it's actually a, I'm just going to try doing that again, actually. Going to make sure we have it selected, it a triangulated and see what happens. Except yes, we cannot modify a built-in Engine Asset of basic shapes. So what is happening right now is because we set this mesh up as a basic Instance. We're going to have this sort of an issue. I think the easiest way will be in order to fix that, we're just going to go within our Details tab, just going to lower this down a little bit. So going to have this mesh selected and find the Static Mesh that should be within this Details tab. So the plane over here. Now we're going to go ahead and simply go browse to play in, in content browser, which should pop us in within Engine content basic shapes folder. And if we're not seeing this just in case, go into the Settings tab for the content browser like so. Make sure you have show Engine content and show plugins enabled. With having those two, you're able to now go into the folders for the default Engine content. And usually I'll warn you right away though, that you don't want to change anything within these folders and instead, you just want to make duplicates out of them. So right now if I were to select this plane like so, click control C, then go back into my content browser. And we're just going to go click all the content and generate it. And we can just go and paste it into next to our average Static meshes. So now that we have it like so we can have a plane and just replace this plane with the one that we have it selected. And now it's going to show us that it is located within our font folder that we have oral Oliver Static Meshes generated. Now, once we have it like so, we can go to triangle edit and grab these edges like so. Move them to decide. Seemed like I said, made me selection. So it's just going to cancel it. Make a selection for the square, for the plane. Then make a selection for all of these vertices that aside and drag it entirely like so dredge. And because we replaced this Static Mesh with our own one, we're going to hit Accept. And the upper one that was duplicate is not going to be changed. And that is because we basically changed up the way that Material Instance is being used. So right now, this is the plane that is being used by this side, while the other side is having a different plane, the original one that they'd had previously. So that is one way of fixing the Roof and one way of adjusting it. Even if we don't use a default Static shape that we had previously, we can always just switch that out with our own custom Static shape and then make adjustments to it that way. Anyway, I'm just gonna go and turn off the modelling mode like so and finished after Boris for this Roof. Think I'm just going to make a selection out of these to expand just a little bit more and just going to drag it out to recite like so actually just going to turn off the Scalability too low. I think I'm having some performance issues at the moment ago. So I'm just going to stretch it out a little bit to the side, like so. Maybe a little bit more. I think that's going to be alright. Now of course we need to do it for the other end as well. So I'm just going to hold Alt and drag it to the edge, like so. Make sure we turn this around 90 degrees. And political side, since it's also quite a long type of Roof, I think that's going to be alright. It's got to make sure we have it set properly. This has to be a little bit lower down, like so. That's going to be quite alright. Enrich, going to place it right on the side. And actually it looks a bit and we might need to have pre beams over here. So I'm just going to hold Alt, make a duplicate out of it. But it to the side like so. Grab all three of them and squish them down a little bit. And I think that's going to look quite nice All-in-all. We're just going to make sure we are all the ends. Just like that. And I think that's going to look quite nice. So even though we're having some gaps, because there's so nicely set up, we're going to have it may look like they're just different chunks of wood and it has actually going to add a little bit of an extra detail towards our house, towards their little hut. So yeah, that's going to look quite right. We're going to end our lesson now. And in the next one we're going to continue with the Roof and set up some diagonal beams to grow across our Roofs section over here. So thanks so much for watching and I'll see you in 22. decorating roof frame: Alright, welcome back everyone to Unreal Engine Beginners Guide to building an environment. In the last lesson, we left off by setting some of the planks and adjusting roof a little bit on the back end over here by changing up the lane Static Mesh and making sure that we're able to use modelling mode for it. And right now we're actually just going to continue on working with this Roof and set up some diagonal beams to it. Right now I'm just trying to think on what kind of beam we can actually use for this area. And we might want to just make sure that we use a better type of a diagonal wood texture. So I think instead of just using the plain ones that we had previously, we're going to go back onto our mega scan's folder, onto different 3D Assets group. And we might be able to make use out of maybe this one over here. It's going to drag it out to see how this looks like or actually just open it up might be even easier. And just look at it. I think it's actually the same one that we had previously. I don't exactly want to use this one. Maybe this one over here, or this one over here. That might actually look quite nice. But it looks a little bit too simple. I might want to just make use out of the same one that we had four here or our docs. I think this looks really nice in general. I'm just worried that it might look a little bit too worn out the edges of the Roof. So actually, I don't think we are going to be using that. Let's go back onto the wooden beams and see how it looks like with the default ones, the ones that we had previously. But these ones over here, if we were to just simply drag them out and make them a little bit larger, like so, just to see how they would look like, they might actually look quite nice once we're done with them. And actually we're going to try using them for now. And worst-case, we can always just replace them later on. So we're now we're just going to put them up to recite like so. And just drag it out. In this kind of a way to turn off the ad snap to make sure we have some control over the rotation because obviously we want to make sure we align it to the edge of the Roof just like that. Then I have to be exactly perfect, but it would be nice if we get the right kind of alignment. So our pink, we just need to increase where our order is. And it's already looking pretty nice, but the bottom section is a bit thicker than the top ones. I'm just going to rotate it just a little bit more. We're not worried about the height just yet, just going to make sure that the alignment really nicely together. And I think that's going to do it. Now. It's going to lower this overall height, or actually we're just going to leave it as is. And I think that's going to look much nicer. It's going to break up the entire shape of the Silhouette of this house. And we might even just get away with an increasing this overall Wave. So we can just hide this bit over here. This way, just, it just goes into this blank, like so. So now once we have this kind of a Static Mesh, we can actually play around with the way we have them set up. For example, if you want to have a different beam and just see how that would look like, we can actually do. So it's actually quite simple to do for to go to a, well, that's not go to a wooden posts. If we're to go to a worn wouldn't be in, for example, if we want to change this. With that, we can just simply drag and drop it into the Static Mesh like so. And that should change it up. And although the mesh itself doesn't have the exactly the same kind of scale, it would have its position properly set up as well as the alignment. So even though it's not quite as thick as we had previously, because obviously a different mesh, it will have a different type of properties and whatnot, but more or less, it will be placed in the same area, so it's quite easy to set them up and fix up the mesh. So whatever we want to, for example, see how it would look like and visualize the entire beam. We can always do so by just playing around with the Static Mesh and just replacing it. So for example, if I wanted to try out this beam, place it in here. We can do so and resemble with obviously need to make it a little bit thicker. And probably why didn't the sub. And that might give us a better understanding on how the beam would sit within the edge of our rooftop. I think we're just going to go back to the default one actually. We might just have it looking much nicer. So the one that I'm using was basically just a duplicate out of this and we're just making it thicker. And I think that in turn will look quite nice altogether. All-in-all. I quite like the way this is turning out to be. But yeah, by just playing around with different variations and just replacing them, we can get some really nice results and just can visualize how the Roof would look like. So once we have one beam out, we can just hold Alt and simply drag the riverside. Switch it up. I think this time we need to use the edge snapping. So could make sure that We're actually rotating this 90 degrees, like so. So sorry, 180 degrees. We just flipped it all the way around. And of course it's not going to look quite as nice because we're now going to have two edges kind of merging with one another. So in order to parse effects that we're, we're actually going to do is we're just going to grab one of them. And I think we just move it forward just a little bit. It's a little bit too much. We want to make sure that it is set like in a position of our previous beam, of this, like this over here, which is going to make sure that the border that was going for this beam is actually going to not overlap or give us any of the gaps. And now we're getting some nice results. But I think we should probably lower this down a little bit. Actually, we're having a bit of a gap or actually we're going to leave it as is, and we're going to get ourselves a real nice wouldn't be in the middle. And I think that'll fix it up altogether in regards to how it would look like or this house 1 h, we're actually going to leave it as is. And maybe just, maybe we might want to extend them just a little bit. So I'm actually going to grab both of them. And because they're using the same kind of position and by default, the scaling is set with local gizmo. We can just extend them like so, and they should be extended in both of them together. So I think that's quite nice though we might need to move them up a little bit. So I'm going to click W, then make sure that we're having a local Gizmo. So this one over here, by switching this around, making sure it's set the right one, we can now grab them both or actually just do them one-by-one. And maybe that would be even better. And we're going to do just a little bit like so. You gotta figure out what is the right height and a thing. Here's the thing we're going to need yet another decoration on the top. Just by default, it looks quite plane. So what we're going to do is actually we're going to grab another asset from Quixel library. So let's go ahead and quickly add a Quixel Bridge window. And then we're going to search for, let's try something like wood and wood. And we're going to see what we get and 3D assets. And we're just going to actually use this one over here. I quite like this one, modular handrail and post kit. And it has a really nice sort of a totem look. And I think that's going to look real nice on top of our Roofs. So let's go ahead and Dolan's that and add it onto our project. Once they have it out. In our freely Assets folder, we're going to grab ourselves a should be over here. We're going to actually turn off the Static Mesh Filter. If you're not having it, make sure you just have it enabled through here. But once you have it enabled, you're going to be able to have this button. And then you should be able to see within our 3D Assets folder all of your Static meshes. So we're just going to grab this one over here where it on the ground like so. And actually think, I'll check how the wireframe looks like for it first. It does look quite dense, may be perfect. We're going to use that too much, so I don't think we need to set it up as a Nanite. The, our Meshes though, they look quite low topology, so we're actually quite fine. In regards to optimization. I think we don't need to do that, but worst-case, we can always come back to the rest of the meshes and simply change a, change them up to be Nanite. So going back to lead, we basically don't want to use the Nanite. We want to keep it as minimum as possible. And that just saves up on our performance because it really just do it too much. We're going to obviously make our computer just to use unnecessary calculations. But anyways, go ahead and back to placing this declaration onto area. I reckon the easiest way would be if we were just grab one of the beams that we had previously. And right now what's going to right-click on a transformation. Hit Copy, That's going to copy all of the values within here. We're going to go back onto decoration and then right-click on 3D rotation and hit Paste. And that should give us the right kind of alignment. Although right now it is set in a way that's actually quite opposite of that hand. We're actually just going downwards, so we obviously don't want that. So the easiest way would be you fix it. And we're just going to enable the snapping tool and rotate this by an hundred and 80 degrees. And that way which is going to flip it completely around to go the other way like so. And we're going to still keep that kind of Alignments since we're just going to, again flip it just 18 degrees and I'm just going to go the other way. And now we're just going to position our declaration like so to the side. We're going to make it smaller because that's a little bit too big. And what's going to bake it just big enough sort of be covering the entire beam thing. That's going to be quite alright. Maybe we need to bring it up a little bit. So I think the easiest way if we had the transformation setup with the local position Well, by changing this around, we're going to just bring it up a little bit. That might look quite nice. Maybe I'll just make it just a little bit bigger, just in case you want to make sure I select that, make it big enough, big enough to just cover this entire beam. I think that's looking quite nice. Course, the color right now doesn't match, but we're going to fix that in a moment. We're going to adjust the entire color just like we did with the board's previously. But for now, let's just focus on putting this on the upper end as well. So we're just going to grab it. Click W are actually II. Make sure we have set the gizmo with the world local transformation. Then we're going to actually before that we're going to hit W, hold Alt, drag it out like so. Now we're going to hit E, makes sure that it's snapping tool is enabled. Rotators 180 degrees and we're going to have it plays an opposite way. Of course, this beam is a little bit set to the side, so we need to readjust our entire mesh like so, just like that. And we're just going to bring it back until we get it, set the right position. So that is going to look quite nice. So we're going to get a real nice kind of a setup for the side of the Roof. So I think that's going to look pretty good. Okay, so now we need to make sure we have something similar on the other end as well for the Roof. We're going to grab all of these and we're going to hold, we're going to click W, hold Alt and drag it to the side like so to make a duplicate. Going to click E, going to rotate this around 90 degrees like so, moved to the bag. And of course now going to be aligning because they are a little bit different types of Roofs. So we need to fix that up a little bit. I think there's going to the easiest way to do that would be to just grab one beam and decoration and then rotate them around with the snapping turned off, of course, because we need to make sure we align it properly. So we're going to grab both of them like so rotated like some I think. I'm just going to check how it looks like. Maybe I'm just going to click G also to make sure we don't see any gizmos while checking when to go onto the highest Scalability just so you could say Lighting. And yeah, I think that looks a little bit too excessive. We are okay with having some decoration over here. It brings the entire shape of the house, but having both with them just makes it look a little bit too much in my opinion. I think personally, I'm just going to take get rid of the declarations, going to grab over them, delete them, and set these both beams to be placed properly. So right now, it's going to grab one of the beams like so, and just going to drag it or actually erode. First of all, re-scale this a little bit, drag it downwards like so. Now we just got to figure out how we're going to do it with the end of the Roof. And I think the easiest way would be to have it set just right above it, like so so it's just barely stick it out. I think that's going to look quite nice. But this bit though, you should probably back to the frontal little bit. So it'd be aligning with the beam that's next to it. Rotate this to be aligning as well. Like so. Make sure it's authoritative properly. Maybe a little bit more, a go. Now we're going to bring this scale down a little bit like so. That's going to look quite nice. And of course, we're just going to switch it to local gizmo and bring this down a little bit. Actually just met a bit smaller. Something like that. Maybe we need to actually erase this up a little bit. Now that I have a look at it. We want to obviously hide this beam over on the side. So I think this is going to look quite nice. Maybe just bring it down a little bit like so. And yeah, I think this is going to look pretty good. Maybe we should actually just ovaries down a little bit as well. So by just tweaking couple of values were able to get a really nice shape to the edge of our roof. And I think we're just going to need to get ourselves a real nice beam on the top. And I'm just going to cover it up quite nicely. But before that actually I want to set up this end over here. On the other side. The diagonal beams are going to grab both of these since they have the right kind of alignment. And make sure we have the world gizmo turned on this one over here. And now we're just going to hold Alt, bring it our end. And this, and I don't think we should get a lot of the beam sticking out, so we're just going to grab one of them, make it smaller. This one doesn't matter too much because we, as we can see, it actually goes inside of the Roof, which hides the entire mesh that we just got to focus on the very top section and bring it out. Words like so. It's been on our hand. We've got to make sure we get it right because we want to make sure we have it just barely enough sticking out and similar manner that we have the other side. And I think we were to just squish it down shirts a little bit more like so we're going to get some nice results out of it like so. So that's pretty good. So now we are left with actually just setting up the top section. And actually we're going to be adding couple of extra frames, the beams to the sides of these rooftops. But I think we're going to do that later. I kinda want to start out the very top section because right now it's just a plain Annabel mesh. So we're going to do that in the next lesson. So, thanks so much for watching, and I'll see you in a bit. 23. aligning rooftop beams: Hello, hello, Welcome back everyone to Unreal Engine five, Beginners Guide to build an environment. In the last lesson, we left off by setting some of the frame for diagonal beams and decorating them. And in this lesson we're going to continue on width to roof and setting up something on atop of these areas. So I think the best beam that we could use is actually going to be the one that we had previously. But this section over here, we're just going to make a duplicate out of this one over here right away. And actually I'm going to go back onto the material. So I'm just going to click to browse the content with the Material Instance. And I'm just going to place the original material that we had previously made a copy out of. So for now we're just going to get a default sidewalk, sort of a color and array. Right away. We're just going to place it in the right position. So we're just going to see what it looks like, its own sort of a texture. So we're going to enable the snapping to a rotation. And we'll set it up is 90 degrees and position our entire beam to be to the side of the house. Now, I'm trying to figure out if it's a good idea to have entire beam that in the very top, or we should have a couple of them. So for example, there's a lot of options that we could use for this one. We could either have a larger one that just covers the entire leg. So or we could have a couple of smaller ones. So both are viable options and we could even check them out how to look like and see if they look any good. For example, if we were to grab both of these legs, so make a duplicate. And that might look quite nice. Because you got to experimented a little bit, see how it looks like from the side. And maybe just maybe they're going to look quite nice All-in-all. But I think We are okay if we just were to use a normal single beam, I think that's going to look much better. So in this, in case where it's going to make this one quite a bit larger. And actually I'm going to reset the scale of furnace. So make sure that we have no distortion in this mesh for now. So Within a transformation within the scale, we're going to click on the reset this property to its default value. So we're going to get its original ratio without any distortion. So now we're just going to scale it up in all directions without distorting. And I think that's going to be a much better choice. So we're now going to figure out if we want it to be this way or if you want to raise it up a little bit, maybe that's going to look quite nice. But we need to figure out is if it's actually not too thick because from looking from this way, it might just be a little bit too big. So we're going to actually squish it down by quite a bit. And that's going to be quite nice. But it down like so I wanted to have a bit of a gap going overhanging a little bit from these tiles. I think that's going to be quite nice. Just going to check the other side. We might need to make this one even wider, actually covered a sub it all depends on the type of roof that we having. An a very top. But in general, we just wanted to make sure recover the very top like so. We've got some overhanging from this area, some over hanging from this area as well. Actually maybe just a little bit bigger. Like so. That's going to look quite nice. Is looking quite nice. I quite like that. And think we can now probably extended. Yeah, but that's going to if we were to squish it outwards like Sophie, that's going to be too distorted. So we're going to go back. We're going to position a wooden beam like so to recite, get another beam. But it another end like so. And we're going to actually grab both of them and squish them down quite a bit. This way we get a lot of detail leftover and I think it's going to look quite nice. So we're just going to make sure reposition them properly the while having them both grabbed. Actually, we should probably make sure we don't have this sort of a gap a little bit too much for us. I think we should hide it a little bit, is going to be quite alright. Now we're just going to grab both of these beams and scale them up properly. So something like that, maybe a little bit too much. And I think if we were to be having some of that beam to be sticking through, I think that's going to be quite alright. Are actually are going to reposition this beam a little bit to the side. And this one a little bit to the front. Hey, you go. So now we're sticking some of them through or actually I'm just going to grab both of them and bring them outwards just a little bit more. Behalf half of them will be sticking out. I think that's going to be much nicer in regards to that. And the other side, we might need to make it just a little bit bigger so it'd be touching. I wanted to move this individually. I'm going to do that, just that. And I think that's going to be quite alright. Okay, that's quite nice. Now we need to do the upper end as well. So we're just going to grab both of these beams. Hold Alt, make a duplicate out of it. Click E, rotated 90 degrees And position them to decide just like that. Bringing them back, bring them to the front. That is going to think how I'm going to break these edges over here. I don't want to make it stick it out, but at same time we should definitely habits some overlap over here. Think by looking, we do have a bit of a gap coming out. I think that's plenty actually. Or maybe just maybe in experimental actually try bringing us out even more. Maybe that's going to look much better. Just going to see how it looked like from a distance. And maybe, maybe not. That doesn't look quite as nice. I'm just going to leave it as this. And this is much better in regards to how, how it looks. Of course, this beam doesn't look quite as nice. So think I'm going to grab both of these, going to bring them up. So this one is going to look like it's up being overlaid on top of our course. We got to squish it down quite a bit. Those two beams. Or maybe we could stretch them out for quite like the way that we have some of the seams visible in-between those two beams. Maybe it's a little bit too much though. So I'm going to delete one of them and just extend this entire one on this end. And I think that's going to look much nicer. Just grabbing it, making sure that we're seeking them through. Like so. Just a little bit more. Just like that. All in all this is going to look quite nice. So by just tweaking the values just a little bit, we're going to get some nice results. In this time, we need to make sure that we have a little bit driver's side. Or actually, I'm just going to flip this around because I see that this side of the mesh doesn't have a good way to end it. On the other end, as in the diagonal edge, is slightly tilted. So we're going to make sure that the tilt is going downwards. I think that's going to look much nicer. Just going to make sure I reposition this log though. We did a very central like some and of course bring it down just like that. So looking at it though, we might need to make it a little bit wider. And maybe this will do. Let's go ahead and just simply because we raised it up a little bit in order to hide this end of the beam. You gotta make sure we fit it in properly. Screen to extend it even more. Bring it up words. Actually going to turn off the local gizmo and set it up to the world position. And now, just a little bit more of a tweaking, making sure it's small enough. But we're going to have this beam sticking through it. Something that's going to be much nicer. Something like that. In as much, much better. Think. We just wanted to be going like this though. But that's going to leave a gap. So in this case, we can probably, yeah, we can probably just leave it as is. And I think that's going to look quite nice. Like so. Or alternatively, we can actually just hide this entire end and see how that will look like. And maybe that's a bit nicer. But I don't like the flow the way it interacts with this. So actually I'm going to keep this at the very top of this log. I think that's going to look nicer on a null. Now. They just look a little bit too straight, but we're going to fix that up in the next lesson. And we're going to actually do use some deformation to get some nicer results out of this entire roof. So yeah, thank you so much for watching. And I'll see in a bit 24. deforming rooftop beams: Hello and welcome back everyone to Unreal Engine five, Beginners Guide building an environment. In the last lesson, we left off by setting some of the framework for the top of our Roof. And in this lesson we're going to continue working with could actually set up a nice pattern. Otherwise, it looks from the side a little bit too flat. So we're going to go ahead and fix that first. So the easiest way to fix that is by selecting it and using a Modeling Mode to deform the mesh. So we're going to go onto the modeling toolkit like so. And actually, if we were to just simply adjust the same Static Mesh, we're going to get an issue where we'll be adjusting entire Static Mesh for all of our assets that use this apology. So we obviously don't want this to happen. As an example though, I will show you what I mean in a bit, but right away, we're just going to go scroll down and underneath to deform tab, we get ourselves a bunch of options. And the one that we're getting to be using is lettuce. So what led us allows us to do is basically it creates a grid around the mesh that allows us to manipulate it. And T4 are entire mesh. So it's sort of like having a framework that actually bands an entire mesh. So the way to use it is firstly, we have a resolution for us is set within its Details tab. So we got x-axis, y-axis, and Z axis resolution. So if I were to change this one, for example, I think it's going to be the one that's affecting the, It's actually not one that I wanted. I'm just going to click the Reset to Default. And we'll try to increase this one. So by clicking and holding on the value, we're able to increase the amount. And as you can see, we get a bunch more dots around it. And basically because there's a third dimensional shape, we get a resolution and X, Y and Z values. And the zed value is happens to be going across the beam. And for now though, I think we just wanted to set it up to be quite low, so maybe something like that. Let's go ahead and actually say it as Bree, even we can go as low as three if we were to click and hold and then drag it across our screen like so to make a selection for all of those thoughts, then we're going to get a nice selection. And once we do that, we get ourselves a gizmo. And with this gizmo we're able to move this up and down and manipulate our entire mesh. So what I usually like to do is manipulate the entire mesh to set it up in a way that I want. But before doing that though, I'd like us to firstly show what I mean by having the same mesh. So I'm just going to hit Cancel actually, and now make sure not to do the same thing as I do. But if I were to get this up and apply this application eyes, you'll notice we had a bunch of different methods for our Static Mesh. And because all of them are using the same Static Mesh. So in the same way that we did for this side of the Roof, where we had to make a duplicate out of the plane. We have to make a duplicate out of this Static Mesh in order to avoid these kind of issue. So I'm going to hit Control and Z to undo my step. Luckily, we're able to undo this entire deformation process. So right now what do we need to do is we need to make a duplicate out of it. It's actually relatively simple. Are we going to do is go up underneath the Create. We're going to hit Mesh duplicate. And we're going to make sure it's from input, delete inputs, and then we're going to hit Accept. So it's going to make a duplicate out of Static Mesh. And it's just going to delete it in this area. So that's going to be quite nice. Now we're going to scroll all the way down to the deform, hit lattice and we're going to adjust it. Or actually, let's go ahead and keep it as five. I think that's going to be much nicer. We have much more control over this. And we're going to bend slightly inwards like so. Painting is going to be quite nice. So just a little bit, we're able to get a lot of nice results out of it. So I playing around with the overall shape, we're going to get a nice indent. I think that's going to look so much better. So we've now hit Accept. We're only going to be affecting this entire shape and the rest of it is now going to be affected by it. But just by doing a little bit of adjustment and tweaking what a shape, we're going to get a much, much nicer shape for the Roof. Let's go ahead and make use out of, out of this entire functionality for this section as well. This time however, we have to beams and ideally, I'd like us to deform them both at once. So the way we're going to do it is firstly, we're going to select both of them. And then we're going to scroll up until we get the polymorphic model AB. And we're going to go into the Create tab, just like we did previously this time. Why do we have both them selected? One of the highlighted ones is going to be something called Mesh merge. So if we were to click on it where it's going to merge both of these assets and create a new Static Mesh out of it. So now if we were to just simply keep the default property values, so output type from input and then we're going to delete The original Meshes afterwards, then afterwards we're just going to hit accept, you accept operation and we're going to get ourselves a new Static Mesh that's going to be both of them combined. Basically. It doesn't necessarily have to be identical mesh we can combine multiple Meshes, doesn't matter what kind of we're combining. And it'll just give us a new Static Mesh to work with that rehab. So what we can do is we can go all the way down back to our lettuce and it's going to treat this entire mesh as a single object. So now we can just grab these two Assets are actually before doing that, I'd like us to change the resolution. We need to make sure we change up the resolution beforehand because otherwise, if I were to make even a smallest of the Adjustments, those resolution Values are going to disappear. So we need to hit Cancel then and then reselect, go back onto lettuce and then we'll be able to make adjustments to the resolution afterwards. So I think zed value is the one. But no, not this time. This time it's not the zed value is going to be the y-direction because this spacing differently. And I think we're going to get the nicer results. So we're going to use a Y axis resolution for this one. We're going to grab these and kind of start playing around with the overall values. So because we're making a selection, obviously the other side is going to be selected as well. So that's quite nice. We don't need to worry about it too much right away. It seems like my gizmo disappeared. So I'm going to click G to C where it went. I'm not sure what happened. I think there you go out with just de-selected and selected a backup and that seemed to have fixed an issue. So let's just make sure we select each one of those lights individually and readjust the way our roof looks like. This one. I'm going to keep it as is. So N bits, I think I'm going to keep your eyes and just want to make sure that these ones are the front, have a much lower value. Like so. I'm going to bring this up actually, or maybe down. Well, not quite sure how I want it to be. There you go. I think this is much nicer. And this N bit can actually even drag it a little bit to the end, like so. And I think this is going to look quite nice. So now we can hit Accept and see how it looks like without the framework. And I think we can now leave the modelling mode is, is. And just like that, by tweaking some of the values is going to give us so much nicer office Silhouette for the roof tile, but a top of the Roof. So just like that, by adjusting the values, we're getting some nice results. I think though we need to add couple of additional frames to the edges. So we're going to grab the wooden beams that we had previously hold Alt drag outwards like so. And we're going to set it up to be going and hide the scene in this section over here. So we're going to rotate this beam like so. Actually I think because it's complete diagonal, we're going to click Control Z to go back onto rotation. And we're going to switch up the snapping to our angle and set it from ten degrees to 15. So by using 15 degrees of a snap mode, we're now able to go 45 degrees, which is completely diagonal. And by doing this, I think it should be going right in the middle. That's quite nice. And of course we can now turn this off, click E and make sure we have it rotated properly. And actually going to click Control Z, because we need to firstly, make sure that we have local gizmo turned on. Otherwise, it's not going to be rotating in a way that we want. Because right now we're having our object diagonally. We gotta make sure we set it up right. And maybe just maybe we need to rotate it a little bit more actually. Will have to rotate it a little bit more to reside. You gotta make sure we align it properly, like so. And bring it up a little bit. You go I think rotated bit more to the side. Actually, I'm going to give it us as and just drag it to the side like so using Transform tool and make sure we align it, bring it down. And just by playing with these valleys around, we're able to nicely align it just by eyeballing it. Though it's quite assemble process actually is quite nice to do. It's trying to think what to do about this end. And maybe it might be just easier to extend it all the way, like so. And that might look quite nice. We just got to make sure it's at the very top of our planks. I think that's going to look quite nice actually. We're going to leave it as is. And of course we got to make sure that the, our hands are filled in with this as well. So we're going to grab this one. We're going to hit W. This time. We're going to make sure that the gizmo is set to the world axis. Hold Alt, drag to the side and then hit E, transform it, move it like so. Bring it upwards. This time it's a much thinner or gap, so we're getting to squish it down by quite a bit and position it in the way that we get a real nice result for this edge as well. We just have to think on what to do with this end. Maybe it might be just best to It upwards, just like we did previously. Just got to make sure that this angle, I think we'll need to keep it lower. Maybe I'll just play around a little bit more, Wave an angle itself. And that might fix an issue. I think in general is just this tube. This beam is a little bit too long, so I think we'll just squish it down, go back onto local axis and push it upwards just like that. I think in general, we're going to get some nice results, I think. Yeah, I think this is quite alright. Maybe even more. Probably it all the way like so. A little bit lower. I think this will do. I think there's a loop. I like this result. So now we also need to make sure we fix up some of the other beams. So let's go ahead and quickly do that. I want to make sure I have a beam over here. So I'm just going to hold Alt and bring it, this one to the side like so. And just by doing that, we're able to fix it up just quite nicely. But I think I think though we don't even need to delete it or anything or adjusted because we're deciding it inside of the serv. But we gotta make sure we hide this one over here. I totally forgot about it. Actually. We're going to quickly fix that up. We're going to grab the front of this Roof, bring it back all the way. Actually, sorry, while holding Alt, we're going to bring it back to make sure it's a duplicate. So and then we're going to rotate it 19180 degrees. Actually I'm, we'll go back to the common denominator, denominator or the snapping and turn on the snapping mode. It's set as 180 degrees. So we'd be flipping all the way back and then just going to reposition it. So even though most of that is Roof is set within the inside of this mesh is though is only going to be okay. All we need to do is make sure to hide this a bit on edge, like so. And actually, I might want to bring this one back as well. Like so then that's going to be much better. Yeah, it's definitely much better. Okay, so now all we need to do is actually, I'm trying to think if we need additional support, frames are way to break down the edges. I didn't like the way this is turning out. So I think we're going to just grab this beam like so, hold Alt side and play around a little bit with how this is going to look like over here. So All-in-all, I think this looks much nicer, is, is you just need a final beam over here, Cairo to fix this edge up, I think as well. So we're going to do that actually. Just going to grab one of the planks from here. Alt, make a duplicate out of it. Then grab it to the end and position it just like that. Of course, this is going to be a little bit too much, so we're going to have to squish it down by quite a bit. Like so. We're going to get much, much nicer results out of it. That's like that. So oh, and less than, forget these ends as well. So I'm just going to grab another one, going to hold Alt, bring it to the side like so. And just like that we're able to make a quick fix. Arvin, maybe I'll bring it a little bit to the bag just like that and lower it down. And yeah, this is looking quite nice. Gotta make sure we do it on the upper edge as well. It's bringing it to 90 degrees but didn't get to the side like so. Bringing it all the way back, maybe lowering down a little bit so the bottom is not going to look quite as nasty. So yeah, it looks like a nice frame. Okay. So all in all, I think this is turning out to be quite nice. Of course, we need to readjust the colors first and make sure that the overall roof looks quite nice in regards to the rest of the house, but we're getting to play around with that a little bit more in the future in the next lesson actually. So thank you so much for watching and I'll see you in a bit. 25. Adjusting color on multiple material variables: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to build again environment. In the last lesson, we left it off by setting our roof to be the way it is. And actually before moving on, I'd like to rotate this one around because it doesn't seem to have a nice kind of a texture color. So I'm just going to grab this one, have my snapping tool, rotate this 90 degrees, maybe that will do or even a little bit more. But just want to make sure we have some matching colors. If the one, this one over here. And I think that's going to be much nicer as a result, and it was going back. Now we're going to set up some color corrections. So Materials, what is rooftop? So let's go ahead and get right into it. And the white, we're going to do it as actually quite simple, but I'd like us to grab everything at once. And I think the easiest way would be to prove not per perspective, both from a side view and we're going to be grabbing all of the materials, all of the assets that wants, and then we'll be adjusting the Material Instances students. So the way we're going to do it is actually we're going to click on the top right button over here. And we're going to get ourselves all of the views like so. Then within the perspective view, we're just going to grab one of the assets for the Roof. It doesn't matter which one it is, where it's going to grab one of them. And then we're going to, let's say we're going to go to the right side and we're going to just right-click, just slightly tap it. And then this one is going to be selected as a window. And afterwards all we gotta do is click F and that'll just reposition all of our view to be set to this window. Now we can actually even maximize this entire view like so. And we're going to zoom in using our middle mouse wheel. So just scrolling it up like so. And using right-click, tapping and holding we can slightly and our camera around. But anyways, what we'll want to do is we'll just want to click and hold or left mouse button on the upper-left corner, then drag or walks across and make a selection just like that. Of course everything is going to be selected. So we're going to hold control. And we're going to make a box at the very bottom. Going to click F. Seems like I made a mistake and that now gave me a slightly different perspective view. I think I wrote there my camera by accident. So it's an easy fix. All we gotta do is click on the upper left corner and change back from left to right for example. And that should give us a nice sort of a result. Or actually, I'm going to check, maybe I think for sure Theta the entire world, some screen to click Control Z and undo it. It seems like I was a bit of a mistake, but he had the best ways to just grab the upper bits like so. And then while holding shift, we're actually going to drag our box Across. Sorry. It was like I totally forgot. One step handout would be firstly, if we were to maximize back onto our view and redo the selection, we're going to make a selection. And the reason it was messing up was because we by default had a translation set to rotation, the gizmo itself, we'll set the rotation and I was automatically trying to rotate all of our assets. So instead, what we need to do is actually use a selection mode. So by clicking Q were able to open up this entire view. And this will just make sure that we're now using a rotation or transformation on any of the sort. So by clicking Q and now holding control were able to drag a box across the bottom section of the Roof like so. And by dragging it like so we're able to make a the selection. And actually we're just going to deselect the smaller roof area over here as well. Since that was, if we were to go back onto our perspective mode like so that was this roof over here. So anyway, all that we're left with Within a selection is the entire upper section of the Roof. Now, if we scroll down under the materials, we can click Display seven Materials. And we should be seeing all of the materials just like that. So right now there's one that says none. And I think that's the base of the shape. I think we can leave it as is though and work with the rest of the assets. So right now, we're going to start off by, I think, by playing around with our beams. So we're going to start off with the wooden beam, the one that's at the very front. We're going to click Browse, get the wooden beam Material Instance, and we're going to select it, click control C, control V to make a duplicate out of it. And we're going to actually replace this element like so. We're going to click Control Z and it seems like me. And Miss click, just going to display Materials. And now with this one, I'm going to just make a replacement just like that. But it seems like every time I do that, it just lowers down the material. So all we gotta do is make sure that we click Display Materials again, and that should give you the right results. So now that I can see that the underscore free at the very end of the name is the same as this one. We're not going above our by renaming them because that would be just an extra Time wasted. So we're going to just keep it is, is that we're going to double-click on this Material Instance and just turn on the albedo is to start it off. I think we can just play around with the value and see which ones It's being affected. And so these ones are the ones that are being affected, which is pretty nice. Just going to click Cancel and play around with the tint. I think we're going to darken it up a little bit like so. Click Okay. Then we're going to enable albedo controls. And for these ones, we're going to increase the contrast. I reckon. I think the contrast is going to make it much, much nicer. But then we need to lower the saturation or maybe increase it. We're going to try increasing it forbid. But yes, that's that's not going to help us out much. So we're going to lower the saturation to something of a value of 0.9 to get this result. And I'm going to click G to make sure I hide all of my highlights. In this way I can see the color as is. And already this is looking pretty nice. We might need to increase the brightness a little bit because of the sun, they'd be a little bit more bleached out. And I want to have more or less the same type of a lightness as the roof tiles. Maybe a little bit darker though just to make sure cardiac highlights the overall Edges of the Roofs. So maybe something like 1.5. I think that'll do the trick. We can switch on the albedo controls just to see how it looks like before and after. And a pink in general, this looks much better. I'm just going to go around just to see how the other end looks like. And yeah, I think this is looking much, much better. Oh, we gotta do his now, which up the upper ones as well, as well as the declarations, of course. Now we're going to close this down and go down the list. So we changed the ones at the front. I think for now we're going to keep it as as the roof tiles as well are quite nice. So we're keeping them as is, as well. And the next one is going to be if we were to go into the folders, see, that is going to be the decorative statues of pink. By default, they already are looking quite nice. Maybe want to lower the saturation a little bit. So I'm actually going to click control C control V, make a duplicate out of this and then drag it into its area. And now just make sure we again unhide the entire elements and see that by hovering over the material, you can see the full name. So I just want to make sure that the end, it has the same underscore, underscore two, because when we duplicate it, we just have that added up automatically. It seems like it does. We're now going to be able to open it up. And I think we're just going to yapping. We're just going to change the albedo controls and maybe brighten it up. 1.5 seems much better right away. I think I quite like this. And actually maybe want to make a little bit more of a tend towards the brownish color or lower the saturation for these beams. I think I'll go back to the beam cell, change your saturation a little bit. I don't quite like how bright, how colorful they are. So we'll take this off, go back to the previous one, which was this one over here. Go into it and change the saturation to a value of 0.8. Just a little bit lowering down a finger-like this much better and lower down to an extreme, something like 0.5, just to see how this looks. Just a bit too much. 0.6, maybe seven. Yes, we'll go with the value of 0.7. And just like that, we're able to get a real nice kind of result between those two. So that's quite nice. Now of course, we're still left with the beams over here on the top. And I think these ones are going to be this one over here, just going to click on it. The scene that seems to be the one. Just going to make a duplicate Control C Control V and attach it onto the element. And just making sure that it attached it properly. It seems to be the case. So underscore free, underscore free. That seems to look alright. We're going to open it up. We're going to just play around with the albedo controls, I think make the contrast quite a bit larger, actually. Quite liked contrast saturation can go lower Though. 0.8. To trick quite like this. Maybe a little bit. We'll try darken this up. When seven. Just like that. I think this looks much, much better in regards to how the Roof looks like. Then we actually we want to raise this up a little bit. Or even I think, yeah, because we changed up this information. We have some Roof going inward. So I'm going to actually even extend this by a little bit like so. And bring it a little bit to this side, just like that. It is makes sure that the Roof is going on top. And this end, it looks quite as well, quite fine as well. This end though. I'm not sure if I liked this one. You might need to adjust it a little bit just like that. I think that's happening. That's going to look much nicer like so. And we're going to leave it as is. And I reckon that's all it takes to make some adjustments overall color of the Roof. And actually before I forget, it seemed like I missed out this beam over here. I added a couple of beams of here just to break the edge. So I'll do the same thing on this end as well, going to make it just a quick Duplicate. Rotate this by 90 degrees and put it in the right position. Just like that. Since I seem to have forgotten about it a little bit. That's okay. It's an easy fix. Just like that. We're able to fix it real quick. Quintile over designer, maybe a little bit like so. And I think that looks much, much nicer. Bring it up. Yeah. This looks pretty good. Okay. So yeah, I think that's going to be it for this lesson in next one, I think will make couple of adjustments, a little bit of extra adjustments for the Roof, especially for this diagonal beams since I don't quite like how straight the ER. And I think it will add a little bit of an extra detail, but that's again, going to be in the next lesson. So thanks so much for watching and I'll see you in a bit. 26. Setting up The Supports for our Hut: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to build an environment. In the last lesson, we left it off by setting some of the Color Corrections for a Textures. And in this lesson we're going to continue on by slowly making some additional adjustments for the Roof just to make it look a little bit better. So we're going to start off by a pink tweaking some of those poles. And the way we're going to do it is we're going to go onto modelling mode, just like we did previously. We're going to use deformation, the lattice deformation. So let's scroll down until we find it like so. And actually, before doing that, let's not forget to make a mesh duplicates. So with this selected, we're going to create a mesh Duplicate. Click Accept. And we should have ourselves a new Static Mesh, which is going to be this one over here. So I think first of all, we're going to make it a little bit easier for ourselves. And actually, now, before doing that, we're going to make an individual deformation. I think that's going to be faster this way. So I will show you what I mean in a bit. We're going to split apart a little bit of the process and just make some bit of additional reshape the Silhouette to look a little bit more interesting for all of those beams all at once. So to start off though, we're going to change this a little bit. So we're going to have it selected, go to letters and adjust this a little bit. So I think we can just grab these ones over here. I've dragged it down a little bit like so. I think that might be quite alright. I think that's all it takes for this one. Maybe make some adjustments for these ones as well, just a little bit, just so good, Have a nice transition. Just going to make the selection, selected backup. There you go. And just like that, I think that's going to be great. We can now hit Accept. And just like that, I think it'll, it'll look much better this way. So now what we have to do though, is we have to set it up. The other Static Mesh is on the other end. So it's actually going to be relatively easy to do. All we gotta do is make sure we have this Static Mesh selected. So I'm just going to make sure that we have it selected like so Within are generated folder, we're going to select the rest of the beams, since they are using the identical Static Mesh, like so. And we should be able to just replace this Static Mesh with the one that we just created. And just like that, we're going to be able to get some nice results. Our first stamps are over beams. I think we forgot to select this one over here, so I'm just going to go ahead and make a selection and that just has a different rotation. So I need to make sure that we have it rotated. But the rest of them though, have a real nice band. And I think it just helps us to make the overall look for this look real nice. I'm just going to rotate this like so. Maybe a little bit more. And I don't quite like the way this is looking, so I think I'll just rotate it all the way like so. And this had a definitely had a dark patch. So I think I'll just grab both of them. Or maybe I want to see how it would look like on the other end. So I'll just grab this one over here, see how it looks. Or because we adjusted it. Right now it has a real nice Setup. Definitely does look a little bit darker, a little bit too dark. I'm trying to figure out why that is the case. I think it's because of its position, of its setup that we want to look quite nice, quite like the way they turn out to be. So the only difference, the only issue with these two. So we're going to go into the Select mode. We're going to select both of them like so. And I think we can just go and make a new material is since go-to materials make a copy control C control V, make a fourth one. And now we're going to put it in here, open it up and change the brightness by little bit. If you tried to set it up is2, then that's going to make it much nicer. The saturation though is a little bit too low, so think we can change it to nine. And that should give us some nice results. Maybe even Contrast, adjust the contrast a little bit like so. That's actually not giving us the right look that I want. I'll actually lower the contrast by quite a bit. And maybe, just maybe this looks quite alright. But now the brightness is not quite as nice looking. So they ago we have some nice, nice default texture. This looks quite nice. So I think this is turning out to be quite nice. We can now close this down and just check how the supports look like within our Roofs. So we have some nice supports that cover aldehyde, some of the seams, which is pretty nice. We also need to make sure that we have it done over here as well. And the bottom areas like so we have some extension on this roof over here. And when we look at this Roof from the side, we can see it to be just hanging for no apparent reason. So we gotta fix that up. And it's actually relatively simple I think we're just going to use these posts that we have set up previously. So we're going to hold Alt, drag this outwards like so, and set them up just like that. And of course it's not going to be tall enough. But if we were to simply just scale them up, that's also going to be scaling the bait. And I want to make sure that the base that we're having is going to be placed more or less in the same kind of matters. So the easiest way for us to fix that would probably be if we'd get ourselves what are the beams that we have from over here perhaps? Or just get yeah, I think we're just going to grab this beam over here, make a duplicate out of it like so. I'm just going to reset its rotation. So we'd get it to be going upwards. It's going to be quite nice. Maybe it's a little bit, yeah, It's the vendor one. So we're not going to be using that. I think we're just going to grab one of the other ones, like this one on the side. I think we can just make use out of that. We're going to grab this one. Reset, it's not location, sorry, going to click Control Z to undo it, reset its rotation and scale. And that should give us the default setup for this plank. And I think by simply just attaching this to the top, it's going to look quite nice. But of course we need to make sure that the same is set up properly. Before that though, let's make sure that we're having it set in its place. So something like that versus gotta be a little bit bigger, like so. Something like that. Maybe we wanted to make it just small enough so we'll be going into the pillar itself. So let's go ahead and just slightly readjust this entirely like so. And make it a little bit thinner. Just like that. So it sits right in the middle and is covered up by this, our pilot. So I think that's quite nice. But of course, the scene looks a little bit awkward, so we're going to be fixed in that up. The easiest way I reckon that we can do so is if we were to grab one of the planks, Let's say this one, I quite like this one. And we're going to just make a duplicate out of it. I'd like to get the original color, so I'm just going to scroll down, get to the Materials, click on Browse to apply the default one, which I think was actually this one over here. I'm just going to get a nice That's actually a little bit too bright. Maybe I'll just try playing around with one of the values. And this, this last one that we had, the underscore for, the one that we did, the most recent one gives us a nice result. And it just makes it look like it's part of this. So we can do is actually we're going to make it into a square. We're going to squish this entire thing. And just like that, we're going to get a slab, which we can now just put it in between those two beams. And it's going to give us a really, really nice result. Of course it's a little bit too big right now, which is going to squish it down and maybe stretch lot a little bit more just to make it into more or less a square type of slab. We're going to increase this a little bit. And just like that, we're able to make additional sort of a way to hide a seam and it just gives us some nice detail out of it. Which going to drag this upwards just a little bit like so. And just like that, I think this looks quite nice. But maybe just maybe this is a little bit too thin. I don't like the way this is. This looks so I'm just going to make it a little bit wider like so. But of course now the beam is trying to get past it. So we might get away with just go in and above it. I'm just worried the I'm worried about roof tile not covering up this entire beam. So think yeah, I think I'm just going to stretch it down even more. And that might look alright. I was worried that it's going to squish down an entire texture, but I think that looks quite nice. So yeah, this looks quite alright. I'm just going to grab them all like so click Control G. So it's going to be its own selection. Now hold Alt and drag this across to our end. And that way we're able to make a real nice hanging area. And if we look from side is just adds additional detail to our entire house, to our entire hut. And just looking at it, going back to these blanks, I still don't like the way they look. I'm just going to make sure adjust the value properly. So just bear with me for a second and I'll adjust the brightness even a little bit more just to make sure it fits the overall theme a little bit more. And set this down to 0.7. And this looks quite a bit shiny. So might just check how the shininess looks. I think it's the Reflection that that is at fault. So the easiest way to check that would probably be if we were to go from lead to something like a buffer visualizations. And through here we're able to kind of visualize each Water, the Texture materials on our meshes. So the one we're looking for is going to be the roughness. If we were to click on it, we'll see the roughness values and actually is quite rough. So I'm trying to figure out what is up with this beam and going back to the lead mode. Because basically what it shows us, the higher the value, the more white the value is for our material, the less of a Reflection we're going to get. So that is quite nice. Again, this beam doesn't seem to look quite as nice TO. So trying to figure out what's going on with that. Maybe it's because of the normal strength. I'll play around with this a little bit and see what this is going to give us. And just playing around with this. Maybe we're going to get some different results. Course. We're only want to set it to hide the default values. One, I believe. So. This guy decided to 2.5 Excel. I'm going to set this to 0.5. I think that just fixes the issue of pink, the Normals, we're just too intense for this. And that is because we stretch them out a little bit too much. Maybe that is why it was causing it, the rest of the blanks TO seem to be quite alright. But this one had a bit of a different kind of a shine. And I hope that right now it looks quite alright. Yeah, it looks quite alright from a distance, I think this looks really nice. So we're going to keep it as is. Although right now it looks a little bit to blend because we obviously took down the bump level of the normal, which kinda fakes the detail on our logs. So we're going to actually go into the material and switch up the contrast. The contrast. We're going to set this up as 1.5, is going to darken it up. So we're going to brighten it up in contrast. And that is going to give us, I think, nicer results in general. It's going to give us similar results to this one. I think it's going to look much, much nicer. This end though I don't quite like the way this has such a huge gap. So it will actually extend this by quite a bit and put it up like so. I think this is going to look maybe a little bit too much. Want to make sure that these are visible. And just like that. Yeah, I think this is much better. Just got to make sure that ever end is stuck properly. And yeah, there you go. We now have ourselves some nice setup for the Roof. So yeah, thank you so much for watching and I'll see you in a bit. 27. Building Foundation: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In our last lesson, we left off by Sorting out to roof for our wooden hut. And in this lesson we're going to continue working on it. And this time we're going to our placing some of Foundation to break off some of the edges that are near the terrain, the bottom until the terrain. So let's go ahead and get into it and what that will need to go into the Quixel. So let's go ahead and open that up. Quixel Bridge, like so. And I think we can just search for stone loss. So we can also add a wall. So Stone mod wall. Using these three key searches, we can probably find the ones that we want. So there you go. We're going to find ourselves the Marcy Stonewall. And if we were to click on it, we're going to make use out of that. So let's go ahead and make sure we don't learn this. And within it, we're going to find the related assets. There are two variations, but we'll only need one of them. And that is going to be this one over here. So let's go ahead and make sure we don't want them. And there's a third variation though, but I think we can get away with just using two Variations. So let's go ahead and just use these two over here. So once we have them downloaded, let's go ahead and add them both onto your project like so. And then afterwards, Let's go ahead and close this down and make use out of them. So right away within the 3D assets, we're going to get ourselves to mossy Stonewall. The first one and the second one, both of them the Variations. And we're going to just simply start off by bringing them into the world and see how they look like. So by default, one might look like it's a different color, but that is because it's set up in a way that there is most only in one end. So as we can see that there's most of a year, for example, but there isn't as much over here. So what do we need to do is actually I think we're just going to start off by selecting one of them and just rotating them by 180 degrees, like so. That way we'll have more sun both ends because when we're going to be placing them up, we'll want to make sure that the most is being placed on the sides of the house. And that'll make sure that'll just mean that we can't make use out of this and of the wall because it's not as Mostly it's not going to fit quite as nice with the rest of the ends. So let's go ahead and just straight up, make use out of these. And actually I think before doing that, Let's go ahead and make sure we select both of them and change up the scale. I think they're going to be a little bit too small by default. So we're going to change up the scale from one and set it up to 1.25. Maybe. That might look much nicer in regards to how the house will look like. Or we might even try using 1.5 instead. I'm just going to bring them next to the house to see how they look like. Let's just make sure that we're placing it into the terrain itself. And after having a look at it, we might actually be able to get away with this. I think that would look quite nice All-in-all. So let's go ahead and make use out of this kind of a scale as a 1.5. So we have one longer and shorter end of the most histone wall and with a short amount and we're just going to make use out of it and place it at the end of a shorter wall leg. So of course, by default, this might be a little bit too much, too long. So we're going to click our and slowly squish it down just like that. So let's just make sure we know overdo it because otherwise, if we just squish it too much, it will look too unnatural as a type of a rock formation. So we don't want to make use out of that too much. And we just want to make it look organic like it's been placed like nice type of stones that aren't squished down. So I think by doing it just a little bit is going to look quite right. But we do want to meet, leave some gaps of on the ends. That way we'll be able to build off the sides as well. We also want to make sure that we place it on the side of the house and not too much into it. A wise, we're not going to have a real nice results for breaking off the edges. So this way, if we place it just on a side like so we're going to get some nice results for a house. So now that we have the first house, the first wall done, we're going to move on and actually we're going to switch it on over here as well. That's going to be another short wall. Or actually we might even use a short wall over here. I'm currently thinking if that's a good idea, we might need to just make use out of a longer wall. So let's try using a longer wall over here and see how this goes. Plus, because it's a different variation, we're going to get a different kind of result. And so the pattern is not going to be repeated as much. We're going to get a much more organic over result if we just break off the Variations using different types of meshes. So I think we can just place this into the house like so. And that might look quite nice. Then we can just bring this outwards like so Holding Alt and making a duplicate out of it and then slightly rotating it like so and bringing it outwards. So because this is quite a high dense mesh, we're going to get some real nice results for how they interact with one another and the same. So going to be really nice place together. So if we were to go to the wireframe mode, we can see the type of density within our Mesh, which actually is quite nice. I'm just going to go back interlude mode and see the results. And for this one we might need to, Let's go ahead and grab the short one and slowly lower it down. I think we want to keep more or less the same sort of a height or even a little bit shorter. Actually. Trying to think which way would look best. Because we're just trying to get some really nice seems inner corner. And actually it might want to bring this outwards just a little bit more. Are we going to leave it as is for now and figure out how we're going to attach them on the end thing. We might even want to bring this inwards even more. So we'd have a real nice edge over here. That's going to work quite nice. Now we're just going to set it up like so for now. And we're going to have a nice door on this edge. So for now, let's not worry about it too much about this edge and continue placing these types of bone walls around it as a base of the House. And the other end is quite long. So let's go ahead and grab the longer area like so, hold Alt and make a duplicate arrow it. And of course, because this is an emoji and we're going to rotate this around, of course, while doing those kind of a thing, because we're only using one end. We might be worried a little bit about the repetitiveness of the entire mesh because we're only using this one and we can't have a lot of iterations, but by just simply using to assets to meshes, we might get away with it, especially since this is quite a noisy type of a mesh as a lot of detail within it. So it's quite hard to see the pattern within it and it is in turn, not quite as noticeable when we have multiple of the assets that one next to each other. So we're going to make a duplicate again next to one another, like so. We're going to grab both of them, click our and then squish them together like so. Because otherwise, I think that would have been a little bit too long of a side of the wall. And I think in turn, if we make it like so, we're going to get some really nice results. So just like that, we're able to get some nice results. Pink. We're going to get this along wall as well in a similar kind of manner. So I'm going to grab both of them actually holding Alt and making a duplicate, rotated 90 degrees, look W and place them just like that. So I think is going to give us some really nice results. Let's just make sure that we're having them placed normally and that's not going to affect the size of the walls too much. So we're going to squish it down a little bit like so. And I'm just going to grab both of them and position them just a little bit like so. Now this might be going on top of one another. So I'm just going to grab both of them, kinda drag it to the side like so. And because actually drag it even more just like that or to the front, I don't quite like the way this is interacting. So I'm actually going to raise this amber quite a bit. And I think, yeah, let's go ahead and leave this shorter end at a very thumb. This way, we get some really nice interactions with one another in some real nice seams. So I think now we have this N category which got to make sure we get the other end sorted as well. And That's why I think we're only going to be changing up the scale for this and only we wouldn't be touching the other end of the same. And I think we're just going to click our scale it down just a little bit like so. We might even just drag it downwards just a little bit. And I think that's not going to be quite as noticeable. But in turn, we're going to get some nice same result over here. So I think I quite liked that a lot. And of course, let's not forget to add Stonewall over in this end as well. So we're going to grab, actually let's go ahead and grab a shorter one and place it on this end as well. And if it's not long enough, we might just get away with stretching it out to the side. And I think that will work out quite nicely. Of course, we've got to place it into the wall just like that and stretch it out to see if it all workout. So just doing it like so the scale is 1.5 free, a theme that's totally okay since the rest of them are 1.5 as well, within stretch it out too much. But looking at the same, I don't quite like the way it looks. This end is quite nice, but this end is not a might just get away with moving into the end a little bit like so. And a chicken the other end. And I quite like the way this turned out. So yeah, let's go ahead and leave it as is. And then in the next lesson we're going to continue breaking off the edges and getting a more natural look out of this hut. And we're going to get some beams, wouldn't beams on the size of the walls. So yeah, thanks so much for watching and I'll see you in a bit. 28. deforming wood supports using warp tools: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to Building in environment. And the last lesson we left off by getting some of the stone foundation for the building. And now we're going to continue working on the edges to break off those seams and make sure that they're not completely just straight. So we're actually going to start off by getting one of the 3D assets that we had previously. And we're going to make use of the wooden post, this one over here, or actually we're going to make use out of the L. Let's go ahead and make use out of this wooden post. We're just going to drag it into the world to see how this looks like. And right away it, although it looks quite nice, it's not going to help us break off the edges by quite a lot. Because by default, this beam already is quite straight, so we're just going to need to deforming. And actually, as an example, I'll just place this at the edge of the wall just to show you what I mean. Just by placing it on the side, like so we're actually going to extend this by quite a little bit. Just like that. I think that's going to look quite nice. So as I said before, by default, it's just too straight. And if it was high, hand-built type of Ohad and wouldn't look quite as refined. And I think that doesn't help us to break off the edge of the height is just, again, too much of a straight for this angle. So we're going to fix that up by making some tweaks, some slight adjustments to this Static Mesh. So straightaway, we're going to go into Select mode and change this from select Mode to a modelling mode like so. And I think to start off, we're going to make sure we have it selected this beam that we had placed it in our world. We're going to make a duplicate out of this mesh, like so. So we can make some deformations without affecting any of the Meshes that we have. And we're going to make sure we have it from input and then delete the input itself. So it's just going to replace us this Static Mesh with a new one. So now we're going to hit Accept and we're going to get ourselves a new Static Mesh. So that's quite nice. Now we're going to be able to make use out of it to make a bunch of information within it. So the other type of deformation that we have other than letters is if we scroll down within our modelling mode, is going to be something called just scroll down a little bit more. It's going to be something called warp. And if you click on it, we're going to get a line that crosses R, cross R mesh. Let's just go as one from one end to forever. And I think by default it was that there's something like this. And because it saves out your options all the time, we're going to get different types of results. I think the operation as well. What's a bit different? There you go, you should be able to get something like this. And by default, the operation is going to be set as band. Now what this will do is it'll bend your entire object based on this deformation previous. So as you can see, there's a yellow sort of a line that goes across our Mesh and it has upper bound and lower bound. And this will just mean that whenever the bounds and for this deformation, it'll stop effecting the mesh and in turn and just continue on the band as is. So for example, or to change this to 90 degrees of a band, you can see that the bend is what a yellow line is set in 90 degrees and whenever it ends, it just continues on with the mesh. So if I were to make this, for example, much smaller, like so the angle itself for the band, although it is much smaller, it's still going to be 90 degrees over here. Then it just simply, we'll continue the mesh is with Fire trying to make a further type of deformation. But what we want to do is we've got to make sure the upper bound and a lower bound are both set in a way that would affect the entire mesh. So right now I'm just placing it at the very top of the mesh lake so it can be a little bit higher. We can even see the type of a line, the same line that goes across. This goes to the type of a mesh with Fire did being deformed. And we can even make use out of this in the same way that we're using the upper bound Details tab. And it's basically positioned is to be right above our mesh. So just like that. And of course the bottom line works in a similar manner. We get ourselves this line in which we're able to make use out of and place it right at the very bottom of our mesh. So this way the entire thing will we bend within 90 degrees radius, like so. We can make it a little bit bigger just like that. And also we get ourselves another line over here, which is basically just a bend degrees. So this one will affect how much we're bending our line. But usually whenever I'm working with this deformation, I'm just using these numbers over here. So if we were to change this to something like 45 degrees will get a much, much softer tap for Ben. And of course this is a little bit too much, so we're going to be changing that up. But before doing that though, we're going to get it to an IRA degrees. So good Talk about a little bit about the directional bend that we're having. So right now, by default, it should give us something like this. But if you want to change the direction of the band, we can do so using the gizmo itself. And from what I can tell, there is no way to do it from the Details tab that we're having on the left corner. So we got to make sure we make use out of this one over here. Before making adjustments though, I'm just going to click Control Z to go default. We should need to make use out of the snapping. So if we have this enabled, we should be able to if it has a proper snapping on, which doesn't seem to work. So let's try turning this on. This might give us the nice kind of results. Doesn't seem to want me to make use of a snapping to Angles degrees. So I'm just going to actually click, Cancel real quick, de-selected, selected back on and go onto the warping. And now if I were to try, it will also give me the same results. So I'm trying to figure out why that is the case. And sometimes it doesn't seem to want to work with the snapping to angle grid. But I know for the fact that it does sometimes work. But anyways, moving on, we basically have a couple of other options. Something like, for example, locked bottom, which if we're to enable this, it'll start the entire band process from the bottom of our mesh. And then we also have Show Original Mesh, which will basically show this entire goes to Mesh, which you should have it on by default, I recommend you having it just so we could preview how the original deformation looked like without it being actually bent. So then afterwards we have draw visualization. This is what helps you get these lines over here at the very end. And then finally, we have something called a line to normal within a gizmo, which by default you should have it off. It just aligns the access to your Normals and it's usually better to just keep this off. We also have shifted center, which will just simply replace this gives more if we were to slightly move it upwards, for example, we can click shift to center to reposition a backwards. So our entire mesh will have it placed within the center. Now of course, this entire band can also be adjusted in a way that would deform our entire mesh. So for example, if I were to rotate this, for example, something like this. Although it's a little bit hard to see, we're going to get a bit of a bend at the very bottom and it will shrink down at the very top, but quite a bit as it's trying to bend it based on this type of curvature. But of course, because our entire Mesh, it's somewhat of a video of thin type of a mesh. We're going to get a slightly different type of results. I'm just going to click Control Z to undo my curvature. And basically the type of curvature that we want this time is just slightly position, it's sideways like SO3 corner of the angle, just like that. And of course this is a little bit too much weight to match as a matter of fact. So we're going to change the bend degrees and we're going to lower this down to, I'd say maybe ten degrees, maybe even lower. We're going to go to five degrees actually, just so we can have a slight curvature that bends out this entire mesh. So I think that's going to look much, much nicer. And now we're going to hit Accept. We're going to get ourselves a slightly tweaked mesh. And if I click G2 high, the way the highlights, we're going to see the type of a mesh that we're going to get. So yeah, in turn we're going to get some really nice kind of a Silhouette podocyte of this beam in turn. I think it's quite nice. And also we can, even, if we prefer, we can even just have it, set it. If we were to flip this around by 180 degrees like so, we can have this beam to be going outwards instead. But personally, I prefer to have it go inwards that just sharpens up the entire beam and makes the, makes it hard to have a bit more of a character in my eyes. So I think we're going to leave it as is. And now if word is selected and go back to the warp tool. So we have a couple of other operations. And the upper one that I'd like us to use is going to be a twist. And what toys we'll do is basically it'll twist the entire mesh like so. We've gotta make sure we have a slight bit more of a variation within this wooden beam. Of course, this by default, is a little bit too much, but basically in short, the twist deformation that we can find within an warp tool has pretty much the similar kind of options that we had in the band operation in which we have the top and bottom, which affects how are Mesh is being banned. And we also have the preview on how it all bend, basically our entire mesh. So we're going to make use out of it. And again, we're going to set it to a really small values, something like a value of five. I think we'll do And because we applied a band information versus the band deformation, we're going to be twisting it with the bend within it. And in turn, it'll just give us some really nice kind of a slight deformation within or wooden beam, but that'll just make it look way more organic. So we're going to keep those kind of a Values that we have. We're going to hit Accept and we're going to get this sort of results. So I think in turn that makes it look much nicer. Now it's going to place this entire beam to be at the very edges on each one of the areas. We're going to click W, hold Alt, and just drag it across like so. Now, because this beam is facing inwards, like just a little bit bended, like so towards the inside of the house. We gotta make sure we get a similar Silhouette towards this area as well. So we're going to click E and rotate this by 90 degrees, like so, something like that. So this way, we're going to get a slight bit of a bend inwards towards the house. I think in turn, turns out quite nice. Now we're going to grab both of these beams like so, we're going to click a W. We're going to hold Alt and drag it to the very end, like so, going to click F to reposition my camera. And I think we can just click E and rotate it by 180 degrees, like so. Let's way we're going to get both of the bands the way we wanted them to be. Now we're just going to drag them to the side like so. And position both of them to be at the very ends of our house. Just make sure that we get a real nice gap when we have the sides. So as you can see, this gap of the beam isn't too flat. We're making sure we're bringing it outwards like so just a little bit, but it's also sitting at the side of those stone walls. So it's not going to give us some nasty artifacts when we're having in a little bit too much. Why is this not going to look quite as nice, basically, the way they're blending in together with one another, the Meshes. So we gotta make sure we are placing them in words like so I think that's going to be quite nice. The other end, I think that's quite nice actually as well. So we're going to keep them as is. And yeah, that's already looking pretty good actually, which is going to make sure we finish this off on those ends as well. So I think I can just grab this one. Like so, turn this 190 degrees, like so N. Thank you. That's going to be going, having a slight bend inwards like so. We're going to grab this one as well, holding Alt, making a duplicate. For this one, I think we should bring it outwards just a little bit, just so we could highlights some of those edges a little bit more and maybe bring it down so we could hide the bottom of this wooden beam with the stone. So just like that, I think yeah, I think we're going to get some really nice results out of it. And yeah, this way we're able to hide the seams of the ends of the walls and get some real nice results. But we need to finish it off though, by making sure that we're having, we're having a real nice colors. So we're going to actually grab one of them. We're going to browse the content browser for the material. Actually, there you go. We're going to click this button over here. But this one over here. And we're going to make a duplicate out of it control C, control V. And we're just going to have all of them selected just like that. All of the wooden beams. Just like so. Just gotta make sure we have them all selected. And the duplicated we just made, we're going to apply onto all of them by dragging and dropping it into Materials tab. In this way, we can now open it up and make some slight adjustments to it. So I think we're going to open up the albedo controls and we're going to darken this down. So 0.8, like so. So just by doing that actually already looks quite nice. We might leave it as is for now and worst-case, we can just come back to it later on. But yeah, I think already just by doing that, we're having some really realize the results. So yeah, that's going to be it. So thank you so much for watching and I'll see you in a bit. 29. Cutting out Custom Shapes from Quixel Assets: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to build again environment. In the last lesson, we left off by setting some beams to be breaking off the edges of the walls. And in this lesson we're going to continue working with the hut and actually set up ourselves a nice store to be on the side of the house. So let's go ahead and get right into it. We're going to actually go from the modelling mode back onto the selection mode. And I think we can lower this down the column browsers just a little bit so we can have a bit more of a view for what we're doing. And think right away, you can just go right into the Quixel Bridge. So let's go ahead and open it up. Quixel Bridge like so. And we're going to search for a wooden door. So wood door, I think that'll do for the search. We can open up the 3D assets. And sometimes, although the Quixel has a lot of options for us to choose, we have a lot of things we can make use out of. We're not going to find the right, the most perfect type of an asset. So sometimes we need to make use out of what we have and make some Custom adjustments to them in order to get the right type of results. So for example, right now, we should be looking for a wooden type of a door that would work within our type of a wooden hut. But I don't want to have any of the type of windows, for example, like this one over here. We don't have any type of windows. And it's just completely transparent. And because we're not going to be building any of the interior, that's just going to give us a lot of troubles. So instead, we're going to actually get ourselves a wooden door, but of course, something like this, for example, we'd have some of the borders that have a concrete type of a look. And I don't want this to be standing out too much. So in this case, we're actually going to make use of a medieval modular door, this one up here. So let's go ahead and download it and then afterwards added onto your project. So we're going to get ourselves this type of door right away. We can just put it into the world. And I think actually we're just going to scale it up by quite a bit. So right away we're just going to scale this by a value 1.5, like so. So it'll be scaled up by one by five in all directions because this was locked in. And as you can see, we have a really nice door on the side, but we have a lot of an extra type of a mesh on this end. And that kinda breaks the entire purpose of having a door on the various sides. So for example, if I were to place this on the edge, like so, we're going to have a bit of an issue in regards to that. Because as you can see, this entire Mesh is taken out. So how do we fix that? Well, we have an option within a modelling mode actually. So let's go into the modelling mode, back into it, like so. We're going to make use of something called a. If I were to just find it, something called Mesh Boolean, but by default, because it's requiring us to make use out of a different mesh to cut out the shape. We're going to make a different type of aesthetic mesh. So let's go ahead and quickly create a new Static Mesh. We're going to go up actually and just quickly create a simple box, selecting on it and then tapping it once within our environment than hitting complete, we're going to get ourselves a really nice and simple Static Mesh forest to make use out of. But if we were to be placing that on Environment and that'll give us a different type of rotation. It will be slightly at an angle. So we'll need to make sure we have the rotation just reset lake. So that'll just make sure that the entire Mesh is perfectly aligned to decide. So anyways, once we have our mesh like so, we're going to position our entire cube. Actually, we're just going to make it quite a bit larger like so. And we're going to position it to be at the side of the wall. So we cutting this entire cube will be cutting through an entire Mesh. And we'll want to make sure that the top, as well as the bottom, is being overlapped with this type of a cube. And what will basically want is we'll want to make sure that this seam that goes across is being visible. So just like that, once we have it in more or less this kind of opposition, we're going to make sure we select the door first. And then while holding shift, we're going to select the cube. And now once we have those two selected, if we were to scroll down, we'll be seeing that the mesh Boolean is actually highlighted right now so we can click on it and right away we'll get this sort of result where the entire side of the mesh or this asset, it gets cut out. We just, while we have this own, if we're not seeing this, we got to make sure that the operation is set to differentiate a minus B. So the first election, which was a, is going to take off the chunk from the averse selection, which was a selection be this way, we're going to get this sort of result. Then we're going to have a couple of options. So to start off, we have a normal gizmo, which will allow us to move that slightly transparent type of a mesh that we're having right now. And if we were to move it, we can slightly adjust how this mesh is interacting with the Asset that we're having. So we're going to position it slightly sideways like so. And we're going to get this seem to be visible now because we're using a primitive kind of a shape, it's going to cut off and we're going to get some gray areas on the ends. But that is okay for this occasion because we're going to be placing it on the side over here and just going to hide it with this seem. So we're just as it is, we're going to leave it as is. We've got a couple of options though, and in short, they're not quiet. A lot of things to do for us. There are things like, for example, traffics, holes, and try collapse Edges. But by default, these options are going to be working quite well 95% of time. So let's go ahead and leave them. As is something interesting though, within a Displays option there is something called passes subtracted. So if we were to increase this, we can see the type of mesh that we're subtracting from our asset. So that's quite nice sometimes to make use out of by default, I'll leave it as 0.2 though, because there is a small outliner and that we can see and that is plenty of information for us to work with. So yeah, then afterwards we have a couple of things like show gizmo for example, which allows us to see the gizmo for us to manipulate that set object like so I'm just going to click Control Z to undo my last transformation. And of course we got output time from input, which will allow us to get this type of an output as a default Asset. And then we're going to write it as a new object. And we can just leave the name as a Boolean, which is going to be totally okay. Then of course it's going to generate it Within are automatically generated folder. And that's pretty much it. That's all we need to know. Of course, we're going to handle the inputs or previous asset by deleting it. So we're just going to delete this asset that was placed over here and replace it with this new boolean. So afterwards, we're just going to hit Accept and in turn, and we're going to get this sort of a new asset that was adjusted for the, from the original one. So now we can just simply place this within this area over here quite nicely like so, maybe lower it down a little bit. We're going to get this sort of result. I'm just going to have it like so. Maybe even get this beam a little bit forwards, like so. Just to hide it a little bit more of that edge. And I think, yeah, I think that looks quite alright. I quite liked the way this turned out. Of course, the bottom stones are still quite visible, so we're going to be switching that up. And one of the options could be to just move it into the into the house itself. But if it was a bit too long, it would be sticking out from the upper end. So that wouldn't be an option. Another alternative would be maybe to squish this entire asset down, but of course the pattern would be squished down as well and maybe we don't want this to happen as well. So a new alternative, just like we did previously with this door, is going to be to make use out of the Boolean operation harbor this time, if we're to be using a simple primitive shape, we'd be getting some gray areas on the end of our mesh. So of course, we don't want this to happen. So what do we can do is actually we can make use out of the same mesh. We can click W, hold Alt and make a duplicate out of it and make use out of this mesh in order to use it within our Boolean operation. So now we can click are, we're going to make this quite a bit chunkier, quite a bit larger. We got to make sure that all of it encompasses the previous mesh and the downside of using it like this though, if you're having a bit of a messy mesh, it's going to give us some artifacts, but we're going to deal with that in a second. First of all, where it's going to make it quite large and we're going to set it up to be taken a chunk out of this Mesh. And now we're going to select our original Asset, hold Shift, select our secondary Asset, the duplicates that we had, and we're going to make use out of the mesh Boolean just wet like we did previously. So this way, when we're going to be using the Boolean, it's going to actually replace not only the vertices, not only connect the vertices and kind of cut out a chunk, it's also going to replace the texture. So if I were to move this a little bit back-and-forth, you can see the texture over here to be moving as well. So that is quite nice. And yeah, we're going to make use out of that basically. But again, the downside of using this kind of a messy Mesh is that we're having some artifacts over here, like some floating Chunks because there is a slight gap within this invisible Mesh mesh that we're using. And in turn is going to give us some mesh that doesn't get cut off, but we're going to fix that in a bin for now. We're just going to make use out of this kind of functionality and get this nice sort of a cut over here, I think being and leave it is actually hit Accept like so. Then afterwards, in order to fix all those floating Chunks right in front of a door. What we're going to do is actually we're going to make use out of a box like we did previously. Set it up within the front legs, so hit complete. And now we're going to position this at the very front leg, so we're going to make it large enough and wide enough as well as tall enough actually. And you're going to put it in the ground just quite a bit. Then we're going to select our previous stone wall. We're going to hold Shift, select or cube. And we're going to make use out of the mesh Boolean operation again. This time we're not going to make it used to cut this side of the wall. So it's going to make sure we're hitting it close enough to not actually do any harm to decide. But because we're applying it into the rest side of this area, we're going to be cutting off all of those Smaller Chunks over here. So just like that and we can get rid of them now if we were to accept, we're going to get yet another asset within using our Boolean operation. And this time without any of the artifacts in front, in front of this door. So that is quite nice. Yeah, we can pretty much leave it as is actually we got a nice chunk of the wall over here. We might need to make readjustments with this beam and with this wall. So for example, I might need to bring this beam a little bit to the back, maybe like so just to make sure that it is positioned right above those stones. So the same, the bottom of the same for this wooden beam is going to be well hidden. And that looks quite alright actually. So let's go ahead and leave it as is. So, yeah, that's pretty much it. How to use a Boolean operation in order to make some customer Adjustments for our Quixel Assets. And in the next lesson we're going to continue working on the middle section of our house and set up more of the assets in order to make it look prettier. But yeah, that's going to be at for now. So thanks so much for watching and I'll see you in a bit. 30. Introduction to Smaller Props: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In our last lesson, we left off by playing around some of the Boolean operations and setting up the door to be at the side of the House of the hut. And in this lesson we're going to continue working with the SAT and actually set up some of the frontal area a little bit more so it wouldn't just look quite as empty. So right away we're actually going to go into Quixel, like so Quixel Bridge. And they started off, I think we should have a sort of a bench to be sitting around over here. So we're going to search for a wooden bench, Excel. Let's go into the 3D Assets and see the types of assets we can find. And we have a couple of options, but we want use an old wooden bench. I think that's going to look real nice within our Hut. So let's go ahead and select it. And actually I haven't downloaded already, but we can simply have a faster way of placing our entire asset within the world. And that is actually quite easy if I were to click and hold and then drag it and drop it into the world like so, we'll be able to place our asset within a world right away. So it'll create a new folder for us. It'll add it onto our content browser, of course as well. But basically we will get a bench right into the level just like that. And if it didn't have, if you didn't have a downloader first, it'll take some time. It'll show up as a simple white sphere first, but it'll show you is, it is being downloaded and once it's finished up. So once it finishes up downloading, you'll be able to get yourself a real nice Asset to place within your world. So that is quite easy and simple to do. And you don't have to be worried as much about the location of where your Props are located or whatnot. You can just simply place it from the Quixel Bridge itself. Now without I have the bench like so I'm going to hit E, going to rotate it 90 degrees. And I'm trying to think which way I'd prefer. If I'd prefer this way or the other way, I don't quite like the way this stamp goes outwards like so. So I'm just going to rotate it 180 degrees, just like that. And I think, yeah, this set, this N is looking much nicer. I'm going to make the scale to B15. I think that's going to be much better, like so. I'm just going to place it like so. And instead of 1.5, maybe we can just use it 1.25. I think that's much better as is. So let's go ahead and keep it as is. And then we can think of other assets that we want to be placed within this area. So let's go ahead and go back onto the Quixel Bridge. And this time I think we can search for some gleich wood barrels. Think some barrels, would it look quite nice as a way to store something like the fish, for example, or whatnot. And let's go ahead and scroll down and see the type of barrels that we'd like to again. So for example, this barrel is quite nice. Wooden barrel. I quite like it's default neutral type of color and it's gritty type of texture that we're getting. It has a lot of contrast, so I think it'll look real nice within this area. So all we gotta do is again, just click and hold and then drag it into the world like so. And that is how we're going to get it into our world. But by default, I think they might look quite small, referred to just sit, position or camera right above this Terrain and hit Play. We can see how it will look like in regards to the character. And yeah, it's just up to nice and just a little bit above the knees. I think it might need to be a little bit bigger. So we're going to change up the scale, 1-1, 0.25. I think that might look quite a lot better. And now if we're to walk next to it, yeah, I think at a height of a terrazzo might look way nicer. So we're going to keep it as is. Now. We're going to hold Alt, make a duplicate, put it a little bit to the side, like so, maybe bring this even actually a little bit more teabag. That's going to look so much nicer. And of course to avoid the similar kind of pattern, we're going to hit E and rotate this around more or less. Doesn't have to be an exact we just got to make sure we don't have that same repetitive pattern as we have with this. So we're going to hold Alt, make a duplicate and put it on the side over here as well. In this time we're going to bring this to the bag, going to hold Alt and maybe even get a third barrel over here, rotate it around a little bit again, just to make sure we avoid having a visible pattern like so. Just like that, we're going to get some nice type of results. And we're going to be able to break off some of that Edges, some of that Silhouette, Water House and All-in-all, this is going to look quite nice. So yeah, we're going to keep it as is. Of course, we're not quite done just yet. I think we should get a sort of a fireplace over here that's going to light up the entire area in this section. And that way we'll be able to bring up some of the nicer. So let's, we'll be able to highlight this entire hub. Make us, I think in the end, I'll be, yeah, I think we'll be having a real nice sunset at the side. And this way Because of that, we'll be working a lot with silhouettes and we'll have to make sure we just have to highlights some of the other areas. For example, the inside of this section, underneath this attached Roof, using just the additional source of light. So we gotta make sure we set up an area where we're going to have a source of light in this case is going to be fireplace. So let's go ahead and go to Quixel Bridge and search for stone. You can try searching for so ring. Maybe that would give us a nice result. And that's not going to give us a nice results. So let's type in stone. Well, maybe we can. Yeah, let's go ahead and make use out of all Stonewall. And just like we did previously, we're going to click and hold and then drag it into the world. And of course, once it downloads and gets you imported the mesh into your assets, it's going to give you this sort of result. So we're going to make use out of the wealth. I think that's going to give us a real nice result. Of course, the bottom is a little bit too high, so I think the best way would be to just simply hide this entire thing integrand a little bit just like that. We're going to get some nice result out of it. So just beginning that will be able to get really nice, kind of a low, maybe lowering down even more into the ground. I think that's going to give us some nice results. Now if we hit Play, we can see how it would look like. And maybe it's a little bit too large. Yeah, I think let's go ahead and make it smaller. So we're going to click our and just lower down this height. Your value of something like this. I think that's going to be much nicer. We're going to have a couple of locks and a bit of a fire in the middle and All-in-all, this is going to look quite nice as a fireplace. So yeah, that's all we're going to keep it as is. We just got to decide on the position of the fireplace because we're going to have a camera in this area. We need to think of how not to hide it too much because we don't want it to be covered by this beam over here. We've got to make sure we yeah, we have to make sure we slightly have it outwards like so. And having underneath the Roof is still going to look quite as nice. So yeah, this position is going to be quite alright. We might need to move it slightly in the future when we're working with the cameras. But I think it looks quite nice. Now we gotta think of additional Props to use it to break off these ends. So going into Quixel again and searching for something like wood logs. Wood logs like. So. We're going to find a couple of results and decide or off, we're going to need some wooden, burned wood in the middle so we can make use out of it. And just set up our nice fireplace. If we go and search for burnt tree log. So for example, if we were to add burnt, so we're going to get a couple of assets to work with. And I just grabbed a couple of them, this one over here and this one over here. And we're going to make use out of these two and set them up within the fireplace. So just by clicking and holding and then dragging it into the world like so, both of them just like that. We're going to get this, our result going to close this down. Now of course there are a little bit too large, so we're going to grab both of them and make them quite a bit smaller. Now we're going to just position them in the way that wouldn't interrupt with one another and start off, we're going to have some nice logs like so. And we're going to turn off the snapping and position this entire thing. Actually, I think we might need to turn on the local Gizmo just like that. And we'll want to have some elevation. We don't want it to have a kind of a flat fireplace. So we're going to work with this. We're going to hold Alt and drag it a little bit to the side like so. But on the other end, and I think that's going to give us a kind of a nice result. We might even want to stretch it out a little bit just so we can get a different variation out of this would just like that. And by playing around with the shapes, with the assets that we have because they already are looking really nice. We just have to make sure we have a nice silhouette looking from the side. And that's not complicated to do, especially since they have so much detail with them. And actually the wireframe is quite dense as well. We might want to set up Nanite in the end for some of them, but for now I think they're going to be quite alright. I think I'm going to make another duplicate out of this and set it up sideways. Like so, maybe like that actually, or like this. We're just going to work on making sure that they're nicely attached with one another. And I'm going to actually shrink this down by quite a bit and put this on the corner like, so, maybe even like this. Because this is a local axis, we've got to make sure we don't overdo it and maybe turn off the local axis and go back to the world position. That might help us out a little bit in this case. And yeah, I think that's going to look quite alright. There are a little bit overlapping with one another, but I don't think I'm minded too much As we're going to have a nice fire in here. So that's not going to be much of an issue. So yeah, I think that's going to be quite alright. We might want to grab couple of words. Actually. Think, I'm just going to lower this down and put it on the upper end as well, make it a little bit wider. And basically, we're just setting it up in a way that would look like there's something underneath it as well. So just like that, we're able to get some extra detail out-of-date. And I think that looks much better. It looks like it'll be much denser here. It has a lot more density within this fireplace. So we don't have to worry about it too much about it going into the there, into the ground. And he's got to focus on our overall shape of this fireplace. And yeah, I think this already is looking pretty nice. And also while we're at it, we might consider about reusing the assets that we had previously. So for example, these ropes are looking quite nice. And I think that might actually quite work in breaking off some of those, just some of those silhouettes and making it look a little bit more organic on these barrels. So I'm going to just quickly grabbed this rope using Alt, holding Alt and then duplicating it by dragging it out and placing it on the side of this barrel. I think there's going to look quite alright. Maybe we want to making a little bit smaller. Actually. We don't want to make it too small. And because of course we have some of these assets over here, so they have to be somewhat of a consistent Guide of a height, a width. So setting it to a value of 2.3 because they were 2.5 before is going to be quite alright. Yeah, Just like that, we're able to get a really, really nice result. I think that's going to look quite nice. Course we've got to make sure that they're not levitating. So let's just place them all the way down, like so. And you're just doing that. We're able to get some nice results. Might want to. Yeah, I'm going to drag it sideways a little bit just to get the top of the barrel a little bit more visible. In turn is going to give us some real nice results. And asked for this rope. I quite like this rope not gonna lie. So I'm going to make use out of it as well. We got to just decide how it's going to be hanging. And of course, by default is add a, a different rotation. So we're going to reset the rotation first, habit set to its default value, rotated this 90 degrees, like so. And I think we're going to put it on the side of this beam. And this way we'll be able to break off some of those silhouettes for the wood frame. So I think that's going to be quite nice. Which gotta decide on how this is going to be hanged. If it's going to look quite alright as this or HBC, if we should change up the angle. So just looking at it actually looks quite nice actually, I might leave it as is. And just like that, we're able to get some nice additional detail on to our area. We just got to decide whether it would look nicer over here or over here, because we already have some detail over here. I think getting it a little bit more to the side might look way better. So we're going to keep it as is, I think a little bit to the side. Like so. And just like that, we're going to break off some of that detail, like Hawaii, a substantial amount. And actually just a quick thing before before we move on, I think we shouldn't get some of wood logs over here at this end. So we're going to go into the Quixel Bridge real quick and search for a wood logs. So if we were to search for that, so we're going to get a lot of options actually, let's go ahead and add a keyword of chopped. Like so. And yes, we're going to get a much nicer results. So we're going to just use out of a couple, make use out of the couple and just grab them like so, drag and drop it into the world. Just a couple of them will do. Then close this down and we get a couple of logs to use. Now we're just going to bring them up a little bit, make them larger, like so I've been, we can use the value of something like 2.5, like so maybe even free will do. I think three will actually do. So we're going to just rotate them around by 90 degrees. And we're going to place them in a small sort of a pile. So let's go ahead and do that. I'm just going to grab them both with them in like so make sure we get some small rotation Variations. So I'm going to turn off the grid snapping to an angle. Just going to play around with values a little bit, then going to grab it like so, rotate around and maybe even change the scale a little bit to be smaller, like so. And we're going to place it in here. So this way we're going to get a real nice sort of a pile. And I might make use out of this one and just put it on this end, like so. This way it'll help us to break off this end of the wood. Over here. You might rotate it like this a little bit and add the thing that, that will do the trick. And maybe just like so. And I think this look quite nice or maybe just maybe we might need to turn this around. Yeah, I think this end looks way nicer, so let's go ahead and make use out of that. And yeah, that's all it takes for us to break off some of those edges. So we might need to get this a little bit more different or this one even. And just make sure we get some nice variation within the logs. And this way, yeah, we're going to get some nicer detail for this end. And yeah, so that's going to be it for this lesson. Thanks so much for watching, and I'll see you in a bit. 31. Working with Decals and its Basics: Hello and welcome back in for him to Unreal Engine five, beginner's guide to building an environment. In the last lesson, we left off by setting up some of the prompts and building our area within the front section of the heart. And this lesson, we're going to get more variation out of this hard this time, instead of using static meshes, we're going to make use out of decals. So before getting started and will need to open up a Quicksilver bridge and search for some of those. And just as I mentioned previously, a quick salt bridge has multiple categories. Categories. One of them was 3D assets category. Another one would be the textures category, and then the third one would be a decals categories. So in order for us to go into it, we can search for something like a third leak, something like that. And we're going to get ourselves surfaces, which was the textures and then decals. Sophie, open this up, we'll get all the details that we want. Our pink this time we're going to make use out of actually, the league doesn't seem to have a lot of, I think we need to have some interesting variations within this end over here. So we're going to actually just search for leak like so. And we're going to get more results out of this. So we're getting to get ourselves some nicer results. And we basically just want to highlight some of those bottom areas of this house. And I think the best house, the best of decals that we can use is going to be maybe this one over here. Leakage like this. It's a little bit hard to see, but it basically has a very nice dark end up leak over here. Maybe I'll just scroll through the renders to be able to see better, but it's, it's quite hard to see. But all of them especially are called leakage, like so. But just getting a real nice decals with a bit of variation is going to be quite nice. And at the very end, I found myself this one over here. Once we download it, we can go ahead and add it onto your project like so. And this time instead of just dragging it like we did with previous assets, we're just going to for now, I'll show you how to set it up properly from scratch to begin with. So let's go ahead and do that in case we are now going to be able to open up aqueous salt bridge and we want to use it directly from our projects. So once we get it downloaded, once we added onto our project, we're going to get another folder which is going to be called D counts. Once we open this up, we're going to find ourselves to download assets, which is going to be leakage in this case. Let's open this up and we're only going to find ourselves texture maps and a material instance. Now the way we use it directly, we can just apply a straight into the world like so. Otherwise, it's just going to give us a crash sometimes I'm not sure why that is the case, but at is what happens usually. So I'm just going to reset it real quick and show you a manual way of doing it. So let's open this up, go into the mega scans decals like so. And I'm not sure why the crash happens like this. So what we need to do instead is if we were to add quickly add to the project, open this button up and search for decay, like so, we'll get ourselves a decal actor. Now once we drag it out, we're going to get ourselves this box. And this box will allow us to make use out of the detail of material, which if we were to simply click and drag and drop our material instance, the one that we had. It's going to apply it directly onto the decals actor. And it's going to give us this result. Now by default, we're going to see an icon with a green box. If you're not seeing this, by the way, make sure you click a letter G, and that will just allow you to see this icon over here. So just make sure you have the game view, set this with icons. And now once we have it like so we can see that there's an arrow pointing downwards. This means that the projection for the decals is going to be going downwards. And in order for us to apply it directly onto this wall, will have to change that up. So by clicking E and rotating this around 90 degrees, I will actually turn on snapping mode first. And how once we turn it on, turn this directly nine degrees. We're going to get this result, which will basically projected onto all of our meshes directly. And the detail is going to be placed there. When we need to know though, is when working with decals, We gotta be very careful on how we're applying them because otherwise they're actually quite performance service, so we don't want to overdo them. We want to make sure we keep them to a bare minimum when working on our projects. Basically, a little bit hard to say what's the limit? It all depends on the type of project we're working on. And just make sure that whenever you're running low on performance, you just not overuse them to an extreme amount. And I think by just lowering this down, we can see that it's being applied on top. What I want though is to break off the edge at the very bottom. I think that would look way nicer in regards to how our material would look like or maybe just maybe it would look quite right in this area anyways. So yeah. Okay. Well, let's go ahead and make use out of them. And then very top, I think that's going to look quite alright. So something to know about them This green box is showing where and how this entire material is being applied. Let me just quickly deselected. So this entire green box is showing how it's being projected and right now because it is so wide, we're being projecting all of the material not only on this section over here, but also, for example, on the logs over here. And we don't want this to happen, so we've got to make sure we actually make this entire inbox much smaller. So we can do so by simply scaling it down, by clicking R and squishing it down like so. So by making it very thin, will have much more control over where this leak, that leak type of vehicle is being placed. Now if we click W and place it in words like so, we can see that it is being applied very minimalistic on a very side, like so. And we can also just position it in a way that would only be applied onto the floor, onto the main section of the texture and not on the size of these polls. So I think that's going to work quite nicely. We're just going to drag it up a little bit higher up, like so. And yeah, that's going to look quite nice for our hut. So yeah, that's already looking pretty good. Now we just got to figure out what are we going to do with the size. We might even want to squish it down because we want to position our entire square root to be at the very center. So we're going to hit R and we're going to squish it down even more like so. And we're going to position a just like that. Just by doing this basic kind of adjustment, we're going to get some nice leakage and we're just going to add a lot more variation into our house decals. And I think we're just going to make use out of that and apply it to the rest of the house. We're going to hold Alt and make a duplicate out of it. And rotate this by 90 degrees like so, and apply it to the side of this roof. And I think that's going to look quite nice. We just got to make sure that we are actually applying it. So the height is going to be quite right. I'm not sure now if it's being applied, I'm actually going to go from lid to unlit mode. And that might help us to make it easier to see. There you go. It helps us to see how the detail is being applied in a much easier way. So for this case, because this wall is so long, we can either make this very large like so. Or alternatively, we could just make a duplicate and set them up to side-by-side. But I think for now though it might look quite alright if you just said about like so. It's got to make sure that we're setting up in a way that wouldn't interfere to the sides. So thinking just like that is going to do the trick. Now let's go back from the unlit mode and see how this looks like n just like that. We're going to get some nice results for the ends. And I'm going to make a duplicate out of it and set them up over here on this roof and as well, just like that, setting it up, turning it by 180 degrees, we're going to place it in this, our error as well because this one is a little bit too large, I'm going to squish it down just like that. Oh ****, all the way into the wall just like that. And see how this would look like. Yeah, just Pope positioning it a little bit like so we're able to get some nice results. Now I'm just thinking that maybe we shouldn't squish it down a little bit more. But it inwards like so. And yes, we will be able to break off the wall nicely, the ends of the wall. And that's all it basically takes for us to break off the walls using the decals. We might consider putting another one over here. Actually. I think let's go ahead and do that. Actually, while we're at it, we're going to hold Alt, make a duplicate, drag this 90 degrees, or actually just going to delete it then grab the one that we already extended like this one over here and hold Alt, make a duplicate by dragging it around. Fairness nights degrees and position it like so. This way we're able to get some really nice and quick results using decals or the detail. Just like that. We've got to make sure that being placed properly. Like so. And yeah, that's all it takes with the decals to add some additional details. So, yeah, in the next lesson we're actually going to look a little bit more into details on how to add additional detail onto our house. So yeah, that's going to be in the next lesson though. So thank you so much for watching and we'll see you in a bit. 32. Working With Decal Variations: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to build again environment. In the last lesson, we left it off by starting on using some Decals to get more additional, extra information for the sides of the walls. And in this lesson, we're going to continue on using Decals in order to set off more of the detail this time for the top of our Roofs. So let's go ahead and get started. We're going to go onto the Quixel Bridge like so. And we're going to search for something called pine branch. So if I were to just actually we could just search for branch like so and add Decal. And we should be able to find ourselves some nice Decals to use. The ones that we want is we want to get some nice derbies, nice wood twigs and just apply it on top of the broken off roof. And just that way we'll be able to kinda hide this overall pattern as well as just get more overall Detail for the top. So I think we just need to find ourselves some nice branches. And yes, there you go. We're going to find ourselves pine branch patches. I think that's going to be the best, the nicest one you use. So let's go ahead and download it. And afterwards, we can do, instead of just setting up ourselves a decal, we can simply drag and drop it interval just like that. And it should automatically set everything up and it shouldn't give us any crash by default. But again, if we look at the Decals, if we look at the pine branch, it's just going to give us a nice Material Instance like so. So, yeah, although it is faster, I previously I showed you how to set up a decal from scratch and just apply it on to a Decal projection. But yeah, that's pretty much the same thing right now. We're just going to have a same kind of appliance onto the Roof part. And if you click G, we're going to see the way it's being projected. And by default, usually if we set it up like so, you can see that although it looks quite nice over here, where it starts going off vertically for the Meshes, it's going to start stretching off. And the best way to avoid those kind of stretches is by setting up to projection to be diagonal. So if we were to just click E and just rotate this bile, say something like 30 degrees. We'll see that we're getting some additional information, some additional detail for the size of these parts. So that is going to be a much nicer way for us to work with. We just got to make sure that we're setting it up. We're not going to get any of the tree bits going for the side. So if we were to go a little bit too low, we can see it actually goes prediction goes past it and goes on to the size of the wall. So we don't wanna we wanna make sure that doesn't happen. So I think I'm going to apply this as low as possible, but our amine as high as possible while still keeping some distance. There is going to be some artifacts over here on this end from this side, but we don't have to worry about it since most of the view is going to be from top place when it's being lit. We're not going to see a lot of information over here anyway. So that is actually quite nice. I think we can leave this as, as we're now going to make a duplicate out of it actually and set it up in another way. So we're actually just going to position it in another side, like so. And of course we're going to set it up diagonally, like so. And we're going to make sure that we're not touching the sides of the declarations of the borders for the world, for the beams. So something like this, I think is going to look quite nice. We can leave it as is, and we can also set up the other sides as well. So holding Alt, going to rotate this around, like so. Payment's going to look quite nice. And of course, we're going to set it up to be positioned. Quite nice because it's not touching. We're not seeing the result. But just like that, we're going to get such so much more detail out of our Roofs. And of course, if we want to make it smaller, we can do so by just making it smaller like so. Putting it back onto the Roof. And we're going to get some nicer smaller branches. Work with. Maybe I'll just stretch it out just a little bit so we can get additional detail just like that. I think that's going to look quite nice. And actually I don't want to this edge, this border to any type of the branches. I'm just going to raise it up just a little bit, or even actually rotate this by ten degrees. And this way, when we're applying it, as you can see, they're slightly, they starts fading out a little bit at the very end. That way we're not going to get a lot of information over here. Maybe I'll just, I might need to actually raise this up by quite a bit and place it just like that. And maybe that'll give us some nice information. I think that's much nicer actually. So let's go ahead and keep it as is. And then simply apply this onto the side of the wall just like that. Just by placing it on the side, just by having it a little bit of an extra detail and just by getting some rotation Setup, we're going to get some real nice results out of it. So for example, now, if I want to get more variation out of this, all I gotta do is make a duplicate out of it. Because of course it's going to have the same pattern. We can do is just, we can rotate this around and for example, set it up as 180 degrees like so. And then we can also change the way it's being protected. So I picking this up and setting this 90 degrees, like so we're going to get this sort of results. So that's actually quite nice in regards to how to break off certain patterns as well. And basically it just like that, we're going to get some really nice textures for the world. So, yeah. Before moving on though, one more thing to talk about when working with Decals is the way they're being optimized. And we have something called within or Details tab, something called a fade screen size. So if we were to change this something of a larger value, something like 0.5 for example, or even 0.8 will see that some of the Decals start disappearing. And the reason for it, the ones that have the different size screen fade is if we were to get really close to them, we'll see them reappearing and that is how they're optimized basically by default, I think there set as 0.01. And that means that by, if it even occupies a 1% of the screen, the Decals, they're going to appear into our view. But for example, if I were to set this as 0.5, and that'll basically mean that they have to occupy 50% or half the screen in order for them to be visible. So once I get close enough where they actually start occupying that space, they're going to start appearing. So that's something worth knowing, especially if you're working with stable shots that go a bit more into the distance and you wonder why they're not visible. The typos, Decals that you had before. So maybe you need, you'd need to change this up. Or for example, if you're having some performance issues, you might want to increase this value. And that'll help you and fix up the performance. Yeah, that's going to be it for this lesson. In the next one, we're going to start using Decals in order to create some declarations for our house, some actual proper declarations and fake some of the detail instead of just adding some additional texture information. But yeah, that's going to be in the next lesson. So thank you so much for watching and I will see you in a bit. 33. Creating Detail Using Decal: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we made use out of Decals in order to get some additional detail for our Textures. And this time we're actually going to end off using a declaration Decals that will help us get more detail for the size of the walls. So we're going to make use out of the Quixel Bridge, just like we did previously. Let's go ahead and open that up. And this time we're going to get ourselves a wooden actually we're going to find a wooden door decal like so. And although this time we're getting we're getting to create a type of a window for the sides of the heart are actually going to make use out of a door Decals because I find it to be quiet, an interesting match. So we're going to bind ourselves and old wooden door decal, this one over here. And once we have $1 at it, let's go ahead and simply drag this into our world like so. Then closes down. Now we're going to hit E and rotate this around by 90 degrees. And actually we're going to make it, you make use out of it on this side over here. So we're going to rotate this, Let's say, let me just rotate this 90 degrees as well. So going to hit G. So we could see this entire box rotate this 90 degrees and put it on the side over here. And we'll want to make sure we make it a little bit smaller like so. Just like that, we're able to get a really nice looking of a detail within our Hut. And just looking from the side, like from this angle over here, it might look quite alright. But if we were to have our camera a little bit more to the side, it is obviously going to look flag, since the downside of a decal is, of course, the fact that they're just being details projected on the sides of our assets so they don't have any of the mesh information. And we'll want to fix that. So the easiest way to fix that is to actually blend them in with our meshes. And if we were to go on to Quixel Bridge and search for a wooden frame. Wood frame, like so. Then of course, we'll make use out of 3D assets. And we'll be using damaged frame, picture frame actually for this once it's applied it to be having quite a lot of nice detail. So let's go ahead and download it and just simply drag and drop it into your world like so. And we're going to hit close this down. Now, the first issue that we're having right now, actually, I'll just make it a little bit bigger since it's so small. The first issue that we're having is the decal is projected on top of this frame as well. And obviously, if we wanted to be kinda go on top of it, we're going to have some issues with it. So the first thing that we're going to do is we're going to make sure that the Decal is not being applied on top of this frame. And the best way to do it, the easiest one is if we were to go on to the Details tab and search for decal with the frame of course selected, we're going to find ourselves receives Decals option. And if you were to take this off, we're going to basically not allow Decals to be applied on this type of an object. The downside of this though, is that we don't have a lot of control. And when we have this option ticked off, what it'll do is basically it'll take off any of the Decals from this mesh. So we won't be able to make use out of any of the Decals. We won't be able to apply any type of additional information from those Decals on top of this mesh. So not only from this frame, not only from this window decal, but also something from the leakage from example from this Decal over here, we won't be able to have any information from it. That is something to keep in mind. Now, one more time working with this. If we have a look at it, we have a frame that's slightly too thin. And if we wanted to, for example, make a frame quite a bit wider to have this entire window fit in. Obviously, we're going to be stretching it out. But what will happen is the sides of these frames are also going to be stretched out and the ratio for the top of the borders in comparison to the side ones are going to be just completely different and we don't want this to happen. So what we'll do instead is we'll make use out of deformation or this mesh. So let's go ahead and go into the more modelling mode like so. We're going to have it selected, then make sure that it is duplicated. So we're going to use Mesh duplicates. So when we're using a deformer is not going to affect the original Static Mesh. Let's go ahead and hit Accept. Now that we have it like so, of course, because we create a new Static Mesh, we're going to make sure we have receive Decals Turned off like so. And then afterwards now that we have ourselves a new mesh, we're going to go down until we get ourselves to let us, we're going to make use out of it. Actually, I'm going to hit Cancel, going to make this a little bit larger, like so. So it's going to fit in the entire frame just like that. Now. Going to move it to the side as well, actually just like that. Maybe a little bit down or actually even larger. Want to make sure that both the bottom editor are actually being nicely covered up just like that. So now what are we going to do is we're going to use letters and we'll make sure that we only grabbing it one side is like this. Now for where to move this to the side like so. We'll notice that it is being deformed, but the sides of them are not changing. They're not actually being deformed because we're grabbing both of these end. Once in the middle, the areas in the middle of the mesh in the middle is not going to be deformed. So the only thing that is going to be deformed is going to be these ends over here. And actually, I think that instead of having a frame that goes across these ends, we're going to just have a frame that goes right in the middle, just like in this area over here. And because we're using a former right now, we're going to have a decal being applied on top of this. That is because when we're using a deformer, by default, they're just going to have received Decals. But once we have it turned off, we're going to have a much nicer result. So right now we'll just make sure that we position our frame to be somewhat in the middle. I think that's going to be good. Actually. We might leave it as is. And now one more thing that we should be concerned about is I'll just make sure a habit slowly dragged out to the side. Thing that's going to be better. One more thing that we should be concerned though, is when we're having it deformed using letters like this, is that although the sides of the frame is not going to be affected, what will be affected is going to be the areas that atop. So right now, because we're only using this area to stretch it out, stretch everything out. The entire texture map is going to be quite a bit stretched out. So in order for us to avoid that, what we need to do is we need to make sure we can mitigate that entire stretching. And we can do so by grabbing this middle section over here and then dragging it to the middle ground like so. This way we'll just make sure that this area is kind of not a stretched out as it was before of Y. If I were to, for example, move it like this, you can see that this entire texture map is moving with this entire deformation. So by placing this in the middle, we're just making sure that it is slightly negated. And once we hit accept, we're going to see it better as we have the decal being applied underneath it. So now just doing it like so where are you able to get a much nicer result out of it? And yeah, we're just going to make use out of this and get a nice frame. We can make a duplicate out of this holding Alt and just sticking them together. And in return, we're going to get a really real nice sort of a window look through the sides. So by just doing that, we're going to get nice results. I'm just going to actually grab this decal a little bit more through backlinks. So just so we could see the Decals itself and it wouldn't be sticking out inside of the wall. And now another thing what we need to do as actually, well, once we're done with this front, we're going to grab all of the frames as well as the decal and now hit Control C, Control V. To make sure we have a duplicated. We're going to bring it to the average side like so. Now we'll be talking a little bit more about the priorities of the decal. So I'll actually position these frames with the Decals a little bit to the front legs. So, and actually let's go ahead and delete it real quick. I want to check out how it looks like for the scale. If we were to hit Play, if that is actually going to look alright. And I think that's a little bit too big. So let's go ahead and grab both the Decals and the frames and click and make it just a little bit smaller. I think that's going to be good enough. Let's put it in the side, like so. That's going to be looking good. Now we hit Play and see how this looks like an ACE for the windows. I think they're going to look quite nice. So okay, now we have it like so let's go ahead and click control C, control V to make a duplicate out of it. Bring it all the way through back and rotate this 180 degrees. Now we're going to have it plays nicely with in our back section as well. Now, the downside of this Decals right now is because we're having some leaks at the very top, and it might be interfering with these Decals as well. So for example, if I were to set them up in this area, we can see that leaks are kinda trying to overlay one another. Those Decals are trying to kinda go and they're not quite sure which one should be laid out on top of one another. So what we need to do is we need to have the Decals selected. And there's something called Within a Details tab, something called sort order. Now, the higher the number is, the more of a priority it gets over the projection of the decal. For example, by default, the sort order is set as zero for all of them. And if I were to simply drag this up, for example, and set this to a negative value minus one that is, which is going to be lower than zero. It will automatically prioritize those leaks to be going above those Decals. So that is something crucial to know when you're working with Decals, especially when you want to make sure that they're certain details. Certain Decals are growing on top of certain other Detail. So right now we're just going to set this Decals, this particular Decals for the window to be at a value of one. And this way, well, we're just making sure that they're not being overlaid by any other decal. So now that we have it like this and we're happy with it, we can hold Alt and just drag this out to the side. And we're going to get some nice windows position like so. So thing we can just have it as this. And this is going to look quite nice actually. Let's go ahead and keep it as is. And I'm thinking if we need some additional windows over here or not. But it might, it might be looking quite alright if you just keep it as this. So let's go ahead and I think let's keep it as is and move on. So I think we're pretty much done. We for a hard, we're now going to be focusing on the environment itself and Sorting out the terrain. So that's going to be it from a lesson. Thank you so much for watching and I will see you in a bit. 34. Setting up Material Function: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it out by finishing off our Hut within Unreal Engine scene. And in this lesson we're going to continue on working with this environment and actually set up Material to be used for this landscape. So let's go ahead and get into it. Firstly though, I'll just go ahead and go from Modeling Mode to select. Now. So we'd get rid of this toolbar on the left side. And I'll actually make this content browser just a little bit smaller so we can see a little bit more. And now the first thing we'll want to do is actually get ourselves the materials that we're going to be using for this landscape. So let's go ahead and do that. First, we're going to go open up a Quixel Bridge and we'll start off by getting ourselves a tundra Matsui materials. So UNDRIP Marcy, If we were to search for that, we should be able to get ourselves to one that we want. So this is the one that we're going to be looking for, the tundra masi ground. And we'll want to make sure we don't want this one. And of course we will need to add it onto a project like so. And then the other one that we're going to need is going to be a rocky ground as well. So let's go ahead and make sure we download it and add it onto a project just like that. Then finally, the last one that we'll want to use is going to be tundra soil. So forward to just search for tundra soil. And it believes it's going to be It's going to be a tundra riverbed. So let's go ahead and make use out of this one. Let's go ahead and dial on it and add it onto a project just like we did before. So now that we got ourselves free materials that we're going to be using within our landscape. Let's go ahead and close this down. And within the mega scan's folder, underneath the mega, underneath the surfaces. Once we open it up, we'll be able to find ourselves the materials that we just downloaded, which is going to be the rocky ground. And then tundra Masie and finally tundra riverbed of these free like so. We will firstly make use out of them in order to create ourselves a material that automatically applies a Landscape type of a texture on top of our entire terrain. So let's go ahead and create that first. Before doing that though it has go and get out of the mega scan's folder. I think we'll start off by getting ourselves a new folder created just so we could have it a little bit more organized. So let's open up the content folder just like so, and create ourselves a new folder. And we can call this one something like landscape, for example, might be a little bit better. Let's open this up. And now we'll be using this folder in order to create ourselves all the necessary materials within it. So for sorrow, though, I think it'd be best if we'd get ourselves another counter browser which would be able to go in-between, back-and-forth between the mega scan's folder and this one over here. So the easiest way for us to do that is if we open up the Windows tab and then content browser hover over that, we'll be able to get a cell's content browser to, which will give us a second conduct browser. Now if we simply just have it used up like so, we'd be using up a lot of our space within our Unreal Engine windows. So we don't want this to happen. So instead of what we're going to do is click and hold and drag it into the content browser, the first one that we had. So now we'll have two windows that we can switch in-between. And the second window, we're going to have it in the surfaces of the mega scan's folder, which is just going to help us to go in-between back-and-forth of those two. And now, before creating a material, I'd like us to create a Material Function. And that is going to help us have our Material, the Landscape Material, a little bit more organized. And it'll have an extra adjustments that will be able to make use out of. So let's go ahead and do that. Actually, we're going to right-click and then we'll find ourselves Material over here. But instead of a material will want to create a Material Function. So we're going to scroll down underneath the materials. We're going to find ourselves a Material Function. Let's go ahead and click on it, and then we'll get ourselves a Material Function just like that. So this Material Function is, we're going to set it up as a ground tundra, ground masi so we can just call it ground mossy, like so. And we can leave it as is. Now, if we open it up, we're going to get ourselves a Material Function graph, which looks kinda similar to a Material graph as well. So with this will be able to set up our material in the right kind of a way. For starters though, we'll want to go on to our content browser fourth mega scans surfaces. And we'll start off by setting up a masi ground. So let's open this up and we have a nice Material Instance within it. I think we can just, yeah, we can't exactly just drag it out. Instead of what we'll need to do is grab the textures like so, and drag it out like this. Now we have all of the texture maps Within our material functions. So let's go ahead and set them up properly first. So we'll have albedo first than normal. And then finally, our DP, the one that has all the Texture, all the other texture maps packed. And so for us to make use out of these, we're going to set up a material attributes, so it's relatively easy to do. We're going to just simply right-click and search for material, attribute, material attributes like so. And we'll want to make a material attributes. So this one over here, and this will give us nice Material attribute to work with. We can just maximize this window just to help us work with a little bit more of a detail. Now, decided off Base Color. Of course it's going to be the base color. So we're going to connect this to the color texture map like so. And we have a lot of other options, but they're not necessarily needed. There are just options that we can make use arrows. So again, we just need to make sure we connect them properly. So next one is going to be a normal map. Normal map, of course is going to be connected to the normal map. Then finally, we have a third one, which is a tundra Morsi ground underscore or D P. So 0 stands for ambient occlusion. And because the red channel is going to be the first one in order, that is what it actually represents within its naming. So Ambient Occlusion. Lets go ahead and connect this to a and occlusion. Occlusion is one over here. Then the second one, R stands for roughness. So that is going to be a green channel. Let's go ahead and connect it to a roughness like so. And finally, Blue, which is a height value information, and we don't actually need it to be using it within our textures, within our landscapes. So we're going to leave it as is. So finally, what we need to do is just connected to the output result. And just like that, we'll be able to see our texture within this preview over here on the top left corner. But by default, if we were to click control and that's by default, the texture within Landscape would usually looked too small. So we need to make sure we have a right type of resolution for it. The way we're going to do it is actually we're just going to change up the UV coordinates. And that is relatively easy to do. All we need to do is firstly get texture coordinates by default. And that is, if we were to right-click and search for texture coordinates, or instead actually let's go ahead and search for coordinates. And there you go, texture coordinates. Let's go ahead and open this up. Then we'll need to multiply it by a certain value. And we're going to hold em and tap on the screen to get a multiplier, which we're going to connect it to a lake. So then afterwards, we'll need to make sure reconnect something to your B value. And that is going to be a float integer, something that will be able to change it up. So I sample parameter value for a float value is going to be sufficient for this case. By holding S and tapping on the screen, we get ourselves a float value, which right away we'll be able to change the name of and by changing the name to something like we can call it ground Scale, like so. Now we can connect this to be. And if you want to change the name, we can alternatively use a Parameters name over here. And that'll just be allowing us to change the name whichever you want. But having it as a grand scale is what we need for now. And default value is usually if we were to set it to R1, is going to give us a nice default texture coordinate of value. But again, because the scale is usually too large, we need to lower down by quite a bit. And I find it that for landscapes, the default value of a is 0.25 works really well for whenever we want to make those kind of textures. So let's go ahead and use this kind of a value as a default value. And later on, if we need to change it or adjust the values that we can do so anyway. So right now we're going to connect this to UVs for every single textures to make sure that they're consistent within there UV coordinates. And once we do that, we can hit Control and S to save it up. And we're going to get ourselves some nice resource later on. But for now though, that is all we need to do our, of our Material Function. And we're pretty much done with this Material Function. But of course we need to set up our other Material functions, and that is actually what we're going to do in the next lesson. So for now, thanks so much for watching and I will see you in a bit. 35. Setting up Automatic Landscape Material Base: Hello and welcome back everyone to Unreal Engine Pi Beginners Guide to building an environment. In the last lesson, we set up our very own first Material Function, which we're going to be able to apply it onto a landscape. But right now, we're not quite done just yet because we still need to set up our other materials to be used within landscape mode. So we're going to hit close for now. And now we basically have within our first content browser, within the Landscape Material folder, we have a Material Function just like this one. So this is pretty nice. But we of course need to set up our other materials as well. So we still have a rocky ground as well as a word to just close this down, as well as a tundra riverbed, this one over here. So let's start off with a rocky ground. Let's set this one up, a Material Function. And so the easiest way for us to do that would be if we were to go back onto the landscape folder, we can simply hit Control C and Control V to make a duplicate out of this Material Function. Of course, by default, the name will be the same except it has underscore two. But we're going to change that. If we're to hit F2, we can rename or Material Function and this time we can call it Ground Rock. So I think we can just leave it as ground Rock and it'll be set as Material Function. Now, all we gotta do is change up some values within its Material Function. So let's go ahead and open this up and we'll be changing couple of texture maps. First, I'm actually going to make this window a little bit smaller like so, just double-click access the content browser like we did previously. And we have a couple of textures. But instead of just adding them up into, right away into the Material Function, which is going to be replacing the texture samples that we already have. So let's open up. Let's click on the Texture sample for the Albedo map for the base color. And we're going to, Within the left side, within its details, find ourselves the texture that is assigned to it. So all we gotta do is we gotta make sure we changed it up. So we can either a, select the ground Rock albedo and then simply click on this button over here, which will automatically change up the texture. Or alternatively, we can simply drag and drop it into the texture map. So whichever way you prefer, we just need to replace it like so. And then afterwards, we're going to select the neural map and replace the normal map as well. So just like that, we're going to be replacing the normal map for this one. Finally, we're going to replace the pack texture maps. Well, Let's go ahead and do that. We basically get ourselves a nice rock formation or the Material Function. Now, we'll also need to make sure we changed the parameter name because right now it is called ground Scale. And I think instead of ground Scale, we can call it ground rocky scale, like so. So I'm just changing up the parameter name because when we're using multiple material functions, if they have the same parameter name, they'll be not working as properly. So we just got to make sure that we change up the parameters name. And this way we'll be able to make use out of the function Instance and get some further control towards our landscape. So we're pretty much done with this one. We can now close this down like so. Of course, let's make sure we save this as is. And now we're going to go back onto the Material Function. Now the final one that we need to do is going to be for the riverbed. So we're going to select the grandma, see it control C, control V to make a duplicate. And of course, we're going to go onto the surfaces folder and we are going to search for tundra riverbed. So this one will also have a texture map. So all we need to do is make sure we reuse them the same way we did before. So of course, we'll need to rename the Material Function, the one that we just duplicated. So we can just call it river BED, like so. And I think we can just yeah, we can just open up Material Function, make it a little bit smaller, like so. And of course we're going to be replacing all of the texture maps. So let's go ahead and quickly do that. Select the first section sample, replace the color, replace the normal, and finally replaced the extra map packed. Like so. We're going to hit Control and S to save it. And I'll make this bigger and changed up the multiplier parameter Scale thing. We can just call it river beds scale. Like so. I'm just going to make use out of the capitalist is not necessary, but it just helps to break up the words that just makes it look a little bit nicer. I tend to not use spacing in the parameter values. You can use it, but it just takes up unnecessary space. And usually it's better to not use that spacing when you're working on Unreal Engine projects. Actually, let's close this down and hit Save Now we're going to have free Material functions. And to start off using them right away. What I'm gonna do is I'm going to right-click and create a material like so. But it's Material we're going to call it planned escape, mad, like so. And right away we're going to right-click and create Material Instance. So what this is Material Instance will do is it'll allow us to make some quick adjustments within its own parameters. And right now, it's actually going to be called the same name, except it will have underscore Instance written on it. And right now if we double-click on it, we want to have a lot of parameters to work with because we got nothing there yet, so we'll have some in a second. But for now, let's go ahead and just open up the Landscape Material itself and make some values that will allow us to Texture Material attributes. So in order to texture the landscape, we're going to make use out of the functions. And we'll start off by creating an automatic UV Landscape Material. And it's quite simple to do. All we gotta do is firstly select the brown mausoleum ground Rock and we're just going to drag it into our material like so. We get ourselves a couple of nodes to work with. So these are the Material functions that we just created. I'm just going to make sure I select them and just drag them to the side like so. Now, we gotta make use out of them and actually set them up to be used within the Landscape Material that we just created. But of course we need to break them up first because we are using material attributes. We gotta make sure we set them out as just a normal Material first. So what we're going to do is we're going to break Material attributes first. And easiest way to do that is if we were to right-click and search for break, we'll find ourselves break Material attributes. Let's go ahead and open this up. And we're going to simply attach this to our ground Masie. And because we're only using base color as well as roughness, Normal, and ambient occlusion. These are the only ones that we're actually going to make use out of. So let's go ahead and do that right away. Actually, before Using that, we're going to set up our material attributes for the second one as well. So we're going to select this one. Click control C, control V, make a duplicate out of it, and now attach it to the attributes node. So now the way we're going to make use out of it is actually relatively simple. All we gotta do is make use out of a angle. We finner terrain that will allow us to texture the size of a Terrain in a rocky material. And the rest of the material will simply be a type of a mossy texture. So I think that's the best way that we can approach this. And so for us to do that, we'll need to use something called world aligned blends. So let's go ahead and right away search for that. World are lined land. So this one over here, align blend. Let's go ahead and open this up and we're going to get this sort of a node. So if we were to just simply use this by default, I don't think it'll give us a lot of options because we need to make sure we set up the blend bias and blend sharpness. Otherwise, these hills won't be able to be texture. So we've gotta make sure we do that first. For us to do that, we're going to use a parameter float, just like we did previously. We're going to hold S, tap on the screen and call the first one blend bias. Like so attached us to our value. And the second one is going to be blend sharpness. So let's hold S and call this blend sharpness like so. Again, attach it onto our value just like that. And or the sharpness, we're going to set a default value of 50, something like that, or blend bias. We can just set it as five and later on, we'll be adjusting the values. But for now, these are usually the default values that you want to use. And that'll just give you a nice enough of a value to work, to start on working with. Now, this is going to be used as a mask that will tell the Landscape Material where if we want to use our extensors. And the best way to do that is going to be if we were to right-click and search for a loop blurb like so. And we're going to find ourselves linear interpellate. This is going to give us this sort of a note, or actually alternatively, just going to delete it. If we were to hit hold L and tap on our Material, we're going to get ourselves the same node. So usually this is faster, but if you prefer to start on by just searching or linearly interpolate, that is fine as well. But anyways, moving on, we're now going to connect the Alpha onto the Alpha section for the node. And then a is going to be the base color like so, or the ground mossy Then the B is going to be the ground Rock. And just by connecting these two, we're going to get ourselves a nice result and see how the world alignment blend is actually affecting our entire texture. Just by setting this up, we can now set it up onto the base color like so. And now hit Control and S to save this out. Once it saves out, we can now close this down for now and just check how our material is being applied onto the entire terrain. So let's go ahead and close this down. And now we have ourselves a material like so. And again, since we created ourselves a Material Instance, we got ourselves a Material Instance as well. So instead, we're going to apply Material Instance, which by the way, since we set up the parameters for the Material using the material functions and Material Instance as well. If we were to open this up, we'll see blend biases as well as the scale for the UV coordinates. So that's quite nice actually. But we're not going to use it just now will want to apply the material first. So let's go ahead and select the landscape itself. We're going to scroll all the way down and until we find ourselves to Landscape Material. And we're going to apply the Landscape Material Instance onto the Landscape Material. Now, once it does, once it's done loading it up, It's going to give us this sort of result, which is actually the opposite of what we wanted because right now it's applying the Rocks first and it's not even giving us any of the slope detail that would automatically be used up when placing a mask. So we'll be needing to adjust the Landscape Material Instance. Let's go ahead and open this up. And I'm just going to drag this down a little bit like so. So we'll need to make sure we set up the blend bias as well as the blend sharpness. Let's go ahead and open both of these up and start off with the blend bias. I think if we set it up to a negative value, it should give us a different type of result. But this doesn't seem to want to work for some reason. I'm trying to figure out why that is the case. There you go. Once we put it up, way too high, a value is going to give us this result. So, yes, we want to make sure we get more or less this result, but flipped up, upside down. So Blend bias right now it's set to -23. And I think if we were just to split, flip this up to 20, it's not actually going to give us any type of results. So maybe for just to increase, to increase this to a high value, maybe this would work. Actually. That doesn't seem to be the case. So I'll switches up to Blender, blender bias of -20 and try to switch up the Blender sharpness instead and see what that would give us. So if we were to switch this up to a negative value, maybe this will give us a nice result. Hundred minus hundred doesn't seem to be giving us anything, to be honest. I'm trying to figure out what is the case, what is causing us this issue. And is even if we lower this down to quiet a bit, even let's say 0.01. So we're not going to get us the right results. And if we were to set this to negative value, let's say something like this. We can see that we're already getting some nicer results on the slopes of our landscape. But this is not a texture that we want. So actually we're going to flip this around actually real quick. So let's close this down, go into the material and quickly flip up these alerts. So a that we want to use is actually going to be at the bottom of our texture. I'm actually going to take this ground masi, both of them like so and put it down just like that, just so we can visually see them clearly. And now we're going to switch a with B. So while holding Control, I'm just going to put it on the B and then take the base color of our ground Rock and set it as a. And this way, when we hit Control and S to save this entire Material up, if I were to lower this down, we're going to see them completely switched up. So just by switching these around, we're going to get us a couple of different types of results. Now if we were to close this down and play around a little bit with Material Instance, actually, we're going to get much different results. So I think we can just have it sorted like so. And asked for the sharpness. Something like this. Maybe we're just going to have a small transition. And anyways, just by playing around with these values, we're going to get a nice Automatic Landscape that we're now going to be able to use within our terrain. So we don't have to paint all of those steep hills and change up the rock formations and whatnot. We're just going to get some nice results out of it just by doing that. So yeah, in the next lesson we're going to continue working on Landscape though, because as, as, as of this moment, we don't have a lot of control and it is only set up with the basic Albedo map for now, though, of course we will have to fix that up. So yeah, thank you so much for watching and I'll see you in a bit. 36. Adjusting Automatic Landscape Material: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting up a basic Landscape Material that only use the base color for now. So let's go ahead and get right into it and continue setting up the material. Make sure it gives us a nicer result towards our environments. So let's go into a material that we had previously. Let's open this up and right now we only have a base color up for the material. So it uses a world aligned blend. And it just blends in using alert and sets up Basic colors to be landed in, in-between those two. So now we gotta make sure that we actually set up the rest of them in a similar kind of waste. So we're getting to do is actually we're going to copy and paste a couple of times. And actually we need it for a normal map, ambient occlusion and roughness. So we actually need a third one as well. So in total, we'll have four lobes that we're going to be using. I'm going to extend the Landscape Material Editor, but to decide. And now we're going to start off by using a roughness value. So let's go ahead and connected in a similar kind of way. So roughness is going to go on to a, or the ground Rock. And ground masi is going to go its roughness to be. And of course, just like we did previously, the Alpha that we're going to use is going to go from world aligned blend. So by connecting this, we're now going to be able to connect this slurp, a roughness value just like that. Then the next one, actually, let's start off with ambient occlusion. So we're going to have ambient occlusion as a at the very top for the ground Rock and begin occlusion. Or the B from the ground Matsui. And we're going to connect both of them the into the ambit occlusion. And of course, let's not forget the Alpha to be connected from the world aligned blend. So just by doing that, we'll be able to get some nice PBR Material results. And of course, we also need to set up the normal value as well. So let's go ahead and do that. But instead of just using a simple Alpha, will need to make use out of a normal blend. This value over here. If we were to connect this to an Alpha for the lab, we'll be able to get some nicer results. And in turn it'll blend our values nicer. But for the alert itself, we're just going to connect a and B, just like we did previously, just like that. And we're going to connect this entire lobe onto the normal channel just like that. Now we're going to hit Control and S and see the difference. Once we collect Control S, it will take some time to pile everything up. But as you can see, we're going to get some really nice results. The base of the landscape. So already it is looking quite nice. Now, we do have some choices for how we're going to adjust at a texture maps themselves. Right now, for example, the default color for the Rocks are a little bit too washed out to white looking at I want to darken them up a little bit just to get some nicer results. So the way we can do that is we were to go onto the textures where we had the landscape, the surfaces. And if we were to go onto the rocky ground, we have a texture map that if we were to double-click on it to open it up within the right side of its details tab, we're going to get ourselves to Adjustments. So in a similar way to what we did with the Quixel Material Instance. This also has the brightness, the saturation, and other options for us to use. The only difference though, is that it will make the adjustments directly onto the texture maps. So we can have multiple variances, like we did with this one. But fortunately it right now we don't actually need to do that. We can just brighten it, lower the brightness of this Texture, and that'll give us a nicer results. So I think value of 0.5 might give us a nice result. Or actually maybe something like 0.8. Yeah, I think 0.8 is going to give us some nice results like this. So let's go ahead and leave it as is for now. And just by making a small adjustment like that, we can get some different types of results out of these texture maps. So although we're now using the Material Instance that is provided within this area to set up the Landscape texture. But we can still make adjustments just by going into the image of a texture map and making the adjustments manually. So that's the way of doing it. Now, going back onto material, onto Material Instance, that'll be have it set up properly. We of course can make adjustments to it. So if we were to open up the Material Instance and get ourselves both for the parameters set up. So Ground, rocky scale. If we want to make this larger, for example, we can set a to 0.1 and we're going to get much larger results. But I think by default it was set as one. And obviously that is way too small of a scale. Value of 0.25 usually works really well as the default. Now the question is, if it's going to look nice, if I make it a little bit smaller. And value of 0.2, I think I like it a little bit more. We're going to get much nicer Detail out of it. So leaving ground, rocky scale as a value of 0.2 is going to be much nicer in my opinion. Then ask for ground Scale. If we have a look at it from a distance, we're going to see a lot of pattern repeating itself. But AD is going to be fine as later on we're going to be adding some bit of a Foliage and that'll just fix up this issue entirely. So for now though, let's go ahead I think and keep it as is. And we're going to fix that later on. But we're pretty much done with the Automatic Landscape. Now we need to set up a custom material options that we're going to be able to make use out of and paint in the riverbed ourselves. So that is what we're going to do the next lesson. So thanks so much for watching, and I will see you in a bit 37. Painting in Custom Terrain Texture Values: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we created ourselves a, an Automatic Landscape that we're now able to use within our terrain. But it only has two Materials right now and it automatically applies them based on the elevation of the terrain. So we're going to be changed them up a little bit and make a more customizable material which will make use out of the material paintbrush. So before doing that though, we need to set up a layer blend first. And we're actually going to now bring the river beta we had previously. So we're going to set it up a little bit over here as a second material, as a third Material Function that is and just like we did previously, will need to set it up as a brake material attributes. So let's go ahead and simply, I think it might be best to just select this one. Click control C, control V to make a copy out of it. This way it will get ourselves a nice material attributes item. So with this, I think we can actually just bring this all the way through down, all the way through the end to the bottom of our Material. Okay, So this one, we're going to set up a little bit differently. And instead of just using an automatic Kadima masking, we're going to set it up to be used with a Landscape paint mode. So the way we're going to do it is will need to make use out of something called, if you were to right-click, we're going to search for layer blend of research. For layer blend, we should be able to find ourselves Landscape layer blend. So this one over here, by default, it looks quite simple. You can even connect anything at the moment. And that is because when we click on it, will need to add a, an element to it. So by clicking on this plus symbol over here, we're able to create an index and by default is going to look like this. So we'll need to actually set up to array elements and set up two indexes like so. And this is just going to give us two layers that says none. So we'll actually need to make sure we specify the name for them first. And the way we're going to do it is if we were to open this up, it has something called layer name, will need to change them up. And the first one we can just call it a default, like so. And the second one, which is going to be, if we open this one up, we're going to be calling this one a river BED, like so. So we have two layers right now, layer default and layer riverbed. And right now, right away, I think we can just simply attach them with the base color just to see how it looks like. And we're going to attach the base color for the first one. And of course, we're going to change up the base color for this one as well. So we're going to just hold Control and drag and drop it from the base color onto this one over here. Now we're going to attach this on through Base Color like so. And it should, if we were to hit Control and S, once, it saves everything at once, if pilots everything up, it should give us some nice results. And by default it actually is now going to give us anything at all. And that is because we need to go from the select mode, we need to go onto the landscape mode. And then within it will need to go on to the pain tab. So this is what we're going to use to paint our entire reign. So right now it doesn't seem like it wants to work. We should be getting some target layer. So I'm going to save this up, close this down, actually reapply this entire Landscape Material. So the way I'm going to do it is with the Landscape selected. I'm going to make sure I deselect Landscape Material. I'm going to click this icon over here. Or actually we can just click Reset to this property, the default value like so to make sure we reset it. And now once we reapply the Material Instance like so, we should get better results. I'm going to click Control S just in case to save this up. Then go back to the landscape mode and every habit, we now have two layers. Right now, the default and riverbed, which we're now going to be able to make use out of in order to paint this material. So before doing that though, we need to make sure we create a layer info and we all we gotta do is just click on this plus symbol over here. Click wait, blended layer, Normal. And we're just going to use the default folder that's just going to create it over here. So we're just going to click Save. The same thing. We're going to do it for the riverbed. We're going to select this one and click Save like so. Just like that, we're going to create ourselves a layer, Landscape layer Info, info, actual layer. And now we can go back onto our previous Material, Landscape Material. So Landscape Material, this one over here to make some further adjustments. Or before doing that though, I'd like to try out painting it using this. So I will make the brush size quite a bit smaller. It more or less has similar options that we had with the sculpting mode in which we have a brush size, brush fall off. So it's not to over overly complicated. So now if we were to select a riverbed like so and try painting it on. It'll take some time to load it in within this layer, within this Terrain chunk. But once it does, we're going to get this result. Now we're not quite there just yet. We only had set up a base layer, but we already are getting some nice results out of it, which we can make use out of. So we just need to make sure we set up, we finish up setting up the material properly. So let's go back into the material and complete, complete and finish up setting it up. So let's go ahead and hoping this, and now we have a base color will pretty much need to do the same for the rest, free of the Material attributes. So we're going to click control C, control V, couple of times, or three times to be exact. And we're just going to set them up one next each average just like that. So the next one is going to be roughness. Let's go ahead and connect the roughness. So we're going to hold control from the roughness and attach it to a layer default. And this one, we're going to set it up is the roughness than riverbed is going to be set from this break Materials attribute like so. The next one is going to be a normal. We're going to hold Control. Break this off from normal, set it is a layer default. Then this one is going to be layer riverbed. And we're going to attach it to a, if we were to scroll up a little bit normal like so. Finally, amine inclusion, Let's hold Control attached to layer default. Amide occlusion from a riverbed, attached to lay a riverbed. And we're going to attach all of it to me occlusion. So now we should have something like this where we have Ground, Rock, ground, Marcy, all of them broken up with the material attributes. We have the world aligned blend. And finally, we have a riverbed which goes through the layer blend. So all of it put together, we have a nice Automatic Material that we also can paint within it. So once we can hit Control and S closes down, we can see the type of result that we're going to get out of this texture. So already it looks pretty nice. We just gotta make sure we painted in where the river that is. So we're going to go onto landscape mode paint. And we'll start off by deleting the area over here. Actually, we're going to select back onto the default material and we can just paint this off like so. Now for this layer BED, we're going to make use out of the riverbed. And we're just going to pay it in this entire information Detail Excel. I think though the default texture is a little bit too small, so we're going to make that adjustment in the second. We just need to make sure we get some nice texture covering the base, the ground of where the water is going to be. And we don't have to worry about it too much. We just have to cover the most part of this water. This way when water is actually going to be placed, we're going to get some nice results out of this entire section. Just like that. We're going to be placing it like so. And of course we gotta make sure that the N bit is also textured out. If we want it to be faster a thing we can just increase the tools shrink a little bit. We don't have to do too much. 0.5 is more than enough in my opinion. So that'll just increase the strength fond how it's being applied, how fast is being applied? And yeah, that's pretty much it. Just going to use my mouse wheel to increase the speed and see how it looks like at the very end, while moving my camera, holding right-click WASD and then middle mouse button. We'll scrolling up and down to change the speed. The camera movement. Anyways, I'll set up this area as well. I think I'll use a much smaller brush. And only this area over here. Maybe even set this tool strength to 0.1, something like that. And just slightly use some variation over here. I think I quite like the rocky formation for this section, so we're going to leave it as is, then just get some riverbed Foundation to replace the Grass basically. And I think that's going to work quite well. I think we can leave it as is actually. And that's all it takes to setup the riverbed. So now we're actually going to go into the Landscape Material Instance because we set up the riverbed We're going to get ourselves a real bad Scale. So we're going to enable this and set this to maybe something like 0.1 would like to see how this would look like. That's actually a little bit too much. So 0.15. And I think that looks quite nice. We might try to go a little bit higher just to see how this looks. That's too much of a Pattern is visible, so we're going to go as 0.15. I think that looks quite alright. I quite like the overall design of this. Of course, we are going to add some Rocks and whatnot in some areas that ill. That'll help to break up the entire section. But for now though, I think that looks quite alright. We might leave this as is. And later on, we're also going to make use out of this in order to break up some of the sections within the grass as well using the riverbed. So although primarily we're going to use this material to have it within where the Water is. Where it can also make use out of this to break apart somebody's grass areas. So for example, if we were to set this to a really low value, something like 0.05. Now increase the brush size. We can slowly add some additional variation to our range. So by just doing that, we can get some really nice results. And of course, if we want to delete it, we just selected back to default and kind of painted out the sections. Just by doing that, we're able to get some nice results of course. But let's say we want to make use out of this and get some really different type of pattern for this terrain. So we can totally do that if we were to select our brush type from a default simple circular brush to a Pattern Brush. And by making use out of this will be able to basically get a grunge map and set up a different type of a pattern. So by changing this to something called noise, if I were to change this checkerboard to Tiling noise, something like this, I think we will do quite well. Now if we were to increase the scale of the brush and apply this with, let's say point by phi value, click and hold. And then I wanted to just show you what I mean by applying this. It doesn't seem to want to work though for some reason. So I'm trying to figure out what is the cause. But it doesn't. I'll try to increase the tool shrink to 1 h. It's because I have the default selected. I'll just go back through the riverbed like so. Now if I were to click and hold, we're going to get this result, just going to click controls then make this Texture scale a little bit larger. Actually. Write to see the way it looks like. But just by looking at this entire thing, we can see the type of a texture that we're getting. So by adjusting this, we can see the brush is changing up a little bit how it looks like as well. For example, if I were to change this to a value of point to something or that sort, we're going to get this result. And when I'm scrolling through it and we can see that we're getting a little bit different result where we have the brush placed. Just by doing that, we can get a real nice result of this entire area. Of course, right now, because we have the strengths that as quite large amount, we're not going to get a nice result. But in Santa Barbara going to do is we're going to first of all, set up to Tool shrink to a value of 0.1. I think that'll do. Then Start slowly applying this entire texture. And just by doing that, we're getting some nice variation in our terrain. So by clicking and holding a force, don't want to overdo it. We can click Control Z to undo it, just tapping and holding it and slowly brushing across. We get some bits of variation throughout our entire sections. So that is quite nice. Of course, we did it again. So I'm just going to click Control Z. Seems like I'm overdoing in this area, so I'm just going to slowly tap it like so making sure I'm not overdoing it. And just like that, we're able to get some slight bits of Variations for the riverbed. And All in all, I think it just turns out much nicer. We're able to break up a little bit of that pattern throughout our terrain. So yeah, that's all it takes for us to get some bits of different patterns throughout our entire selection. So that's going to be it for this lesson. Thank you so much for watching. And then in the next lesson we're going to continue working with the Terrain and set up some with the rock formations to break apart this overall landscape. So thank you so much for watching, and I will see you in a bit. 38. Adding Rocks using Foliage Mode: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we finished off setting up texture material that is used for the Landscape. And it includes Automatic Landscape masking as well as a Custom Painting type of work. But now we're going to break up a little bit of this Terrain by making use of some additional rock formations. So without further ado, let's get right into it. So to start off, I think we should just go into the Quixel Bridge and get ourselves couple of Rocks to be used. So this time we're going to search for something called a bolder. And we shouldn't get some nice 3D assets that will be able to make use out of. I think we can simply get ourselves some mossy forest boulders. I think that'll be the best ones. So we're also going to search for masi as well. So mostly bolder. And these ones over here are quite nice. We're going to get ourselves for Variations of them. Let's go ahead and simply don't love them like so. We're going to download them and add them onto the project. So just for Variations are pink is going to be quite nice for us to make use out of. And it'll give us some really nice results. Anatomy have four variations that go ahead and close this down and go into the content browser, mega scans and 3D Assets. And it should be underneath this section over here. However, we are piling up a lot of folders. So it might be best for us to simply use a filter for Static meshes. So let's go ahead and do that. Actually, that would speed up the process by quite a bit. And then you go, those are the four Rocks are we going to have? And I'll just place them in the world just to see how they look like and think they are actually placed in their place in just on top of 1 h. So we're just going to move them sideways and see how they look like. They look quite nice as Rocks are definitely going to make use out of them and set up some nice Terrain. Rocky formation. So let's go ahead and do that. For this though, we're going to use a Foliage Mode. So if we were to just open this up. So not only is this for a simple foliage, this is also quite useful for whenever we want to scatter around all the assets for out our scene. And this just helps us to speed up placement, especially when we want to randomize the placement of the objects. So without further ado, let's get right into it and just simply have all those for Static Mesh is for the Rocks selected. And then drag and drop it where it says drop foliage here. So once we do that, I'm actually going to over-the-counter browser, but quite a bit like so. So we'd have more things to see to look at. Or actually we can close down the tabs just by doing that. And that'll open up this entire tablets. So since when we click on it, will get additional options to work with. And if we have a condom browser, we'd be able to work with it, but we'd be slightly struggling since we'd have less space. So once we have them like so we have a bunch of options to work with. But decided off, we're going to select all of them. And this way, as you can see, where it says Mesh multiple values. But basically we'll be able to make change and all of them will be adjusted accordingly. So right now, if we were to simply tap it on the landscape like so, we'll get all of them placed within this area. So right away, what we can see is that they're actually too close to one another, so we need to adjust that burst. And I'm going to hit Control Z to undo this step. And right away within the mesh details that we got something called density. And if we change this to something like ten for example, and see how this would look like. We're going to get a much more manageable result. So that's quite nice. But I think this is a little too little. I'm just going to drag it across and see how this would look like. Or maybe that's quite alright. Actually, we do need to have more variation within Rocks though. So let's get some of those Adjustments first. For starters, we got a radius distance between Foliage Instances. So right now it is set as zero. If we were to set it as one, for example, we'd be able to make sure that they're interacting. They're not placed in on top of Water number. So actually if we were to Control Z and set this to something like pi for example, we can see that then are being placed in one another. And I think they're actually still being too closed up. But for now we're just going to leave it as is. And the next step that we need to change up is going to be the scale. So right now, Scale is set as uniform. If we were to change, this, will be able to have it squished Rocks in both ways, but we don't need to have too much variation. We don't need to over-complicate this entire thing. So instead what we're going to do is we're just going to change the scale for this one, minimum and maximum. If we're to change this to something like 8.1, 0.5, Let's say we're going to get rocks that are Different scales and this will just help us to get different variation out of them. And then afterwards, what we need to worry about is something called offset. So of course we don't want to Rocks to be floating. But what Z offset does is basically raises or lowers down the assets placed using this. So for example, if I set this to 10.10, we're going to get some floating Rocks and, or actually set it to 100 and hundred. Just to show you an example, we're going to get some floating Rocks like so. Of course, we don't want this to happen, so we're not going to use that. And instead we're going to set it as minus ten and let's say 20, maybe that will do is go ahead and test this out. And when he is a little bit too much, so maximum is thin and minimum we can set it as -20. And I think this is going to give us some nice results overall, since some of the rocks are going to be placed inwards and some of them are going to be slightly sticking out. So that might be right, but maximum might be a little bit too much Still. So let's go ahead and change it to five and see how this would look like. And I think this looks much, much nicer. So let's go ahead and keep it as is. Now. The next step is going to be something called aligned to Normals, average Normals. We don't need to worry about those for now because we're just working with Rocks, which is more than to make sure we have some random placements. So what we need to worry about it is the aligning max angle. Now what this will do is if we set this to a free 60 value, what will mean that will basically have a different type of rotation, random rotation for these frogs in the angles that are placed that because there Rocks and we can keep it as is. But I personally think because we're having some moss on them, we should probably limit this to instead of just having it precincts they inhabit freely rotated. We're going to change it to a value of something like 45. I think that'll do the trick. And they'll just be slightly rotated whenever placing them around. So that's quite nice. Now, the next step that we need to do is going to be the random your is the one that rotates the object randomly based on the simple angles. So it's not going to be on X and Y is just going to be on Z axis, then we're going to be rotating clockwise or anticlockwise in just a simple way. So usually for all the Foliage, we keep this as thick tone. Now align max angle is what's going to allow us to basically place it on the sides of the cliff. So for example, right now if I place this over here, you can see it's trying to avoid the slopes as much as it can. There aren't being placed. So if we were to increase this aligned max angle, something to say 90 degrees, so it's going to be going vertically. We'll be able to place it on the corners, like so. So when working with something like flowers, this is setting it up to like, let's say 15 would be quite nice. But because we're right now we're working with these kind of Rocks. It might not be quite as nice. So actually we're going to set this up to 45 degrees. And that's going to give us much nicer results. It's still going to not go completely in those crevices, but it'll just give us a nicer results. I think actually instead of 45, we're going to use 55. That's not going to work. Straight 65. And they go, We just wanted it to be climbing, climbing up slowly onwards, but not too much. So I think just using this value is going to work quite well. So let's go ahead and use this value like so. Then the next step is going to be random. So random, you're the one that kinda rotates an object in clockwise or anticlockwise. If we're looking at it from a top, there'll be this way or this way. And usually when working with Foliage, we need to have as much organic variation as possible. So having it presented from different angles is usually the way we want it to be. So having this tiktaalik is what we want to have. Then the next one is going to be random pitch angles. So if we look at it from the side, is going to be rotating it clockwise or anticlockwise when we're looking from a side. So flowers, something like flowers. Obviously we want them to be going upwards and whatnot. You want the stem to be at the bottom always. So we usually don't change this unless we do minimalistic leave with something like Rocks. Of course we'll want to increase it just to get more variation out of it. With normal Rocks, we'd probably increase this all the way to maximum, which I believe would be free to 60 degrees. But with Rocks that it has most because they're on top, I think we can just get away with something like 20 degrees. And this way it will get more variation out of these rocks. But at the same time, we're not going to just completely twisted around where the mass is going to be at the very bottom and whatnot. So it's still going to be consistent with The most kind of a greenery that it has. So just by placing it like so we're going to get some nice results. And while working with this, instead of just clicking Control Z, you can also hold Shift, which will turn from paint mode to an erase mode. So just holding shift is just going to change it up to this, which if we have a race Density set as zero, it's going to erase all of the rocks like so. What you need to know though, is that all of the selected polish is the only ones that are going to be affected by this eraser. So if I have all of these de-selected, for example, and I wouldn't be able to even use this foliage. And if I have one of them selected, like so, only one of them selected tectonics. I will only be able to remove this type of a rock. So while holding Shift, I'm trying to remove these ones over here and I'm not able to do that because I'm only removing the ones that have this selected. So that is something to keep in mind. And actually who make use out of it properly, you'll have to select the ones that you want to remove. And once we have these thick tone, which we can do so by holding Shift and selecting the first one, then selecting last one, and then they can add on or off. Then afterwards while holding shift will be able to the slide. All of them. Yeah. And the same thing of course, applies to placing the rocks when having them ticked on this matter. If you have them selected right now or not, if they have a tick on on top of them, will be able to be placing them together. So, yeah, by just using this paint, simple paint Foliage Mode, we'll be able to get some nice variation at Rocks just like that. And we can pretty much place them all over the place right now. They're being treated more or less like background type of Rocks and we'll add some more organic look to them later on. But split Using that, we're able to get some nice variation, for example, for the riverside. And of course, it'll give us some nice way to break off the edges. So that is quite nice. Let's go ahead and make use out of that and just apply it throughout the sides of the riverbed. And that'll add some nice touch throughout our entire Terrain. We're just like that. We're going to apply it over here. And actually, which is going to apply it all over the place like so. And just apply it on the sides, mainly the size of our Terrain. And this way, we'll get some nice, really nice results out of them. And we can probably add some of them over here as well. And that should pretty much do it in regards to how we're having them placed. So we have some basic background type of Rocks. We might need to add a couple of them over here. But instead of just holding it, and we're just going to add like Clusters of them instead, like so. And more or less than a random position. But we don't want them to be basically scattered all over the place. And instead, we're just going to add them up bit by bit, just like that. So by adding them in Clusters, we're making sure that they're not just complete noise for our Terrain. And instead they're actually having a way of breaking down a 3D environment and its flat looking shape and giving us a nicer detail for the overall scene. And yeah, that's what we pretty much want to do. Just want to place them at random more or less, but keep them in clusters. And this way we're going to get some nice results out of them. And yeah, that's all it takes for us to give us get us some basic rock formations just like that. And maybe some over there, some over there. And we don't need to overthink it just now. We just need to make sure that it breaks off some of that edge. And that's what we get. Basically that's pretty much it. Afterwards. In the next lesson, we're going to focus on placing them in a single Foliage manner. And we'll start bringing out the shape that we're getting out of those rock formations. Yeah, that's going to be in the next lesson. So paying so much for watching, and I will see you in a bit 39. Adding Large Rock Clusters using Single Instances: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting so the rock formations to break off a little bit of this environment on with some randomly position Rocks. And this time we're going to continue working on this and actually start placing some of the more customers. Laced Rocks are terrain just to make it look a little bit different and bring out a more organic look towards a terrain. So let's go ahead and get right into it. You started off. We're going to continue working. Instead of using a paint tool, we're going to make use out of a single instance Foliage tool. So by clicking on this, we're going to be able to now placed each of the assets individually. But before doing that, we need to make sure that this is stick tone for a single instance Mode. And instead of all selected will want to make sure that it cycles through to select it. This way whenever replacing each time it cycles for all of those selections that we have. And each time it'll give us a new type of rock that is quite nice. Over this time, we need to make sure that we're getting a little bit larger type of Rocks instead. So the scale that we're going to use is minimum going to be 1.6 and the largest one is going to be 2.2. And let's try this scale values over here. I think there's still quite small in regards to what we're trying to do. So I think was going, let's go ahead and click Control Z to undo this. And scale for this might be better if we were to set it to 2.2, 0.5. Let's go ahead and try these out. And still that doesn't give us the right color scale. So maybe we should try a different type of scale, or maybe some of the Rocks just aren't giving us the right type of information. So I'm thinking that we can just set them up, sort them out individually. It's going to click Control Z to undo every single one of the Rocks. Now I'm going to select all of those rocks and unpick them all, and select the first one, see how big this Rock turns out to be. And this is actually quite small. So actually, I just realized that the scale, I didn't have them all selected, so I wasn't changing all of the scale. So what we need to do is you need to just click on 3D zed, have them all selected. And we're going to take on them all and make sure that we have the first one selected hold Shift, and select the other one, the final one. Now, for the scale, we're going to have a multiple values written on here. So we're just going to reset the values to its property into his default values. This way we're able to change these up. So 1.5 and 2.5, Let's try these values out. And this might give us some nice results, or maybe it's a little bit too large. In certain cases. I think I'm going to use a value of 1.8 and 2.2. And that's going to give us something in-between and a thing actually that It's still a little bit too small. So we're going to use a value of 2.3 and 2.6. Like so this, it'll give us some real nice rock formations like so. Let's go ahead and make use out of that. And now we're just going to place them all in this area. We can also use a single to erase some of Rocks. So while holding Shift, I'm going to erase this one, for example. And it doesn't seem to be doing quite as well. I think it's because some of them are able to be removed, but some of them is just a little bit harder to remove. So what do we need to do is we just got to find the right place for them to be removed from. Or alternatively, we can go back to paint mode. And with a brush size set to somewhat of a small size like so, we can remove some of those rocks just like that. So for example, we can ruin with this area like so. Go on to Single Mode and add a couple of those Rocks just in this area like so. And this will help us to break up solos areas. I'm just wondering now, there's one rock that is extremely large and I don't quite like the way this is turning out to be soft pink. If I were to deselect this all and just use this one. Yeah, I think there's just one rock that is comically large and that's a little bit too big for us. Even the rest of the Rocks should might be this size. So actually we're going to select all the Rocks except for the second one. Have them tick ton, and set this to a value of 2.3 as well as 2.8 like so. And now we should get, yeah, we're going to get much larger rocks in comparison to the rest of them. So that is going to be much nicer. I'm just going to go through pain mode, hold Shift and remove the rocks that were having over here. So we're just going to make sure we play some of them nicely in this area over here. So just have a couple elected. Great couple of weeks. So I think that's quite nice. Now for this area, we might as well do something similar. I'll paint, remove some of the areas for the Rocks, click on Single and place them in manually just like that. So let's way we're able to have some nice control over the rocks on where we want to place them while still keeping that randomness and organic type of a look. So we don't have to be worried too much about how we're going to rotate those rocks and how we're going to place them. But yeah, just splitting that and going back and forth in-between those were able to get some nicer control over how the rocks are being placed. So I think this area should also have some rocks over here, like so. Some of them are hard to place because some of them a little bit too small. And I think this one is a little bit is the one that is a little bit too small. I will actually try them out. Write a final one out. And by default, it actually is quite large. Some not sure why that is the case. Maybe it's the third one. This one over here. It seems to be quite alright, so I'm trying to figure out which Rock was this from, and maybe it was the first one. Actually. I'm just going to check that out and he has it seems like it is quite small as a rock. So let's go ahead and fix that up. Change the scale from this to 2.8 and 3.2 like so a point to 2.8, like so. Now we're going to try it out and let seems like much better type of Iraq to use. So let's go ahead and make sure we have them all ticked on now and play around with the rock formations for a little bit. Just like that, we're able to get some nicer Variations out of a Rocks. And we're just playing around now with Larger formations and trying to set up the way they're going to look like. Again, this is a little bit too small. We might actually just grab all of them. So and get them to be even larger actually. Is there still quite a bit small? We're not able to get some of more the distinguished kind of Shapes. I think instead, what we're going to do is we're going to grab all of them, just like that. Reset the scale and set it to a value of 4.5, like so. And this way, There you go, we're getting some nice and rock formations. And we're just going to be placing them next to the rocks that we already have. Just like that. This boulder though is a little bit too much. So f3 and f4 is the way I think that we're going to go form. So this is looking quite nice. I want to have some of the rock formations over here as well. I think we're going to add some of them over here, just like that. And we're going to get some nicer rock formations. So generally placing in groups of two or three for the larger Rocks, I think that's going to work quite nice. And just like that, we're able to get some nicer rock formations that a little bit stands out more than regards to when we look at the terrain. So all in all that is going to look much nicer for the overall aesthetics. And that might be overlapping. So while holding Shift, I'm just going to remove this. And this is also going to be removed like so. So because we're working with Single which got a de-selected while holding shift in the center of the rock. And it would usually just remove that like so. And think that's looking quite nice like this. Which has got to make sure that the overall terrain again is broken off quite nicely. And just having it like this is actually quite nice. I quite like this overall formation. Thinking if this is a little bit too much, maybe it is. So I'm just going to redo this step and get ourselves a different type of rock. Like so. I think this is actually quite nice looking from inside a quiet like the way this is being hanged from the side of this boulder. Maybe add another rock over here. Actually a little bit too much. I quite liked the way this turnout, so I'll leave it as is. And what these areas we might want to add some of the rocks over here actually as well. So yeah, some of the rock Foundation. But this is going to be quite alright. So since it is a place for the Waterfall, we need to hide it a little bit. This area, this section. So just having it like so I think is going to be quiet array. This was a little bit too big of a rock, so maybe, maybe something like this or this. Or actually it's something like this is going to look quite nice, actually quite liked it. So I'm just going to fill in this gap over here was a little bit too much going to click Control Z and just play around with deformation until you get the desired results. Maybe this is a little bit too much. So I'm just placing in this whole, just making sure that this is quite a dark area I'll Excel. And All-in-all, I think this looks quite nice actually. So just want to have an additional rock over here. Like so. And just like that, we're going to get a nice rock formation over here. And so yeah, it's just about placing the Rocks. And if we don't get a nice kinda placement, we can just click Control Z and undo the step. And that'll just give us a different option whenever we placed type of rock. So I'm thinking that we might need Plant nevertheless, and actually because we're working on Large Rock, so we worked on the medium Rocks as a background shape formation just to break off the edges. Then we work on Large rocks. And afterwards we add some smaller pebbles in order to kind of blend in the terrain, width, the rock formations themselves. So just by doing that, we'll be able to get some nicer type of results. And I'm thinking right now, I'm just placing some rocks in order to get some nicer formations. And yeah, that's all it takes to get some nicer results or the overall shapes. I'm just trying to make sure that they're not blending in with one an hour too much, not getting too close. Otherwise, we're going to look quite as nice and this one doesn't seem to want to be removed. I'm going to go onto the paintbrush with a bit of a higher brush size Engine holding shift, just going to remove these rocks around it. Just like that. We're able to get rid of them like so. And I've thing that's alright. Yeah, that's all we need to do. We just go gonna have to add maybe a couple of extra Rocks over here, maybe a rock over here as well. And maybe Iraq over a distance. Just like that. And I think we're pretty much done, maybe just some rocks over there and some over there as well. And yeah, that's going to be it for this lesson. In the next one, we're going to add some other smaller pebbles next to those rocks and kind of really blend them in terrain. So thanks so much for watching and I'll see you in a bit. 40. Working with Smaller Chunks of Rocks: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting some of the larger Rocks to be placed within our landscape. And we actually got ourselves some other more noticeable Chunks This entire terrain. So in this lesson we're going to continue working with the Rocks and they're Clusters. And actually started setting up a little bit of a smaller Variations Within this terrain. So let's go ahead and get started right away. We're going to select all of the clusters that we have, all four variations of the rocks. And we're going to start off by changing up the scale. So going Scale X, we're going to reset it to default and set it up to something like point 5.1 or 0.8 even. And we can try playing around with these. So yeah, there, there you go. They are much smaller in regards to what we had before. And I think yes, because of the slope, they're not going to be placed quite as well. So we're going to go down a little bit until we find max or angle alignment. And we're going to change this to something like 85 something extreme that might give us a NIC result. Or let's try to just go into something like 200. And actually that's not giving us any result. I think if we're to go set it up to a smaller value, even that still doesn't seem to give us a typo results, Some trying to think on what is happening. If I have it set at zero, nothing happens. Mindless. Hundred doesn't work. Something like free 60 all the way through max. Is that going to give us a result that still doesn't seem to want to give us any type of result on the edges of these landscapes. So I'm trying to figure out what is going on with that and trying to see and understand why we're not getting any of this placement. So instead, what we're going to change is not aligned max angle, but we're going to change the ground slope angle and the maximum set as 45 degrees. If we were to change it to 80 degrees, we're going to be now be able to place it on the slopes like so. So just like that, we're going to place it couple of them just to support some of the rock. Wait, and get some nicer Variations out of these formations. So just like that, we're going to be able to play some nice of Rocks like so and get some nicer Variations which has got to make sure we don't overdo it and keeps some of those forms opened up. And this one looks singled out. So we're going to get a couple of Rocks just like that place, then I actually am going to turn off more of the rocks like so. So we're only are left with three Rocks. This one, I don't quite like as a smaller bolder. So we're just going to remove this entirely. I'm going to get some of those Rocks to replace just like that. So just by playing around with the forms, again, we're going to get much nice information and we just make sure that they don't look quite as plane when they are touching the ground. So they have some way of breaking up this entire formation just like that. And this way we're not able to move it a little bit outwards in regards to how forms are placed. But at same time we're able to get some nicer looking organic shapes out of these rocks. So just like that, again, we're getting some pebbles Over here. We might need some pebbles Over here just like that. And some of them over here, maybe some of them by the river over here as well. So just a couple of them over like so. And playing around with the values definitely helps to bring out a more organic type of look. So right now by default, this would have been way to bear, way to just opened up. And we can see like a straight line going across. And we basically want to hide these away and just place a couple of Rocks. Definitely helps to remove those straight lines and make the overall look, overall shape look way more organic. So it's building something like this. We're able to get so much more variation out of this entire formation. Maybe something like this. There you go. You get so much nicer Shapes. And this looks quite bearings. I'm just going to place couple of Rocks over here. Like so. Maybe some rocks over here as well. Like so. Just like that we're able to get some nice forums and our end as well. So two to three Smaller Rocks, maximum at say five. Something like that. Next to bigger boulders definitely helps to break off the Shapes and gives off a nicer results. So we're just placing it in certain corners. And that's all it takes in order to break off some of those shapes. And just looking at overall kind of areas for where they're sticking out too much. For example, over here we can see that Rock is just being on its own, is not enough variation. So we're just going to play some of them as well. While working with this, we don't need to overdo it, which got to have some concentrated areas for where the rocks are. This way we're just making sure that when replacing Foliage, they're not going to look to bear in. And just by doing this, we're able to get some nicer results and we're just randomizing somewhat where there actually are being placed. That way we're able to get much nicer results are of our shapes. So just like that, we're able to get some nicer Foundation, nicer Rock. So sometimes when it's being placed because some really nice ways of them combining with one another. Oftentimes though, they kinda interact when a not so nice oval way. So I'm just going to remove them like so and kinda picks it up just a little bit like so. And again, just by doing simple motions, were able to get some nicer results. This might take as long as it needs to be, or it might be somewhat of a lengthy process doing it manually. But all in all I think it pays off in getting us some nicer design, some nicer Shapes for the Rocks. So yeah, that's all it takes for ASU. Get some nice results. Maybe even place couple of Rocks over here by the house. We make sure that it isn't too barren. Otherwise. Maybe some over here as well. Like so couple of them over here. Just like that. Maybe something like this. And yeah, that's we don't need to overdo it again. We just got to get couple of them just like that. And I think I'll have a tree over here and maybe something over here as well. And that way we'll be able to break off some of those themes. And actually this looks way to bear in some screen to add a couple of Rocks over here. We need some larger Rocks again actually. So I'm actually going to increase the scale to be free and five stimuli that are actually going to keep both of them at five. And this way, we'll have a more consistent scale, scale for the Rocks. Actually five, maybe a little bit too big. So I'm just going down to free. Maybe is going to be just right. Let's look at for the right kind of a shape like so maybe something like this to want to remove the rock that is placed over here. And I think that'll do so. It doesn't seem to want to be removed. So I'm just going to go or use the paint end app. It's slightly using shift. And that seems to work quite well. So yeah, that's all it takes for us to set up the rock formations. We don't need to overdo it, but it actually looks a little bit too much. So we might want to take the brush and slightly cut off some of the rock formation. So maybe like a little bit from here, or actually, let's make sure that all of them are selected and just slowly remove some of the formations like so. Otherwise they might look a little bit too much. So I'd random just clicking some other areas just to break off the entire formations like so. And another quick way for what we can do is change up the erase Density. So by changing this up to something like 0.5, only half of them are going to be removed. So for example, if I were to click Shift and just simply hold it, only half of them from this area going to be removed. So sometimes when we want to kind of break off certain edges like this, we're going to get much nicer results. Setting it to a lower value within eraser Density, something to your value of 0.3 might even give us greater results as it only removes like 70% of the rocks. So just by having it like so, we're able to break off and get those kinda Clusters of Rocks in a nicer way and dinner just going to be background type of a noise. So all in all, I think this will do think we have some real nice good Chunks of Rocks. So yeah, we're getting to leave it as is for now. And in the next lesson we're actually going to start working with proper Foliage, with Grass and whatnot. So thanks so much for watching and I'll see you in a bit. 41. Setting up Tree Foliage Clusters: Hello and welcome back in Verona to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we set up some of the rock formations that helps to break off certain Terrain, Landscape Flow. And right now we're actually going to continue with the Terrain and continue building on with this time. I'd say we can continue building on with certain trees. So let's go ahead and get right into it. We're going to go onto the Quixel Bridge and we're going to search for tree like so. Then go on to the 3D assets. We should get ourselves some of the Variations or the trees. So I'm just going to scroll down a little bit until I find myself the one that I want, which is going to be some trees at the very bottom so that trees are the ones that we're going to be using. So instead of just typing in Tree, if you type in debt as well, that might be a little bit easier for you to find. And right now there's a lot of options from the trunks. And it is actually quite nice. But the ones that we want is actually just going to be dead tree. And I think that's going to be quite alright. If we're not seeing it. We can actually just go ahead and scroll up on until we get to the, if we look at the keywords, we can see additional warrants. So for example, we can get something like tiger biome. So if we get this opened up, we might be able to get more control over this. That doesn't seem to be the case. I'm just going to close this down and try searching for the tree trunk again. Tree trunk like so. And then scroll all the way down. We've got some dead trees over here. So maybe you might be able to make use of, yeah, let's go ahead and go onto a elections said. And that might help us to get the desired trees. So collections and coastline. So we're going to open the collection varicose line, and this has some nice variations within them. So right away if we open the dead tree, the one that we have over here, we're going to have a couple of extra unrelated assets, but we're going to download this one right away and then add it onto our project. Then the next one is going to be this one as well. Add it onto the project. And I don't think I can see unrelated asset for this dead tree soul go back onto the tree for the coastline and click on a second one. And this one is quite nice as well. So let's go ahead and add it. And so basically we'll have free Variations of trees, of that tree trunks. So this one over here, then, this one and this one as well. Let's make sure we don't own them free, like so, and add them up to the project. And then afterwards Let's close this down and see the assets. So freely Assets. Making sure I'm using the Static Mesh within a filter. And afterwards, we're going to have these free there Tree. So I'm just going to drag it into the world to actually see how to look like, going to go onto the select mode and see their looks. And by default, they are actually looking quite alright. I quite liked the looks for them. So I think before we make use out of them, we've been use of the Foliage Mode. We're actually going to set them up to be customarily placed within these areas next to her house. This way we'll be able to have more control over these trees, as well as just help us to set them up properly. So we're going to start off by getting this variation up and aside. As you can see, for example, this brush branch is touching the sides. So we're going to rotate this a little bit. I'm going to turn off the snapping angle Mode and we're going to get this sort of result. Maybe it's a little bit too much. There you go. So we're going to rotate it in a way that's not going to touch the edges. They're not going to overlap with the sides. Now we can actually combine the upper branches like so and get some nicer results. We can even rotate them a little bit, for example, and make them look like it's part of the same kind of an area. So just like that, we're able to place a couple of branches like so and get some nicer results out of this entire section. And this way we're just making use out of the trees to break off some of the edges or the small as well, because otherwise it might look a little bit too bland. And actually I'm just going to bring this a little bit to the brand. This way. We're covering this site entirely and we're getting some nice shadows as well. For this from the Silhouette soda, I quite like this one. And then I'm going to grab this branch as well. But it sideways like so. And maybe grab this tree over here or this one over here, actually put it on the side. And instead of just having it as is, I'm actually going to click our and upscale this entire chunk like so. And then maybe just maybe I'll also Lady rotated to the side. And that's how we're going to get some nice variation out of this tree trunk. Just by making some couple of rotations, we're going to get some nicer Variations. And actually I quite like these ones. And not only we're going to make use out of the default Static meshes. We're also going to combine these ones as well, I reckon, and set them up as our own Tree Variations. So if we were to grab both of them like so, go to the modelling mode, like so. And then click on Mesh, Merge. And then it's going to create a new object that's going to be called combined. Or maybe you can just change up the name actually Tree On bind a one. And that is going to delete this from input and make sure it replaces it with new ones. So if you hit Accept is going to combine both of these and give us a Tree combination. So we're going to do actually the same one over here as well. So grabbing well for them like so. And then going onto Mesh Merge and then Tree combination O2 as a name from input, as an output type and delete inputs. Now we're going to hit Accept. And again, it's going to give us a new variation. So we've got to new Variations like so. Now I'm thinking on what we can do. And actually we're just going to get ourselves this Mesh to be placed within Omega scan's folder. I think that's going to be a little bit easier for us. So actually instead of doing that, we're going to select all of the Meshes we had for the trace like so. We're going to be placing them in our area this way we'll have a more better visualization of the trees where we have those trees, I think. Yeah, let's go ahead and create a new folder in the previous mega scan's folder and call this trees. And then we're going to bring Oliver trees into this folder over here. So we had, if we were to enable the Static Mesh, we had these free trees. Now Within the left side, we're going to have all of our folders shown, even though we have this filter and enabled what decided meshes. So we're going to select all of those trees, scroll down for this list of folders until we find ourselves to Tree folder like so. And then drag and drop it into the tree folder just like that, which is going to move it over here. Then the next one is that we have is actually going to be within a content folder. I will turn off the Static meshes, and it's actually going to be within the January generated folder. So the tree combinations are going to be placed over here. So we have two combinations right now. We're going to grab both of them. We're going to go onto the trees folder and we're going to place that in the Tree section over like so. Now, once we open this up, we're going to have five trees, two of them combined ones, and three of them. The different individual assets. The reason we're doing it like so because even so when we're working with Foliage, we're going to be placing the trees are randomly scattered them around. Actually, I've just placed them free at once. I'm just going to click Control Z. The point I wanted to make was, even though we're going to be placing them individually using the Foliage Mode, they're going to have some random tilt and whatnot. And that will help to make it look more organic. But even so we want one to have them too close to one. Otherwise, it's quite easy for them to overlap with one another within the Foliage Mode. So that is why when we create our own custom Chunks like this one, for example, we're going to have some variations of those trees combined already. And that made, makes sure that none of those branches, for example, are overlapping with one another. And still we're going to have those nice Clusters of Tree. So that is actually quite nice one working with Foliage Mode to set up your own kind of Clusters of Meshes for the Foliage, for the tree trunks and whatnot. Yeah, we're going to do that in the next lesson. We're going to actually populate our entire scene using those Tree Foliage. So thank you so much for watching, and I will see you in a bit. 43. Setting up 3D Plant Foliage from Quixel: Hello and welcome back In prone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting some of the smaller trees within our environment. And this time we're actually going to go even smaller using Grass as well. So let's go and get right into it. We'll start off by going into the Quixel Bridge and getting yourself some vegetation. So within the home bar, within a search bar, we're going to serve progress like so. And it's going to be some foliage. Or actually instead of Grass, we're going to search for foliage. And that'll give us an entire category. And we're going to select 3D plants. That is going to be a category. They'll give us all of the plants within the Quixel. So we were to click on it and selected and then simply close down the Foliage bar, will be able to see all of the categories for the grass and all of the Foliage ten Quixel has available. So we'll start off by getting some of the firms. That is usually a real nice starting point. Or any type of forest type of a, an environment as it helps to break off the Foliage and get some more of an interesting shapes and more interesting Silhouette. So let's go ahead and get this opened up. And we're just going to get a common fern type like so. Let's go ahead and Dolan's this. So we're going to have it downloaded, added onto a project. And right away, not only will it add it onto our content browser, it will be adding it onto your Foliage, which we'll get to it in a second. Well, firstly, need to set up all the rest of the Foliage first. So let's go ahead and download them. Now to get back onto the 3D Plant, we're just going to be clicking on this button over here for free replant. And we'll be back in the Foliage category. So the next step, we're going to get ourselves a Grass. So let's go ahead and open this up. And we'll have a lot of grass for us to choose. But we'll want to make sure we're using Kikuyu Grass as well as wild grass. A combination of those two is going to work really well within our scene. So let's just make sure we have both of them added up. Like so. Then we can go back onto the 3D, onto the 3D Grass. Under the 3D plants. And the final type of category, the final type Foliage that we'll want to placing on our ground, going to be something a little bit larger. So we're going to actually scroll down a little bit until we find a common mug worth. So that is going to be quiet atoll type of a Foliage that'll help us to break off that type of grassy sections. So let's go ahead and bind ourselves. Come on mock worth. If we're not able to find it, we can just always searched for mug worth, like some work. And we're going to get this plant over here. So this is the final Foliage L will need. Let's go ahead and add it onto your project. Then we can close this down. And we'll see that within the mega scan's folder we have a number folder called 3D plants. If you open this up, we're going to have four types of folders. And by default, it should. If we were to scroll this down, it has actually added up right away. So what do we need to do is we need to open a folder up. And within it will need to find ourselves a Foliage folder. So we'll open this folder up. Then I'm going to make the codon browser just a little bit smaller. And I'm going to grab all of these firms of these variations and place them within the Foliage type of a Mode. And right away we'll add a map. And right now because I added them up, it actually went through the folders and automatically added all the Static Mesh foliage onto this Foliage Mode area. So as you can see, we have all of these Meshes right away within our section over here. But if you're not seeing them, we can always just go through each one of them and simply add them up like so. By simply selecting every single Static Mesh Foliage, we're going to be dragging them in and added them up like so. But again, it seems like all of them have been already added in this area, so we don't need to worry about it now. And so we can use out of them straightaway. And actually before doing that, we're going to close down the content browser and see what is the Foliage going to look like within our environment. And we'll start off by selecting all of our other meshes that we had. We're going to untick them off like so, making sure that all of them are ticked off. And I'm actually going to select them all just to see all the tick boxes, our voice, we can't see which ones are ticked on and which ones are not. Once I'm happy that these ones are ticked off, we're going to select the final Grass. We're going to scroll up and we're going to select the very first one. Then we're going to make a selection out of it as well. And I think we just placed them up and see how they would look like within our environment. It takes a little bit to load up the shaders. So once we place them up, just give it some time for them to load. Because we're using a paint density of 0.05 as the default one, is going to give us a really low amount of a density. But we're going to fix that in a bit. Four-sided though. We'll need to fix up the scale of each one of those sections for the grass. So to start off, we can see that the firm, for example, is way too small in comparison to the rest of the grass. So we're going to be fixing that up first. I'm going to hold Shift and just simply drag it across like so. Drag it across the terrain just to delete everything like so. Now we're going to start off by setting up the fern. So we're actually going to, with all the, all the selection that like so we're going to deselect everything just to make sure that everything is deselected. Never going to select only the firm, makes sure that they're ticked on. And we're going to place them in the world just to see how they look like. And now, once we know the size for them, I'm going to click actually control Z to undo the Foliage placement. Now we're going to go into details tab and make a couple of tweaks before actually making use out of them. So first things first course, we'll need to change up the scale. We can set up the minimum and maximum to be two. And because we changed up the minimum right away, the maximum is going to be also changed too as well. Now once we place them up, this might look a little bit better. But still I think we can go a little bit larger, so we're going to go and set them up to free. Let's see how this would look like. And here you go. I think that would look much nicer in regards to different size. We need some size variation. So going to a value of 2.8 and 3.2. So there'll be a difference of a value of 0.4 in-between where to start placing them up. We can see the type of firm that we're going to get. So think this is going to be much nicer in regards to the type of fern. You can make use out of that. So next, we're going to see how the other Grass is going to look like. We're going to take those off. And we're going to select ourselves to tall grass. Because this is in alphabetical order. We're going to see the common mug worth at the very top. We can hover over them and see the naming. And basically going to find ourselves the final McGwire that we have, which is going to be this one over here. So we're going to select it as first one. Then we're going to select the final one and we're going to make sure that they're all TikTok. And now we're going to just apply it onto the ground and see how they're going to look like. So by default, I think they're quite small. So again, we're going to change up their Scale. We're going to change the scale to a value of 2.2, 0.5, like so. Now we're going to see how they look like. And I think this looks much better. So yeah, we're going to keep it as is actually, we have some nice variations of fruits as well. So that's going to help us break off of the Foliage within our terrain is actually quite nice. Okay, so we're pretty much done with the this type of Foliage. We're going to continue moving on NCR, the rest of the grass looks like. So we're actually going to take this off. And I know, although this Grass has multiple variations and we have wild grass as well as this type of Grass. We're actually going to just select all of them. Just, we're going to see where it ends and it's going to end by the tree. So we're going to hold Shift, make selection. And of course we're going to start placing them on the ground. So let's go ahead and make sure that we have it selected. Like a miss collected. So I'll need to make sure I do my selection again. And we'll find ourselves the final Grass. And alternatively, what we can also do is instead of just going through them like so, we can just go into the search bar. Within the search bar, we're going to search for Grass. And we're just going to get ourselves everything that has naming Grass. So that includes the kicker you Grass as well as the wild grass over here. So that's going to be everything that we need. We just have to make sure we select them all, have ticked on. And now we're going to test them out and see how they're going to look like and see if they're too big or not. Maybe the best option for us to see the scale would be just to place it next to the house. And just quick click, Quick Play and see how they would look like within our feet. So we want to have a sort of a wild grass, but of course we don't want it to be too small. Otherwise, it's just not going to look quite as nice. So I think it looks quite nice. But we gotta make sure that we set up some scale variation. And again, because I have everything TikTok only photographs, I can hold, Shift and delete the Grass without worrying about deleting something like Rocks over here. So anyways, going back to the scale, the minimum size for one, I think that's going to be quite alright. The maximum size, I can change that up to two. And I think that would look quite alright. I'm just going to place it up on the ground like so and just see how that would look like. And yeah, that looks quite nice actually. So we're going to use a value of Scale for minimum of one and maximum of two for the grass itself. Now that we have it set up like so, we're getting to play with all the settings at once. So we're going to close down the search bar, like so. We're going to have everything selected except for, of course, the trees, the trees that we had before. So all of it is just going to be the most recent Grass that we just created. And of course we're going to make a selection for them all or whoever. Instead of just making selection, we're going to adjust couple of settings first. So we're going to make a selection only. Now because we changed up the scale is going to have multiple values over here. But what we need to do is we've got to make sure that we adjust couple of settings in certain areas and bursitis, we're going to make sure that it doesn't have aligned to normal. The one we're replacing them, they're going to be straight up even though we're going to place them on a slope. So for example, I'm going to take this off over here, and that will give us nice results. And then afterwards, we're going to make sure that the random you is ticked on as well. That will make sure that it has some certain random rotation for the Foliage. Random pitch, we're going to make a slight tilt for each one of the bits of grass, but we got to make sure that we don't overdo it. So just having a value of five will give us a more organic type of look, but it's not going to overdo it too much. Ground slope. We can change it from 45 to something like I'd say 55, just slight increase that will make sure that when we're placing them on the slopes, they're not going to be affected too much, but there'll be affected just a little bit more than afterwards. We're going to scroll down and see the placement. So placement, Z offset placement. We're going to change that up just a little bit. We're going to put certain bits in the ground just a little bit more. So minimum, we're going to place it as minus three, like so. That way, whenever some Foliage is being placed, some of them will be slightly in the ground a little bit more and that'll, again make it look like it's a little bit more of an organic type of look as similar Foliage will not be grown out, out of it yet. So I think we're pretty much done. We've setting up the Foliage. So in the next lesson we're going to start making use out of them and start painting our entire Foliage within our terrain. So that's going to be it for now. Thank you so much for watching and I'll see you in a bit. 44. Adjusting Foliage Color Values: Welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting some of the Foliage or our Foliage Mode. And now we're going to be able to make use out of it and actually start planning it within our terrain. So to start off, I'm actually just going to select it all. If were to click on one of the assets from within the Foliage tab, we can click Control a and make a selection for all of them at once. And I'm just going to make sure that all of them are picked on at first and just firstly delete all of them. But this time I have to be careful to be going around trees because I don't actually have them the selected from this section. So I'm just going to make sure I have them delete it from here because I made a big pain test beforehand. Anyways, going back to it, now, we'll make sure that all of them are de-selected. So with one of them selected, clicking Control a and taking them on and off like so. Make sure that everything is deselected. And we'll start off by painting in the Grass first. So Within a search bar, we're going to search for Grass. And it'll give us all of the options for the grass. So we're going to make a selection like so holding Shift. We're going to make sure we have it ticked on. We'll start on by painting in his own and see how this would look like. We might need to increase the density. So from 0.05, we're going to increase the two-point one. And even because the way it works now, not only does the pain Density gets affected by how the Foliage is being placed, also within the options, we have Density itself. So that is how the Foliage is being affected, where replace it. So for example, if I set this to paint density to be at one, if you place it, we're going to get a very luscious Grass. And that's going to be quite a bit too much for us. But at same time, if we were to change up the density in here, so if something like then we're going to get a more, more spread out type of Grass place route place. So working between those values might be a little bit of a complex challenge, but usually what I tend to do is set the paint Density for whenever I'm painting unfolds as 0.1. And usually for all the Quixel type of Foliage would get a more or less of nice results. So right now by just painting it is around, will get a somewhat over spread out our Foliage. But at same time it's going to give us just nice enough of a shape for us to have a real nice type of look. Since, again, when working with Polish, not only we need to think about the way it looks, we also need to worry a little bit about performance since if we're to be painting this all over this terrain, of course, is going to be super performance every so. Also when working with Foliage, we can change up the Scalability and set it from high to low. Again, if you're not seeing this Scalability option, you need to go on to the Settings tab and change the Scalability over here and set it too low. This way you'll be able to paint your Foliage. We find much of a worrying and in the future we can come back to it and set up the performance setting to be a little bit higher. Number way we can take off the performance, the heavy performance chugging from our computer is by switching off from the lead Mode to unlit. And this way we'll be turning off all of the shadows, all of the Lighting data, and will be pretty much setting everything up without much or worry for how it will affect our performance. So yeah, I will be using lead mode for now. And I'll be just placing every Foliage Within here. For that though, I think we should test it out on the slopes. We might have it a little bit too much. Over on this end. We'll be testing it out actually on some of the steeper slopes over here. So I'm just going to get a little bit closer, like so. And now we're going to test it out over here. And actually it might be a little bit too much in regards to the slope. So I'm going to scroll down and change this from 40, from 55 to something like 30. And now we're going to test it out. Anything that's going to be much better in regards to where it's being placed, since we're going to actually be using a bit of a larger brush. So something like 700, that'll do. So we're just going to be placing it all on this area over here. You will try mode all of the riverbed. And the area next three river itself will be coming back to it in a bit. Right now we're working with such large scale so we don't need to worry about it too much. We'll avoid the house as well, since will get closer to that in a bit. So we're just going to go all the way around it like so, and place all the Foliage. And because of the way it's set up with all of it, this low D for the Foliage. Whenever we get further away, we're going to get a different type of result. But whenever we get closer, we're going to see the type of Foliage to be more of a high detail. But when we're going to be rendering out everything, it's going to be looking quite nice. So we don't need to be worried about that as it'll automatically disable the LOD is for our setup. For now though, we just got to Spain it in a random like so. And we'll be fixing every Grass in a bit. So we just got to focus on the Grass Lake so we don't need to be going too far off since when we're looking at from this distance, for example, we're not going to be seeing it too much of that area. Maybe we could just set it up like so a better random, just like that. And we're going to get some nice patches of grass like so. And that's going to look quite alright. Maybe in the areas next to trace, we don't need to make it too much. We're going to take it off. And we're just going to be focusing on painting in the grass, in moral flat areas and avoid those three areas that we had. I'm not sure about the areas with the Chunks but Rocks, but we can add a little bit of grassroot as well. And just like that, we're going to paint everything in and we're going to get a real nice patches of grass. Just like that. We're going to get some nice bits of grass. And we can go through them and see how they will look like at the moment there are a little bit too bright. So we might need to change them up. And that's actually quite an easy way to change it. Before that though, we'll change it the Scalability back to high real quick and see how they would look like with the proper type of lighting. And if we see that the grass is a little bit too bright. But we can do is we can go onto Content Browser, onto omega scan's folder, got the 3D plants go through Grass once. So this one, for example, exam. And we'll find ourselves to Texture. Then we'll just simply lower the texture. But what we need to do is we gotta make sure that the Texture For the Grass and a texture for the billboard are both lower down because otherwise the LOD would have a complete different colors. So why don't we changing the texture Grass, the brightness for it, for example, if we change this to something of 0.8, like so. And we were to darken this down a little bit. Or we can do it a little bit more to an extreme of 0.1 just to see how it looks like. So as you can see, it is much darker, but when we go back and actually goes back to its bright original values. So we've got to make sure we set it up properly. And I think we're just going to darken it up by 0.5 and see how it looks like. This might look quite nice, but we need to do it a little bit more. I want to actually lower the saturation as well. So let's go ahead and lower the saturation. Something like 0.5. Maybe. We're going to see how this looks like. This looks a little bit too pale, so we're actually going to keep the saturation as one. And instead, we're going to change up the, you overhear words, change it to something like ten for example, we're going to get a different type of a tin and astray going to something like 100. So we're going to get this. So remember value, and if you go to a minus hundred, we're going to get more of a, an orange tint. Or actually it's not going at all. It doesn't go to a negative value. Sorry about that. So we need to make sure we just play around with values and see how it looks like. So setting it up to a value of 200 is going to give us an extreme sort of a color like so. I think we can just play around with this a little bit and see how this would give us the type of results. 82080. And seems like free 60 is the maximum value. We're going to try a 300. That's going to give us a sort of orange type overlook, which is quite nice actually. But we need to make sure we lower the saturation by quite a bit. Something like 0.5. Maybe. That's going to give us this type of look, but it's a little bit too bright now. So we're going to lower the brightness to 0.1, maybe 0.3. I think, I think the ad that is going to give us those type of shrub type of a look. I think that looks quite nice. Actually. We're going to keep this as is. We're going to right-click on the you were going to make sure that this is being set up with the billboards as well. So we're going to open up the other texture, the billboard texture like so. And now we have two of them opened up in this tab. I'm actually just going to drag it out, out of the tab itself and just expanded a little bit so we can see it's Values. And so we can just rewrite them off. And just like that. It's going to have it this down a little bit like so. So this is going to be set as 0.3. Rightness curve is going to be kept. Saturation 0.5. And the EU is going to be set as 300. And this is the type of result we're going to get. So now that we're done with it, we can scroll back and see that they don't actually changed too much in regards to recolor. And they actually look pretty nice on how they look like. The other type of grass, we can have a bit of a different color as well, but I think we should definitely lower down the brightness for it. So we're going to go onto a wild grass and we're going to lower down this color texture. So we're going to locate a Texture and actually zoom in quite a bit teary texture itself, like so. Bring this up a little bit. Now we're going to change up the brightness. We can set it to 0.3. The artist looks like this might look a little bit too much. So we're going to change this to 0.4. And just looking at it, this looks alright, quiet, nice. Saturation though, might be a little bit too, too high. So you to a value of 0.9 might give us some real nice results. I think that's actually quite nice. Let's go ahead and use this. Right now we have a variation of two different types of Grass. And actually, let's lower the saturation even more. Your value of 0.8. Let's see how this looks like. And maybe even more actually, 0.7 like. So it blends in a little bit more with the grass that we previously adjusted. So right now, it looks much nicer. We can close this down and now get some adjustments finally done. And of course, let's not forget to change up the billboard texture as well. So I actually am going to go back onto the previous texture map. Like so I'm going to hit Control Space to open up the content browser because I have it closed down, open up the billboard texture, and drag it outwards like so. Put it on the side. Just like that. Now we're going to adjust these values. Setting it to 0.5, 0.4, and saturation to 0.7. And we're going to get the same type of colors. So now when we're scrolling back out like so, we're still going to have a nice type of color. So all in all, it's quite good. Again, we're just going to continue painting this on a little bit more. And just by setting it up as basic as that, we're going to get much nicer results. So we still need to work on this. We still need to set up the rest of the grass, but that's going to be in the next lesson. So thank you so much for watching and I'll see you in a bit. 45. Working with Larger 3D foliage plants: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we started off by setting up some of the Grass Foliage for our landscape. And in this lesson we're going to continue on working with this landscape. And this time we're going to set up some of the more taller grass. So I'm just going to go into Foliage Mode. I'm going to start using a common Maguire. So we're going to actually just click on one of the Foliage, click Control a, and make sure we unselect every single one of the Grass like so. Then afterwards we're going to just type in mug like so and we should get all of the mug worth Grass Just like that. So we're going to select all of them. We're going to click the tick and make sure we use them. And the brush size and we're going to use is going to be somewhere like 200. I think that's going to be more than enough for what we're going to do. We're going to start off by just simply clicking and applying it into small patches just like that. And I think I'll just go down with the Scalability, set it as low. That'll help us with the performance for now. And we'll work with this type of grass. So we also got to consider how it's going to look like with actually the entire color setting. And if it's going to look too bright in regards to reduction or whatnot, but I think we can adjust that in the future if needed. But for now though, I think that's going to look good. Even though it has a lot highest type of saturation. It is a type of grass that just likes to grow everywhere. And we're going to go low to the Scalability and keep the type of Textures, the type of colors, and not just them, just like we did with grasp. So for now, we're going to make sure we set it up at the front of the forest. Like so not every type of Tree area, but every other area. We're just going to get couple of patches next, Rocks as well just to break off some of that Terrain, some of that Silhouette, just like that. We're going to set it up like so. So a couple of tabs is all it needs with the pain Density set as 0.1. We don't need it. We don't need to overdo it basically with these ones. And we can just click once over here. That might be a little bit too much because you can see some of them goes into Grass. So while holding Shift, I'm just going to tap it around the rock like so. And that's just going to remove it. All the ones that are inside of the rock. And we might need to get some of them over here as well. Just like that. Nomogram over here, like so. And maybe a couple of tabs over here. And I want couple of tabs over here as well. So just like that, we're going to get a couple of patches. They're just going to bring it, bring the entire biome, entire environment to look much nicer. Maybe you should get something next to the arrow next to her house. So I'm just going to tap it and holding Shift. I'm going to erase the ones that I don't like. Just like that. We're going to get some nice results. While working with this though, we might need to take something of cold Static meshes. So on the left-hand side, we've got something called static meshes. And what this'll do is basically it will make sure that it went in when it gets thick tone. It'll apply the Meshes on top of the Static meshes and not only just the Landscape. And if we do that next to the house, we're going to get some Foliage placed on top of barrels and whatnot, and we don't want this to happen. So what we're going to do is we're going to make sure that Static Mesh is, is ticked off. And this way, we can see that right now, our entire brush is ignoring all the static meshes and it's only focusing on the landscape itself. So this helps us to go around the house and set up the Foliage in a nicer kind of pattern happening. This is going to look quite nice. And for this area, we can also grab place couple of them like so like that. And I think that's more than enough actually, it's going to look quite nice. And, and maybe on our end as well, actually, let's not forget it. And as omega two plane over here, it's going to place it at the front of the trees. We don't need it to overdo it, overdo it with them. Maybe some of them in the back as well. Just like that. And that's going to be enough. I think that's going to be plenty because we still have the ferns to do. And more or less, they're going to be the same kind of pattern in regards to they're going to be clustered up. And one working. One more thing I forgot to tell is when I'm working with language along a type of grass, we generally tend to avoid Clusters of trees and place the longer grass around the three chunks instead. Because when the Foliage she usually grows is they grow, they tried to get more Grass in areas where there's more open fields and whatnot. And of course, you gotta be in areas with fertile soil. So usually you'd find it around like Tree areas three chunks. And when there's more of Planes, for example, you'd find less of all foliage and whatnot. Usually they'd be just kinda Smaller Planes as the, the less fertile soil. But we definitely can add a couple of longer grass over here and here every once in awhile, just to break off the entire edge or this type of a I'm environment. But yeah, going back to the ferns, we're going to now make sure we take everything off by just taking on and off like so. Then we're going to remove it from the search bar, the ferns. And we're going to we're going to search for parents instead, instead of the mug worth. So we're going to have a free variation type of fern. We're going to select them and see how they would look like. And I think by default, you had a quite bright, I don't like the brightness for them. And actually looking at it now, they might need to be adjusted in regards to the scale. So I'm just going to place them around just to see how to look like. Because as you can see, so short that they're actually going to be overwhelmed with even a simple type of grass. But actually we're going to be doing some adjustments in the bid. So that's actually going to be okay when you click Control Z real quick. Since I just don't want it to see how they look like. I'm actually going to place them next to retrace like so. And instead we're going to adjust the texture. Since if we were to change up the Scalability too high and see how they look like. We're going to see that there are way too bright. So we're going to go into this texture maps into the 3D plants, and we're going to change up the Common Fund. We're going to change up the texture and we're going to make them much darker. So a value of interlopers don't actually put it to the side even. And the adjustment to a value of 0.5. Let's see how they look like. Maybe you in 0.2, 0.3, we don't want to make him too dark. I think that's going to be quite alright. So just changing a value of brightness to a value of 0.3. I think that's going to do ask to work quite well. We're going to go back into the texture, into the billboard and do the same kind of adjustment. Brightness. Set a to 0.3, like so. Close this down. I think we're going to get much nicer results in regards to different. So now we're just going to make sure replace them in areas just like we did previously. We're going to change back to Scalability too low. And we're going to be placing them around in next to the tree Chunks and maybe in areas where there's going to be some rocks as well, since we want to break them off a little bit. And actually we're going to make use out of them and place them around in the riverbed as well. That's going to help us to break down this entire section, which got to consider where the water plane is going to be and it's going to be around this area. So that's actually going to be fine. To place couple of parents over here, over here, maybe Chunks over here. And of course, we gotta have some next River as well. So having couple of firms over here is going to look quite nice. Like so maybe a couple over here. And yeah, they really work nicely when we have some rivers or some of the lake types as they help us to break off the riverbed ends. And just make sure that we don't have just straight lines and just make the entire environment look more organic. So we're going to have actually a couple of firms over here as well. Maybe a couple of here. I'm just going to have it a couple of times and maybe get some ferns next Rock. So when looking at this environment, you've got to consider as going to look like on our main shot. And I think all in all that looks wide nice. We might need to add something over here, maybe like one firm. So I'm going to go from paint onto the single mode. Make sure that cycle is set, cycled through selected. And I'm just going to place one fern over here maybe might give us a nice result. Of course, just having it by a single firm is not going to look nice. So we're going to have a second one as well. And I think couple of them are free of them over here is going to look quite nice. So yeah, that's all it takes to place them. Sometimes we just want to individually place them one-by-one. And that might work much nicer. And while holding shift, of course we can delete them so it's going to look quite nice. So that is nice. This area's nice. This, on the other hand, I don't quite like I'm just going to add a little bit more of an extra ferns over here as well. Maybe that might look at, might look quite nice actually. We're getting to keep it as is. So, yeah, we're pretty much done with the ferns though in the next step is actually going to be fine-tuning all of those foliage and making sure There you go. Why do we find ever? And we're going to do that in the next lesson. So thanks so much for watching, and I'll see you in a bit. 46. Fixing Overlapping Grass and Building Smaller Foliage: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting up some of the larger Foliage, which was ferns. We finished up with ferns. And now we're going to continue working with this entire foliage and fix some issues up. So first things first, we'll need to set up some of the grass Do not be overlapping with the parents themselves and it will have to go manually through them and just kind of remove some of the grass that is just colliding with the larger types of areas. We're going to close down ferns. We're going to make sure that we have them TikTok, TikTok or rubber, we can just select one of them. Click Control a, make sure that every single one of them is selected. Like so. Now we're going to make sure we take them on and off just to make sure everything is ticked off. And now what we're going to do is we're just going to search for Grass Lake. So we're going to make sure that we select the first one, scroll all the way down, hold Shift, tap on the final one and make sure we have them all selected. Now what we're going to do is we're just going to use paintbrush with a really small brush size, something like, I'd say like 100, maybe that will do or even 50. The FA I think 50 is the way. So now we're going to hold Shift and just tap it around for where the Foliage is. I'm actually going into lower down the Scalability from high to low. Just so we could have more of a performance and just going to work around with this type. So holding Shift, we're going to be able to remove it from these areas and I'm just going to test it out and they go, seems like it works fine. So we're just going to make sure that the grass is being removed from where we had our ferns. And yeah, that's all it takes. Got to look around. I'm actually a camera to Laura. Goes too fast. So while moving, I'm just going to scroll up or actually scroll down. And that will lower down the speed Diego and had is much easier to control. So right now I'm just going to go next to the parents and while holding shift, just simply tap around them like so. And that'll remove the Grass from them just like that. This way we'll just making sure that the crisis is not overlapping and maybe the long grass is actually might be overlapping with certain friends as well. But I think that's going to be a right Since this one is rather tall. So we're going to leave it as is, but worst-case, we can just make sure we have it ticked on as well and just remove them, which we can do so by just go in and searching for the Grass which was called mug wards. So let's go ahead and search for Mug. We're going to make sure we have them selected as well. And since they're added to our selection now when we hold shift and tap it off, we're going to make sure it doesn't overlap with our ferns. This way. It might be a little bit nicer to work with, just making sure that the fern is being kept on its own and doesn't have any Overlapping Areas. But this one is the right, this one is alright. I think that's pretty much it for the fern, for fixing up the overlapping issues in, but it's bit as well actually, I might be a little bit better. So yeah. Afterwards them with that, we of course need to set up some Smaller Grass in this area as well. Since if there's going to be a hut, of course, people are going to be walking past it and whatnot. But we still need to have a certain amount of a Foliage that is grown out in this area. So we're actually going to be setting them up as well. I'm going to remove the search Foliage bar and we're just going to select them all. Holding Control a taken off the box. And now we're going to search, progress. Select the Grass, the first one holding Shift, select law, Final one, making sure that it is ticked on. And now we're going to make sure that the scale is set to be way smaller. So we're going to set a scale something like 2.5 and 0.8. We're going to lightly build it up and see how that looks like. And I think that's going to look alright. Now we're just going to make sure that pain Density maybe is a little bit a little bit larger. We can set it up to point to. I think that's going to give us much nice results. And we're just going to pretty much painted around like barrels and whatnot, maybe an extra debentures, slide taps. So we're just going to get Clusters of Grass and that will in turn help us to get a more natural type of a Silhouette, more natural way of breaking off the shapes. But at same time we're not overwhelming this entire area. And that's all it needs from us to get some nicer results. Course. This is going to be a fireplace, so we don't We got to make sure we don't add any type Grass in this area. Then maybe we can just add it around the house just like that. And I think that's going to look quite nice if we just stop it simply like so. We're going to get Smaller type of grass maybe in this area as well next to the which is going to hold Shift to remove it. I didn't quite like it. We're still going to have some of the smaller Grass. We're going to change the Scalability real quick, too high, just to see how it look like. And yeah, I think that looks quite nice actually. But I don't I don't quite like that is a great type of grass in this area. So maybe I'm actually just going to remove it entirely and just set up the green type of a grass. So let's go ahead and just quickly remove these Chunks like so. Just like that. And only we're going to be using a, I think it was wild grass, so we're going to remove this type of grass whenever we had other one. So we're just going to find a final one, this one over here, going to make sure we antigen. And now with this antique, only the wild grass is going to be left. We can now place it up. And I think this is going to be a much nicer Karla to go around this area. I think it'll work much better. Let's go ahead and place it up like so. It'll be next to the bench a little bit, little bit behind it. It's going to be basically placing it in the same areas that we had previously and yapping, that's going to look quite nice. Maybe you can have it some in the rocks as well. I'm over here as well, maybe just to break off all the edges just a little bit. And I think that's going to work quite nice. So yeah, that's all it takes to build up the grass. Just had to fix the Overlapping for an issue and get some Smaller grass growing in areas where they'd be more used as in, there'll be more walking in those areas. And once we change up the Scalability too high, we can see how it looks like with the lighting. And I think this looks pretty nice actually, so that it's going to be it from this lesson. Thank you so much for watching. And I will see in a bit 47. Setting up Water Mesh: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by finishing off the Foliage for our environment. And this lesson we're actually going to continue on working with this entire landscape and set up a Water Material to be used for our terrain. But before doing that, we need to actually set up a mesh, a plane of a mesh that will be used as a way to get a Water Material place within the world. So let's go ahead and get started. And to start off, we're going to get ourselves a simple plane. We're going to use modelling mode for that. So let's go ahead and open up modelling mode. We're going to create a cell is a simple rectangle. So we're just going to open up a rectangle and just place it within a world. Just simple as that. They'll click once, click complete. And now we're going to get ourselves a simple plain for us to use. So in order for us to start using this, we're going to just start off by applying this onto the main part of the body of our rain. And actually I'm just going to lower the Scalability down to low since we have so much Foliage right now, it has taken a heavy toll on the performance and I'm recording, so It's just going to be a little bit slower. And so by changing the Scalability too low, we're going to have a much faster result. But what we're going to do is simply we're just going to change this up to be a much larger type of a Static Mesh. And we're going to make it as large as we need to be in order to fill in this entire area. So I think we can make it even larger actually. So let's go ahead and do that actually. And just looking at it. We might have Yes, because we placed it in or that we need to reset a rotation purse. So we're going to go within the bottom-right corner and hit, reset the rotation value like so. This way will making sure that it is completely plain. And we're going to get much nicer results. So we're going to extend this as much as we need to be. Like so I think that's going to be a right. We might need a little bit more since we want it ended overhear thing. We're going to do that. Let's go ahead and keep increasing it until, or we could just use a scale and just set it to your value of 250. I think that's going to be quite right. There you go. It ends at the very corner. I think that's quite alright. So, yeah, I think that's going to be looking quite nice. Now in order to avoid having these issues on the end. As you can see, we have something she's over here where water is going to be filling up in these areas. We're going to fix that up by simply, in this case, I think we could just stretch it in like so and just use a, we're going to use the gizmo. We're going to click our and just going to pull this back like so. And just doing it this way. We're going to get ourselves a real nice shape to use. And yes, we're keen to start off like that. But other ones we're going to use a different method. But for this one is more than enough. Eve were just to stretch this like so. Now, by doing this, we actually are Stretching the UV coordinates as well. So we're going to be needing to fix that. But again, let's just make sure that it is placed nicely in our area, like so. And I think you get the how much should get it a little bit more to recite. So what we're going to do is we're going to drag it all the way through the side just to make sure it ends nicely on this end. And for this bit, we can probably, let's say, let's try to fix up the level first. So we need to figure out what kind of level we need this water to be at and setting it to low. Obviously, we won't be able to see it. Setting it up too high. We're going to be flooding in and tie area. So we want to have something in the middle. So this is, I think is going to look quite nice since we have some rocks sticking out. And that's in general is going to add up to the overall silhouette after water. So yes, by going back to this area of thing, what do we can do is just simply pull this back a little bit like so. That'll fix our issue and then we'll add some Waterfall Effects in the end. And that'll help us to get a nicer type of result. Yeah, it's going back to the UVs. We're going to select this entire plane, scroll down within the shapes until we get ourselves to the UVs area like so. We're going to simply click out a UVs and think, yes, I think it's because we don't have it set up the scale properly. We need to change the scale because right now we have the Scale Set as to 50 by seven at and that is just going to give us the default type of log. So even if we were to use this auto UV unwrapped, it's going to give us stretch outlook. So we need to go onto baking first. And that is going to be if we were to scroll all the way up Or there's a lot of options, so it's a little bit hard to sometimes find it. There you go. Underneath the transform step is going to be baked RS. So that is going to help us to bake the rotation as well as the scale. And if we're to select it, hit Accept This time, the scale for our mesh is going to be set as 111. And that is exactly what we want when we're baking out the UV coordinates. So now, once we click out UVs and hit Accept, we're going to get perfect type of squares without any type of stretching, which is exactly the type of thing that we want. That's going to be quite alright. Now we're going to set up the rest of the Meshes for the Waterfall, for the miniature Waterfall over here. So we're going to get ourselves yet another mesh. So let's go ahead and go up a little bit. Select the rectangle. One rectangle, just terrain like So. Hit complete. And let's make sure the rotation is set to its default value. So we're going to reset it. So we actually have a nice plane going across like so we're going to rotate it a little bit. And now we're going to do is we're going to stretch it out across like so. And I think we should probably stretch it out a little bit more. So just going to position it like so. Stretch it out like so, and make sure it covers up the entire section just like that. So once we have it than in more or less this kind of shape, we're now going to use a the former in order to fix up the shape a little bit more. So we're going to, before doing that, we need to increase the amount of vertices that were having move in this plane. And it's relatively easy to do. All we need to do is we need to go to the mesh ops and we're going to hit ourselves three mesh button over here, which is going to rematch our entire plane and give us more vertices. By default, it should be set to 5,000. At the moment, it's a little bit too much, so I think we can set it up to 1,000 instead and see how this looks like. And I think that's actually going to be alright for now, since we're going to need some vertices later on to in some certain information, data on our water to get better effects. But that's going to be in the future though for now, we just need to focus on the shape. So setting it up to 1,000 and getting this sort of result for a pattern of the vertices hitting Accept is going to get us some nice results. Of course we need to set them up properly so we're going to scroll down or actually we're just going to find ourselves to the former tab. We're going to open up the letters and we're going to make use out of it in order to shape up our Planes. So let's go ahead and just select the vertices are at a front. We're going to lower them down like so. It's going to hit Control Z to make sure that selection is still there. And we're going to lower it all the way into the plane section. So all the way through this area like so. Then we're going to grab the upper vertices and make sure we have a real nice sort of look over here. This way. We'll be able to get a real nice flow for the Water thing that might be a little bit too much actually. So we're going to lower this down a little bit and see how this would look like. Maybe rotate it even and playing around with the shape, we need to get something like this in order for it to work. A thing that's going to be quite alright. We're going to stretch this back in like so we're going to hide this other end just like that. And I think that's going to be quite alright. And ask for the rest of the water. We might need to play around with the shape a little bit as well. So we just may need to make sure it conforms to the overall area. And more or less we gotta keep it in a straight line. So when we're having Motion Within Water is going to go in one direction. So that's going to be quite alright thing that's going to be okay. And maybe at the very end, we might need to increase these. And so I'm going to actually select them like so. Maybe dry them up a little bit like so. And that might do the trick. I think that's going to look quite alright. So let's go ahead and hit Accept. And we're going to keep it as S. Then finally we need one more plane over here. So we're going to do that as well. Let's go ahead and go all the way to the top. Select rectangle, create a new plane, hit complete. And we're going to actually, yeah, we're just going to make it, make use out of this instead. Just simple, plain setting up like so. And we're going to stretch it out by quite a bit and actually just put it on the side just like that. We might need to make some adjustments just a little bit like so. And I think that's going to be quite alright. We might need to adjust the overall terrain a little bit, looking back at it. So I think we're going to do that as well in regards to this area, this slope and even this slope over here. This slope over here. We're going to set up ourselves a different mesh. And that's going to give us a nice Waterfall type of a mesh. So for now we just need to make sure that the main water bodies are set up properly. And although this has a slope, we're going to be placing another mesh on top of it afterwards. Anyways, that's going to be quite alright. That's for this though. We can keep it as is. And just, I think we can just go back onto the landscape and fix the body up. Not every ourselves, the Planes, we can play around with the overall terrain as well a little bit. So if we're to go onto landscape mode and sculpt terrain, and then we can use flatten and just flatten out that bit. The size is way too big, so we're going to lower this down by quite a bit and flatten out this section like sell something that's going to be much, Much better for us to work with. Just like that. We're going to get a nice shape for the water into, maybe even lower a little bit more and just bring these edges like so. So we can get a nicer of a result or the shape of the water thing that's going to be quite alright. I don't like this corner, so I'm going to hold it at the very top and just use the flattening tool to bring it up a little bit like so. And All-in-all, I think that's going to be quite alright. Maybe it's a little bit too much actually. Just going to drag it down like so. And I think that's, That's going to be alright. Yeah, I think that's going to be quite nice actually. So let's go ahead and keep it as is. And in the next lesson we're going to continue working with this. And we're going to set up the Meshes for the waterfalls as well. So thank you so much for watching. And I will see in a bit 48. Setting up WaterFallPlanes: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting some of them Water Planes for the main body. And in this lesson we're going to continue working with it and set up some of the Water Planes for the waterfalls as well. So let's get right into it. We're going to create ourselves a nice plane to begin with. We're going to go into modelling mode, set up ourselves just like we did previously, a simple rectangle. And we're going to just place it anywhere in the world. Complete. And let's make sure that we reset this rotation. Just so good. Work with it easier. And then we're going to position it to be on the side of our cliff where the Waterfall is going to go. We're going to get ourselves more vertices out of it. So firstly, I think we should just stretch it out. And I'm just going to actually lower the volume for the camera, the sensitivity for it. So I'm just going to scroll all the way down while moving. Like so. This way I have more control over camera. Now we're going to stretch this out a little bit and we're going to go ahead and re Mesh our entire section. We're going to set this up to be 1,000. I think that's going to be quite alright. We're going to hit Accept. Now we're going to go ahead and simply position this to be as a side of a waterfall. So we're going to place it like so. And I think we could just straightaway is a lattice with the default settings set of five by five by five. We can just grab one end position, this to be at the side of the Waterfall, like so. Then that's going to be quiet. Alright. Just like that. So the next step is going to be positioned the end of this Waterfall, which is going to be over here. We're just going to grab the other vertices like so and position them in the water. Just like that. We're going to make sure that we positioned it not too deep in. Otherwise they're not going to be quite as nice looking. And we got to make sure that they blend in nicely with one another. They don't have to be perfectly aligned, but we just got to make sure that they're sitting nicely on top of one and our legs. So I think that's going to be quite alright. And then arrest the ones in-between the deformation, which is going to make sure that they kinda have a nice shape out of this entire mesh. So we're just going to slightly adjust all of them like so, and get ourselves a nicer type of a shape. So think something like this might work. Maybe a little bit higher up for this. Like so. And just like that, that's going to be quite alright. Yes, We're just wanted to make sure we have a sort of a bend for this entire Waterfall, then goes off and just having it like so I think it's going to work quite nicely. So let's go ahead and hit Accept. And we're going to get ourselves this sort of a mesh. So although this is not entirely connecting it to this end, we can actually raise this up a little bit, but it doesn't have to connect it completely as we're going to set up some particles that will help us to break away the area in between the Meshes. So that's actually quite alright. Since we're done with this, we also got a set up the landscape to hide the edges as well a little bit. So we're going to be doing that. We're going to go onto landscape mode. We're going to use, I think we can just use sculpt mode like so and just raise this entire section just like that until we can hide this entire area. So just by hiding it a little bit, we're going to get much, much nicer results and we don't have to hide it entirely. We just have to make sure that we're hiding the front pit where the water is going to be flowing from. Anything that's going to be quite alright. So they ago we have a nice sort of a waterfall coming from this end. So that's going to be quite nice. We can now continue on working with this and set ourselves a Waterfall in this area as well actually. So this time I think we can just, I think we just simply make use out of the same kind of a method that we did priestly Modeling Mode. Going to if the rectangle, placing it in the world, hitting complete. And now we're going to reset its rotation and put it in the side of the edge, like so. Now we're going to be placing it in this area. And of course we gotta make sure that it is. We can just start on by raising it up a little bit, then stretching it out like so. Just a little bit more until we get this sort of a shape. I think that's going to be quite alright. So afterwards, we're going to, of course, increase the amount of vertices that we're having. So we're going to 3D mesh it with 1,000 on. I think that's going to be quite alright. Like so we're going to hit Accept and we're going to use a lettuce in order to change this entire shape. So again, we're going to start off by getting the end bits properly set up. We're going to start off with this. We might need to extend it. So I'm just going to use this area over here to kinda extended like so or a thing. I'm just going to click Control Z and keep the width ISA's. And then later on I'm just going extended using just a simple scaling tool. So right now we're just gotta make sure that the shape is set up nicely. Once we have the front, which is probably set up the bag actually as well. So we're going to grab the back, like so hard to see, but it's going to be over in this area over here. If I were to just grab it like so. Thank you. We just we need to go into a wireframe mode. This is a little bit better with the ends Art hago. That helps if our Mesh is inside of another mesh. Now go back onto the lid Mode. Raise this up a little bit like so. We're going to turn it around a little bit sideways. Go back into wireframe mode, select our end. Like so. Going to rotate it a little bit out of the wireframe mode. And this way, by making couple of adjustments, we're going to get a much, much nicer type of a shape. This is a little bit too big though. You might need to set it up like so. And actually, we're going to bring this entire thing all the way back. We want to get it a little bit closer to the water. So we're going to get it in this section over here. We're actually going to just set up like so just like that. And yeah, as close as possible as to the Water Mesh. If we add it over here. And now we just need to make sure we go back to wireframe and set it up properly because I can see that there was a mesh, there was a vertices that I missed. The information that we had, more or less this kind of shape. Now I'm just going to make sure that we're setting it up properly. What's going to slightly move it to the side like so. And from the side, that's going to look quite alright, except, except for this bit, I don't quite like the way this is. Just going to drag it out a little bit like so. Make sure this is dragged out as well. And if we were to go out of the wireframe, we're going to get this result, which actually is a little bit of because we want to make sure that it sits on top of this mesh. So let's go ahead and fix that up real quick. We're going to get ourselves this Mesh to be covering up the entire war plane that's underneath it. Going to wireframe. Get these vertices, set them up to the front a little bit, go back and see how they look like as actually this edge. I don't quite like it. I'm trying to pink on the way. I'll be fixing that. And I think I'll just fix up in the landscape mode itself. So for now though, that might look quite right. We just definitely need to, though, put this to the very end. We can just do that like so. And just like that, we're going to grab every single one of the meshes and places like so. And force we need to make sure that we place it as close as possible to the water just to make it look nicer when we're having the Effects ready to go. So something like this. Think we'll do the trick and grab these vertices. Well, just a little bit closer, just like so. And that's going to look quite alright. We're going to hit Accept and see how this looks like. And I think as a Waterfall, this might look quite right, except for the bottom. I don't quite like the bottom. So what I think I'll do is I'll go back to the letters. Because right now we changed up the entire shape is going to give us a much different results. But that's okay. We could still work with this. So we're going to grab the ones vertices at the bottom and just simply bring it all the way back like so. And just by doing that, we're going to get some nice results. So we're going to hit Accept and see that none of the vertices, none of the meshes are overlapping. I can see this edge is being overlap. So actually I might just grab this entire thing and just bring it a little bit up. Like so. Got to make sure that we don't overdo it and we get this entire Mesh hidden. And on this end course we have it a very big gap over in this end. So we're going to be fixing that up. We can either use a landscape or alternatively, we could use just a couple of Rocks actually solving where it's better if you do that. We're going onto the Foliage Mode. We're going to select the rock. So actually I'm just going to click on one of them, select them all, take them on and take them off just to make sure that every single one of them is ticked off. Then I'm going to get one of the Rocks select Single. And I think we just placed them up like so or maybe might be a little bit too big. Actually, I forgot to take that on. So now that we have a takedown, we're going to get this type of rock, which is going to be quite alright in this area over here. We're just going to place it like so. Maybe a little bit more reside. And that might look quite alright. Actually will go a big edge over here trying to think if that's going to look quite nice or not. And I don't quite like the way they blend in together. So we might need to just a couple of Rocks over here. And it goes something like that. This might do quite liked the way this turned out to be. So I'm just going to place couple of Rocks over here as well. A little bit going off to the side. Something like this maybe, but maybe a little bit more recited like so. I think that looks quite alright. We can keep it as is. We might need to make a bit of a smaller rock over here. I'm just going to use another variation and just place it over here. And that might give us a nice type of a result. They go, we have ourselves a couple of Rocks over here, over here and over here. So real nice, kind of a Waterfall. We might even grab couple of Rocks over in this end just to make sure that we're breaking off some of that Foliage, some of that edge like so. And I think just like that, we're going to get ourselves some real nice look. So yeah, once we're done with this, of course, one more file Waterfall that were left to do is going to be at the very end. So we're going to go all the way back to this end, like so. And we might get ourselves a Waterfall or might not. I'm not quite sure actually because it's not going to be visible over here. So we might just leave it as is and just add some particles in the end. So go ahead and keep it as is worst-case. We can always come back and just get ourselves a different Waterfall mesh. So all in, although it looks quite alright in regards to the mesh. So we can now start working with the water Materials and set up ourselves some nice Water can be used with these planes. So that's going to be eight point. It's less than the thing is so much for watching. And I will see you in a bit 49. Fixing Water Planes: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting up the Planes to be used for the mortar Materials. And in this lesson we're going to continue on working with the water Materials and setting them up. But before doing that though, we should probably organize our scene a little bit and set up the Water Planes with right kind of vertices amount. So we could use them up later on in the Vertex mode and then just paint them some of the detail manually afford the Water Material. So for us to get started wanted, you're going to simply select it. I'm actually just going to lower the Scalability of this Engine of this entire scene. And we're going to select all of the Meshes like so. We add one more over here. We added over here and here. So we basically have just a couple of those like so in this one is going to be over here. So okay. So rectangle five to rectangle night, I think all of them are going to be ago. All of them are highlighted. So these are the ones that are going to be used as water. So I'm just going to select one of them, hit F2 and rename this as water plane like so. And select the other one, rename this Water plane like so. Select other one water plane. So this one Water Lane. I don't like this one. Water plate-like. So even though they're going to be used for the waterfalls, it's still a right to just write them up as a Water Planes. So now going to be, if we were to scroll down all the way down, you're going to be located over here because they're alphabetically sorted. We're going to find them over here. We're going to select the water plane, the main water body. And we're going to check how they look like with the wireframe just to see if we have enough vertices to be used with the vertex Painting. And of course, this one was just the default planes. So we're going to increase the vertex mount by going through Modeling Mode and setting it up with more vertices. So it's quite simple to do. All we gotta do is click Ramesh and set this up with more vertices. And this triangle count amount is based on the size of just a mesh. So because we have such a large mesh and we want to have more density within it. Setting it up to 5,000 is going to give us much better results in comparison. So we're going to keep the rest of the settings as default, as we simply just wanted to make use out of a simple rematch functionality. And we're going to hit Accept. Just like that. We're going to get ourselves some nice amount of vertices. And we might even need to actually a little bit more. So let's go back into it and increase this to something like 10,000, like so. And let's see how this would look like. Maybe even like 20,000 astray using 20,000 because we do need a bit more density in this area. So I think we're going to use 20,000. I think that's going to give us much better results. So let's go ahead and accept, and that's what we're going to keep it as is for this area, for the Waterfall because we already using the former, it already has a nice amount of density of the vertices. So we're going to leave this one as is for the body of this water. I think we might qubit is, is for now worst-case, we can always come back and adjust it when we're painting the vertices. This one is going to be quite alright as well. Then we have a simple plane over here. So of course we're going to add some vertices, but instead of using a large value, we're going to set it up to something like up hours and maybe that'll do. And I think we can just use 1,000 as is and hit Accept. And we're going to get this amount of vertices. So that's going to be much, much better than I think. We're actually going to leave it as is. Now, the only thing that we also need to probably change is actually going to be the UVs. So let's go into the modelling mode and change up the UV coordinates because they're going to be quite stretched out. Otherwise, we're going to start off with this plane over here. We're going to go onto the automatic UVs and they don't look quite stressed out. So we're going to just simply hit Accept and keep it as is. Then for the Waterfall, we're going to again hit automatic UVs and see how this would look like. And this is already looking quite stressed out. So we're going to be fixing that up. Actually. We're simply going to, I think we can just go to accept and see how this would look like. For example, go back and yes, there are definitely going to be quite stretched out at the very bottom especially. So we're going to go into the bag RS within a transformation tab, then hit Accept and that'll just fix up the scaling. Now we can go onto the Automatic you unwrap. And now we're going to get a real nice type of setup. We can go ahead and accept. For this area. We can do the same by going into the bag, RS, hitting except going on to the Automatic UV, unwrap. And This might actually give us multiple UVs, but I think that's going to be quite alright. It looks quite nice. So all we need to do is just hit Accept. And again, it's going to give us a nice type of a Density. And for this week we could just go ahead and hit auto UV unwrap. And that's actually just going to give us a lot of distortion. So let's go ahead and go on to their transformation tab. It, Base R, S, it accept. Go back to you. Automatic UV unwrap, hit Accept. And actually let me just check. This. Seems like we're going to get an issue in regards to the same over here. So we actually need to fix that up real quick. And I'm trying to figure out what is the cost for it. And maybe just maybe it seems like the UVs are fine. It's just that whenever it reaches this edge, if we were to look at a wireframe, it seems to be an edge over here. Yep. So whenever it reaches this edge, it's just going to give us a different type of a chunk for where to go something until Layout, for example, with this selected, we should be able to see that definitely has two different types of chunks. So of course we've got to fix that up. The way we're going to fix it is we're just going to project it like so. We're going to use a simple plane projection. So instead of Automatic UV unwrap, we're going to use up project with the plane Setup As so. We can simply hit Accept. Now if we check the layouts like so. And the way they Layout to work, by the way, is it just enables the previous UV layout, which actually has some settings to set up different types of layouts for the UVs, for it to be packed. But right now we're just using it as an example to see how the layout is turning out to be. And we can see that we're getting this sort of result which has a lot of distortion. So anyway, since we're not using this tool, just to visualize the overall, the UV coordinates. We're going to go to UV unwrap. And this will automatically unwrap the thing without making new UV coordinates. So by just unwrapping the simple UV projection, we're going to get some nice result. Now once I hit Accept and go to the layout, we can see that it is just one type of UV chunk, which means that we basically won't be getting any type of UV seams over in this end. So that's actually going to be quite nice for us. We're going to hit Cancel for this. And so yeah, basically we just projected a simple plane and then use them a UV unwrap to make sure that our UVs don't have any distortion. And once we're happy with that, of course, we're left with this mass of water plane as well. So let's go ahead and select it. And since it's just a plain, we can use Automatic UV unwrap, hit Accept, and that's just going to give us a nice results. That's all it needs for us to do from this area, actually, because we stretch it out, I totally forgot. We need to go and use big R S, hit Accept. And now we're not going to have any stretching. So now we're going to go Automatic UV unwrap. We're going to get some proper squares, going to hit Accept. And now we're going to get some nicer results. So that's going to be it from the preparation. And this time in the next lesson, we're actually going to set them up to be used with Water Materials. So yeah, thank you so much for watching. And I will see in a bit 50. Setting up Basic Water Material Instance: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it all by Sorting out the rest of the Planes and getting them to be ready to be used for the Water Material. And in this lesson we're actually going to start on with the Water Material. So let's get right into it. I'm just going to open up a Content tab, go into, dock it into my layout so it'll be easier to work with going to open this up a little bit. And we're going to start on by creating ourselves a folder within the contents tab. We're going to right-click and get ourselves a new folder and call this VFX, since we're going to create some of the effects for the scene. Additionally to the water. We're going to open this up and now we're going to right-click again. We're going to call this one Water older, like so. So in this folder we're going to keep everything water-related, all the textures and all the particles and whatnot. So let's go ahead and get ourselves to resources tab. From the very beginning, we had a resources tab with a Water textures. Let's go ahead and open that up. And we're going to drag everything into this folder. So we're just going to drag and drop it into the Waterfall, the lake so much will import all of the needed textures for us like so. And so we're actually, I think we're going to right-click again and set up a Textures folder like so. And drag Oliver textures into this folder just like this. So we're going to leave those out for now. We're going to move it like so. For now we're just going to focus on creating ourselves a Basic Water Material, which will later be adding on top of it. And setting up ourselves a really nice water if you use within this environment. So you start on making the water. We're going to right-click, get ourselves a simple material like so. And we're going to call this Water Base mat. So we're going to double-click on it and we're going to open up a Water Material graph. So within this material graph, we'll need to firstly changes properties to be using a water shader. So with the material property selected, morphinan left hand corner, we're going to find the material Detail tab. And we'll need to change the shading model from the default LET, we're going to be changing it to a single layer water. So what this will allow us to do is it'll allow us to keep this material to still be opaque instead of transparent. And it'll affect the Deaf based on the parameters that we're going to be a adding towards it. And simply put, we're just going to get a real nice performance on our Water Material and that will just the water itself look quite nice. So in order for us to use it, of course, we get an error saying that we need a single layer water. So right away we're going to add that up. We're going to right-click and search for a single water layer. So I think that's going to be this one over here. Let's go ahead and open this up. And that is going to give us additional settings for our material properties. So right now it says no inputs. So to start off, I think we can just simply add a basic value, float value of zero to start off just to see how our material would look like as the default within this area. So we're going to hold one and click and tap on our Material graph, which will give us a float. Now this float is not a parameter for float, so we're not able to change this within our Material Instance. So previously, we held S and tapped on our material, which gave us a parameter float. So that is going to be a different, as we won't be able to change that, but that's okay. We're going to be adding on top of that in a bit. We just now want to see how it would look like as a default. So right now we're just going to keep everything as zero. And we're actually just going to set up a Scattering color coefficients, absorption coefficients, and colour scale behind water. We're going to leave beta G is, is. We don't generally use it whenever we setting up a Water Material, we just keep it as a default one as is. And so the rest of the values are going to be kept at zero. Now one more value that we should be changing right away is going to be opacity. So by holding one and tapping on the screen, we're going to set up a zero float value for opacity. And that'll just make sure that we're getting the right kind of values for or Water later on. And for now, that's all we need as it is, we're going to hit Control and S to save it. And once it loads up the entire, all the parameters, once it loads the entire shader up, we can close this down for now and just apply this onto the Water Base like so. And we can see the type of result that we're going to get. So by default, we can see that we're getting some of the type of transition in the water like so. And it's somewhat looks like Water already since it is this kind of a shader, but we don't have a lot of settings setup just yet. And it looks somewhat a bit bizarre at the moment. So we need to be setting everything up first And actually, before doing that, we're going to right-click and create ourselves a Material Instance. And we're going to set this Material Instance to be used on the water instead. So right now, this material, this shape displaying is going to be using the water-based material. So we're just making sure that it is being applied. And right now because we don't have any parameters, is going to be quite empty, but later on, on the right side will have more parameters to work with and we'll be able to adjust the Water type of parameters to be working with this entire shaders. So right now we're going to go back into the materials tab and we'll be setting up the basic parameters for this shader. So actually, I think I'll just slow with this entire graph like so, and keep this at the very top. And I think I might just get ourselves to Scalability to be set aside so we can see the water, how it looks like as it is with the right type of lighting, which is going to position my camera like so. So right now what we need to do is set up the basic parameters for this kind of Values. And decider off, we need to set up the roughness and metallic values to get a more watery, watery looking effect for our entire material. So the way we're going to do it is we're going to hold S and we're going to tap on the screen to get ourselves a parameter float. And for Siris we're going to call this metallic like so. And we're going to connect this to a metallic value. Now, the reason we need to use metallic, although this is just water and not a metal, is because it'll give us the right type of reflection to make it look like it's liquid. Otherwise, we'd get this sort of a plasticky look. So that's why when we're working with a liquid, usually we want to increase metallic value and a developed default value of 0.8. We'll just make sure we get it going to get a right type of result. So now if we were to click Control and S to save it up, load the load up this parameter. We're going to see a little bit of a different type of results from our water. Once it loads up, we can see the type of reflection. We're going to get an already, we're getting a much nicer type of result. So right now we're going to need to set up the roughness value as well. We're going to hold S tap on the screen and we're going to call this one for roughness. Just like that. If by any chance you click off and you want to rename it, you can always do so by clicking on a Parameters name, tapping on this end over here, and just simply renaming it in this area. So again, we're going to change up the default value. So by default, we're going to have a value of 0.3. And that'll give us a nice double reflection because if we have it at the zero value, we're going to just have it to reflect it. So now if we were to connect this, like so, we're going to hit Control and S to see how it looks like. And we're going to get much, much better result. So once it takes, once it's done loading up, we're going to get this result, which is going to look somewhat nice and render it looks like a body of water. But we're not quite done just yet because most of the options that we're going to be doing, most of the effects that we're going to be adjusting is going to be from this single layer Water Material. But we're going to leave that in the next lesson for now, we just set up some basic parameters to be used, or the metallic and roughness. And actually we're going to be opened up the Material Instance as well. So the material, the Water Material Instance that were created. And we're just going to open this up like so. By double-clicking on it, then you go, It's going to up burn it up in this tab over here. So we got ourselves the Water Base Material and a water-based Material Instance. So right now if you open it up, we can see that we have a metallic and roughness values. So that's quite nice. So if we were enabled that we can make adjustments to them and change up the values later on and get the right kind of results. But if we were to click Reset to Default, we're going to set it back to the default values to ones that we set it up. And that's actually quite nice. But one other thing that we should probably do before we will continue working on is to familiarize ourselves with the groups that we're going to set up. So parameter groups, the way they work is if we were to set them up, is it allow us to have them grouped up nicely and when we will have more settings to work with, it'll help us to keep everything more organized. So the way we set up the groups is if we were to click on a parameter in the left corner, we have Material expressions and within it we have something called groups. So this one, if we were to click on it, we right now have nothing here. But by simply changing the name to, we can call this basic like so. By simply changing this, your Basic, we now create it ourselves, a new group. And one of them is going to be none, which will mean that it doesn't have any group. And the second one is going to be set as Basic since data is what we call it. Now, if we were to click on a roughness value and set this up from none to Basic. We're going to set this up as on a different group as well. So what this will do is basically if we were to hit Control and S and save this up, if we were to go to Material Instance, will notice that we get ourselves a parameter group in over here that is named Basic. So that way we're able to keep everything in different types of groups. And that'll help us to make adjustments faster, in a faster way. So when we're going to be working with Caustics, when we're working with Waves and whatnot, we'll be able to keep them in separate groups. So yeah, that's going to be pretty much it. And in the next lesson we're going to continue working and we'll continue working with a single layer Water Material. So yeah, that's it. Thank you so much for watching and I'll see you in a bit. 51. Setting up Scattering and Absorbtion Walues Within Water Material: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting some other basic parameters for a single layer Water Material to be used. And in this lesson we're going to continue working onto this material and set up more Parameters. Primarily we're going to write now focused on Scattering coefficients and absorption coefficients. Since these are the most important, the key values for controlling how the light is going to reflect on the water or are Planes. So we're going to start on by creating ourselves this scattering coefficient. And the way we'll want to do it is we'll want to firstly, hold and click using free. So by holding free on our keyboard, on our keyboard and tapping on our Material graph, using our left mouse button will be able to create a vector free, which if we were to select it and then click on the left tab on this square over here. By default it's going to be black. But if we open it up, we can see that we have a color picker. And this will allow us to control the color. And we're not going to be changing anything yet because we need to make sure that the value is set to be a bit brighter. So for now we're going to get ourselves this sort of a value for a scattering coefficient. And just simply by applying this color right away into the scattering coefficient, we won't get any good results because the reason being is that it will be simply too intense of a value. So we'll need to make sure we slightly lowered intensity for this effect. And the way we're going to do it is just, we're going to set up a multiplier to be used with this. And so for us to do that, we're going to hold em on our keyboard and tap on the screen just like that. Which in turn will create a simple multiplier node, which we're going to attach it to an a, like so, so the vector F3 is going to be attached an a. And then for the B will need to set up a value. So we're going to hold and tap on the screen and we're going to call this one a Scattering multiplier, like so. And of course we're going to attach this one to a value of B. Now for this parameter, we're going to use a default value of 0.01, like so. So basically, we're just dividing it by a zero or by 100, and it'll give us the right eyebrow result. Now once we attach this to scattering coefficient like so, we're going to get much nicer results. So if we were to click Control and S to save this down, we're going to see the type of result that we're going to get. And as you can see, the way the Scattering color works is it will basically turn the color for the water into the multiplier of this. And it'll give us some nice results. But of course right now it makes it look like it's very cloudy and whatnot. And that is because we still haven't set up the absorption coefficients, which will affect the way the light bounces off the watercolor is being absorbed in toward itself and a deeper it goes to more with C, a different type of color. But by default, we got ourselves a vector free that we're now able to use and change up the color of the entire water. But of course we want to make sure that we set it up for the Water Material Instance to be used. Because right now we only set it up to be used with the Scattering and multiplier. So of course, we can change the value for this and it'll be changing the way this is behaving. But we don't have a way to change the color for, so, for us to change the color will have to set the vector free to be as parameter. And the way we can do it is we're just going to right-click and set this one up as a parameter. And right away we'll be able to rename it. So we're going to call this one Scattering color like so. Now once we hit Control and S to save this up, if we were to just make sure we have the Material graph Selected, Control and S to save it, go to Material Base Instance to see ourselves a Scattering color like so. So now if we're to be changing this up, we'll be able to see the type of result that we're going to get, which is quite nice. But of course, we don't want this just yet. And before making changes to that, we should probably change up the Material group for them since we don't want them to get mixed up. And we're going to do is we're going to go back onto material, onto the Water Base Material. And we're going to change the Scattering and multiplier to be different groups. So of course, we already had a Basics group. We'll want to make sure that we have a different type of group for this one. What are we going to do is we're going to click on this square over here. We're going to delete nonane. We're going to call this one single layer met properties. Like so. Now we're going to change this same group to be used on the Scattering color vector free. And we're going to lower this down. And of course we're going to get ourselves into groups since we just made one. Now, once we hit Control and S to save this up We're going to go to Material Instance and see that we have a single layer mad properties saved up over here, which will allow us to make changes based on this area. So that's quite nice actually. So now, of course, we're not quite done just yet. We still need to sort out our absorption coefficient as well. And the starting point, we're actually just going to set up basically pretty much the same setup as we did over here. And I think the easiest way would be if we were to just simply grab all of them at once. Click control C, control V, and we're going to make a duplicate out of it. Now by default, we're going to make use out of the same parameter. So we got to change the parameters first. The easiest way for us to do that, if we were to click on vector free, we're going to change the parameter name. So instead of Scattering color, this one is going to be absorption color, absorb color like some. And then Scattering multiplier is of course is going to be absorption multiplier as well. So where are we going to be pretty much using the same kind of properties. But it, the way it behaves is going to be completely different. So let me just write this down first. App or absorption. There you go. Absorption multiplier. And we're going to delete this zero float value and connect our absorption coefficient. Now, if we were to hit Control and S and see how this would look like. Of course, first of all, we need to make sure that the group is going to be set as the same one. So because we just made a copy out of these, we should have ourselves a different type of groups. So once we have this selected is going to be single layer material properties. So we can save this up and talk a little bit more about the absorption coefficients. So the way the absorption coefficients works is it will basically start absorbing the type of color that we have in our vector free, in our properties. It'll start absorbing this color the deeper the water go. So what we'll mean is, the deeper the water goes, the more of this blue cyan color illicit absorbing. And since we have the Scattering color set as blue as well. So the deeper you go, basically the more of a gray type of color it'll get since we're basically absorbing all of the grayish type of a tin. So what we'll want to do is actually will want to start absorbing a different type of color. And we're going to set up a different type of default color. And we're just going to set up ourselves a sort of a orange, yellowish tint like so. Now we were to click Okay and hit Control and S. So we just changed up the default value for this. We're going to start seeing that the deeper the water goes, the more bluish is going to get. And if I were to go to Material Instances, we got ourselves absorption, color and Absorbtion multiplier since we made a copy or the Scattering color, they're going to be naturally set up as properties. And we can enable them and play around with them a little bit. So if I were to change this up absorption value by quite a bit, we can see that it starts absorbing the orange color the deeper it goes. And it'll basically changed the entire edge, the bottom of the color to be a bit more blue tint, which is actually quite nice. So that's the way that absorption value works. For now we can leave it up as a default one because I recommend you changing the values the most of the parameters once we set up the Lighting for our environment, and right now we're going to have a default lighting, so we don't exactly know how it's going to behave with the type of Water Material that we're having. We might want to change up the Absorbtion multiply just a little bit though. I think we should get a little bit more bluish tint. So it's going to look much nicer, maybe Scattering color. We can lower this down just by a little bit like so. Just again so we can get ourselves a really basic type of a color. So 0.026, I think that's going to be quite alright. We're going to get this result. And maybe, just maybe I'm going to use this a little bit as well. So yeah, we're going to leave it as is for now. And we basically set up ourselves and Absorbtion as well as Catherine color of properties, which allows us to make some tweaks and get, give us some nice results on the water. And we can see the way it behaves and interacts with the sides of the clips as well. So that's actually quite nice. And yeah, that's going to be it from this lesson. In the next lesson, we're going to continue working with the Water Material. And this time we're going to set up the Caustic or the underwater. And we're going to get some bits of the movement using the item Water Caustic send this wave will make it a little bit more of a believable Water materials. So thank you so much for watching and I will see you in a bit. 52. Setting up Basic Caustics: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. The last lesson we set up ourselves a Scattering color as well as absorption color. And we set up some parameters to be used within this material so we could get a real nice type of a water plane. So right now we're going to continue working, continue working on this material and set up ourselves some color behind water. And we're going to make use out of this parameter in order to set up some Caustics to be used underneath the water. And that way we'll get some really nice motion for underneath the water basically. And without further ado, let's get started. We'll start off by getting ourselves to textures for this material. So we're going to go open up the Textures folder. So the ones that we just imported, and we're going to get the Water Caustic texture. So by simply dragging and dropping it into more Material, the water material that we have, we're going to open it up like so. And Right-of-Way, if we were to just use a simple multiplier and attach this to our color behind Scale. So we're going to do that. We're going to hold em, tap on the screen. We're going to get ourselves a multiplier. We're going to hold S carousels, a parameter, and we're going to call this one a Caustics multiplier, like so. Then afterwards we're going to connect a and B, basically both of them together. And we're going to probably set this default value to be or to just open this up default value to be a value of 0.5. So let's go ahead and do that. Or in five like so. Now we're going to connect this, replace the zero with our own Texture and see what it does with in our area. So let's go ahead and connect this like so. And we're going to click Control and S to save this up. Now once it's done, saving it up, which of course we need to wait a little bit until I finish up loading up like so. We're going to get this sort of result, which is a little bit hard to see. But if we were to change up the parameter, this parameter, if we were to increase this to your quite a high amount, something like 100, for example. We can see the type of result that we're going to get an actually. It's because the large type of a texture that we're getting, we're not going to see really big kind of a change because the entire plane that we're using right now is so big that we're only seeing couple of extra areas on the side. So we gotta of course, change that up by quite a bit. And we gotta make sure that we set up the UV coordinates first. And so for us to do that, we're going to be making use out of the UV parameter over here next to the Texture sample. So the easiest way to show it as a gap as an example first is if we were to simply right-click and search for texture coordinate, or just if we type in corn like so we're going to get ourselves texture coordinate. If we now connect this to UVs, we're going to get pretty much the same result because we now need to make sure we use a multiplier. So if we were to hold and tap on a screen, we're going to get ourselves a parameter. So we're going to change this to be called Caustic scale, like so. And of course we're going to connect both of these together. So go, we're going to hold em that bonus green and just connect them both legs. So now once we connect this to the UV chunk for a Texture sample Excel, I'm actually just going to click and hold and then drag it and actually just going to put this up a little bit higher. And basically we're just going to move them a little bit off the side so it doesn't get in a way of the other Parameters. And I think we're going to click and hold and drag this a little bit off to the side as well, just so you can have it a little bit more organized. So anyways, now we have like so we're going to change up this parameter. And if we change this something Tool ten for example, we're going to now click Control and S to save this up. And actually, because I think I changed up the Caustic multiplier as well. But as we can see, we get ourselves this sort of results. So I think this is human, too large right now. So if we were to change this, somebody to look 100, we can see the type of effect we're going to get N Basically where we have some transparency. We can get some Caustic effect over here on the ends. And that'll just give us some real nice Water VFX, some real nice results to our entire water plane. But of course we're not quite done just yet. We don't have any motion, we don't have anything with this parameter, so we're going to be changing that up. And the way we're going to do it is actually we're going to drag this back a little bit like so. We're going to get these transformations a little bit off to the side as well. And basically, we're simply going to right-click on our texture. We're going to search for banner, and we're going to place it in Material Graphic. So now we're going to attach this to the UV coordinates. And it's going to give us a much nicer result. But of course, in order for us to make use out of the previous texture coordinates that we had. We're going to connect this to the coordinate area over here. Once we do it like so, nothing is going to happen because we need to set up the speed first. So if we were to click on this pattern like so, there are going to be couple of parameters over here. And of course we need to change them up. So by simply changing this up to, let's say, a value of a speed of One like so. And now if we were to hit Control and S to save it, we're getting to see the type of result that is going to give us. So once it's finished as uploading up, once it compiles this entire shader, we're going to see certain bit of motion within our Caustics, which is pretty nice, pretty good already, but it's too repetitive. The entire motion is just going to give us this unnatural type of a look. So we need to fix that up. We need to change that. We got to make sure that it looks nice altogether. So the way we're going to do it is firstly, we're going to set up ourselves a second Texture sample, which with, we will overlay with this one over here. So we're going to select the texture sample exam. We're going to hit Control and C Control and V to make a duplicate out of it. This way you have two of them like so. And we'll basically want to use the, more or less the same pattern. But this time we'll want to switch up some things. So the best way to do it is if we were to get ourselves the same pattern. So if we were selected, hit Control C, Control V, make a duplicate out of it, connect this to our UVs like so. And actually, for doing that, I'd like us to change the pattern to be not only 0.1, but the speed of Y to be 0.1 as well. This way, our entire motion is going to be diagonal. So if we were to save this up real quick, once it loads up and compiles the entire shader, which takes some time, but it's going to be alright, so again, it's going to give us a diagonal type of movement, which exact, which is exactly what we want. I'll show you in a bit why. But basically right now, we want to overlay this with that. And the best way to do it is if we were to right-click and search for screen, we get ourselves a blend underscore screen. And this is a really nice kind of a blend for us to do. And the way the screen works, if you're familiar with something like Photoshop blending, for example, is it will project the highest, the brightest type of values on top. So because this one is using Caustics, it'll give us the whiteness of each of those sections without losing any of the detail. So we're going to combine above them like so. And we're going to blend them in, into the multiplier just like that. And if we were to click Control and S right away, we'll see the type of result that we're going to get, the type of blending effect that we're going to get out of it. And once it saves up, we can see that actually because we forgot to add a UV chunk, we're going to get this up a result which is obviously not where we want. But as an example, I will connect this UV to here just to see the type of right up Chunks because otherwise we're too big by default. So let's go ahead and connected. And as you can see, this is the type of blending that we're going to get. One is going to be overlaid with one another. And it already gives us some really nice Variations for our areas. But of course this is just looking too much because we don't have motion for this secondary texture. So we're going to be fixing that up. And the way we're going to do it is actually I'm going to hold Control and drag this out from the UV is like so, so we can fix them up right away. And now we're going to select the pattern. We're going to click control C, control V to make a duplicate. And we have ourselves an identical type of a pattern. So we're going to connect this to UVs. We're going to set these coordinates to be used or the same pattern as well. And we're going to get ourselves this sort of result where we have a certain motion which blends in both of these values together. But of course, they're just overlaying what we've whichever and we're not getting any of the control over the speed of our entire motion. So we're actually going to be fixed in that up and we're going to be fixing how it blends in and within the next lesson. So thank you so much for watching. And I will see you in a bit. 53. Setting up Water Caustic Parameters: Hello and welcome back In prone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting up a basic blend of a Caustic system which has a certain bit of movement, but we're not quite done just yet us, we don't have any type of a real overlay that will help us break off this type of a pattern. So without further ado, let's get right into it and set that up. And we're going to start off by setting up a timer for the painter. So the way we're going to do it is if we were to just simply right-click and search for time, we're going to get ourselves a time tab, which if we're to open it up, we're going to get ourselves time node. So this one is if we were to just simply connect it to the time right away, it's just going to get us the same result, the same speed as by default. This is what the type of speed that we're using. But of course we need to have certain bit of control. So the way we're going to do it is actually we're going to drag this a little bit to the bag and we're going to use a multiplier to have more control over this. So by clicking and holding M, we're going to tap in and then we're going to hold and tap on the graph as well. And we're going to call this Caustic speed like so. And we're going to attach this to be, and of course time the value for it is going to be attached to a. And by simply attaching this to a time. And of course, setting the parameter, the default parameter to be, say, instead of a value of one, we can put it in half because I think by default is a little bit too fast for us. So we, by setting it to your value of 0.5 and clicking Control and S to save this up, we're going to get ourselves some nice results. So let's just take it, Let's give it a while for it to load up. And again, as you can see, we're going to get this result. And since the upper panel is using a different type of time, the default just time by itself. And the first one is being divided by two. We're going to get this sort of an overlay. So already it is looking quite nice. Of course the intensity and everything is overlay saturated so we can visualize how it would look like within our view. So now that we have it like so of course, it is a little bit too much. So we're going to have to make sure we control that. And we want to have some control over the second pattern as well. Since right now, although we have Caustic speed control for this first one, which by the way, we gotta make sure that we click on it and set up the group to be a single layer mask properties. Or actually, I was thinking about setting up a number group, but it might be best to just keep it as a single layer might properties like so. We have it like so. And then Caustic Scale, we also got to change that up to a single layer Material protease. And let's check the Caustic multiplier as well and set it up to be single layer material properties. So all of them are going to be within the same Properties tab. Now, going back to the time and speed, we already have control and we could set up ourselves a new type of properties to be used for the panel. So we'd have more control, but all we're doing, the macro controls that we're going to have is going to be quite a lot, especially when working with material. We want to make sure we don't overdo it. Otherwise, every little tweak is going to be hard to control and keep up with. So instead what we're going to do is actually we're going to make use out of the same multiplier for the spanner. And instead we're going to switch up some values. So first of all, we're going to drag this out and we're going to actually, instead of just dragging it out, we're going to hold em and create ourselves a multiplier that attach it to an a. And for this multiplier, instead of creating ourselves a parameter, instead of creating a float value, we can change the multiplier value right away for the constant B within a left-hand corner, where it says constant B. If we were to change this to a value of 0.7, what this will do is basically whatever this value is being used, this will make it a bit slower, just a slightly bit slower by 30%. So that's actually going to be quite nice. Actually, what we want to do is We wanna make sure we get more variation. So the way we're going to do it is actually we're going to invert, we're going to invert this entire speed, invert this entire value, and make the Caustic for this texture to go the other way. So the way we're going to do it is if we're to simply drag it out and search for 1minus, like so. We're going to get ourselves 1minus, much in short, is one minus tax, and that'll just flip the entire value and reversed everything that we have. So right now once we connect this to our time, if we were to simply click Control and S to save this up. Once it's done combining, we'll see the type result. Just takes the time to do it like so. And that's the result we're going to get. So basically in short, we're going to get to Caustic values that are going to be blended in together. And one is going to be going in reverse in other way. And the other one is going to be just a little bit, just a little bit faster and going the other way. And we're going to get these sort of neutral types of Caustics that are going to be going one another. Of course this is going to be too strong, but for now we're just going to keep it as is. And we're just going to enable this Caustic Scale, multiplier the speed and scale itself. And if it were to change up the speed, like so, we're going to see that both of these Caustic textures that are blending in with one another are going to be affected. So that's actually quite nice for us to work with. And just by changing this, for example, to this kind of value, we can see the type of result that we're going to get. But for now, we're getting to keep this as a value of 0.5. I find that the default value works quite well. And of course, if we were to change the multiplier, we're going to see a much nicer table results are much nicer type of a blend for these Caustic Values. So just like that, we're able to have some really nice control of these values, like so. First, we gotta make sure that resave it is out by clicking Control and S to save it out. And although we're pretty much done with the Caustic Setup, we still have some time, so I'd like us to get certain bit of parameter that will help you out if you're making use out of the same material in the future, projects and whatnot. And it will basically help you make it a little bit more convenience. So what I mean by that is, right now we're using texture coordinates are the default one. And it will make sure it'll give us a nice type of control. And nice I will play in which we can change up the scale and get the different types of Caustic results. But in turn, if we have different planes, for example, we have this massive plane over here, and we have a plane over in the back as well. If we were to try using this same type of material right away as is onto this upper plane. By default, we're going to get really different results in comparison to what we're having over here. Because obviously, the UV coordinates that we're using here are quite massive in comparison through small plane that we're using over there. So the best way to do it is actually to make use out of the world position. The downside of the world position though, if we're having some coordinates where they're going horizontally, for example, in this area over here, when water will be going downwards like here, like so. We'll have some issues because the world position allows us to have some real nice textures. But basically we can't control how they're being played out, how they're being stretched out. So if we're just having it a flat piece of plane, it will work quite well. But when we're having it on the side of the Waterfall, it'll look quite bad. So of course we need to have some control over that. But yeah, we're going to make a certain parameter that will allow us to switch in-between the well-positioned and texts coordination. And that'll help us do certain control or whatever we want to use multiple planes then have the same kind of look. And the way we're going to do it basically is we're going to right-click, get ourselves the world position. By default, world position, use X, Y, and Z. So all three dimensions, and we only want to make use out of the axon. Why? So, for example, if I were to click G on the bottom, on the left-hand corner of the viewport, we can see the type of Gizmo and we can see the Y and X coordinates over here. And we have an Zed coordinate as well. So we gotta make sure that we ignore that because the textures are just a 2D planes and we can't make use out of them otherwise. Another thing that we need to consider, actually before doing that, right away, let's go ahead and fix this issue because the textures are 2D planar, we need to convert this entire absolute world positioned to be only using X and Y coordinates. So the way we do it is we drag this out. We searched for component mask like so. And we're going to apply this right away. What this'll do by default, it'll make sure that we're only using red and green values, the blue value, which represents the Z. If we look at a gizmo, which represents the Z, by default, it'll be ticked off. So that will mean that for the absolute world position, and it will only count the red and green values. So if we look at it from a top, will be seeing the texture as is. And the next issue that we have with absolute well-positioned is actually that it is absolutely massive and we got to fix that right away. So the easiest way for us to do that if is if we were to hold D and tap on our screen regret, we're going to get ourselves a divide node and we're going to attach this to an a and put a divide. We're going to divide this by 1,000. And this will just bring it to a normal type of a scale for the textures. And I'll just make sure we get a reasonable scale. Whereas use. Now, we can just simply attach this to a multiply it and remove the texture coordinates. And this will give us some nice results. But as I said, as I mentioned previously, if we have certain curves that'll start stretching out our entire Textures, and we obviously don't want this to happen. We want to have certain control over our entire texture maps. So what we need to do is actually we're going to get ourselves a switch parameter. So if you right-click and search for a switch parameter, Static switch parameter like so, we get ourselves a real nice parameter. So this one is going to be called use oral position And if it's true, if this switch is true, we're going to basically be Using the world position. And if it is false, we're going to be using texture coordinates. And in essence, that's all it takes for us to get some nice results and switch between those two. So right now I'm going to connect this to a multiplier and hit Control and S to save this and see the types of results that we're going to get. Of course, within a Material Instance, we're going to open this up. And we're going to get this type of a bar which says use world position if we were to enable this. And like so, we're going to take some time to load it up. But once it loads up, we're actually going to not see anything too much because there is a scale that actually still too large. Because right now we're still using the same type of properties. And if we have a look at the material once it goes past this switch is still uses the Caustic Scale to multiply it. And right now we're multiplying this by 100, which is quite a large value. If we were to change this Caustic scale, 100-1, let's say like so, we're going to get this result. So what this will mean basically if we were to have this selected, because it's not making use out of the texture coordinates. If I were to move this, we can see that we're not moving our textures for the Caustics. That wouldn't be true if we were to have this disabled. Of course, we need to reset the Caustic scales. But in short, if I were to try to move this now we can see the Caustics to be moving because they're still making use out of the texture coordinates for this plane. So simply put this type of option, this ABC control just simply allows us to switch between the UV coordinates, which makes use out of the mesh coordinates themselves, and just world position, which makes use out of the world position itself. And again, as I said previously, when going vertically, for example, if I were to have this enabled once it loads up, and even though right now it doesn't move. And actually I'm just going to change the Caustic scale to something like one, just to visualize it better. So even though it doesn't move right, if we do it like so if I was to change this entire plane to be going sideways, we can see the type of stretches we're going to get in our entire environment. So that is what we need to watch out when we're working with our world positions and when we're doing this kind of a thing, if we're having a Water just as a simple plane, we're going to get much nicer results as this. For now. We're going to keep it as is. I think we can just turn off the world position for now and later on, we'll be playing around with these settings a little bit more in the future. But as it is now, it is generally a real nice way to have them switch between one and our whenever we want to make use of these settings. And it's just going to be a real nice texture once we're done after wards that we're going to be able to use within our project as well. So, yeah, that's going to be it for this lesson. In the next one, we're going to continue working with this entire environment, with this empire Texture For the water. And we're going to be setting up some Waves this time. So we already have some Caustics, actually, because we already have some Caustics, I think we're going to lower down the entire intensity for the Caustics at the moment because they're slightly too much too intense for us. I think by setting it up something to a value of four. For now, I think we'll do and we can keep it as is. And in the future we're going to come back to it and make some additional settings. So, yeah, we're in the future though. In the next lesson, we're going to continue with working on this and setting up some water Normals to get some actual motion for this empire water body. So thank you so much for watching and I will see you in a bit. 54. Creating Wave Pattern Using Normals: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. And the last lesson we left off by setting up some of the Caustic to be used within underneath the water to get some additional motion for our single layer Water Material. And in this lesson we're going to continue on working with emotion and actually set up some of the wave system to be used for the top of the water Using Normals. So let's go ahead and get started. We're going to Tiling, drag it up like so the entire material. And we're going to get ourselves to textures of the water materials from the resources. And the ones that are going to use is actually going to be the Water noise, Normal Texture, and Water displacement texture. So let's go ahead and grab them both. Or actually just put now, we're going to work with the normal and later on we're going to add displacement afterwards anyway. So let's go ahead and just grab this one to start it off. We're going to just grab it into our material node like so. And basically will need to connect it onto our normal. But of course, if we were to just connect it simply as is. So for example, if I were to just connect this just like I did previously, normal like so. And then if we were to save this out and see how it would look like with in our waters. So once it's done loading up, I'm going to take awhile. Once it's unloading up, we're going to get this result. Now of course, the scale of this plane is really quite large, so we need to make sure we kinda overlap this entire texture map couple of times so we can get Pattern type of Waves for this entire area. So actually what we're going to do is we're going to start off by getting the same type of position as we had poor or Caustics. So we have a, an absolute world position and texture coordinates that is simply changed up by the Caustic scales and we're going to make use out of these. So let's go ahead and make a copy out of it and simply paste it in, in here as well. So this one though, needs to be having a different parameter name. And we're going to have it set as a Waves groups. So we also need to set it up as that and use world position. I guess we can keep it as is what we need to change up the groups for sure. So we're going to change up the group as waves. And waves Normals or something like that. We can just keep it as Waves. I think that's going to be good for a group. And I just realized that the switch that we had previously, what the Caustics doesn't have a single group. I think it actually changed up the group over here because these two are connected. So it has go ahead and change up the parameter name, use world position Waves. If we were to change up the parameter name, just like that, we're going to get a different type of switch right now, since because we made a copy out of it, even though there are two separate nodes, they're going to be in a similar Amhara matter if they had the same name for the parameter. So right now, because I changed the name, they're going to behave differently. And I had this group setup like so. And we're going to set this group to be single layer mask properties like so. And just like that, we're going to get much nicer results. Now, of course, we're going to connect this to the UVs. And of course we're going to change the parameter for the multiplier. What a Caustics, we're going to be calling it Waves like so. Now, once we hit Control and S to save it out, we're going to get better results. Hopefully, once it loads in the entire material shader. There you go. So once it loads up, we're going to get this sort of result. And if you get closer, we can say the type of result that we're getting. So because we changed it up to 100 and we're going to get really small type of waves. I think we can change it to a ten. You get this sort of results. So it's already looking quite nice. We don't have any motion at the moment just quite yet. So we're going to be fixing that up in a second. But before adding the Motion to our Waves will want to first of all, be able to control the entire texture map because otherwise right now it is facing in one way. And for example, if we want it to be facing in our way, we'll have two setups are certain controls for them. So the way we're going to do it is actually relatively simple. We're going to right-click on our Material knowing graph and we're going to search for a custom rotation rotator with this one over here. And will basically make use out of the UVs that we already have. We're just going to drag this out to recite a little bit. And we're going to attach this to our UVs, like so. And we're going to attach it to hurry this. Now the way that we control this customer rotator is if we were to just simply use position angle and set this up with Building as putting up a parameter, Fluid parameter and calling this Custom Wave rotation. Or we can call this Custom Wave rotation like so. Setting this up to a rotation angle. Now, notice how this says 0-1. That is because one would be equal to 100 360 degrees. If we wanted to turn it halfway, we'd have to set it up as a value of 0.5. So just to make sure we set up the write-up controls, we're going to make use out of the slide minimum, slide minimum, and slide maximum. And by setting up simply the slide maximum to a value of one. What we'll do is basically we'll be able to tell this cloud Custom parameter to not go above this certain value. Now we can keep this as a default one. But basically, if we have this own and set this group to be as a Waves like so, we can click Control and S to save this out. And what this'll do is we'll basically, or we set up ourselves, I control that allows us to rotate this entire Parameters. So if we go to our Instance, we got ourselves a new tab called Waves. And if we have this enabled, we can rotate this entire texture map just like that. So we set this to a value of 0.5, or actually to turn it 90 degrees, we need to set this to a value of 0.25. And we're going to get this sort of a result. So again, this is just a nice way to control the angle of our entire Waves. And another thing, when we did the zero to one, that means that we can't go above a value of A1, or we can only write it down. But basically with this parameter by sliding it up, by clicking and holding, we can only go 0-1, which helps us to have more control over this entire parameter. So we're going to keep it as zero for now and going to be setting up some motion or the Waves now. But that is going to be left in the next lesson for, so for now, we've got ourselves some Custom Wave rotation as well as some controls over the world position and the scale of our entire Waves. And actually I forgot to change the wave Scale or the entire position because the parameter that we have right now is set as Wave. So let's quickly change that up and call this Waves Scale and ask for the group, Let's make sure we change this up to Waves as well. So basically this parameter to control our Waves, It's control the scale of our Waves is going to be Custom. And now if you hit Control and S to save it out, we're going to have it within the Waves tab. So we have Custom Waves rotation use well-positioned. Where will we use well-positioned or not? And then the scale for those waves. So that is going to be, that's how we're going to use it. So now we need to make sure we set up some additional information for the motion of our Normals. And yeah, that's going to be left off for the next lesson. So thank you very much for watching and I will see you in a bit. 55. Adding Motion to UE5 Water Waves: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting up some really basic wave material to be used for our water. And now we're going to continue on working on this and set up some Motion to be used with this normal texture map. So let's go ahead and get started right away. And we're just going to make use out of the pattern, just like we did with a Caustic system. So we're going to actually included over here just before the rotation. And this way we'll be able to have some more control over it. So we're going to create ourselves a simple pattern. We're going to right-click, get ourselves a pattern like so. And of course we're going to attach the multiplier of the position through the painter. Then we're going to attach this that a UVs like so. And instead of having the wave motion to be used simply by using speed X and speed. Why? On the pattern itself, we're going to create some custom parameters for it. So right now we have X and Y that controls the motion of this banner. And instead we want to make control within the Material Instance itself. So we're going to make a couple of settings for that. And we're going to hold tap on the Material graph just like that to get ourselves a parameter float. And we're going to call this one Wave Normal x-direction, like so. And then we're going to have a speed wise. So we're going to basically make a copy and paste out of this, like so, make a duplicate. Just change up the parameter name to be instead of x-direction, we're going to call this one a Y direction, just like that. So we've got two parameters, but we can't just simply add them up together, because otherwise it'll just be adding up the same value and they're not going to be changing the X and Y separately. So what do we need to do in order to make use out of them? We need to append them instead. So if we were to hold a, I think no, that's going to give us an add node. So by simply adding them up, that's not going to give us the right kind of result. What do we need to do instead is we need to right-click and search for append. Append like so a pen vector. So what this will do is it'll give us X value and Y value in the separate kind of append vectors. So we basically create a vector to value using these nodes like so. And we'll have some real nice control out of them. And this, we can simply attach it to our banner and they'll give us some really nice controls. The right-of-way. We're just going to append to add this to a speed. And if we were to set this, Let's say we can set both of them to 0.1, like so by default. And we can just save it out as is to see how it would look like. So if we were to click Control and S to save, we can see the type of control that we're going to get out of it once it's finished as up, of course, loading up, Saving up the entire perimeter. So this is the tab controller we're going to get within Material Instance, actually going to get a lot of separate ones since we forgot to add a group to them. So both of them, we're going to change the group and we're going to add it to Waves, like so. So now both of them are going to have a group within Waves. So we're going to click Control and S. Now we're going to go with into the Instance at basically we have to wave directions X and Y. And if we were to close this down, get them both to set a zero once we start changing the x-direction and set this to 0.1, for example, we're going to get direction going this way. If you want to go, to have a direction to go in opposite way, all we gotta do is set this to a negative value. So right now it's set as 0.1. If it were to set this to -0.1, we're going to reverse this entire direction. So these are basically the type of controls that we're going to get. And of course we have Y direction as well. So for to set this to 0.1, we're going to get this downwards. And of course, if we're to set this to be going the opposite way, that the negative way, it'll go the opposite direction. So this is quite nice for now though. I think we can just keep Wave Normal x-direction is zero and Wave Normal y-direction as 0.1. And I think that's going to give us real nice Basic Guide of emotion. Maybe it's a little bit too much. So 0.01 or 0.03 will give us this sort of a basic motion, which I think will work really well for us. So let's go ahead and keep it as is. Now. We're going to click Control and S to make sure we save this Material Instance. Let's go back onto the material itself and will need to be adding couple of extra choices. So right now we still don't have the control for the overall speed of this motion. We can somewhat control with these parameters. But for example, if we want to amplify the speed, if we like the direction, and we just want to make the overall speed to be a little bit Larger, little bit faster. We're going to make some certain choices. So actually I'm just going to bring this up a little bit. Going to select this entire section, just bring it up a little bit and set up a time or it as well. So just like we did previously, we're going to get ourselves, I'm node, and we're going to multiply this with a parameter or a simple load value parameter. While holding S, we're going to tap on the screen and we're going to call this one a Water Normal low speed. It's going to be a right. Of course we need to change the group. So let's go ahead and change the group to Waves. We're going to connect this to be. And by default, we're going to keep it as one. And of course we're going to connect this to time. And just like that, we're going to get certain amount of control over the overall speed motion for this pattern. And we have some nice controls at this point, we have the position well-positioned of the waves. We have normal flow speed, so we can slow this down or speed this up. And we have of course, directions. So we can have a bunch of different options for us to use. So right now we're just going to keep it is this. And I'm thinking whether or not which way the rotation would look best at this point, but keeping it as zero of pink will do for now. So going back there Material, we set up a really basic notion, motion for this entire area. We've got ourselves a Pattern and that has a simple controls for Parameters and speed controls as well. And that allows us to get a very basic motion with normal texture. So already it's looking a little bit more like, hey, decent looking water, but we're not quite done just yet. The overall pattern looks quite a bit repetitive. So in the next lesson we're going to continue on with this. And we're going to overlay ourselves the normal values and get ourselves more out of this overall low or the water. So thank you so much for watching and I will see in a bit 56. Setting Up Water Normal Parameters: Hello and welcome back everyone to Unreal Engine five, beginner's guide to building an environment. In the last lesson, we left it off by getting some of the motion of for the normal maps. And we use them as a sort of a waves within our water plane. And this lesson, we're going to continue on working with this water material and we're going to overlay another normal map and use it in order to break off some of that normal pattern that we're getting at the moment. So the way we're going to do it is actually quite simple. We're going to start off by setting this normal material. We're going to click control C control V to make a duplicate out of it. And by simply attaching both of these two together. If we were to have them added together, we'd have a simple, nice overlay ending result of a normal map. But we're going to use a multiplier for that. So if we were to hold em, tap on the material graph, like so, add them both together just like that. And then add this to our normal value like so. We're going to click Control and S to see how this would look like once it's done loading up. And actually I should have probably added basic value for a UV pattern just so we can visualize how that would look like. So I think I'll do just that. So I'm going to quickly overlay these UVs just so we could see how it would look like while we're multiplying poverty is normal maps together. Once it's done loading up, we'll see the type of result that we're going to get just by simply applying body's normal maps values together, we can see the type of results that we're going to get an already. It's looking much more chaotic when it's moving across our entire plane and we're getting much better results as a water normal. But just doing it like so we're not actually going to get a lot of results. We're not going to get as much of control over the pattern, speed or customer rotation, for example. So if we were to make use out of the same customer, rotation onto the UV is like so and click Control S to save it. To compile our entire material, we're going to see that although it looks somewhat nice, we're just applying one material on top of each other. So of course, we need to make use out of our parameters and set up our different pattern to be used with this entire section. So the way we're going to do it is we're actually just going to apply a multiplier with our scale and that'll give us some real nice results in return. So let's go ahead and do that right away. And we're just going to actually get ourselves a multiplier and simply multiply our entire scale by a little bit. So we're going to actually, we're going to copy a pattern that we had previously. And not only the pattern, we're going to delete this, we're going to copy this entire custom rotation. We're going to hit Control C, Control V. And this parameter, because it has the same name, it'll be changed up based on this rotation. Both with them. They're going to be linked up as they are pretty much the same parameters. So that's actually quite useful for us because when we are going to be changing the rotation for one, the other one is also going to be changed in the same kind of way. So what we need to do though, is we got to make sure we adjust the pattern. At first of all, for, in regards to the coordinates, we're going to be applying a multiplier for that. So we're going to hold em, we're going to tap on our entire honor graph and we're going to attach this to your coordinates. Then we're going to attach the constant value of a wave, the entire section of this scaling. And afterwards, we'll need to make sure we just simply set the constant b as a value of point a. And this way, by having 0.8 value for this, we're basically shrinking down this entire UV coordinates to be, actually, we're going to set this up. The custom rotation, we're going to set this up to UV is like so. So basically, we're going to be shrinking down this entire Ordinance, not shrinking down. Sorry. We're going to because we're lowering down this valley, we are going to increase the overall scale to a value by just 20 per cent. And we're going to make it a little bit larger. So the entire pattern will be broken off a little bit in this way. Now when we save in our entire scale, our entire pattern is not going to be quite as visible. So once this saves up, if we just give it a second, we're going to get this nice sort of result. But at the moment, we're still keeping the same type of speed for our entire neural map material. And so the pattern itself is not going to be less visible, but at the same time we're still going to get that sort of a pattern. So we need to make sure we fix that up. And actually if we were to go to a high value, high scalability, we might be seeing this a little better. But I will go to a low quality because of the performance, because we have so much foliage in the background at the moment. So anyways, going back to this, we need to fix up the time now because we're using A time multiplier. And we pretty much can make use out of the same multiplier. But what we need to do is we've got to make sure we set it up to be at the right type of time. And we basically just want to have it in this way will be bringing down the entire pattern and making it look more organic as a water system. So the way we're going to do it is we're going to get ourselves a new multiplier. We're going to attach the time to a. And I'm just going to move this down a little bit. So they wouldn't get in the way. The multiplier, the constant b. We're going to set this to a value of 0.5, and we're going to attach this to a time. Now the reason we're doing it is because we're going to be using these parameters, the flow speed and whatnot. They're still going to be using the same parameters. And we just want to make sure we minimize the amount of parameters that we have while still having a lot of control over this entire water material. And finally, for the speed itself, we're going to be pretty much using the same coordinate because we want to make sure that it flows in the same direction. So by simply slowing down this entire pattern and moving it a little bit slower, we're going to click Control and S to see how it looks like. But basically, we're going to lower the overall pattern, look and it'll just look much more organic as a water. So just like that, we're able to create a much nicer kind of look. And the flow, it's still going to be visible throughout our entire pattern. Although this directional area might look like it's just going in one area in one way. When we play around with the material instance, for example, with something like direction. If we were to change this up or actually let's go ahead and make sure we have the same. So if we were to change with this direction and get this to be, for example, at the value of 0.1 like so. We're going to still see that kind of random direction, but at the same time, still going to keep that way of flowing in one way. So that actually is much, much nicer for us. It's going to bring up the speed a little bit more like so. Now one more thing that we need to do though. We need to make it so we'd be able to control if we wanted to go in one direction or if you wanted to be more randomized. So right now, we do have some flow control flow towards this direction. But if we, for example, want this entire thing to be going just in kind of randomly clashing with one another. The waves will want to be able to make sure we can have that. So we're going to make use just like we did with the usable position for the switch. We're going to get ourselves a switch parameter as well for that. So let's go ahead and right-click and we're going to search for a switch parameter, statics, which parameter like so. And this one we're going to call it a randomized waves. And if it's true, or more like randomized direction waves. Like so, randomized direction waves, if it's true, what will happen is we'll basically have this speed to be switched up by minus x, one minus x. So we're going to right-click. We're going to search for 1minus. And we're going to get this go through one minus x. And by inverting this entire value, it'll basically go the other way. And that way, by multiplying both of these normals will be getting random direction. So if it's true, that's going to go through the spine. If it's false, it's just going to go directly into this area. Of course, this one has to have a group of waves, so it wouldn't get lost. Now we're going to hit Control S to save it up. And if we were to go into the material instance and randomized direction waves, if weren't enable this, we're going to see the type of results. So once we have it like so, which will give us a bit of a mess trying to figure out why. And I think it's because we set it up to speed. We actually need to set this up to a time instead. And the reason being is we just got to flip up the time and this will make the entire wave go the other way. So we're actually just going to switch this up and we're going to move this to the side and get this to go through the false statement like so. And this will go for the speed and the append go through the speed itself. So basically, this switch is going to give us the right kind of results. So we're just switching around the values a little bit. And in turn, we're going to get this sort of result. And there you go. So basically in short, whenever we have this flipped, a switch flipped, it's going to just invert the time completely and gave us the nice kind of results. I'm just position them properly like so to make it a little bit more organized right now, it is a little bit of a mess, but that is okay. So once we save this up, it should give us the right type of results. So let's go ahead and save this And by default, it should be like so. If it's false, it's going to go in the right direction. And if it's enabled, it's going to give us this. So the ego, we now have either a single direction going kind of results or with this enabled randomized direction waves is going to start going a little bit more randomly. And of course, by default, because they randomize, the speed for them is going a little bit too fast. So we can always adjust that with this value over here. And just by splitting a switching this up, we can see the type of waves that we're getting out of this. And all in all, this is going to be much nicer. But right now, we're going to keep it as is. We're going to set this to a value of one and we're going to turn off the randomized direction waves. Excel. And this is because we already have a nice area over here that'll help us to get a motion from coming from this waterfall all the way and just go towards this direction. And that will be pretty much it. We just need to be able to control the intensity for the normals because we're multiplying those two normals over here with one another. And in turn, we're getting to get a much more intensive a result. So of course we got to make sure we have some control over this. And the way we're going to do it is actually we're going to make use out of it. So by holding L, we're going to create a value linear interpolator, which in turn is going to give us a value from a to B based on Alpha. So the value of b that we're going to use is actually going to be another texture samples. So if we hold t and click on our graph, we're going to get ourselves a texture sample pretty much the same as we had before, but this time we don't have anything within it. So we need to make sure we select ourselves a texture. So we're going to search for a normal. And we're just going to get a normal, a basic normal, which is actually going to be normal. So actually we're just going to search for plat, normal legs. So we're going to get this sort of a texture. I think we should be able to, if we hover over, we can see the path. And the one we're going to use is from the engine, engine materials. If we were to click on it, we should get ourselves just a simple type of a normal that doesn't have anything on it. So if we were to click on it, we can see that it's just a simple square that has nothing within it. Just an empty normal. So basically, if I were to just use this as a simple normal like so and hit Control and S, nothing will be happening. It'll be completely empty because it is a blank type of a normal. So we're going to make use out of this and set it up to a alert B. And then the Alpha that we're going to use is going to be a parameter for a wave. So we're going to create ourselves a parameter holding S tapping on the material. We're going to make it wave normal strength. So we're going to set this to maximum slider or one. And by default, we're going to keep it as zero. We're going to now connect this as an album and connect this to a normal. Now if we were to click Control and S to save everything up, we're going to wait a little bit until we get the right type of results. And once we're done with that, of course, we need to make sure that the group is set as waves, like soap going to hit Control S to save it up. Now we're going to get ourselves a wave, normal strength, which if we were, starts lowering this down, we're going to get this result. We might need to invert this. So the easiest way to invert this is if we were to just simply switch these around. So our original overlay for the normals is going to be b. And this blank normal is going to be set as a. This way. Minus default is going to be set as one. It'll be set as this complete normal. The reason why you're switching is around is it will be more intuitive. So obviously one will normally be just a plain one. When it goes to zero, it'll be going less constraints. So I think that's more, a bit more intuitive. Right now, Wave normal strength, if we set this to zero, we're going to get this result. And once we start dragging this out, we can see that the intensity is actually lowering down. So it all depends on this type of control. We can leave it as one n will give us really nice results. So yeah, that's pretty much all it takes to set up our entire material. And we got ourselves some absolute well-positioned. So this controls the waves, the scale for the waves. So actually, I think we can spend some time to sort out our entire position for these normals, for the waves themselves. So the bottom section was a single layer material. I'm actually just going to position like so IT them all to reposition. And the way we can organize everything out is if we were to have everything selected, we can hit C on our keyboard and that'll give us a comment and I'll just make it nicer for us to understand. So this is going to be scattering and absorption. And then the other one, this one is going to be the cost six. I'm just going to go over everything down. I had one more selected action, so I'm just going to drag it up anyways. We're making sure that we're setting up the order a little bit. So we're going to hit C over here. And we're going to call this one cost x, like so. And because we have everything selected, we're going to get this, everything, all of it within this common section. Now finally, this one, I think we can keep it all as one. And we're going to select it all. We're going to hit C and we're going to call this one Waves parameters. And yeah, that's going to be it for the basic normal material. But of course, just as it is, it is only bouncing off the light of using the normals were only getting detail from that. And we need to set up some additional color information on top of this entire material. So we're going to do that in the next lesson. So thank you so much for watching and I will see you in a bit. 57. Setting up Water Color Texture: Hello and welcome everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting up a normal texture map that gives us a certain motion for the water. It already looks pretty nice as a Water Material, but currently as it stands, it all depends. The motion for the water all depends with the reflection from the light source. So if we're looking at it from a certain angle, we're going to get a different type of a visual look, which actually is looking quite nice, but we want to have a certain amount of detail that is going to be visible for us even without the normal texture. Now, the way we're going to do it is actually quite simple. We're going to get ourselves a texture map displacement that we have within our textures. So what did displacement textures, which we're just going to bring that in into our Water Material like so. Now we're going to make use out of it and set it up with the base color over here. So the way we're going to do it is actually quite simple. We just got to make sure that we set it up in a similar manner that we have these two texture samples. So we're actually going to make a duplicate out of it, like so for the textures. And we'll make use out of the same UVs that we have for the normal maps. Let's go ahead and get, you get, Let's go ahead and get right into it. And we're going to simply attach the first customer rotator up of the first section sample. And then the other one, the second customer rotator to the second one like so. Now the way we're going to have them both connected is going to be via screen blending method. Since both of them are actually just making use out of black and white, that just going to give us a better results. So let's go ahead and right-click and search for a screen blend like so. This one over here. Let's go ahead and select it. Now let's go ahead and connect both of these up, like so. And just like that, we're going to now connect both of these to the base color. So we're going to be able to test how they're going to look like. Let's go ahead and click Control and S to save this out. And we're going to see how the water would look like once this is finished loading up. So there you go. So we're going to get a certain amount of texture out of it. And of course, we need to set up a certain control for them as well, just so we could get more out of this, the intensity control for these color waves. So we're going to set up a multiplier. We're going to hold em, set up I multiply, going to help hold S, set up a perimeter, float. And we're going to call this wave color intensity, or multiply our actual data might be a bit better. Like so. And for this, the group that we're going to be setting it up, it's going to be underneath the waves. So we're going to set up group waves like so. And then we're going to connect both of them just like that. And of course we're going to set it to the base color for this parameter default value. We're going to set this to a. We can keep it as one, actually can control the settings afterwards anyway. So let's go ahead and click Control and S to recompile our entire shader. So once it is done, we're going to be able to now control the intensity of the overall ripples that we're getting from the simple Base Color. So now, once we go into the Instance and enable the way of color multiplier, like so. If we increase the intensity for this, we're going to get a much different result. And actually, just by looking at, it, seems like we're now getting the type of results that we need actually for this one. So if I were to change this to zero, we're going to get this. And if I were to increase it, we're going to get we're going to start getting this DIBL result of case. So we're going to need to have a different type of blend. Actually, we're going to need to go back onto Materials tab. And instead of using blend screen, we're going to use a multiply instead. So let's hold em. And This replaced this node with multiply. And I think that's going to give us better results. Just like that. We're going to attach it to multiply. We're going to hit Control and S to save it. And after it compiles, hopefully it will give us resource that doesn't affect the overall intensity, the color of the Water. And right now, if we were to play around with the intensity, we're going to see the type of results. So I think we're getting some nice results. It actually highlights some of the areas or the waves. But at the same time, we gotta make sure just to not overdo it as otherwise, there'll be a little bit too much. So setting this down to zero, we're going to get this result and we are increasing it. We're going to see more of the ripples in water. So that's actually quite nice for us. So I think we can set this up to a value of one for now and later on. If we needed, we can always change it. And if we were to use somebody like randomized directional waves, for example, will be able to get those repulse to be randomized with the entire rippling effect as well. So that's quite nice actually. So again, I don't think we need to use directional, randomized directional waves at the moment. We're going to have a nice flow with the overall color waves. So, yeah, that's going to be it from this lesson. In the next one, we're going to be setting up some vertex Painting to have more control over this water body. And we'll do that by setting up some nodes within the material as well. So thanks so much for watching, and I will see you in a bin 58. Setting up Vertex Painting for Water System: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In our last lesson, we set up a real nice base color to be used with the flow of the water that makes use out of the normal texture maps. And actually we're going to lower this down a little bit. We're going to change up the color for the Scattering. Just a little bit. Since it is pink, it was a little bit too bright otherwise. So we're going to notice down by quite a bit like so. Just by changing it up, we can see the type of resistor we're getting out of these type of waters. And it's already looking pretty nice. And we just need to make use out of certain controls to make sure that we have some more control over where the Caustics would go, for example, and where the water would flow and which way we're going to be handled in particular areas. So in order for us to do that, we're going to set up a water-based material with Vertex color. So we're going to go onto the vertex Water Base Material and we're going to be setting up, are we going to start off by setting the Caustics to be using our vertex color and it's rather easy to set it up. All we gotta do is we gotta make sure we just right-click and search for Vertex color like so. Now what this will do is it'll give us a couple of options. The first one is going to be a joint channel of red, green, and blue. And then the final one is going to be simply an Alpha. So we're going to start on by just using red channel, this one over here. And all we gotta do is we got simply multiply this with our original color scale behind water with the Caustics that we had before. So we're going to make use out of this channel over here. And we're going to use simply multiplier like so by tapping on the graph using the M button, we can connect both of these like so. And we're going to attach this to the color scale behind water. Now once we hit S Control and S to save it out and compile our entire shader. We're going to give it a second until it loads up, like so. And after it's done, we're not going to see much of a difference. That is because we now need to make use out of the vertex color. So the way we do it is we have the object selected and now we need to go onto different Mode. And right now we have a select mode on. So from this, we're going to go onto a mesh paint. And with the mesh paint will be able to paint out this mesh. So we have the selection of a Tool selected which will allow us to select the mesh. And with it, we're now going to go when I go to a paint Mesh and with the pain Mesh, we're going to get ourselves a brush that will show us all of these dots as vertices. And each one of those vertices, vertices will be able to contain its own color information. So for starters, we're just going to lower this down to quite a small value like so. And for example, by default, if you want to see the color view, if you want to see the each individual color channel, what do we can do is we can make use out of the color view mode and changing this from off. If we're to change this to our red channel, we'll see that everything currently is read. The entire thing is masked out as red. So if we were to change it, for example, to be black, we're going to be changing up the entire channel. And in turn, we're going to hide some of the Caustics. So by simply changing the pain color and risk, color were able to do that. By default, we use paint color and that is set up as white. If you want to change that, we can do so by clicking on this button over here. And we can change it to any one, any of color that we want. But because we're just now going to be using the red channel, we want to keep it as white. So we're going to set it up as white. And if we want to go in between those two colors, in-between the pain color and eraser color, we can always click button X, and that'll just switch in-between those two just like that. So scrolling down, we have channels that are going to be applying this entire paint. And right now we only want to make sure that the red is ticked on. And this way we're only going to be affecting the red channel. So right now, if I was to paint this out over here using black color, that is, if I were to paint this area like so. Now, if we were to go back from the color view mode from the red channel and turn this off. We'll see that there's no more cost flips over here. If I were to want to paint it back on, we can always paint that N just like that. So this way, we have some control over the Caustics and how they're behaving in certain areas. And of course, not only we can just have it as black and white, we can also have it as a certain mixture in between. So for example, right now, if I were to paint this completely black and then get into this black paint value and then change this to be a value of slightly gray, a value of 0.2 So then what we're going to do is we're going to paint this out and it's going to be a slightly darker caramel red. So if we were to turn this off, we'll see that in slightly affects, it multiplies basically this entire value of 0.2 with our entire Caustics channel. So that's quite useful for when we want to have certain controls. And of course we can extend this and make it lower. So we have lots of controls over the Caustics and how they're behaving. One thing to keep in mind though, is that it all depends on the density on the vertex, vertices of the mesh. And right now, the amount of vertices that we have if we were to go to wireframe mode is this amount. So we can see hover over them and we can see the type of vertices there were painting over them. So if we want to have more density, we can always do so by going into modelling mode and making sure we add more vertices using the rematch. But right now it is actually going to be quiet. Alright? So just by making use out of that, we're able to have a lot of control over the Caustics of our textures. And of course, we'll need to set up the rest of our material as well. So just like with the just like we did with the Caustics, will also need to set up the wave control or them as well. And the way we're going to do it is we're just going to open up this area over here. We're getting to create a new vertex color. So let's right-click, get ourselves a new vertex color like so. And for Siris, we're going to just make sure we make use out of these color channels over here. So what we're going to do is we're going to create ourselves a loop which will basically turn off everything that has a vertices painted on. So we're just going to get ourselves this channel over here, hold L and tap next to it. And then the a, we're going to set this up as an a and B. We're going to get ourselves a simple float value of 0.5. So let's hold one, tap on the screen and change this value 2.5 legs. So we're going to put it as B. So this is going to give us a neutral type of a look. Then for Alpha, we're going to set this up simply as a green channel. So wherever the green channel is being applied, it's going to give us this sort of results and let's hit Control S to try it out. And I think that actually is. I hope that's not giving us the right results. Let's try out painting it. Some of the values. We're going to go into the mesh pain, going to make sure we have this entire mesh selected, click paint. And this time mill need to make sure that the channel that we're using is not red with green, instead, we're going to reset as default values to black and white. We're going to hit X and just simply paying out these values like so. And by default, it should give us the right type of results or these colors. But actually, sorry about that. I totally forgot to connect the lookup value to the base color like so. So after we connected, we're going to get the right type of results. So let's go ahead and connect the base color. Let's hit Control and S and see how this would look like. So now, once it finishes up compiling, because I had this area painted out, it's going to give us this result. And the reason being is because we actually have Setup as a and B. So what we need to do is we only have this area painting as black. And if we go to the green channel, we'll see that this is only the great green area, and this is the only area that gives off those white foam that we're having right now. And we need to make sure we flip the Alpha for the loop. So we're going to right-click served for 1minus, like so. And we're going to transfer this entire channel, transfer this entire Alpha, just like that, by flipping these valence around. Now, everywhere that's going to have a green color by default is going to make use out of the waves. Just like that. Once we start painting in the values, we're going to remove those Wave colors, but actually it's going to give us a lot of white. So instead of 0.50, 0.5, Let's try using a value of zero. Click Control and S to save it out and see how this would look like. Default value is just going to be black. And there you go into get a much better results. So let's make sure that we use B for the alert as just a float of zero. This way when we're painting out, we can see that we're getting rid of the waves and we're, if we're paying it back in, if I change it back to white paint, we're going to get those waves pack in. So of course, we're not getting rid of the Normals, Jess yet. And now, as per the normal maps, in order for us today at more control over it, we can't just simply remove the entire motion of the water. Otherwise, if we're to do that, we're just going to get ourselves a simple looking plane for the Water. And otherwise, when we try to make use out of it, which is one, get a much of motion out of it. So the way we're going to do it is actually quite simple. We're just going to move this material a little bit outwards like so. And where it says randomized directional waves, we're actually just going to make use out of that. We're going to probably move this entire thing a little bit down. Like so you could get more space. And how we're going to basically set up this entire material in a similar manner as we had randomized directional waves. And this time we're just going to grab them all like so. I'm just going to hold Shift and tap on each and every single one of them is going to move this a little bit upwards. Now we're going to go ahead and make a duplicate out of it. Or actually we're going to grab everything until the pattern like so. Now we're going to make a duplicate out of it like so. And we're simply going to connect all the previous areas just as it had before. So the area for the multiply, we're going to connect this one to the coordinate, like so to the first coordinate. Then the second one is going to be actually set up with a multiplier. We're going to set this with a coordinate like so for the time, we're going to set this up with a as well. So just like that time. Now as for this time, we're going to grab it from a multiply of 0.5 and that's going to be also inverted. So we're basically having an inverted time right away. And that's going to give us the randomized time that we want. And afterwards we're just going to connect the speed to both of them as well. Just like that. We're going to get this sort of result like so. And after we're done with that, we're going to get this sort of a look. Now, once we're happy with this, we're gonna go ahead and just make use out of it In alert that we have over here similar to the one that we have over here. So we're going to hold L, tap on the screen and row we're going to connect this to be the original normal that we had. Connect this to an a. And alpha is going to be connected to our vertex color. Although we can just make use out of this one, I reckon it'd be faster and easier if we were to just create a new one vertex color over here. And just make use out of the blue one like so. Now we're going to be able to connect these up. Or actually, I'm thinking that might be, maybe we can make use out of the loop value over here, some screen to make a copy out of this and put the copy in here as well. And this way, we're going to get a same controls basically over our normal maps. And the B. This is what's a. So let's go ahead and just remake the same value as we had before. So this value is going to be pretty much the same as this one over here. And it'll use the same parameter because it has the same naming for the parameter. So we're just going to make sure we connect these two as well. Connect this to an a, and we're going to get this result. Now. We're just going to connect the loop of a B to here. And finally, we're going to, I think we need to flip this alpha in reverse it actually. So let's go ahead and use of one minus X, like we did previously to invert the entire mask and make sure that by default it makes some motion for the Waves. Then we're going to connect this to a normal click Control and S to save it. Like so. And once we're done with compiling this entire Material, we're going to get this or result. And because we use the blue channel, we can make use out of the blue painting. So I'm just going to make use out of that. And now once we just X to invert it to your black color, we can set it up like so. And we're going to get this sort of control. But actually looking back at it, maybe we should change it back. The float value that we have for this. So right now it's set the same strength intensity as this one over here. But instead what we're going to do is get ourselves a Custom Wave normal strength. So that's going to be just if we were to change the name for it, will be able to have more control over it. So Wave normal strength, if we were to change this to a normal strength, painted like so. Vertex, something of that sort. Now forward to hit Control and S to save it. We're going to get ourselves as different parameter. And now if we were to go into the Material Instance, wants this is finished. Like so. We're going to get ourselves Wave Normal shrink, paint vertex. So right now by default, this looks quite a little bit too much. So if we were to change this up, so this is going to be this one over here. If we were to lower this down by quite a bit, we're going to get a minimum amount of movement over here. But it'll still look so much better without it. And actually, we should probably take off the foam problem side so it'd be easier to see. So we're going to go onto Mesh paint as habits the plane selected, go to the go-to repaint mode and take on the green channel Excel. We're going to remove our white foam from this area and see how this would look like. So just like that, we're able to get certain bit of motion in this area. But at same time, it looks like it's a Still type of Water which actually looks pretty good. So that's all there is to it, a height of the controls just by going through all of the settings and whatnot. We already have so many options for these parameters and how to set up the water. But in order to actually set up the water and you make use out of this parameter is we're going to do that in the next lesson. So thank you so much for watching. And I will see you in a bit. 59. Making Final Water Base Material Adjustments: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we finished off setting up the base material for our Water Instance. And in this lesson we're going to actually familiarize ourselves with Material Instance itself and just get ourselves acquainted with all the parameters that we have. We can have greater control over the entire Water Material. We're still not going to finish it off having complete final touches to the war itself, because that is going to be finalized when we're going to change up the Lighting for our environment. Because otherwise, we're not going to get the right type of results. Since the type of reflections, the type of lighting setup that we're going to change. All of those options are going to really change up the way our water is going to behave and the way our water is going to look like within the environment. So in order for us to just familiarize ourselves with the water, we're also going to make use out of it and set it up for the other Water Planes as well. So let's get right into it without much of idling. And we're going to start on just going for all the settings. So we have the basic settings for metallic and roughness. And usually I like to keep them as default is 0.8 and 0.3. And if we want to have, for example, more Reflection or we want to, for example, have the sun to be reflected. So for example, I'd probably just rotate this camera around just so good. See the light source coming from this way so we can visualize the lighting a little bit better. So yeah, we have the metallic and roughness. And what metallic roughness will do that is, is increase the way the light bounces off. So for example, if we were to change this to a value of 0.1, we're going to get a much crisper cordova Reflection, a much more shiny look to the water. But keeping it as the default 0.3 is going to give us a real nice soft lighting, bouncing off from the lighting, from the water itself. So quiet like this type of result. Then also we have metallic. If we were to have this set as zero, we're going to have this sort of a plasticky look, which obviously we don't want. So having it to your value of 0.6 will usually do the trick. If we were to increase this to a value of 0.9, will also somewhat sharpening up, sharpen up our entire look for the water, which also will make it look a little bit darker as well. But usually just having it between a value of 0.6 and 0.9 is where a personally play around with these values. And that gives us some nice results overall. And moving on, we have the absorption color. So again, absorption color is going to allow us to absorb the color entirely. So for example, if I said it is to evaluate like bluish, we're going to, the deeper it goes into your water, the more of a blue water it's going to absorb. So that's going to be quiet nice for whenever we want to get a different type of result out of the water like so. But having it set as orange will give you a real nice bluish tint. And then afterwards we have an absorption multiplier, which if we were to change it, we're going to see how much it absorbs it within the water itself. And lowering this value will basically mean that will, can see more of the war itself. But again, because we're seeing a lot of it more, we're going to see a lot more Caustics as well. We'll have to fix that up when we're changing up the absorption Values. So I think we can for now leave this absorption multiplier, set it to a value of 0.3. Something like that, 0.02, maybe. That's a little bit too much, the Caustic, little bit too far off. So 0.0 free, I think that'll do us. It'll give us a real nice result for now. Then afterwards we have the Caustic Scale. Of course, this will just change up the scale for the Caustic as well. And changing this up to your value, maybe TO value of 50 will give us a nice result. I think that'll give us know much more detail out of it. Instead of making it look like it's quite a bit noisy and just having it like so it's going to make it look much nicer than afterwards. Of course, Caustic speed. This has to be changed up whenever we want to adjust it to the overall motion of the water. And the slower the water goes, the slower the Caustics will of course P, because those are actually just kinda like imagine the ripples from the light refractions and whatnot. So of course, you're going to be affected by the waves, the motion of the water on top. And usually we change that up last as a last resort, as the last kind of a setting when we're having a decent looking Water Setup already. So for now we're just going to keep it as 0.5. And that'll give us some nice results as is. So Scattering multiplier, of course, that'll just increase the intensity For the Scattering color. And that'll just basically control how the color is being scattered around. If we were to set it to, for example, something like orange, we're going to get some interesting results as well. So actually, by playing around with these values, we might get some nice results out of it. So just for now though, we're going to keep it as this sort of a color. And actually we might need to lower this down. So I think we're going to love it down the Scattering multiplier by quite a bit and even take down the saturation. And this will give us maybe some nicer results for the water. Just like that, we're getting some nice results. Of course, because the Scalability for now is set as low, we're going to get different results, but later on we're going to change that up. And just having a look at it, we can see the type of results that we're getting. Again, I'm just going to go too low, maybe even set it to high. And this way we might get some nice results, but now let's go back to quality low. And this way we can work with water and not worry about too much about the performance. And right now, so Scattering, color, Scattering multiplier, pretty much similar options as absorption color, and Absorbtion multiplier. The only thing is that when we're lowering this down, the Scattering multiplier is it actually scatters out the color itself. It just has this type of covering. Look for an entire water instead of where it's with other absorption, for example, we were able to control depth with this one, we're able to control the cloudiness of the water. So if I were to increase this to quite a bit, we can see that it makes entire Water look just quite a bit cloudy. That is what this is four. So we're just going to edit to 0.04. I think that's going to be quite alright for now. And he's world position is, again, this is the type of setting that will allow you to control the world position wherever it uses or not. And looking at it now though, it actually, it might be better if we have used well-positioned set in the same kind of a way as use well-positioned Waves. Since right now, if we were to set one of them, the other one is not going to be changed. That looks a little bit dull, so we might need to change up the US well-positioned. And so the way we can do it is actually if we were to go onto the Water Base Material and change that up. So let's go ahead and find it. Randomize directional waves. That's not it. Go use world position Waves. And it's going to be over in this area as well. Usable position. We're just going to copy the name for this one. But this parameter, you'll all the way up and change this up to the same name. So let's way both of them are going to have the same or should have the same type of a parameter, except they have different groups. So let's go ahead and change them up. We're actually going to set them up to Basic group. And they ago we changed it up to Basic group. We're going to hit Control S to save it. Now we're going to go onto the Water Material Instance. There you go, we have a use well-positioned. And now if we were to turn this on both for the Caustics and for the water, we're going to get different types of results. Now, of course, you're going to have a slightly different offsets. But as we can see, we're definitely having some results. Although I'm not seeing the Caustics themselves, so I'm trying to figure out why that is the case. Since right now by default, it looks like it works. But we might need to, yeah, let's go ahead and try to increase this. And the Caustics. If I were to check it within Caustic Scale, this change up the value for it, or lower down. There you go. Now we can see it. So by changing up the Caustic Scale, we're going to get these sort of results and that is going to be much, much better. So there you go. Of course for now, we're just going to set it up as a default one. So use world position. We just changed that up to be as a single type of a switch for both of these values. Since they're using the same parameter named are going to be, behaving as one value like so, which is actually going to be much easier for us to work with. Dense that otherwise was an unnecessary amount of parameters. So right now, we can just flip this switch and make it much easier for ourselves. Anyway. Moving on, we have the Scattering, color Scattering multiplier, and afterwards we have Waves category. So the way Wave category, we have the rotation. So it'll help us to rotate our entire Waves, for example, like this. But this is going to be when we have different types of directions. So for example, right now we have it flowing this way and I think that looks quite nice. We also have randomized Wave direction, which of course, if we were to flip this around recruiting to have inner thigh area, to be just randomly moving along, which is quite nice. And Water Normal flow speed. Of course, this is going to be the speed of the entire flow and might need to change that up in a bit. But I think for now that's quite alright. We can lower this down, actually buy instead it up 2.8. I think that's going to be much nicer than we have the strength, which will change up the strength. And that also again, depends on a type of lighting that we want to get. And if we were to lower this down, we're going to get less normal value. So that's quite nice. Vertex Painting because we have certain overt expanded over here. We can see how it looks like N. We can just take off this entire area over here or put it all. And we'll have some random motion within this section. So that's quite nice. We can set it up to your value of 0.3. That usually works quite well as give us, gives us some nice vertex over here, some nice motion. Then afterwards we get ourselves the Wave normal X and Y directional. Of course, this will control the direction of our entire material. Then we also got the wave Scale. So the wave Scale is again just the scale. Then we can increase the crease. And I think we can keep this as a value of maybe 15 is a little bit too much, but I think the value of ten was not quite as good. So maybe something like 12. I think 12 is going to be working out so much better for us. Or actually, we can maybe try less. It all depends on the type of a look we're trying to get. But having a value eight, yeah, I think definitely something like 12. We'll do the trick. I think that's much better for result. And yeah, that's pretty much it moved to controls of the values. We now just have to set it up to be used. Are these planes over here. So actually we ran out of time. So we're getting, we're getting to continue on with this in the next lesson. So thanks so much for watching and I will see you in a bit 60. Setting up Mesh Planes with Custom Water Instances: Alright, Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. And the last lesson we've familiarized ourselves a little bit more with the overall Water Instance settings. And we also switched up the US world position. So it would only use one parameter tick for both the Caustics as well as the normal Waves. So it'd be switching between the world position and the UV coordinates. And we just made sure we just use the same naming for that. But anyway, once we've got that sorted and once we went over all the settings, we switched up the main body and now we have a real nice flowing water going towards one direction. And as some controls for the vertex Painting, which we haven't touched it just yet. I think we should do that at the very end, we're going to have more, greater control once we have some lighting setup in the future. But for now though, we gotta set up the overall Water Base to be going in one way on the other areas as well. So let's go ahead and do that. We're going to close down this Material Instance and actually we're going to make sure we save this out like so. And now we're going to have ourselves a Water Material Instance just like that. Of course, we're going to try to make use out of the same Material Instance, but I copy instead. So we're going to select this click control C control V to make a duplicate. And we're going to drag this and drop it into this water area over here. And just like I said, just like I mentioned previously, we're going to have some issue where the UVs are actually going to be way smaller. So the first thing that we need to do is we need to fix them up. So we're going to open this up. And now I reckon the easiest way that we can do in order to fix them up, you just change the scale for them. And we'll start on changing the Caustic scale. Though I think we can just use a value of ten. I think that's going to give us a good enough of a result. The costing multiplier is a little bit too much direction, so we're going to love it. It's down by quite a bit actually, just to a value of 0.8, like so. We're going to get some slight bit of movement next at Edges of our rain, but it's not going to be too much and it's not going, not going to be too distracting. So the next thing that we need to change is of course going to be the waves themselves, themselves. So we're going to go down onto the waves and we're going to change up the wave Scale. So by changing this up to a value of something like, for example, maybe that's a little bit too small. We can change this up to four or free. I think free is going to be enough. Of course, it is going the wrong direction. So we're going to fix that up verse. We'll start off by getting X and Y direction to B's both at zero it this way, it'll have no motion to start it off. Then we'll experiment with the y-direction and that is going to go sideways. So we don't want this, we want x-direction, and that goes in this area, but in the same direction. So we just need to inverse this. So by inverting it, we can just set it up as minus one. And we're going to get this sort of flow. But the default Flow is a little bit two's too fast. So think we're going to change that up actually. And we're going to do that by, I think the fastest way to change up the speed would be to use the Water Normal flow speed. If we were to change this up to something like a value of 0.1, we're going to get this sort of result, which is going to be looking much nicer and I think it looks quite Porgy, so we might need to change the way. This is. So Scattering multiplier. We're going to change it to a 0.02, like so. And that'll just make sure it doesn't have as much of a foggy type of a look thing that's going to look much nicer in return. But for now though, I think we can just keep it as 0.03. So to have more or less similar kind of a look at this water over here. And we're going to be changing the lighting. We're going to be changing up the water settings afterwards properly. Right now, I just want to make sure that the flow for the water is going in a nice kind of direction and I think it already is. But actually the wave Scale is a little bit smaller. Let's go ahead and change it back to one. And of course, we need to change the way this is traveling and texture to be going sideways like this one over here. So we're going to rotate this by 90 degrees. And what this will mean is we need to change the Custom way rotation to be 0-0, 0.025 or sorry, from zero to point to 0.25, like so. We're going to get this result. Now because we changed that. We're going to have the speed looking like it's actually a little bit too fast. So we're going to lower the speed to 0.05, which is happening it. And I think that's going to look much nicer for our water. So he, Diego, we have ourselves a nice flow for this water. Of course, we need to set it up over here as well. So we're going to close this down, get ourselves yet another Water Instance. So we're going to hit Control C, Control V, places in this area over here. And for this one, we need to definitely change up a couple of settings over here. We're getting to open this up and change the flow of the water. So we're going to have this set as one. I think that's going to, yeah, that's going to give us the right results. The wave Scale though is a little bit too small, so we're going to increase this by quite a bit like so. And I think from a distance this might look quite alright. But I'm just wondering if we need to have our absorption that up differently because it looks through transparent at the moment. So by changing the absorption value, we're going to be able to fix that up and taking it to a value of 0.05 thing that's going to look much nicer as a water puddle in the back. Because of course, we're kind of hiding the fact that there's nothing there and we're just using some Rocks and whatnot to also hide the end of the river like so. So all in all, I think right now we've got ourselves a real nice setup. We just need to maybe increase the scale in this regard. So 0.5, maybe they'll do because it wasn't quite as visible the overall waterflow. Right now that is going to look much nicer. And maybe if we increase the watercolor multiplier, that into something like two, we're going to see some nicer Water lower likes this because this area as it covered up from the sun, we're now going to have as much of a reflections coming from the sun. And especially out and thinking about having the sun over in this direction over here. So it's definitely not going to have a lot of normal visibility. But again, in the future we're going to be trying to play around with valves a little bit more once we get Lighting sorted. So for now though, we have a real nice setup for the flow off the main bodies of the water. And now in the next lesson, we're going to set everything up for the waterfalls stem cells. So that's going to be pretty much it. Thanks so much for watching and I will see you in a bit. 61. Setting up Waterfall Texture Flow: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. And last lesson we left it off by setting our water bodies to be used within the terrain, within the environment. And in this lesson, we're going to continue working with the water. And this time we're going to get ourselves a Waterfall, a waterflow from the Waterfall. You'll be set as a material. So without further ado, let's get started. We're going to start on by getting ourselves a Water Material created. So let's go ahead and right-click. Within the water folder, we're going to create a new material and this one we're going to call it a Waterfall mat, like so. Now we're going to double-click on it to open it up. And we're actually going to right-of-way, just right-click on this material, create a Material Instance out of it. And we're going to apply this Material Instance right onto this section over here, just so we can visualize how it's going to be building up as we go along. It's relatively simple in comparison to the water body that we just created. But it's still requires us to take some steps. So let's get right into it. So we're going to get ourselves a Textures folder. We're going to open it up and we're going to get ourselves to waterflow texture. So let's get right into it and just grab and drop it into the material graph like so. And we'll want to set it up as a transparent materials. So for us to do that, we're going to click on Properties tab like so for the Material, we're going to change the blend mode from opaque to translucent. And we're going to attach this to opacity. And actually we're going to attach the same thing to Base Color as well, since we want it to be white, we're going to click Control and S to save it. And we're going to see how it's going to look like. So since the white will represent where the mask is visible, we're going to get this result basically. And it already is looking somewhat nice, but of course, we don't have a lot of control. We don't have a lot of promotion within this area, so we need to set everything up properly and we get, we need to get some controls out of this material as well. So for us to do that, we're going to right-click. We're going to search for Custom rotator, rotated like so. And we're going to attach this to the UVs just like that. And of course, for the rotation, we're going to hold S and write a perimeter. We're going to call this one rotation like so. And the maximum value for it is going to be set as the one. And then we're going to attach this to rotation angle. So once we have the setup, of course, we are able to control the rotation of this texture map, which is basically just future-proofing. I think already it is having a nice angle for this specific mesh, but it's not quite there yet in regards to the amount of motion that we're having, since it is completely still at the moment. So we're going to need to fix that first. We're going to add a Pattern Motion. We're going to right-click search for banner. And we're going to add this right away into the v's. Now for the coordinates, we're going to set up a simple text coordinates. So texture coordinates. Or we can just search for chord like so texture coordinate. And of course, we'll need to set up a multiplier, but this time we want to make sure we have certain control over the UV tiling. So sometimes when we stretch out certain textures, we get some stretching motion and other times we actually do want to stretch the texture itself a little bit. So in order for us to have more control over this entire texture coordinate Scale, we're going to set up our own parameters for that. So for us to do that, we're going to hold S, we're going to tap on the screen and we're going to call the first one X Scale. Then we're going to hold S, again, tap on the screen, and we're going to call this one Y scale, like so. Then we're going to use an append node. So we're going to search for Append, Append vector. So we're going to create a vector two. We're going to attach both of them like so. And we're going to set the default value of both of them to one, just like that. And now we're going to hold em and create a multiply value and attach both of them together just like that. And now we're going to attach this to a coordinate. So now if we were to click Control S to save this out, we're going to get basically nothing because we haven't changed any of the results. And I'm actually going to go into Water folder into the Material Instance so we can open this up and I could show you what we just created. So rotation, we can just now rotate an entire texture map. We can keep this as a zero though, and X and Y. Now we can make use out of it in order to have greater control on how squished up this entire texture map is. So not only do we have control over the scale of the texture map, we also can control How much we're actually squishing this entire section up. So for now though, we're going to keep it as 1.1. But this is definitely a nice control to have, especially for waterfalls if you're only using, for example, something like a plane and you just stretch it out. You can't be bothered to switch up the UV coordinates and you just want to have more control over how they're being stretched out. So that's how we're going to just set it up. We're going to keep it as is. Now. As for the speed, of course, we need to set that up as well. So we're going to set up a speed in more or less the similar Kadima matter as we have over here. We're going to I have X and Y coordinates. And this time however, I reckon we can just use vector to right away. Although I don't personally like using this, because we can just make always something like this. We have two separate parameters and we can just append one to each other. It definitely helps us to keep everything more compact. So if we were to hold two on our keyboard and tap on our entire section on our graph. We're going to get ourselves as something called vector to. So basically, if we hold one, we're going to get a float, a vector one, hold two, and we're going to get vector two and hold three, we're going to get a vector free, which also works as a color. So these two are the, sorry, these three are quite useful whenever we're working with Material nodes. And right now we're just going to set up a vector two. We're going to right-click, convert this to your parameter right away. And I think we can call this one just speed. And yeah, that's pretty much it. That's all it needs to be called. We're going to attach this to speed like so. Now, if we were to save this out, the control S to save it out, we're going to get a nice sort of result. And by default, we're not going to get anything because the default value is set as this. We need to set R and G color as we can put it, actually, we can keep it as zero. But if we were to go to Material Instance, we're going to get ourselves speed. And if we were to open this up, we get RGB and a. But we only need to worry about R and G because these are the values for X and Y. And if we were to change one, we're going to get this result. And we can even use the colors like so. But honestly, it's better to just make use of these values over here. So opening it up like so and expanding it and then playing with R and G to get the right type of results. And actually, there's more and more thing that we need to do within the material. We're going to go ahead and do that right away. And that is, we need to control the opacity of this entire Mesh. And sometimes, for example, when it's close to the Rocks, we need to lower the opacity of this entire motion. So we're going to go ahead and apply this right away. So we're going to right-click search for Vertex colour. Going to get this sort of a look. And we're going to apply thing. We could just start on by syrup using a blue value. I personally prefer whenever I'm only using opacity to just use a blue value. And that's going to give us nice results. Anyways, we're going to hold them, are going to tap on a screen and we're going to connect both the RGB and the blue channel or the multiply. Now we're going to attach it opacity, hit Control and S to save it. And by default it's going to give us the default kind of results. And now if we were to go to Material Instance, change the red or actually we're going to change the blue, the green, sorry. This value. We're going to get ourselves a real nice Waterfall, just like that. Of course we're not quite done just yet what Waterfall? We also have the speed to control the rotation or whatnot. But just as it is, it's already looking quite nice. We need to set up the vertex Painting though for it. But before doing that, I reckon we can sort out the entire Mesh birth. Because actually we can't just leave this mesh as it is. It already looks, although it has motion, it doesn't look quite as well as It's just there's nothing behind it. So we need to set up Water plane behind it. We're actually going to hold Alt and make a duplicate out of it. And yeah, we just copied ourselves a water plane just like that. We're going to grab the one that's underneath it. And we're going to set this up to be a Water Planes. So we're going to copy something like model Base Material Instance Free, going to hit Control C, Control V to make a fourth one. And we're going to drag and drop it into this water like so. We're going to get this type of result. And actually, we're actually going to use a different kind of values right now. I think by default, since we changed this one to be with more absorption, we're going to get a little bit of a different character color in the middle. So instead, what I'm going to do is I'm going to hit Control Z to undo it, going to delete this Water Instances Material, I'm going to make a duplicate out of a second Water Material Instance, which was this using this Water Planes. So we're just going to make sure I locate it like so control C, control V, and then going to select this plane like so, going to add it onto the water, onto the water. And now we're going to get much nicer result. Of course, the one behind it doesn't even have the right kind of motion, so we need to fix that up asap. We're going to go into it. We're going to change up the motion. So we're going to just have it. Why? There you go. It's going to give us a much nicer result. And of course, the speed can be set as 0.1. I think that's going to be quite alright. And I think we need to rotate this entire section so we're going to set a zero. And I think Wave scale can be much higher as well. Just so could match with the ones on the side like this. Then we're pretty much done with the waterflow, with the basic look of a waterflow. We're just going to be reattaching it like so. So that's all it takes to get some nice motion. Of course, we don't have the edges broken off the chest yet, and we're going to do that in the next lesson though, are two bellies, at very least, start doing that using Vertex Painting, as well as the lessons afterwards, which we're going to make use out of some particles to create some additional Water Motion next to her waterfalls. So yeah, that's going to be pretty much it from this lesson. Thank you so much for watching and I will see you in a bit. 62. Applying Waterfall Material Instance: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. And the last lesson we left off by getting ourselves a nice Waterfall Material setup for this section over here. And now we're going to continue on Building with this. And to start off, we're going to make use out of the vertex Painting that we had in order to get more of a blending in within this area. So just like we did previously, we set up basically a vertex color just similarly to a water body over here. So we can now make use out of it with a blue channel. And we're going to close this down. And now what we're going to do is we're going to go onto the mesh paint. We're going to have it selected this Mesh. And now we're going to go onto the pain Mode. And of course, we'll need to use a bit of a larger brush like so. This might be quite alright. So with the pain color selected as black and the channel set is blue, will be able to paint out the very end just like that. So in order to get a nice transition, we gotta make sure that the falloff is set all the way to one. And this way we'll be able to slightly tap it across like so and get a real nice transition. This might be a little bit too much though. So I think the strength can be lowered down to quite a bit as well, to a value of 0.2. We're going to click X to invert it to white color, and we're going to tap the color back in. This way. We're going to get a nicer type of a transition. Just like that. We're able to, can I control how this Waterfall begins? And of course, we need to control how it ends as well. So we're going to actually make this brush just a little bit smaller like so, or even smaller like so. And we're going to kinda take it away with the black color and remove the very bottom of this Waterfall just like that. I think that's going to be more than enough. Actually. We don't need it to overdo it. We just need to have it a little bit. And I think that's going to be a right. And if we want, we can probably remove some edges on the sides as well, just like that. So it wouldn't look quite as weird when it, it's traveling on this end. And so by playing around with these values, we're getting some nice control over the way the waterflow Waterfall is interacting with the overall texture. And we're just playing around with the values and making sure that they're actually behaving the way that we wanted to be. So for example, the areas where we have Rocks next to it, we're going to slightly remove it and areas where we have Smaller Chunks of this water plane, we're going to also remove it. So this one over here, for example, we don't need it as much. We can probably increase the strength just by a little bit and remove this area like so. And just like that, we're going to get much nicer result. And of course we need to set up this Waterfall as well. So we're going to go back and reselect Mode. We're going to grab this one. And before making a different instance of a Waterfall, we're actually going to hit Control C, Control V to make a duplicate of it. Going to bring it slightly up and slightly to the front, like so. So it'll be slightly offset from the default one. We're going to grab the one that's underneath it, just like that. Now we're getting to do is actually we're going to set up a new Material Instance. And I think we can just make use out of Material Instance free. We're going to select it, hit control C, control V. And that should be the same kind of a Parameters that this one has over here. So now we're going to make sure we grabbed this one and set up a material with it, like so. And we can exactly see it because we need to set up the Waterfall Material Instance first, we're going to grab the Waterfall Material Instance that we just created. We're going to hit Control C, Control V. And we're going to attach this onto the one at the front. And since they have different UVs, we're going to get this result. So of course we need to change that up. We're going to go into the parameters. We're going to adjust the speed. So right now is going sideways. We're going to turn off the green and the red is going to be set as one. And that'll be a much better type of a look. And I think there might be a little bit too fast. So maybe setting it up to a value 0.5. No, that's a little bit too slow. A value of 0.8. I think that's going to be quite alright. We're going to have more or less similar kind of a speed as the one Waterfall at the front. And I think that's going to be quite alright. We can close this down and get this sort of result. So just as it is already, it looks quite alright. We're going to have a real nice Waterfall over here. But of course, there is still not quite blending in quite as well, waste overall terrain. So we got to select this as is. We're going to go into Mesh paint and we're going to paint out the front and the back of these areas. Going to set it up with the paint channel set as blue. And now we're going to just remove the very bottom, just like that, just a little bit like so. And we should probably remove the areas little bit like this. Maybe next to the water, next to the stone. Play around with the value a little bit as well, going to click G to make sure I don't see the highlight. And now looking at it, at this might look quite alright. We just need to make sure we maybe have some of the areas covering it up on the side. But we're not going to go too close to this Waterfall. We're going to see it from a distance or even not see that at all. And actually looking at it, I'm just going to change the Scalability to hide just to see how it looks like. And this is the type of result that we're getting. So already it is looking quite nice. I don't like this Rock dose. I'm actually going to remove that. We're going to go into Foliage, select Single, and make sure that the Foliage itself going to click on one of them. And it's going to click Control a ligand. All of them, make sure that all of them are tectonics. And just holding Shift. I'm just going to click on this area over here until I removed the rock that I want. So this way, when we're looking from this distance, It's not going to be quiet as invisible as it was before. I think that's going to be much nicer as a Waterfall. There. We haven't got ourselves a nice Waterfall and of course, we're not quite done just yet since we need to set up the particles as well as some Splash animations. And we're going to start doing that in our next lesson. So, thank you so much for watching, and I will be seeing you in a bit. 63. Creating Custom Particle Texture Material: Welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting up the Waterfall within Unreal Engine five. And this lesson we're going to continue building on top of it and actually set up some of the particle effects in order to hide away the seams that we have over here on the edges. So in order for us to do that, we're going to actually go on to select mode, just so we could hide away this window on the side since it is not needed. Then we're going to find ourselves the texture map that we're going to be using, which is actually going to be this one over here, the Water Splash 01. And before making use out of it, within our Particle Effects, will need to set up our material that makes use out of this texture map. So let's go ahead and get right into it. We're going to actually go back onto the water folder and right-click and create ourselves a material like so. And we're going to call this one Water Splash Particle math, like so. And we're going to double-click on it. And most of the time when you're using Particles, you need to set up your Particle System to be transparent. So we'll have to open this up. We'll have to select the particle material properties and we're going to change our blending mode from opaque. We're going to change it to additive. The difference between additive and translucency is that additive will basically make use out of the base color. And it'll just give you the lightest areas to be visible for us where the darkest areas are going to be. It'll just straight up, make it safer, and that just kinda saves up on performance. So most of the time when you're working with Particles, you'll want to make sure that you using additive material. So let's go ahead and get right into it. We're going to actually go back onto our folder. I'm actually just going to make this window just a little bit smaller like so. Bring it to the top just like that. Going to open up Texture folder and we're going to drag and drop our Water Splash 01 into our material graph. And now we can actually just expand this entire graph. So I'm actually just going to maximize this entire window just like that. And as I said before, as a preview, we're actually just going to use this window over here. I'm going to expand this by quite a bit. And right away, if we were to just simply apply this material, this texture map onto your base color, we're going to get this result and I'll actually change up the shape to a plane. Within the preview mode, we can change around the shapes if we want to have a better preview. And anyway, this is a type of transparency that or we're going to get within a material. So by default, it already looks pretty good, but we need to add couple of settings. Personally, will need to probably amplify this overall type of a texture, since right now by default is way too transparent and I think we should get it be more visible. So we're going to do that by actually just holding M and tapping on a Material graph. And then we're going to just connect this to a. And for the multiplier, we're going to write this as ten. Now if we're to connect this to Base Color, since it is being multiplied by ten, working to get a much more visible of a texture map that we just sharpening up the entire texture map. Now, the next step that we need to do is we need to set up some controls for when we're using our Particles. We're going to have some way of tweaking out two colors and adjusting the overall opacity of this entire Mesh. The way we're going to do it is actually just acquired a simple node. We're going to right-click on our graph and search for Particle color. This one over here. If we're to click on it, we're going to get a simple node that has all the colors presented within this channel. Or we could split all of them up into red, green, and blue. And finally, we have the alpha channel as well, which will be in charge of our opacity for the particle. So to start off, we're going to attach this to our base color. So we're going to help M and we're going to get ourselves a multiplier. And then we're going to attach this color channel to a and R multiplied texture map onto B. And we're going to simply set this as a base color. So it's not. So nothing is going to be showing up right now because we don't have any of the parameters with us for the Particles. But in the future when we're going to be adjusting, that will be able to make some changes. And one more thing before moving on, What I'd like us to do is actually set up opacity as well. And by adjusting the opacity in-between values, you'll also be able to control the overall opacity of this. So we'll be able to get a more organic type of look out of our Particles. And so it's quite easy to set it up. All we gotta do is just drag this and drop it onto opacity like so. And that'll make sure that we're going to have some control over their opacity for us to fade in and fade out as Particle. And once we're done with that, we can now go ahead and click Control and S to save this out, like so. And we're pretty much done with the material for our particle. So we're going to get ourselves a really nice and simple Particle material, which is going to be Water Splash Particle material at this one over here. And so in the next lesson we're going to start making use out of it and actually set up ourselves a Particle System within Unreal Engine five. So, thank you so much for watching and I'll see you in a bit. 64. Setting up Basic Water Splash Particle System: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to build an environment. In the last lesson, we left it off by setting ourselves a Splash material that we're now going to be able to make use out of and set ourselves a particle or the Waterfall. So let's go ahead and get started. We're going to right-click within our folder and create ourselves a Niagara system like so, which will prompt up with a window. And we're just going to set ourselves up a new system from selected emitter. If we were to click Next, we're going to open up a bunch of templates. And usually I just like to make use our way simple fountain template. So let's go ahead and click on it and then let's add it on turn template. So by clicking on this plus symbol over here will be able to add an a mirror like this, which will prompt up with a tab on the bottom section of our window. Now we could add more of the templates within this area as well. But personally I just like to add one and then in the future we can always add more from within the Particle editor itself. So once we have ourselves the fountain selected, let's go ahead and click Finish. And this way we're going to get ourselves a first Niagara system that up. And for this one we're just going to call it a Water Splash articles. Excel. Now, once we open it up, we'll see that we have a simple template for the mountain water system. Now of course, this is not what do we want to have? What we want is we want to have some simple splashes within our dean, and so we're going to make some adjustments to it. But basically we have ourselves to Water Splash Particles, Properties tab and this one we usually leave it as is. Then the next one. We have ourselves a fountain Properties tab, which will allow us to make changes to our entire Particle System. And we can also make the change the name. If we have this Particle System selected, we can simply click on the name itself and change up the name. Or alternatively, if we have this selected, we can click F2 and change the name. Now, this is a personal preference, is sometimes you usually leave it as is, but sometimes we can just rename it and help ourselves to keep the entire project a little bit more organized. So if we call this Waterfall articles, so we can just keep it as is and how it's going to have a renamed Particle System. So with this selected on the right-hand side, we'll see all of its settings. But in order for us to be able to make use out of the settings, it'll be faster if you were to just simply click with the groups. So we have couple of tabs within here. We have Properties tab, we have a mirror summary and may respond a mirror update than Particle spawn, particle update, and render. And each one of those tabs have its own unique properties within it, which we can change by simply clicking on them and getting ourselves the type of settings that we need from them. But for now, we're going to start by changing the entire material itself. Currently we have a render just using a basic default sprite Material. And in order for us to change that, we're going to open it up and change that up. So we can do so by simply opening this up and searching for our Water Splash. Like so. And we're going to find ourselves Water Splash Particle Material. Let's go ahead and make use out of that. And then right away, once it's done compiling, we're going to see a much different result out of this entire fountain Particle System. So the render is in fact being in charge of how we're perceiving the particles. We can also change the alignment, how they're being paced and whatnot. But we're going to get in later lessons. And for now though, we're just going to set up ourselves a Basic Water Splash. So for us to do that, we'll start off from the emitter update. And this is what controls how are particles that are being emitted, how many spawns or whatnot we can. Click on the spot rate, for example. And this is where it'll tell us how this bond rate is. And currently it's pointing 90 of them at once. So we're going to have a whole bunch of them just spawning within this section. And just like that, if we were to, for example, decrease this to somebody like ten, we get a much less amount of the particles being spawned. Alternatively, if we were to set this to something like 200, for example, working to get much more of them. So for now, we're going to keep this spawn rate as 100. And I think that's a good starting point. By default, I believe it was 90, but I usually just like to start by having it as 100. So we're just going to increase it just by slightly amount. Now, moving on, within the Particle spawn, we have options that will help us to have certain control on how they behave, how the particles themselves behave For example, something like their size, their color, the way they fade in, and the opacity and whatnot. What they're kind of properties that they have when they're actually spawned as particles themselves within our scene. So within it, we're going to open this up. Initialized particle N here will find most of the settings that are required for us to change in order to get the best results. So we have lifetime minimum and maximum. So this is going to be duration of a particle if we were to change both of these, 0.1, like so, it's going to give us this small kind of result within our particle system. And of course we don't want this. So lifetime minimum and lifetime maximum, it'll give us the minimum and maximum amount of value stand. It'll try to randomize between those two. So for example, if I were to change this to five, the maximum amount, we're going to get some of the particles that showed up and, and some of the particles that are just going to go on a higher value all the way up to a value of five. So five is going to be the amount of seconds. And that's going to be determining how long the particle would last. And actually, I think to start off, we're just going to turn off a couple of options first, since right now we're using a fountain system and we're getting a whole bunch of them being sprayed out. So we're going to turn off some of the simulations of the gravity forces from this particle system just to allow us to visualize the Particle System better, a little bit more. So to Zara, we're going to just take of couple of settings. And within a particle update, which we're going to get to it in a second. We're going to turn off gravity force, and we're also going to turn off at velocity. So by turning these two off, we're just going to have more or less of a stationary particles that are just going to be, all of them going to be spawning within this one area. So we're going to come back to them in a second. But by just having them ticked off, we're basically turning off their properties and we're seeing them, the particles themselves being affected with the rest of the probabilities. But without these velocity and gravity forces on it, we're just going to get this sort of effect. So moving on, we have a lifetime minimum, lifetime maximum. So when out we're going to change them up to be 0.5 and one. So it's going to be between half a second and one-second of the spawn time and where you are already seeing some nice results. I'm just going to hold right-click and slightly drag the mouse on the left side and just get my camera a little bit closer so we could visualize those Particles little bit more. The controls are similar to any Viewport. So holding middle mouse button and tapping it and just scroll on your mouse around. We're going to be able to a camera around. So we're just going to position it like so for now. And moving on, we have Color Mode. This is what will determine the overall color of our particles. We can change that so a different color because we set up ourselves a material that multiplies the Particle color with the default texture, which will allow us to get different type of color. Now, we can't get a darker because the reason being is using an additive color. And so the darker we'll go, the less of an opacity we're actually going to get, since that is how additive material works. So with this type of material that we set out for the water splashes, we're all going to be able to make use out of bright colors. But keeping in mind that we're only using these as simple Water splashes, we usually want to keep them are just white color. So actually we're going to leave the color mode as white as is. Then moving on, we have something like position Mode. We can offset the Particle. We don't need to make use out of that and usually he just leave it off as is. Then we have a mass mode which will work with something like gravity force and whatnot. And it will allow us to make some changes in regards to how it behaves with other forces. But using the default one is usually the way to go and just adjusting somebody like gravity or velocity within the Properties itself is often the best way to do it. Then finally, we have ourselves something called uniform sprite size, minimum and maximum. And these are the values that will control the size of our particles. So by changing them up to something like 20.20, so we could get more of a stable result. We're going to get ourselves much larger particles and just like that, which Engine both to one, we're going to get them to be much smaller particles. And what making them smaller, we can see them Scattering around all over the place. And that is because they're also being affected by something called shape location. So for now, we're going to change them both to a different size. And actually I think the size that we're going to use, it actually going to be quite large one. So just by using a simple, something like ten by ten for example, although it looks quite alright in this setting over here, what you need to understand is when we're usually working with Particles, we need to consider how they would look like within an actual level, within the world space itself. So what a person like to do is I actually just going to take this window lower down, like so. Going to click Control and S to quickly compile this entire Particle System. And what I like to do is actually just Myself to Niagara system particle into the world itself. So I'm just going to click and drop and then drag it interval just like that. And as you can see, we're getting super small particles. So right away, we're going to be changing that up. So sometimes, instead of just using a simple preview on the left-hand side, would like to do instead is I like to just get myself a window that's going to be next to the game view itself. And so we can have ourselves a preview of the Particle System within an actual level when working with these settings. So right now because they're so small, rational going to make them much larger. And I think we can start off by using 100. And right-of-way. We're going to get a disorder of results and There's going to look much, much better. And of course, hundred is just not going to cut it quite yet. So the maximum is going to be 200s. So we could have a value between those two. And I'm going to get this sort of results. So that's already looking quite nice. Of course we haven't got any of the additional settings set up yet, and so we need to work on that. And before doing that, let's talk a little bit about more about shape location. So when we made the entire Particle Smaller, they were actually being born in scattered kind of way. And that is because we still have the shape location, what is telling our Particles respond? It's still being combined within the same type of units. And if we were to just open this up, the shape location, we're going to see ourselves that it is being spawned within a sphere, which is what we want for now, I still spawn in a nice kind of a circular area. Or actually, since we're having a Waterfall, we'd probably want to have the entire Splash to be stretched out across the lines like so, so horizontally. So what we're going to do is actually we're going to change this sphere from just a simple sphere. We're going to change it to a box. And what this will allow us to do, it allow us to change our spawn. What is Particles? To have a size of a box, to have dimensions of a box. So right now, if we were to change the box size of x.left, something to like 200, let's say, or let's say we can change this to 500. And we're going to get ourselves a particle that will spawn in the horizontal line. Now within this world, within the world scene, we actually have these particles to be going the wrong direction, but it's actually quite simple to change that up before to click E and just simply rotate it within the world legs. So we're going to be able to change this entire location and make them go sideways. So just by having our entire spawned box in X means that it's just a local type of orientation. And we can always just rotate around our particles just like that and get different type of direction. Just like that we're able to have that sort of a change. Actually going to make sure that we have it somewhere in the middle, like so. And so we're going to be able to continue working with this particle just like that. And so, yeah, we pretty much gotten cells, a Custom sprite rendered particle within Unreal Engine. And we got ourselves a quick setup for how they're being upon their size, as well as their location or place that are being spawned. But of course we're not done just quite yet. We need to set up more of a life-like particle Splash. So we're going to continue on with this in the next lesson. So thanks so much for watching and I'll see you in a bit. 65. Adding motion to Water Splash Particle: Hello and welcome back everyone to Unreal Engine five, beginner's guide to building an environment. In the last lesson, we left it off by setting ourselves up a basic particle system to be used for the water splashes. And in this lesson we're going to continue working on it and we can certain values in order to make it more believable as a water splash. So let's get right into it. So for now, we're going to start off by getting ourselves a particle update tab and going into a bit more in-depth into that. So a particle update will not only allow you to give the properties two particles, not only when they spawned Dell continuously update them and give them different types of properties in order to make them behave differently throughout their lifetime. So right now, we have something called gravity for example. And that was simply applying gravity constantly to the entire particles. So whenever it was being spawned, it would constantly tried to go down more and more into the ground, which is quite useful if you want to make a fountain. But right now we don't want this. So instead, we're going to make use out of some other properties. And we'll start off with scale color, which will basically allow us to tell how the particle behaves throughout its lifetime. Right now, by default, we have something called a scale alpha, which will give us a curve that puts down a key at the very start and at the very end. So 0-1, it'll basically represent the entire lifetime of a particle. And so what this will mean is the opacity of a particle will start off as a one, as a strong sort of a particle, and then it will start to fade out. So it might be easier if we just were to change this, for example, or spawn rate to one, and we'd be able to see it a little bit better. So right now when they're being spawned, we're having a certain type of a flash and then they kinda slightly start to fade out. So this is what the scale color is doing. I just changed back to spawn rate back to 100, like so. And now we're going to go back onto the scale of color. And we have couple of templates for us to work with. So one of the main ones that we usually make use out of it is around up and down. And what this will do is if were to click on it, it'll change up our curvature to a different one. And right now it's going to start off as a zero to get into the value of one within a middle section of its lifetime and then go back to a value of zero. So this way we're getting ourselves a particle that page fades in and fades out and already looking is. And so it already is looking quite nice. But of course, we're not having much of a life-like type of a splash, so we want to make it look more organic. And the way we do it is we are able to actually control these values a little bit. So if were to click and select on the key, we can just simply drag this to the side and have a different sort of effect. So by simply dragging this to a side like so, we can adjust some values to it. Or alternatively, we have some values on the bottom of it. So once we have this key selected, we have key data. And the first one will tell us the location of our key in regards to its horizontal value. Like so, I'm actually just going to make this just a little bit bigger so we could see it a little bit more. So it's going to be in regard to time. And the second one is going to be in regards to intensity. Right now, I slightly set it up to 0.9, but I'm actually going to change this back to one, which was its original value. And just by doing that, by bringing this value to a value of 0.1. In regards to our time, we're basically telling this entire particle system to start off by having no passively and straightaway gave us a high amount of opacity. And then kind of slightly start to ease out within our entire political system. So that's already is looking quite nice. It kind of reminds us to the pulse out template. But the way the curvature is ending off is it's not going to just show lately. Downwards is in contrast to, for example, the pulse out. It starts to slightly ease out. And actually, in order for us to get more control, what we can do is we can add more keys towards this area, towards the curvature. So by right-clicking on this and adding a key, we're able to get ourselves a different type of results. So by using this key, we can, for example, set this up to quite high and then it'll basically be quite intense and it'll start to fade out at the very, very end of its lifetime. So we'd have a much more control over it. By default, the keys are set up to be linear. And what this will mean is what it will mean that we'll have a sharp decline Two or inclined to our ys. And for example, this last cue was set as a linear as well. And that means that between those two, we're going to just have a straight line that will go quiet a naturally to our particles. So we need to be changing that. We're going to be changing it by simply right-clicking on our key and changing this to be from linear to outer. And this will, this will do is it'll just ease of the entire curvature and give us a much more of a gradual type of a change in width within our opacity. And we're going to set this up to be as close to the front like so. And I think we can just set this up. We're going to set it up to a value of 0.9. And this value, this end over here. We can set it up to point to, or actually we can set it up to 0.3. I think that's going to be better. So once we have it like this, we can actually have some additional controls of this automatic curvature. The weight eases off in and out from our curvature, we have couple of arrows in-between the key. Once we have it selected, since this is automatic, it will have us. A way for us to control the weight is out. So if we were to select on a simple linear, we'll see that we don't have those same kinds of lines to use. And so going back to the automatic one, will be able to make use out of those kind of lines to change the way they interact between each of the keys. And if we want to reset it, we can just select the key and click on auto, and then it will automatically set to automatic again. But basically, when we start chaining them up, it'll be changing from automatic to user-defined. So we are able to make some custom changes to it. And we're actually going to make use out of it on this key instead, we're going to lower this down like so, just a little bit like that. So we're going to be a bit of a decline in regards to the opacity. So we're going to be a moral flash at the very start. Just by changing that, by changing the value just a little bit. We're going to get a much more of an organic type of a water splash. So already it is looking quite nice there being spawned and then slightly fading out. And although they are looking quite rigid, they're actually going to look really nice within our scene. So moving on, in order for us to more animation out of our particles, we're going to make them rotate around each one of them. And I'm going to do that by adding a new particle properties to it. So just by having all of those properties around doesn't mean that they are the only options that we have. We can also add our own custom properties to these updates. So for example, if we were to click on this plus symbol over here, we can search for rotation and we're going to find ourselves sprite rotation rate. This one is the one that we want to make use out of. So let's go ahead and add this up to our project. Once we added up to your project, we're going to get this sort of result which might not look like it's doing a lot. But if I were to set this to 100, for example, we're going to see them starting to rotate in one direction just like that. And of course, they not looking quite as well. I'm actually just going to drag this a little bit more to the back. Like so, just so we could see the particles a little bit more clearly, just like that. So I'm just repositioning the entire political system just a little bit like so. And by default, there's just going to rotate in one direction and it doesn't look quite as well. They just look like they're just being rolling around. Of course, we need to make sure we change that up a little bit. The way we're going to do it by default is going to give us a simple flow value. But what we can do is we can get even more control out of this system by tapping on this arrow over here. And if we were to tap on it, we have a lot of different controls that we can additionally add to it. But what we're looking for is a random range floats. So if we add this up, we're going to get a minimum and maximum values. And that will just allow us to have more control over our randomness of the rotation. And we basically want to set this to be -100.100. And so what negative value will do is it'll make the entire particle to be rotating the other way. And positive is of course, going to allow us to rotate the entire particle in a clockwise way. So we're getting this kind of a randomized effect that goes splashes between back and forth. And we are going to get so much more of a nicer type of result just by simply using a rotation within our particle update. And of course we're not quite done just yet. We're now going to go back onto the particles, spawn on to add velocity and talk a little bit about that. So what added velocity does is if we were to enable that, it'll basically add straightaway as sort of a velocity, as sort of a motion to our particles, which will give us a sum Seemingly extreme of emotion. We're going to be changing that up in a second. So we have couple of options for a velocity speed. Right now, the velocity mode is set in a cone. And what this means is that wherever the cone is facing, the controls can be seen over here. The cone axis, if we were to set this to a zero, is going to be by default facing in this kind of way. But for example, if I were to set this to one, it's going to be facing this way. So this is the way how we control the cone, how the direction of the velocity is being changed up. So what we want is actually we want the Z value to be one and we can set the y value to be going in a little bit of this direction as well. So something like 0.1, maybe this is a little bit too small, 0.5. So it's going to be going a little bit, not entirely diagonally, but a little bit sideways to the front, like so. So that's going to be adding some control. Of course, this is way too intense, so we're going to lower this down. And we're going to start off by just having a value of ten by ten. Let's see how this looks like. This doesn't look too much. So I think the maximum if we were to set this to 200, that's going to look much nicer. So basically we're having some of them that are staying within this area and some of them are trying to leave this entire splash area. And this way we're getting a nice transition for our waterfall, which they're basically being bounced off by the water and just splashing all over this area. So that's already looking quite nice. One more thing that we should probably turn off is going to be drag force. Drag force. What it does is, the longer it continues to live on the particle, the more of a drag it becomes, the velocity starts slowing down basically. So if I were to exaggerate this to something like 100 for example, it's going to barely move because that's a little bit too much maybe decided to attend. It's going to basically start going up and then straightaway start slowing down. So maybe that's a little bit too much of an extreme. Maybe go into a one that will allow us to see it a little bit better. So with the drag force, we can see we have this sort of motion where it starts slowing down at the very end. But if I were to turn this off, we're going to get ourselves some splashes that are just going for it. And they're just going to continue having this sort of emotion. And so I think by default, we're going to have a much better result if we have this turned off. So let's go ahead and keep this off. And asked for gravity. I don't think we need gravity for these type of slashes. We're going to maybe use them for some other particles. But for now, having those particles, those splashes going up and then disappearing into this dense, I think that's going to look quite alright. If I were to change this to a high, we can see how it will look like with a nice sort of a lighting. And this is the type of result that we're going to get. Somebody to keep in mind though, is if we have a larger water area, for example, over here, if we were to expand the shape location something to, let's say 1,000 instead. So double that amount, we're going to get the spread much, much wider between those particles. So when we're changing up the box size for the shape location, we also have to increase our spawn rate accordingly. So because we basically doubled the box, we can increase the spawn rate by twice as much as well. And that will just make sure that it keeps those kind of gaps in a similar kind of distribution. But for now though, that's going to be kept as a small rate of 100. And a shape location for the box is going to be kept as 500 like so. Or actually we're going to keep it. Yeah, we're going to keep it actually as I think 600, something like that. So we're going to get this result. So yeah, that's going to be it from the water splashes. That's all it takes for us to get ourselves some really nice look for them. Let's go ahead and make sure to save this by clicking on Control S to compile this entire particle. Let's close this down and see how it looks like within our scene. So even from a distance is going to look quite nice in this area. So we are already getting some real nice results are off or water. In the next lesson we're going to continue working on with waterfall and actually set up some of the splash system to be set up with a ground of this water area just to make it a little bit more believable. So thank you so much for watching and I will see you in a bit. 66. Creating Base for ground splash particle: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to build an environment. In the last lesson, we left off by setting some of the water particle effects for the splashes off the Waterfall. And in this lesson, we're going to continue building on top of it and create ourselves a new Particle Effect. But before doing that, we of course need to set up a Material for it. So let's go ahead and get right into it. We're going to right-click carousels a new material. And then we're going to call this one ground splash material. So we're going to call it that ground splash Motley. So we're going to double-click on it to open it up. And we're going to star away our Material by getting the texture from the folder. So we're going to be making use out of the water ring texture. Let's go ahead and quickly drag this into your Material graph like so. And then the next step that we need to do is of course, we need to change the material from the opaque blend mode to additive, just like we did previously with our previous Particle Effect. And of course we're going to be setting up, setting it up with a Particle color. So let's grab that right away. And I think by default, this texture is also white and noticeable. I think by default it looks quite to fade it out. So we're going to fix that right away. Actually, we're going to get ourselves a multiplier. So we're going to hold em, tap on the screen. We're going to get it set to a for the Texture sample. And as for the B, we're just going to amplify this by ten. And I think that's going to get us a much nicer results. So yeah, there you go. We're going to get ourselves a much nicer type of a Texture. Then afterwards, of course, we need to set these up to be used with Particle color. So let's go ahead and hold em, tap on the screen and attached the Particle color output with a. And then we're going to multiply this way for texture and attach this to your color. So now we're going to get this result. And of course, let's not forget the opacity, the Alpha that we're going to be able to make use out of to get some nicer fade ins and fades out for our particle system. So once we're done with that, let's go ahead and click Control and S to save it out. And we're pretty much done with the material. So let's get, and we're pretty much done with the material. So right away, let's get into it and set ourselves a system for the Particles, for the Niagara Particles System. So we're going to right-click carousels Niagara Particles System. We're going to create a system just like we did before. By selecting it, we're going to create a mountain. We're going to add it onto our particle emitter and we're going to finish it up. And for this one we're going to call it ground splash Particles. So we're going to double-click on it and we're going to start changing up the entire Particles. So just like we did previously, we're going to change up the Particle renderer. We're going to actually turn off the gravity force and velocity just so you could have all of them staying in the middle, just like that. Then the next step, of course, we're going to change up the Particle render. So for this one, we're going to search for ground splash, just like we didn't before. Plants. Ground splash Material. We're going to select this one. And we're going to get this result, which is looking quite interesting at the moment since we haven't got it fixed just yet. And the first thing that we need to do is make sure that we set it up. So to be actually laying on the ground. Because right now what we have is actually particles themselves are always going to be facing towards the camera. So of course we gotta be changing that up. So Within a sprite renderer, there is something called Basic mode. And we need to change this facing Mode to be Custom facing vector. But if we were to change that, we're not going to see any much of a difference. And the reason for it is because we actually haven't given them any properties to be using. So in order for us to make use out of this Custom pacing vector, but we need to do is within the Particles bond, we need to give them a certain type of properties. So we're going to add, click on Add symbol over here, and then we're going to search for initial orientation. So orientation. And that's going to be this one over here, initial mesh orientation. If we were to select this, we shouldn't have ourselves a rotation, which Wave we'll be able to control how this is being placed. So if we were to change this rotation, set this to a 360 degrees like so. You should be able to, or actually, instead of using Mesh initial orientation. During the search for orientation, we're going to get initial mesh orientation or alliance pride to Mesh orientation. And we're going to use a line sprite Mesh orientation like so. This way will get all this price to be facing one way. So of course, by default, if you want to change that up, we don't want them to be horizontal and it wanted to be placing them on the ground instead. So we'll switch that up and actually we're going to remove the X from one to set it to a zero. And Z, we're going, we're going to set this to one. And this way, they're always going to be facing upwards just like that. Just by simply changing this nice functionality, we're able to get all of them to be facing upwards. And of course at the moment are quite a bit small. I'm actually going to bring this into the world. You see how it looks like and just having it like. So we have a bunch of small splashes, but obviously that's way too small, so we're going to be changing that up. So I think within the initialized particle, if I were to just open that up and set it up as a minimum and maximum. We can set this up to be a bit larger. So I've thing by changing it to a, Let's try setting it to a hundreds. See how that looks over them with 100. That's still actually looks way too small at the moment. So of course we got to change that up first since we want to determine the maximum amount that we're going to have the size for it. So I think using maybe something like 300. Let's go ahead and try that one. This might be quite alright, but we want to make sure that we kinda have a type of a circle that would occur encompass the side of this entire Waterfall. But right now for where to place this over here, like so. Let's to see this off. We want to be able to have a subtle effect that we want because this is a little bit too small. So even, so we're going to make it quite a bit larger. Let's try 500. And this might look quite a bit better. I think that's going to be quite alright. So let's go ahead and make use out of the five-hundred value and picks up couple of additional settings. Because at this moment, we are just having a massive glowing circle in the middle. And of course that's not what we want, but we're going to do that in the next lesson. We'll be adding some animations and make sure that this is going to get us a nice Ripple effect. So thank you so much for watching. And I will see in a bit 67. Creating Ground Splash Particle Effect: Hello and welcome back in front the Unreal Engine five Beginners Guide to building an environment. In the last lesson, we left it all by getting ourselves a Particle System for Water, Ground Splash. And we haven't quite set up just yet. The entire Particle System is currently at the moment, has to bring in the middle of this area. So let's go ahead and add some motion to it right away. And so the way we're going to do it is actually quite simple. All we gotta do is within a particle update, we're going to use something similar to scale the color, but instead of scaling the color, we're going to be scaling the size. So if we were to search for Sky size, we're going to get ourselves a scale sprite size, and that is the one that we want to use. So let's go ahead and add it up right away. We're going to see the type of result like this. So it's already looking pretty nice. But of course, we need to make a couple of tweaks to it because otherwise right now we're just going to get a stationary straight line in our graph. As the entire curve is just going from one direction TO number, we're going to make use out of something called smooth ramp up. So if you were to select this, we're going to get a much nicer type of results. Of course right now, it's a little bit too much for us. All the particles are going to be blending in together. So we're going to lower down this boundary. Let's go into response rate. Set this down to a value of something like 12, for example. And we're also going to make use out or respond probability. Now what this will do is it'll give us a random chance of them not spawning. And this will just kinda randomize the entire area and make it look a little bit better in regards to how the entire shape is. So by setting it up to, for example, 0.1 would be able to sometimes not have anything and sometimes it will spawn some Particles like so, and sometimes they will give us a burst of particles. Of course, this is a little bit too low, so we're going to set this to your 0.5. And it's basically just going to be a 50 per cent of a chance of it not spawning. And that's why we get some particles that are going to be kinda clumped up together and other particles that are not going to be morning and giving us a little bit of those extra edges over here and separating the buyer type of a texture. So of course, it's already looking quite nice, just like that. But if we look at it from the side way, we can see that they're actually spawning in a three-dimensional cutaway view. We're actually getting all the spawns in a sort of a sphere. So we need to change that up real quick. So we're going to go into the shape location over here. And we're going to make use out of a different shape primitive. So we're going to make use out of instead of a sphere, we're going to make use out of a ring. So what ring will allow us to do is allow us to spawn all of these Particles in a two-dimensional plane like so at the very ground. That's already looking quite nice except the kind of randomized where they're spawning. So we need to lower down the radius by quite a bit. Something like ten, for example, I think is going to be quite alright. So they're going to be spawning and more or less the same kind of area, except they're going to be slightly offset. And that'll give us even more of an organic type of Splash for our Ground Splash Particle Effect. This is looking quite nice, but we're not quite done just yet. We need to set up ourselves a bit more of a way to fade out those particles as right now they're just appearing a straight-up kind of fading out. So we're going to go onto the scale color like so. And we're going to be setting this up an actual, this is going to be quite simple as the template is already going to give us a real nice results. So we're going to just make use out of a pulse out and that'll allow us to spawn in the entire Particle. Just kinda pop it in real fast and then slowly fade out. And that'll give us a real nice guy over result for the ground splash. Now, although it looks already pretty nice, we should probably have a way for them to be slowing down. So currently being spawned in this area and we want to push them outwards a little bit, the entire eyeball particle. So what we're going to do is actually going to add a fourth point force. And that'll just help us to kind of slightly offset these entire Particles. So if we were to within a particle update at something called point force, like so what you'll notice is that this will basically be starting off to push off all these particles to the side. So it's a little bit too extreme though. It's going to push them off, quiet a little bit too much. So we're going to lower this down to a value of ten. And this way we're going to start getting them pushed off just slightly, just a little bit. Now for them to look quite nice. And of course, because we're just spawning all those particles and a simple shape of a ring, we're going to get ourselves a real nice result as in they're going to be pushed off basically horizontally on the ground and they're not going to be offset. So that's actually going to be quite nice for us. And actually you guys were using a point force. We're going to be having them kind of moving in a constant speed and we want to make sure we can slow down, slow them down a little bit when they reached the end. So the way we're going to do is we're going to make use out of a drag force. And we increasingly to a lot of a value of thing that's going to be too much. So we're going to just changes up to a one. And that way when they're going to be pushed off, they're going to start getting pushed off quite fast to recite Using the point force. And afterwards they're going to straight up, slow down using the drag force. So that's the way they're going to be working. We have to make sure that the point force has to be underneath the drag. So the way the Particle System works in Niagara system is that it's being laid out on top of one another. And right now because the drag force is being on top of this, it will mean that point force is being applied first and then we have a drag force afterwards. If we were to have something like this where we can just drag and drop the drag force underneath the point force. It's not going to give us the same type of results. So we just gotta make sure that we just keep these in kind of a right order. And if we've been applying them in the right kind of flora, we should have the same kind of a place for each one of them. So yeah, that's all it takes for us to create a real nice Basic ground splash effect. Now of course, when we're placing them on, we gotta make sure we avoid having the middle section shown. So for example, right now, when we having this sort of a ground splash effect, we should probably hide this away in the Waterfall. The center of this area would probably be hidden away in a Waterfall leg. So we're just going to raise it up just a little bit. And just like that, we're going to get a real nice Basics result. And a center is not going to be, It's actually quite a bit visible, so I'm just going to drag it in, into it like so. And if we needed, we can always make it bigger. So if we're to just open this up, we can change up the scale entirely. So by going into the initialized Particle, I think we can change this up to be 800. Yeah, we can go ahead and set this up to be 600 by an we can set them up to be 600 by 800. And this way, we're going to get them to be much larger as well as a little bit more randomized in regards to the size. So right now forward to click Control and S to save it. We're going to get some real nice results in regards to how it looks like when the Waterfall is being splashed. So already it is looking pretty nice. But we're not quite done just yet because we don't have any type of Ripple effects on the water itself. So we're going to be doing that in the next lesson. So thank you so much for watching and I will be seeing you in a bit. 68. Creating Ripple effect Material: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we added some Ripple effect for the waterfalls. But sometimes when we're working with the water, we want to just have simple Ripple effects whenever we are placing it next object and whatnot. As currently this effect, this type of effect is just going to make it look like our slosh largest a Water. And again, we sometimes just want to add some basic motion within a Water, so, but that we're going to create ourselves a new material. Let's go ahead and right-click ourselves a new Material exome. But it's one we're simply going to call it a Water Ripple map, like so. And let's go ahead and open it up. So the way we're going to create this material is actually we're going to make use out of, instead of opaque. We're going to make use out of the translucency. And the reason being is that sometimes we want to get some darker ripples is to exaggerate certain Water effects. And so for that, we usually need to make use out of translucency in order to make the entire Material Transparency while at the same time allowing it to have some darker colors. That is why we're using this instead of additive. Now for us to start it off, we're going to create something of a circular motion using sine waves. So by right-clicking, we're going to search for sine. And what this will do is basically it'll allow us to create an up and down sort of emotion or a Waves. Then in turn it'll create a ripple effect. So this is the main one that we're going to make use out of. Of course, before that we need to actually set up an exact shape that we want to make. And so for that, we're going to right-click and search for radian radial gradients. So if we're to search for radial gradient, we're going to get the exponential one over here. Let's go ahead and use this one. And instead of just adding it right away, what this will do is basically it'll give us a real nice and basic sort of a, I'm just going to show you visually. It'll give us a really nice and soft sort of a sphere, a circular type of alpha. So it's a real nice way of forest to start out, but it's Material. And instead of just using Particle Effect, we're going to make an entire motion using the material itself. So for us to do that, we're going to make use out of something called wave speed variable. So if we were to right-click and we can search for time with speed variable. So this one over here, we're going to be able to make use out of. And what we'll need to do is basically we need to add this to that. And this way we'll be able to get a nice kind of a ripple effect, will be able to fracture this entire shape and we'll get some nice effects out of it. So for that we're going to hold a and tap on the Material graph and we're going to add fracture time to a. And as for B, we're going to add this circular Alpha onto it. And once we have it like so if we were to add it onto the side Wave, which will fluctuate our entire information. We're going to get this sort of results. So let's, for now it's just going to be a ring. And that is because we haven't set up our Parameters just yet. So decider of we need to change up the speed. And this is what is going to control our entire type of Ripple effect or the how fast it goes basically. So we're going to create a parameter, so we'll be able to make a Material Instance out of it. And so we're going to hold and tap on the screen. We're going to call this one speed, like so. And attach this to speed and ask for the speed parameter. We're going to just give it a value 0.1, like so. Otherwise, it would've been too fast. So we're going to keep it as is for now. And actually we can just attach this database color and see how this would look like if we were to attach it, we can see the type of motion that we're getting. It slightly go in from the middle and expands out onto outwards like so. But right now is just a single type of a ring. Of course we wanted to expand it a little bit. So we're going to do that in the bin without though, we should probably fix up the radius and the density since it looks a little bit of as a shape. So we're going to create quick float values by holding one and tapping on the screen couple of times like so. We're going to create ourselves a really quick vector, one float value. And we're going to attach one to radius and wanted to Density. And this way we'll get more control over the shape. And we can the first one for the radius as 0.5 and the second one is just a one. And this way we're going to get a much softer type of a shape. So already it is looking quite nice. Now to control the Ripple itself, the quality, the quantity for it. We're going to open up the sine value over here. And we'll be able to change the period or this sign type of a node. So we're going to change it from one. If we're to change it's something like 0.1. We're going to get a lot more ripples in this area, and that is exactly what we want when we're creating ourselves Ripple effect. So it's already looking pretty good. As you can see in corners, we're getting a sort of a flashing pipe overlook, so we need to get rid of that. And it's actually quite easy to get rid of it. All we need to do is make US adult radial gradient exponential like we did previously. So we're going to click copy control C control V to make a duplicate out of it. And we're going to set a density to be a little bit different because right now it'll be just too soft. So we're going to hold one tap on the screen. And for this parameter, we're going to set this as five. And we will attach this to Density just like that. That afterwards, this is just going to give us a white mask and we need to make sure that it actually just gives off the white mask on areas, everything outside of it. So we need to basically invert this entire mask. So we're going to drag it out from this area over here. And then it'll open up a search bar, which we can search for a one minus. And this type of a function will basically convert this entire mask. Now we can make use out of this to basically subtract the edges Using this section over here. So we're going to right-click search for subtract. Use this one over here. And then we're going to attach this to a and this to be. And of course we're going to be attaching into the base color. And then we should have something like this where basically the edges aren't going to be visible anymore, lashing on the sides. So, yeah, now we got ourselves a really nice Basic output for it. But if we wanted to be overlaying it on the water, we need to also set it up with Normal mask as a normal texture. And for us to do that, we'll have to make use out of Alert value. So we're going to hold L and tap on the screen to get ourselves a loop node. Now, when we'll need to do is basically combine a blue and a yellow tint and then use this type of a sine value as a sort of a way to interpolate between them, which in turn will give us a total of a fake Normal mask. So for us to do that, we're going to hold the free. We're going to tap on the screen to get back to free. And we're actually going to get ourselves a second vector free. And then both of them, we're going to change the values for them. So we're going to get ourselves a color picker. Instead of changing it using the Color Picker, we're actually going to use the values right away. So the first one has to be entirely blue, so 00 and then to is going to be just over the value of one. So it's just going to go all the way to blue with twice the intensity than for the second one. We need to basically do the opposite of that. And the first two values are going to be 22, and we're going to leave the second value as zero. And then we're going to click Okay. And afterwards we're going to connect this to a and this to be, and we'll be able to make use out of our subtracted mass that we have over here as an Alpha. And if we were to do that connected to an Alpha, put this as a Normal map, but I can see that we don't have a normal map and that is because I totally forgot about it. We need to set this up to be using a different, different translucency mode. So that is no reason why we need to use translucency because additive doesn't exactly have this option. So once we have this set us translucency, what we need to do is scroll all the way down until we find translucency tab. And then within it, we're going to find lighting Mode. Within the sliding mode. If we're to select it, we can change this up to be Surface translucency volume. And if we were to change that, we're going to be able to make use out of the values in the same way that we are able to use the PBR material. So now we can actually use the normal value over here. And we're going to attach this to a normal value just like that. And once it's done loading up, we're going to get this effect. And if you look at it from sideway, like so, we can see that it actually slightly bumps out this entire value. So already it looks pretty good as is. But of course, it's not quite there yet because we haven't set up the rest of the values. And so you started off, instead of just using this entire mask as a base color, what we're going to do is actually we're going to hold Control and drag this out like this and replace this from a base color to an Opacity channel like so. This way, we're going to have a real nice Ripple effect that is actually transparent as well. That's actually quite nice already. But of course, the base color at the moment is grayish black. So we need to change that up. And actually I'm just going to get ourselves a base color value, a vector parameters. So we'd be able to change that up in the future whenever we wish to. So we're going to hold free. We're going to tap on a screen and we're going to attach this to your base color. And of course, if you want to change that up within our Material Instance, will have to right-click convert this two parameter like so. And we can call this color Just like that. And of course by default, I think we should just have it as complete wide. Like so. If we click Okay, we're going to get this result. Now. We don't necessarily need to use a color, but if we want to exaggerate some of the values and we should definitely have ourselves the type of color otherwise, just by using a simple Normal mask as a texture, would be able to get some real nice results. But as it is right now, it's already giving us some really nice results. So one more thing I would say though, what do we need to do is actually set up the intensity control for the opacity. So we'd be able to control how transparent this area is. We're going to right-click and search ourselves for a. Are we not search results for the thing? We're going to hold S and we're going to tap on a Material graph. And then we're going to call this opacity multiplier. Like so. And of course, we're going to attach this to an opacity using a multiplier. So hold em, tap on the screen and then attach this to an, a, this to be like so. And we're going to attach this one to opacity. And by default it's not going to give us anything because we need to change this to be default value of one. And this way we'll be able to get some nice results. So yeah, that's all it takes for us to get ourselves a real nice Ripple effect on the material, and we're pretty much done. So let's go ahead and click Control and S to compile the shader into our material. And once it is done with that, once it saves out, we should get ourselves a nice Material finished. We can now close this down and actually applied within the real Level sections. So we're going to get results just a simple plain by creating ourselves a simple shape like so. And just using a simple plane, we're now able to apply this material. But of course, should be applying this material. We wouldn't have a lot of parameters to be playing around with. So we're going to right-click create a Material Instance. And this time we're going to apply Material Instance onto our square like so. Or at least we should not miss it. So let's go ahead and select this and actually just apply it on the right-hand side. This way we're not going to miss entire plane and we're going to get this result and it's actually collision out because it's right on the same edge as the water. And if we were to raise it up just a little bit, we're getting to get a much nicer of a result. Looking at it though, we might need to add more Ripple effect because if it's small one it looks pretty nice. But once we get it a little bit larger, the Waves, the ripples are actually a little bit to fix. So the way we're going to do it is actually we can go onto the Material tab itself. We can select a sine value just like that. And we can change the period to be from 0.1 to 0.0. I've, and we're just basically having this entire value. And now we're to click Control S to save it out, we should get double the amount of ripples basically within this area. So once it's done loading up, like so, we're going to get this sort of result. And by default, I think the color is a little too much. So we're going to go intercalate into Material Instance and changed up the color. And by changing this to a lower amount, will be able to get some nicer results. I think we should also change the opacity amounts. So if we were to go to the opacity multiplier, set this to something like 0.5 or 0.1 even. We're going to get this sort of result and already is looking pretty nice as an effect. And if we want to change up the speed, we can always do so by going through speed and changing it to somebody like 0.01, like so, maybe that's a little bit too small. 0.03, we get this sort of a result. So it's looking quite nice actually. It might not look quite as good if we were having it in the playing field, but if we place it over next to an edge like so and make it actually just a little bit smaller. We're going to get this result, which is actually quite nice. Now only we can reuse it around an object. We can also place it next to our entire Waterfall. And just by doing it like so. And actually I need to raise it up just a little bit. We're going to get this sort of effects. So yeah, it's actually quite nice. We'll be able to set up ourselves a real nice sort of a ripple effect. Be a little bit too far off. So we're going to bring it all the way throwback actually, as we want to make sure that we're only basically getting some small amount of ripple effects like so. So just a little bit is actually enough to give us a really nice sort of a look. And yeah, that's going to be eight point. Now we added a real nice our type of a ripple effect for our Water emotion. But in the next lesson we're going to continue working with the water and set up some of the more interesting looking Water Effects. And yeah, we're pretty much done, but I actually forgot to add a strength intensity multiplier, normal map. Let's go ahead and get back real quick to the Material and actually picks this up real quick. And we've got ourselves a simple attachment using this mask. But of course we want to control the intensity of a normal map. So we're going to do that using a simple parameter. We're going to hold S, tap on the screen and call this normal intensity. Like so we're going to hold em, tap on the screen and we're basically just going to connect this value that we had for the normal mouth with our parameter. The default value of course, is going to be set as one as really just want to make sure we get a nice result at the very start. We're going to connect this to normal and we're going to click Control and S. And that's going to be pretty much a hint for this material. So we've gotten ourselves a nice, real nice Ripple. And then in the next lesson we're going to continue working with whatever Effects and get some motion, some additional motion F bags for the size of Rocks, for example, where the touching the water. So that'll be pretty interesting to make. So thank you so much for watching and I'll see you in a bit. 69. Creating waterflow effect: Welcome back and prone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by getting some of that Ripple Effect or the water. And in this lesson we're going to continue on adding additional effect for the Water Material and actually set up some of the more interesting flowing forums that are going to be placed next to like Rocks and whatnot. So without further ado, let's get started. We're going to basically make use of these waterflow Fx that we have over here. The way we're going to do it is actually quite simple. We're going to create ourselves a new material. We're going to call this one waterflow Matt Waterfall Flow, Ripple map, that is exome. We're going to double-click on it. And within it, we're going to right away actually just grab the texture material that we had. So I'm actually just going to drag this window like so a bit higher up so we could see it go. So we're going to grab this texture material just like that. And in order for us to move, it is actually quite simple to do. All we gotta do is make use out of the UV coordinates and set them up with this section. So as a startup, we're going to right-click, get ourselves a coordinate, texture coordinate like so. And we're going to add this width. I'm just going to hold a and tap on the graph. So we're adding it to an a. And we're going to put this to UVs like so. Now asked for what we're adding to it will basically be getting ourselves a generated noise that will just be panning around this Texture. And in turn, it'll create some general motion within this section. So for us to do that, we're going to right-click or actually just going to hold T and tap on the Material. So we're going to get the texture sample. Now for this lecture, we're going to search for noise. And for the noise that we're going to use is actually going to be blurred out type of noise. So low resolution blurred noise, this one over here, if we're to select it like so right away where it's just simply add this to our texture coordinates, we're going to see the type of result. I'm actually just going to attach this entire thing through the base color just so we could visualize it how it's going to look like within our preview. And I'm going to set this with a basic plane of a mesh. And of course that's going to give us a better one error because we're adding this as is. And instead of just using RGB will need to make sure we just use a red channel instead. This way we're just getting a simple type of a vector. And by adding this, we're going to get this result. So it's a little bit too chaotic, a little bit too intense. So we of course need to fix that. And the way we're going to fix it is actually we're just going to multiply this and lower down the intensity. So we're going to hold em, we're going to tap on a screen and we're going to hold control and attach this to an a. So this way we're able to get ourselves and additional parameter to it. And now we're going to hold S, we're going to call this one and intensity, intensity warp like so. We're going to attach this to be. And of course we're going to attach this to adding up to texture coordinates right now because it's set to zero, we're not going to see any type of result. But if we were to set this to some gleich 0.1, we might get a much better understanding of how this works. And of course, this is just going to warp it quite a bit. If it worked increases, of course, there'll be adding up that effect even more. So right now I think we can just keep it at 0.02 and it's going to give us a bare minimum amount dipole a look. But we're going to see that a little bit more or actually we're just going to keep this as 0.1 for now. And the next step then we need to do is of course, add motion to this so we get a sort of a wobble effect or when we're using these textures. So we're going to just click, right-click answer for pattern, like so we're going to tap on a Material and we're going to attach this to the UVs. Now as for the speed though, we're going to make use of a simple, well, we're going to make use out of a speed and let's try using one. Let's see how those goals, It's actually wobbling, quite nice, but it's going upwards. It is quite obvious that this entire noise is moving upwards like so. So actually, what I'm thinking about doing is changing this from a positive Y to a negative Y. And I think zero point -0.5 is going to do the trick. I think that's going to look quite alright already we're getting a real nice watery type of a wobble that is exactly what we want. Of course we want to have more, a little bit more of a control in regards to the speed, in regards to how fast this wobbles. So we're going to right-click search for time. We're going to add this up as a node. We're going to hold S and then create this as speed parameter like so. And of course we're going to multiply one with a number like this. And as for the speed, and we can probably just have this and citizens 0.5 and attach this to timelike. So we should be getting some Lower bit of a warm bowl. I think that's going to be much better. So we already have a bit of a control over the speed and intensity of warp forward to increase this, to get this result. So it's quite nice, but of course, we want to set it up in the way that it would only be using one type of a texture or plane. Because right now we're using all four of them at once in order to save up somewhat a Texture Space. And we're basically using a texture atlas, but in order for us to make use out of it right away within our simple plane, we're going to get some additional adjustments within our texture coordinates. So let's go ahead and do that. We're going to firstly divide this entire coordinate space by half. And we can just do that if were to click on it. We can change up the UV Tiling. If we were to change this up to 0.5, both of them like so we're going to get this sort of result. But of course, if were to just use it like this, we're only going to be getting one type of plane and we want to have multiple planes instead. So what we're going to do is we're going to add additional parameter to it. We're going to create a couple of parameters by holding S and tapping on the screen. And the first one, we're going to rename this one and call it a. We can just call it X banner, like so. The second one we can call this one why Pattern. And then afterwards, of course, we need to combine them using an append. So we're going to right-click search for append like so a pen vector. So we're able to append X and Y values of both Parameters. And of course we need to add that up to our texture coordinates. We're going to hold a, we're going to create a solace and add and create ourselves. A simple way to control how it is being, is being panned out. So now we're going to attach this like so. And of course, this is not going to do anything for a moment. But if I were to change this pattern to, let's say, a value of 0.25, like so I should 0.5, we're going to get a different type of results. So before this was the one, we're actually going to keep them as 0.0 and then within Material Instance will be able to fix them up. So I think for now we're going to leave it as, as we're going to click Control S to compile everything there is. And once we're done with that, we're going to close this down and go back inter-Korean browser into the content folder. And within what a folder seems like a head myself opened up, but within Engine folder, I'm just going to minimize that. Now within it, once we're done with the material for the waterflow Ripple, we're going to create ourselves Material Instance. And actually we're going to get ourselves for Material Instances instead, since we have four of them within our single atlas. So I'm thinking instead of just creating ourselves a simple shape, a plane like this, what we're going to do is instead, we're going to create ourselves a Static Mesh that's going to be within this folder. This way we'll be able to make a better use out of these waterflow ripples. And so we wouldn't have to readjust each one of them separately. Afterwards. We're going to create a go through modelling mode like so. Get ourselves a simple rectangle. And this time instead of creating ourselves to new Asset location within the generated folder, we're going to actually set it up to be created within a new folder, within the current folder over here. So we're just going to create ourselves a basic rectangle Excel, hit complete. And then it's going to give us a simple Static Mesh of a rectangle over here. In this same folder, we're actually going to reset rotation. But it seems like rotation has been already reset. Of course we're going to keep the location as is. So let's go back onto the Static, onto the selection mode like so. And now we're going to rename this to be Water Ripple. We're actually waterflow. Waterflow. We can call this waterflow one, like so. And of course, we need to have Variations of them. So we're going to hit Control C, Control V couple of times and create four of them. And actually going to name it waterflow effect. Like so it enter. And this time we're going to create hit Control C, Control V, three times like so. To make free duplicates out of it, this way we'll have three different planes for us to use. So the reason we're doing it is because we simply want to create a material within the Static Mesh itself. So we're going to actually open all of them for up straightaway. And I'm going to open the first one up, The second one, the third one, and the fourth one. So by double-clicking on the Static Mesh, we're able to open up the mesh editor, which will have a material slot right away within it. And by changing this up, we'll be able to basically tell to constantly use a specific material within this type of what Static Mesh that's already within a browser. So for the future, it'll just help us to have it a little bit more easier to be organized and faster to be used. And just by simply dragging it out From the material from the Static Mesh from this content browser will be able to just place it directly into the world. So anyway, without further ado, let's go into the first waterflow effect, Static Mesh. And we're going to apply the first Material Instance. So by default, I think the first one is going to be set up, is, is. So already is going to look quite alright. Then for the second one, Let's go ahead and open it up and put the second Material Instance like so. And actually I just realized that we don't have an opacity just yet. Let me just quickly apply all of those Material Instances. So for the third one we're going to apply a third duplicate. And for the fourth one, we're going to apply the fourth one like so. And let's go back into the material mesh itself. Though. The material that we created, waterflow Ripple Material. We're going to open this up and actually change this to be using a transparency. So where it is set up a nice material already, we just need to make sure we have this clicked on and go to the Material Details tab. And then we're going to change it to transparency. And we're also going to set this up to be basically on a passive. So we're going to hold Control, drag and drop this interim passive layer like so. And this way we'll be able to have ourselves a nice setup for this material. But of course we need to switch up the color a little bit as well. So we're going to hold debris and we're going to create ourselves a vector for that. So just like that, we're going to apply it to the base color. And for this color, of course, we're going to set it up as Y, so it'll look more like a wide type of a foam. So just by doing it like so, we're able to get this sort of results. And now we can click Control and S to save this out. And once we're done with it, we can close down this tab and continue working on these sections over here. For the first one, we're ready to have a nice setup for this one over here. Of course we want to have more variation over the other ones. So we're going to go into this one, into the second waterflow effect and we're going to open up the second instance just like that. And of course, we're going to change that up a little bit. I'm actually going to change this to have a plane so we can see what it looks like by default. So we're going to change up the pattern X and Y. And we're simply going to move X to start off, by moving into the side, we should get ourselves the other one, like so. So by just sliding it over to the side, we can see the type of result we're getting, but basically we just want to set it up as 0.5. We're adding a 0.5 of a value in X direction. And this way, we're padding this entire thing to decide. So that's how we're changing up this Material Instance. We can now close this down. And now for the third one, if we were to open this up, we basically do the same thing, but for the Y direction. And if we were to pan this one around, if I were to just increase the value, we can see it dropping it down and giving us the different type of results. So we want to be setting this up 2.5, like so. And then finally, we're just going to close this down. For the fourth one. If we're to open this up, we're going to basically change both of them to 0.5. And this will make sure to pandas to the right and passionate down by one. So we're going to get this result here, the fourth one that we had. So now we can close this down and we're going to basically be having or a different variations of each one of those planes within our atlas texture map. So that's actually quite nice. We can now close this down and see how it would look like within the world. Of course, they're going to be slightly glitching out because we need to have them selected like so. And just bring them up like so. Yeah, we're going to have some really nice effects for them to be wiggling around. And we're going to make use out of them and make sure that they're set up in a way that's just going to go around the rocks. Actually, we can do one of them at the moment. I'm going to delete them actually, like so. And by simply dragging one of them into the world, just like that, we're able to get it right out of our folder and we can rotate this like so, bringing this up a little bit like that so we wouldn't be glitching out. And by expanding this, we're going to get a real nice result to the side of the rock. And we might need to stretch this one out a little bit and get this result. Or maybe instead of just using this one, I might actually just use last one that we made since this is going to be a bit of a wider one. So it's going to sit this one up real quick. Like so. And by just placing it over this rock just like that, we're going to get a really real nice result. Of course, the type of, of low, the direction that this is going has to go in the same way as the water. And when we're setting this up, we also have to consider the overall speed and flow of the Water. And right now, for example, if we have it too fast, it'll be just going off on its own, making this entire Detail look like it's not part of this water. But right now actually by default, I think it's looking quite nice, but basically we didn't just have a couple of options to change in order to adjust them. And if I were to make this a little bit smaller, so I opened up the Material Instance 04 and we have a couple of options for speed and intensity. So if we want to have more of an intensity, we can always do so by changing its up, not too much though. So something like a value of 1.5, we're going to get more of an intense result or think we can set this up to be 0.05. We're going to be getting a little bit more of a mold type of result. And also as far as speed, we might need to change this up to be smaller as well. So the overall flow has to kind of combined with this general direction of the Waves. And by just playing around with the values, we're going to be able to get the right counter result. And that's pretty much it for how we're going to create the waterflow Ripple type of effect using a material. So in the next lesson, we're actually going to continue on with this and set up another one similar to this. But we're going to make sure that it is more for Still waters to be used more in an open area like the one next to the bay. So thank you so much for watching and I'll be seeing you in a bit. 70. Creating Still Water Ripple and Sorting out Water VFX: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to build again environment. In the last lesson, we left it off by getting some of those Water Ripple effects sorted. And in this lesson we're going to continue on working on some of those effects Within Water and set up more of the stationary your water type of a waterflow effect. So without further ado, let's get started. We're going to this time make use out of this Water Splash texture map. And we're actually going to be making pretty much a similar type of a texture material as we did previously. So it's actually rubber, easy to reuse the same material. So actually we're going to do that. We're going to go into Water folder and find ourselves the water flow Ripple material that we had previously set up. So this one over here. And it's going to open it up, get ourselves the entire selection and our Material graph visible. And then we're going to hold our left mouse button and then drag it across just like that so we can get them all selected. Then I'm going to hit Control C to make a copy. We're going to exit this Material. We're going to create a new material. So Material Excel. And we can call this Water Ripple. Like so. Matt. The water still Ripple Material. And we're going to open this up. Now we're going to just simply click Control V to make a paste into this. All of its properties that we just created are going to be pasted in. And of course, we just need to make sure that the property, the material itself is going to be set up properly. Though for Cyrus, we're going to change the blend mode from opaque, translucent, of course, because we need to make sure that our entire texture map is set as transparent. Then we're going to connect this one with Capacity and of course, the vector free, we're going to connect us to a base color. The only thing is though, that we need to set up the parameters manually though, we gotta change some bits up. So for example, the float value is already named properly. X and Y patterns are named properly, and the speed is named properly. But the vector free that we had previously is actually just a simple vector free. We need to make sure it is set as a parameter. So we're going to right-click, convert this to a parameter and call this color like so. We're going to click Control and S to save this out. And once it's done saving it out, we're pretty much going to reuse this same kind of Texture Material Instance that we did previously. We're going to right-click Create Material Instance. And we're going to just make a couple of copies out of it like so. So we're going to have a total of four Material Instances just like that. And right-of-way, we're just going to apply them onto our Static meshes. So just like we did previously, will need to set up the Material Instance in each and every single one of them with a slightly different of a pattern. So we're going to open up one of the material Instances, then we can see that as Pattern, Excellent, Why enabled? So we need to have them on each one of them. So actually we're going to open up Material Instance to, we're going to enable both of these and we're going to get the X banner to be set as 0.5, like so we're going to close this down. Now we're going to open a second one. Like so. Get this banner to be for why when five like so. And finally, Material Instance for is going to be opened up for both 0.5, both like so. And actually, I just realized that we haven't changed the material just yet, but that's actually quite simple to do. We're going to go back into the material graph like so. Since it's just a copy out of our Texture sample that we had previously made. So we need to make sure we changed that. So going back into the material that we just created and getting ourselves Texture sample like so we're going to change this extra. So we're going to actually get into Textures folder and we're going to change it to Water Splash O2. So by simply dragging and dropping it into this area like so we're going to get this result now for where to click Control and S to save it. Our Material Instances are also going to be updated. So let's just go ahead and close this down. Click Yes to make sure it saves it out. And afterwards, all of our Material Ripple Instances are going to be applied nicely. So of course we now need to sort it out. So we'd have some Static Meshes would be able to easily drag it into the level. Though, the way we're going to do is we're actually going to select what are the Static meshes. We're going to hit Control C, Control V, a duplicate out of it. And this time we're going to call this one Water Static or Water is still, there is. And we can call this Water still effect. Like so. And we'll just need to replace this material with our first Material Instance. Now of course, we gotta pick free they will gets out of it. So let's go ahead and select the Static Mesh. Let's click control C control V, three times less. So making free copies of it. And we can just open them all up like so, and simply change up the entire Material Instance. So this is going to be the second one. We need to change it up to your second one, like so Bird one is going to be changed up with a Bird one. And the fourth one is going to be changed up with the fourth one, just like that. And all of them are going to give us slightly different types of water ripples, which is actually quite nice. So we can close this down actually. And just like that, we're going to get our Static meshes are going to get some nice ripple effects within them that we just need to quickly check them and make sure that they're not being messed up in any way. We want to make sure that the edges aren't actually going to be Overlapping. And actually that looks quite alright. So let's go ahead and I think we can just select them like so and delete them real quick. And right now what we're going to do is actually make use out of them over here. Or actually, I think for now since we finished up our entire Water Material meshes and whatnot, we're going to make use out of them. But before that, we're going to simply set everything in order because it's a little bit of a messy area over here. So let's go ahead and fix everything up and make sure that everything is just placed up in a nice and orderly manner. So we're actually, I think we're going to create a cell as a new folder and make sure that we can lower the amount of items that we have our main Water folder. So we're going to right-click, we're going to get ourselves a new folder and we're going to call this one Materials. Since we're not going to be using materials directly, we might as well just place them all in, in this area. So we're going to get ourselves all of the materials, which the easiest way would probably be if we were to just go into Blueprint, into the filter that is, and we were to select materials. We're going to get all of them at once like so we can select the first one, hold Shift, select the final one, like so. Now we shouldn't be able to unselect the filter and all of them, all the material should be selected just like that. So now we're going to simply drag and drop this into Material folder, click move here. In this way, we'll be able to have a much nicer of a folder. Now, here's the thing though. Why don't we move out our entire Mesh Materials and set it up within a New Folder. They actually do leave a bit of a trace behind, although they're not visible. We've been here. The leave a sort of a redirect or that places from this area onto the materials that will allow the material Instances to find the materials that they need. And so the fastest way to fix it, if we were to go on the left-hand side, locate the folder or the water. We can right-click and just simply click picks up 3D vectors in folder. By doing that, we'll be able to quickly fix them up and I have everything redirected properly. So this way we won't have any additional kind of a assets within this area. So yeah, that's pretty much it. We got ourselves a couple of Material Instances. Each one of them are slightly used differently. And so in the next lesson, we're actually going to be making use out of this entire water system to set up our water body for this entire level. So thank you so much for watching and I'll see you in a bit. 71. Making use out of Created Water VFX: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by finishing off the final piece for the Water Material. And now we're going to make use out of everything and set up ourselves to water body that we need are our scene. So let's go ahead and get started. So to start off, I think we can just store out our waterfalls to be properly set up within the scene. And for that, we're going to get ourselves to Water Splash Particles and set them up wherever there is going to be an incline. And wherever there's going to be a breaking point between the two Water meshes. So let's go ahead and get right into it. We're going to just hold Alt and drag this Particle out to reside. And for this one we're going to just set it up to be at the very top of this Waterfall. Like so. I'm actually going to change the Scalability from high to low, just like that. So it'd be having less of a performance issue and we just want to make sure that we're placing it like so sideways. And of course we're going to rotate this entire particle like so just a little bit. And this way we're able to get ourselves a really nice area for the Particles. And I think by default the other, by default they're a bit too high up. So we're actually going to lower most of it downwards like so, so only a couple of them are going to be visible just like that. And if we have a look at it, we're going to see some nice effects within the water area that we're now going to make a duplicate another time by holding Alt and dragging it out. And we're going to place it downwards like so. We're going to get some Waterfall effects on the top as well as the bottom. But this one, however, we should probably raise it up by a little bit like so. And looking at it, we might need to make a duplicate out of it since I can see that it is a little bit too tall for this section. So what we're going to do is actually we're going to locate our Water Splash within this section. So by going and clicking this button over here, we're going to be able to select the one that's, it's being used. And it's going to be Water Splash Particle, Particles. So we're going to click on it and click control C, control V to make a duplicate. And we'll actually just going to replace the one that we just made over here. So let's go ahead and selected within our scene and then replace this one with our copy that we just made. We're going to open this up and we're going to change up the spawn rates location for this one. So we're going to go into the shape location and change this up. We can change it to 300, reckon that's going to be quite alright. They go, that's much better, but because we basically made it smaller, we also got to change up the spawn rate as well. Otherwise, that's going to look like it has a little bit too much of the particles within its area. And by just having it too much, we're just going to blend everything together and it's not going to give us the right type of detail. So we're going to go on the response rate and changes from 150 as well. And that's going give, going to give us the right type of results. So we're going to have a basically a shorter version after water particles that we had. And we can raise them up a little bit like so. And that's going to give us some nice results bonus Waterfall. We can even bring this up front. And there we go. He got ourselves some nice results. Maybe lower down just a little bit. By playing around like that. We get some nice results Ativan, of course we're not quite done just yet. We also want to make sure that we have some Water area, water particles up on the top as well. So I'm just going to quickly add them up like so over them down a little bit just to get a couple of extra splashes, just like that. The sides are going to be hidden away by the Rocks and terrain. So I'm not quite worried about that. In this area. Then we're going to get ourselves to ground splash Particles that we have what a Particles. So this one over here. And we're actually going to use it in a front section of our in this end. So we're going to place it inside of the Waterfall. We've got to make sure that the center of it is actually placed behind the waterfall like so. So we get a real nice sort of a Ripple that doesn't have a center point, like it didn't form. So just by doing that, we're going to get ourselves a real nice splashing effect. And we also have, again, just like we did previously, we have ourselves a ripple effect as well. So I'm just wondering if we should use it over in this area over here. And we might just leave it as is for now. Since it actually looks quite arrived from a distance, I might just turn off the low quality and just see how it looks like from a distance. I think that's going to look quite alright. We don't need the Ripple effect for this section. I think we can leave it as is. So I'm just going to go back to the Scalability of low And what it's been, I think we should check out the water would look like with the effects of a waterflow Ripple wants. So just like I did with them example with this rock over here, in order to fake certain motion within the water, we got assert ourselves some additional effects that are going to be kind of going around certain props, for example, rocks that are inside of the water. They need to be having additional kind of a foam effect, just like this one. We're going to make use out of these ones over here in order to do that sort of effect. And we're now I think we have a rock over here for example. So I'm just going to use one of the waterflow effect. Might use a second one. This one looks quite alright. Of course is glitching out, so we've got to raise it up a little bit like so and place it in Iraq, extended by quite a bit. And just by doing it like so we're going to get real nice effect. I think we might even just need to stretch it out by a little bit and squish it down. We don't need to worry about a plane being covering it up the entire section like so we just need to worry about this effect itself. Looking quite nice and think this might look, but this might be a little bit too much. So what we're going to do is actually we're going to go onto the Material Instance for the second Static Mesh. And I'm just going to adjust the intensity because this is just a little bit too much. So setting it up to 0.05 might give us the right type result. I think this looks quite alright, but this might be a little bit too fast in regards to overall movement of the water. So I'm also going to lower the speed of this as well. Because if we're looking at the water, the main body itself is moving quite slowly towards this direction. And when we look at this Ripple, it's just wobbling too fast. So we're going to lower this down to a value of 0.2. Let's try this out. And I think just by having it is going to give us much nicer type of results. So there you go. But we might need to readjust a little bit how the overall shape looks like. We might need to rotate it a little bit. I think that'll look much better like so. And they go maybe bring it back a little bit, throwback, like so. And just like that we're going to get some cells, some really nice way of seeing where the water is going. And it's just a nice indicator to bake that additional motion within the water body. And it might need to put something over here as well. But looking at the water itself, we might need to, by the rotate motion, I think it's going just straight up towards this direction. But I kinda wanted to go a little bit more to the right. So I'm actually going to open this up, open this entire material for the instance, like so, and change up the direction just a little bit so it'd be going through, right? So we're going to locate ourselves the direction for the waterflow, for the waves. So that is going to be Wave Normal x-direction Wave Normal Y direction. I think if I were to change this to one, yeah, we can see this going this way. So we're going to use a 0.01. I think that might give us the right kind of results, or 0.03, like so. But that is going to be going diagonally in over this area. And I kinda want to keep it. Maybe something in-between 0.15 is going to give us quite a nice direction. I quite like this type overflow. Maybe it's a little too much actually going, gotta go back to the overall Water Material Instance and change this to 0.01, like so. So by having a couple of small tweaks, we're able to get the right type of results. And I think just by adjusting that, we're able to get a much more natural type of airflow going towards this area. So once we're done with that, we can now check how it will look like with the overall Still Water over in this area because right now everything is just flowing towards this direction. It doesn't slow down. So we're going to make use out of the vertex Painting that we have for the main water body. So let's go ahead and open that up. Mesh paint like so. We're going to use paint. And I'm trying to remember which one was which in regards to the vertex Painting, I'm actually going to open up the material itself and see which one was that. So as a reminder, we had a blue color. Is that with the Normals or a wave. So we're able to adjust that. And for the color, we had a green one for the base color, so the white ones that go on top of it. And then finally, the red one. Go the red one is going to be for a Caustics. Okay, So perfect. Quick reminder, that was a good way to check. We can now close this down and play around with the colors. And I've pink, we're going to set up the green one first. We're going to turn off the channels over here, going to make sure that the plane is selected, like so. And of course, we're going to, after that, go on to the pain Mode green channel on. And we're going to actually go onto green channel Excel And we're going to just pay it out this entire section. So using black color, we're going to paint it out like so. Just a little bit. This kind of corner like so. And we might need to make sure that we have a somewhat of a nice shape over here. And I think that's going to be quite alright. So I'm using a size of 0.3 and strength of point free as well to give us this sort of an area over here. So forward to go out of the green channel, we should get ourselves some nice, yeah, we're able to turn off the white color splashes that we had. So we're going to do something similar with a blue channel as well. We're going to go into the blue channel. We're going to just get them off from here as well. Doesn't seem to work. So I'm just going to make a selection and what is going on and doesn't seem to want to work to be painted on. So I don't know what is oh, it's because I forgot to change up the channel. Let's go ahead and change the channel from green to blue. And change that up like so. Actually just going to go to green channel real quick just to see. And it seems like a mess that up. So I'm going to click Control Z a couple of times just to undo my mistake. Now gonna go back to the blue channel, make sure that the channel is selected as blue. And now we're going to just paint this out just like that. And I think we can get a similar shape. It doesn't have to be entire, same kind of a shape. The channels two colors blending in together with the base color for the foam is going to give us a really nice effect. So now if we turn this off, we're going to get this result. So that's going to be quite alright. The Scalability, I'm just going to change it up too high just so you could see how it looks like on the side. And yeah, that looks quite alright. We might need to play around a little bit with the settings themselves. Or actually, I might want to get some of additional white foam over in this area as well. So I'm gonna go actually and change the channel, green channel like so. And I'm not going to use the color view mode this time, and I'm just going to paint it in the color, the Waves myself. So I just want to make sure that we have couple of additional Waves over here just so we wouldn't look quite as flat. And I think right now it's going to look much, much nicer. Just like that. We're able to get ourselves a real nice hadn't painted out Material over here. And it's still should have a stillness of a Water effect. So, so that's already looking quite nice. We might need to do the stillness effect over here as well, since it looks like it just goes the water goes the waterflow coast from these areas. And that doesn't look quite as realistic. So let's go back into the mesh paint like so. We're going to set up as paint. And this time we're going to use green and blue bottle by the same time and lower the size a little bit. The reason we're doing it both at once because we want to remove the direction completely. And if we're to set this paint to black, now going to just a couple of times and just remove it from this section. We're actually just going to add a little bit of an extra like so. So let's way it looks like it just becomes, begins to flow from the middle of the river and the edges are going to be left by themselves on their own. So that's actually going to be looking much, much nicer in that regard. We might wanna do the same thing over to this area as well. So we're just going to slightly move it just like that. Couple of tabs like so we don't need to overdo it. But all in all, it's going to look much nicer since the flow. It's just going to start from these areas like so. Actually we might want to remove it from here as well. So I'm just gonna go real quick, add that up as well. Going to paint and wait for Smaller brush perhaps. Like so. It's going to map these bits out. Just like that. That's going to look much, much nicer. There you go. It's going to have slight Smaller transition. And all in all that's going to look much, much nicer. And these sections might need to have some lower down areas as well. So let's go real quick and just add some of the neutral waves like so. Again, using green and blue channels, offered ones and slightly lower than map, lowering the areas over here, just like that, wouldn't be too overwhelming. Us for this entire river. We can zoom out quite a bit and just kinda paint out Edges just like that manually. By doing that, we're going to get a much softer of a result. And river itself is going to look much nicer. And once we're done with that, I just realized that we don't have anything at the end of this reversal, which is going to grab ourselves. The Waterfall, Waterfall Particles, going to hold, to select this one, going to hold Alt and make a duplicate out of it, and then drag it to the side like so. And instead of just making a copy out of the water Niagara System article, just like we did before. To make the Particle Smaller, what we can do instead. We can also just simply make a couple of duplicates. And that'll also work as a way to extend this entire Particle System. So if we were to just simply place one over here, actually rotate this a little bit like so. And then holding Alt, we can just simply make couple of duplicates like so. Actually I'm just going to hold, hold Shift and grab all of them like so, then hold Alt and make a duplicate like so. This way we can just make a real nice continuous type of a low. And just looking from the end from this area over here, we're not going to go onto this Waterfall, the end. But we can see that we're seeing some Water splashes and already it looks so much better as is. Then we played around a little bit with the water splashes. We got some of the edges to be painted out using Vertex Painting, but we're still not quite done just yet since we need to add some water still, Static Meshes, especially next to the harbor over here. So we're actually going to do that in the next lesson. So thank you so much for watching and I will be seeing you in a bit. 72. Using Still Water Created Effects: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting up that Water Material that we just created and played around with some of the settings and tweak some of the values in order to get a nicer looking water body for our entire landscape. And in this lesson we're just going to continue on with this. And we're going to focus a little bit more on this Still areas of the water sections to get a better results out of them. So right now, if we zoom into this areas like over here, for example, we get a real nice area over here, but they don't look quite as well. They don't interact with those sections. For example, the wooden pair. And we're just going to fix that up real quick. So for starters, we're going to get ourselves some Water Ripple. And we're going to start off by getting ourselves Water still Ripple. So these ones over here, and we're just going to get the Static meshes and simply drag and drop it into real-world like so. And of course we need to raise it up just a little bit like so we wouldn't be glitching out and just like that by placing it like so we're going to get some nice effects in this area. And I think we can expand them up like so. And we're going to get some nice looking Still Water effect just like that. So of course, just by placing it one at the very front is now going to be enough. So we're going to scatter them around throughout this section over here. We're going to use all of them like so again, this one needs to be going up a little bit. I'm going to make it a little bit larger, but it's somewhere in the middle, like so. And just like that, we're going to get ourselves a nice result out of it. And then the third one can go over here, make it a little bit higher and extend this of course, just like that. And a couple of extra of those Water still effect. We're able to get a much nicer look, appear on the side of our water. And of course, we need to place a think and I want over here, we can even just make a duplicate out of it and like so, and just put it on the side just like that. So even if we were to overlap them, I think that's going to be quite alright. But we're just going to make sure that there is no glutinous with when we have it at the same height. But just in case I'm going to maybe lower it down or raise it up a little bit. And there we go. We got ourselves a nice foam motion over here. We might get it over here on this end as well. So I'm just going to drag another one after Water Planes. Make this one Larger as well. Maybe even rotate it like so. Since it is just kind of a random of a wobble. In this regard, we're going to be able to get ourselves a real nice sort of an effect. So we need to make it quite a bit larger actually and just put it inside of the water, inside of this rock that is just like that. And we're going to get ourselves some nice look out of it. Don't quite like the way actually is play. So I'm just going to rotate it like this maybe might look quite a bit better actually. Go. And of course, a couple of Rocks over here. So I'm just going to get a maybe I'm just going to grab this one over here. I'm just going to hold Alt, make a duplicate out of it. Rotate this around. So to look like, but more interesting. Like so. And put it over on this end. And I think just by doing that, we're able to get so much more out of these edges as we're able to highlight the shape of the rock. And like that, we're able to get so much nicer over result. So I think we actually want to grab ourselves a rock over here as well, put it on over this end. Like so. Just to break off this entire water body, otherwise it just looks a little bit to Planes. So this way will able to not only get more out of this area, but also we'll be able to hide away some of that pattern for the Water. And although in the future we're going to come back to the water a little bit to just flip out some of the colors because depending on the lighting, we're going to get better with different result. But I really want to just get ourselves a nice sort of a Silhouette over in this end. So I think we're actually going to go to the Foliage over here. We're going to get ourselves the Rock I'm going to close down. Let's condom browser over here real quick. And actually just going to select one of them, click Control a to make sure all of them are selected. Then deselect every single one of them like so. Go to the Rock section like so. Grab all four of them, actually going to select them, make sure that we're having a single mesh Foliage like so. And then we're going to start building it up. So by placing it over here, that's actually way too small. So I'm going to increase the size of these Rocks. And where's the minimum and maximum is going to extend this a little bit like so. And L, X, and Y. So scales over here, even though they're using different values, we can still change them up. So we can set them up to be something like ten, for example. Or I'm just going to control the hay, makes sure that it's selected like so. Now As a ten, deaths might be a little bit too much. So I'm going to that end up as eight instead. And maybe that'll be much better. This looks too big. I think that's a little bit too much for us, so let's set it up as five. That might be a little bit better in this regard. And just like that, we're able to get a couple of them sticking out. And I think it's going to be more than enough in that regard. We just got to make sure that they're seeking out, sticking in next to one another. And I think that's going to be looking quite alright in that regard. Just like that. We're going to get a much, much nicer result. I'm just wondering if we need to have a small rock over here, maybe this one like so. Or actually I'm going to select all of them, deselect all of them, and make sure only one is being used. And I'm going to click Control Z to make sure that the last one was now being placed. And I'm just going to play around with this rock over here. There's a quite like the overall shape. Or it, this is looking quite alright. I'm going to grab another rock. This one over here. Going to make sure I deselect this one. It's a little bit hard, so I'm going to use a paintbrush, going to get a size a little bit Larger, hold Shift. And actually we need to get all of those Rocks selected. Since I don't know which one it was. Now going to deselect it. It's like one of them like so get to the single and going to try playing around with this Rock, but this is way too large. So we're going to lower this down to a value of free. And now I think this is going to be much, much better type of a rock. Just like that. We're able to get some nicer results out of it. And of course, because we place some rocks over here, the flow of the water should be a complete different type. So we're going to be fixing that up real quick. Just wondering if we should have another Rock of a year, maybe. I'm going to try out this one over here. It's a little bit too small, actually. Probably quite a bit too small. Oh, I forgot to take it around. Now once we have it placed, this actually doesn't look quite as nice. So I'm going to try this one. I quite like this one, maybe over here, over in this end, like so. It already has a similar Rock, so I'm not too keen about it. Maybe something like this might look quite much better. And we just got to not overdo it a bit of a chunk of a rocky sort of a surface over here. It's just going to look quite alright. Now let's go ahead and picks up the overall flow of the water in this area. We're going to go back, Andromache paint, select the water plane, go to the paint Mode, have green and blue selected and we're just going to tap it out just a little bit, just like so. And just like that we're able to get much nicer results. And of course, because this is a float, a floating type of a water flowing water over here. We're going to be fixing that up real quick using couple of additional options, but I just want to make sure that we don't have too much of the flow in this area like so. I'm going to look quite right maybe over in this end like so. It's going to click Control Z because he didn't like the type of changes I just made. I think I think that's quite alright. Actually, let's go ahead and leave it ISAs. Let's go back onto the selection mode. And now we're going to click Control Space to dock our content browser. We're going to go into content and it probably just grab one of those planes that we had for the water still effect hold Alt, make a duplicate out of it. And I'm trying to think which wants we need to make use out of. Because of course, this is a flowing water. I'd rather, I'd much rather use the flowing Water VFX that we had. This one over here. We can make use out of the waterflow effect or look quite nice. I'm just going to raise it up, make it much larger like so, and put it over in this end just like that. And maybe just a little bit bigger, lowered down. And just like that we're able to get some nicer results. Of course, we're going to rotate it just a little bit, sort of be it would fit the entire kind of look that is going this way. The water like so that's going to look much nicer as is. Maybe this one needs as well. So I'm actually going to duplicate this one. And just to make sure we don't overuse it, we use this one. I'm going to get a variation out of it by simply clicking our scaling it and just flipping the scale entirely to the end, like so. And this way we'll be able to get slightly different variation out of it. And I'm just going to put it over in this section over here. So we're going to get a bit of a foamy tail for this rock. So just like that, we're able to get a nice sort of a variation out of it. And I think that's quite alright as it is. And as for this area, because within the middle of the section between the rocks and we can just expand it and get those kind of floaty Effects from the water. And I think that's going to look quite a rat actually. Maybe even, might even grab another one. And just put it over here as well. Just cover it to the side, just like that. So just by playing around with a couple of days, we're able to get a real nice result out of these Rock sections over here. And I think that's going to be quite alright. Actually, if you leave it, is, is maybe carousels. One more over here as well. Just wondering if that would work out. Might as well for this area. Probably not. Let's go ahead and leave it as is. I just want to make sure we have couple of them at these rocks as well over here. Since this does have a Still kind of a motion for the water. So yeah, we basically make sure that whenever we have a motion Within Water and an object nearby, we're going to use this sort of a tail, what a waterflow Ripple. And whenever we have more of a Still area for the water, we're going to use these ones instead. And this way we're able to trick the visual look for the effects of the water. I'm just going to make use out of the same one by rotating it around, we'll be able to get a different type of result. And I think all in all that's going to look much better. So that's pretty much all it takes to get a nice type of a Water. And maybe just going to stretch this out a little bit just to make it a little bit wider like so just to cover this entire Rock and lower it down. Just like that, we're going to get a nice results. So, yeah, and one other thing that we need to do is of course add couple of Ripple. So I'm just going to be that as well. And for us to do that, we just need to make sure we make use out of the ones that we already created. So I'm going to find myself a Water Ripple Material Instance that we had. And I think we can simply get ourselves a simple plain and that'll allow us to create that Ripple effect. So let's grab a simple plain like so. It's going to drag it up a little bit and we're going to attach to Water Ripple material onto it just like that to get this result. Now we probably need to make it a second one actually, since we were using it for the back of those waterfalls. So I'm actually just going to make a duplicate out of it. So we'd be able to a couple of additional choices within this Ripple effect. And I'm going to attach this within this plane like so. So now we're using this second copy. And we're pretty much going to be attaching them underneath those polls that we have over here. Just by adding them like so. And actually we can make it much smaller. So we can have a, this sort of an effect. We can now have some real nice Ripple type of a look. But I think this is a little bit too low in regards to what we have within our water. So we're going to actually speed it up a little bit. We're going to open this up and change the speed to a value of 0.0, something like 0.06, maybe. Go ahead and check that out. And it's going to look much, much better in that regard. We might need to make this plane even smaller actually. Like so. So we're only going to get a couple of ripples out of it just like that. And I think the opacity should be much smaller as well. So 0.5. Let's go ahead and try that. And it'll blend in much, much better with the rest of the mesh. And we can try increasing the normal intensity to see how it looked like before, to set it to something like 0.5 and something like ten. We can see the type of difference is going to make. So I think we can set this up to a value of two, actually four. That's going to give us a nice result because it gets much smaller. We need to increase in density because of it. And I'm just going to make a duplicate to this end over here. Going to select both of them and basically make a copy for each one of those sections. And just like that, we're able to get ourselves some nice results out of it. And by playing around a little bit with that, we'll be able to get nice ripple effects from the edges of those dogs. And that's all it takes for us to set it up. Actually relatively simple, I'm thinking maybe we should get it for these bits as well. So let's go ahead and do that. Is going to grab one real quick holding Alt that up over here. And making sure that it is placed within the center of this pole, going to hold Alt, that another one over here. And I think that's going to look quite alright. Actually. It looks, I quite liked the way it turned out. So let's go ahead and just make use out of this small planes and set them up like so. And I think that's going to be quite alright. We might need to add once in a bag, but all in all, what is sort of a shot? It definitely adds some extra bit more detail. Just a little bit. That's that one needs to go a bit more exercise. I'm just going to grab the plane over here and just put more to the side like so just to make sure it's positioned properly. Just like that. Anyway, there you go. We've got ourselves a real nice setup for the water. So thank you so much for watching and I'll see you in a bit. 73. Creating Terrain Using Heighmap Texture: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we finished off working on the Water section for our level. And in this lesson we're going to continue working on the scene. But instead of just working on this Terrain, I'd like us to get a nice what about background for this section over here? So we're going to actually create ourselves a quick mountain landscape, which we're going to do so by making use out of a height texture maps. So right away we're actually going to go out of our Water folder. We're going to go on to the content like so. And we can probably end up using Landscape folder. You will get the texture that we want within it. So Within a Resources folder, we're going to have ourselves a mountain height map. Let's go ahead and quickly drag and drop this into the folder like so. This will give us a really nice simple mountain height map for us to make use out of it. We're going to make use out of a modelling mode. Let's go ahead and quickly create ourselves a quick Mesh to work with. So we're going to start off by getting a modelling toolkit. And right away we're actually going to be changing this to, since we previously created cells, a mesh that basically placed it in a folder, we want to make sure we change that back to auto-generate folder wall relative. And by chain that, we're going to place it back Within are generated folder over here. So going back to Landscape though, we're just going to grab ourselves a quick rectangle. So let's go ahead and select a shape rectangle. We're going to keep it as is. We're going to just place it on the word like So hit complete. Now we've got ourselves a new Static Mesh. We can also rename this one right away. Actually, we're just going to select it, click F2 and call this one terrain, like so. And it should be within our outliner. If you can't find it, we can click F. And actually doesn't seem to work for an outline. And that's okay though. Moving on though, it's going to be set up within alphabetical order, so it should be relatively easy to find. But yeah, in order for us to make use out of it, we're actually just going to make it a little bit larger like so. I'm just going to position it over here. And then later on we're just going to move, we're going to move it over to the back. So right now, what do we need to do is actually we need to make use out of a deformer within the modelling mode. So this is going to be found within a Deformation tab over here, and it's going to be called displays. So by default, if we're to try to use it as going to give us this result, I'm actually just going to cancel it real quick. This area selected, I'm just going to raise this up real quick so I can show you visually what it does. And basically by default it adds up a Perlin noise and makes use out of the mesh itself. Actually subdivides it four times right away. To give us this result in order for us to get a better result. We can also increase this up. But actually it's not going to give us enough detail because the reason being is that the default square that we're using, it doesn't have a lot of Mesh by itself. So right away we're going to get into an issue where even though we're increasing the amount of ten, we can't do it too much because the reason being is the slider by default would only work all the way up to a ten. So in order to get more subdivisions out of it, we're going to need to increase this subdivision amount to something like 15, Something like that. We're going to get more out of it. Like so we're actually going to change it to 20, maybe even more, 50. And every time we increase the subdivisions is going to give us a little bit of a different type of result. So we're to change it's something to 100. We're going to get this result. So anyways, the reason we're getting it is because if I were to show frame, we're going to see the amount of frames It's actually been trying to use. And as you can see, it's quite a low amount, but we're going to fix that in a second right now. We just want to change up the Perlin noise to be using height map texture over here. So we're going to be changing this from Perlin noise. We will a texture to the map. And it's not going to give us any type of result right away. I'm actually just going to change the subdivision to ten for now. And we're going to scroll down until we find ourselves displacement map. So this one is where we need to plug in our height map texture, but a mountain, we can pretty much use any type of a height map of a mountain or Terrain, which is actually relatively easy to get from a real-life to real map. You can download usually an image out of it. And we were able to quite easily set up this type of a texture. But yes, going back to it, displacement amount, once we set it up, we're going to get this sort of result Which might not look quite a lot because by default, it's just going to be too low of a resolution. So we need to go back to the subdivisions and increase this to something like 50. And this start, we'll start giving us the better shape. Of course, we need to increase the displacement intensity as well. Setting it up something to your 50 might give us a little bit too much. Actually setting it to 20 will give us this result. And I'm just trying to figure out whether or not we need more vertices and we probably do just making sure we're Using sure wireframe just to see how it looks like. And this time, let's go ahead and increase it to at and even more, 200 maybe even because we don't have a lot of vertices over here, I'm not going to get the right type of results. Actually, that's too much as here's the maximum amount. Hundreds seems to be a maximum amount. We can go anything above that. So here's an issue where we account, encounter. The amount of topology that we can use is going to be just this amount. And it default is going to give us not enough of the detail information for the terrain. So in order for us to fix that, we are actually going to read apologize this entire frame. So we're going to go down onto the mesh ops, go Hit re Mesh and just quickly read, apologize this entire frame. So we're going to start on. I'm going to hit Cancel actually because it seems like we're still making use out of displacement. And that seems to have created us. Range is going to hit Control Z to undo a displacement for this. And now we're going to go back onto the 3D mesh and just add topology by thousands seem to give us a real nice amount of wireframe. I think we can make use out of that. Let's go ahead and hit Accept. Now we can go back onto the displacement and add more typology to it, subdivisions, we can keep it as five for now. And that's even too much. We can set it as two. And it's going to give us much more topology density within this area. It should keep us the same displacement map as we had previously. So we're going to get this result. If we were to turn off the wireframe, we can see the type of a wireframe Silhouette that we're going to get and maybe we should increase it a little bit more sedative free. We can't do it have to like ten or 100 because otherwise it might crash entire Engine because of the amount of topologies we're going to get out of it, out of this subdivision. So just setting it up to three, maybe four even is going to give us a real nice result. Just going to check the wireframe and see how it looks like. And I think we can use set, set of subdivisions of four to get a nicer look. So since this is going to be in the background as well, we don't need to worry about it too much in regards to how this is going to look like. So we're going to hit Accept and we're going to get ourselves a nice sort of a mountain. Now the downside of this is because of this height map, we're going to get some of the artifacts on the side, it trying to get more detailed information on the edges. But we're going to fix that using a simple tool that's going to help us out to cut it out the edges. There's something called LN cut. If we were to select this, we're going to be able to cut out a shape side from our Mesh. And by default, it's just going to cut out at top edge of our Mesh. Which might actually look quite nice because it's going to give us sort of a crevasse, a volcano type of a look. But of course that's not what we want. We want to cut out the edges from these areas over here. So we're just going to rotate this entire mesh like so. And we're just simply going to place it on the very edge of this Terrain. All we need to do is just cut off these artifacts just to make sure that the Silhouette is not going to be affecting our entire side of the mountain. And that's going to be quite alright. We can now hit Accept and we're going to get a fixed up of a mesh. And as for this edge, I think that's going to be quite alright when we're looking from a distance is going to give us a nice sort of a slope for this mountains. So actually, we're pretty much done with setting up a mesh for our Terrain. The only thing that we'll have to do though, is we gotta set it up at the back of our landscapes. So let's go ahead and drag it all the way through back. And I'm going to hit F to reposition my camera. And this way we're quite a bit in the distant is actually a little bit too far. So I'm actually just going to get my camera position it aside and just bring it a little bit back leg bit closer. And its way we can click our and just upscale it entire mountain like so. Or this might be a little bit too slow process. So we're going to go into the detail, step, into the scaling mode and just set it up of a scale of 100 and maybe even more instead of up to 500. And that looks much, much better. And when working with the displacements, by the way, when we set up some of the values, we don't need to worry about it too much on how high the mountain is to be honest. Because afterwards what we can do is when we have selected and using a scale mode, we can just simply stretch it out and down like so. And just by holding the Z value only, we can raise this entire mountain basically. And this way we can just do an equivalent to that of an intensity within displacement. So that's why whenever I'm just using a displacement map itself, I'm not too worried about how high my mountain is because in the future I can always change up this value. So if I were to take up, tick off this scaling mode, the ratio log, I'm going to change this up. So for example, we can change this up to something like 1,000 and we can get a much steeper of a result. Alternatively, we can change this to something like 50. And we're going to get a super, super flat type of a surface. So that is one way of doing it. And I'm just going to put it on a bag. Think default of a 500 for this case was quite alright. So now we're just going to be playing around with the position of this mountain. And we don't want it to raise it to high up, otherwise, the edges are going to be quite visible. I think that's going to be quite alright. And actually I want to us couple of mountains, I think that's going to be much better. So we're going to hold Alt, make a duplicate of it. And in order to avoid the Silhouette looking exactly the same, we're going to rotate this something like under degrees or something. So it wouldn't be showing the same kind of a Silhouette, the same kind of an edge. And even we can just squish it down a little bit in regards to the set of values. So I'm going to go on the bottom-right scale transformation, set this to something like 200. And that might be a little bit too much. So 300, something like this. Look quite alright. Obviously this is a little bit too high up. So we're going to lower this down. And just like that, we're going to get a couple of mountains looking over this entire section. But I think there are a little bit too small, so we're going to grab both of them and we're going to lock the ratio for both of them. And then we're going to increase this one single value which should change up all of the values at once. And just like that, to get much larger mountains over in the background. So I think that's going to look quite alright. We need to just look at a camera and set it up. Be in the right direction, maybe a little bit more to the right leg. So just like that, got to decide on a camera kind of emotion. Whenever we are working with Landscape, we gotta decide on how it's going to be presented. If it's going to be a walkable experience. Or if we're going to have a certain camera shot, which we can make use out of and set up a nice composition within a scene. So because I know that this area will have our camera over here, over in this, around this section, like so. We can have a certain type of a mountain like this and maybe move this a little bit more to the side. And basically we will have a real nice kind of a sunset going over this distance. We might want to raise up this entire, these entire mountains like so. I think this is just going to look quite nice over like this. So yeah, that's all it takes for us to setup the Terrain Using the height map information. So in the next lesson, of course, we will be painting them in because you can't just leave those mountains looking as great as this. So that's going to be it from this lesson. So thank you so much for watching and I'll see you in a bit. 74. Creating Automatic Material Texture For Terrain: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting some of those terrains using static meshes to be in a background of our landscape. And in this lesson, we're going to continue working on this by texturing them using the Quixel textures that we had before. So to get started, we're going to create ourselves a new Material. Let's right-click and get ourselves a new Material exome. We're going to call this one a terrain map like so. We're going to open it up and we're going to be setting it up as a nice sort of Automatic type of a Landscape Material using the height map that we already have. So the way we're going to use it is actually we're just going to use a loop. So right away we're just going to hold L and tap on our Material graph. And we're going to drag and drop our height map texture into this and set it up to be used as an alpha. So this will allow us to just basically make the highest points to be using a different type of a texture. And we're going to be using both Ground Masie and row Rock mostly for that. So let's go ahead and grab both of them and simply drag and drop it into our area for our Material graph, like so. Then in order for us to make use out of them, we can just simply connect them to a and B because we obviously need to change them to be as simple texture maps. So let's break them off Forum from the material attributes and we're going to right-click search for a material attributes like so. And we should find ourselves a Material attribute, break, break modular attribute. That is, we're going to select this one. And again, we're going to make a copy out of it. Like so just so you can attach both of them just like that. I'm actually just going to make this entire window quite a bit bigger. So we can see a little bit more within this view. We're going to attach brown Rock, Masie and ground Rock, simple as that. And we're actually going to need to make a duplicate out of the value that we had. But before doing that though, I'd like us to set up certain controls that we'll be able to make use out of and get more variation out of this slurp data. So for us to do that, we're going to simply make a contrast, a cheap contrast that we'll be able to make use out of. And actually, we're just going to right-click search for a contrast like so on trust and get ourselves cheap contrast like this. And actually we won't be able to make use out of the RGB is, it is. Otherwise we'll get an error. So instead, we're going to use a red channel and place it in here. Then we're going to put it in alpha and asphalt, a contrast itself. We're going to get ourselves a parameter. So we're going to hold S, we're going to tap on the screen and we're going to be calling this one contrast, like so. And attach this to the contrast value. Now the default value should be more of a stronger intensity than the default one. So we're going to select, create a default value of free. And that'll give us a really nice sort of results. So we're actually going to just bring this all the way back, like so. And we're going to create ourselves multiple values since we need to make sure we connect every single one of them. But for Saturday, let's go ahead and just connect the base color for a and B. And we're going to get ourselves a nice a type of a result. So a and B, so the first one, the a is going to be ground Rock, and the second one is going to be ground Masie. And this way, when we connect this to the base color, we can even check out looks actually we can click Control S. You apply this instance to say about this Instance. And then right away we can just get ourselves Material Instance from this Terrain Material. Right-click, Create Material Instance like so. And then drag and drop into both of these mountains just like that, just to see how they would look like. And this is the type of result that we're going to get. Scale is a bit off at the moment. We're going to be fixing that in a moment. But when we open up the Material Instance, because the way that we set up this Material Function will have ourselves a couple of options for the scale, which will be changing it up. But for now, we might want to play around with the contrast and get a nicer sort of a transition in the top of the mountains. So that's quite alright. But now though, I think we can just keep it as a default value. And later on we might be changing that up. But going back to the material, we're still not quite done with this and we still haven't set it up as a PBR materials since we're only using a base color. So let's go ahead and right away, change that up. And so we're going to be adding couple of additional values. Over here. We're going to expand this real quick and create a couple of them like so. Think we need four of them since we actually need to make use out of the normal roughness, ambient occlusion, you get a right type of the material. So we're going to pretty much redo the same steps except for each one of the sections. So roughness We're going to attach this to a and roughness list B. And this one is going to be the, you can set it up as normal, like so. Normal over here as well. Then finally, ambient occlusion. We can set this up to a and B just like that. And of course for Alpha, we're going to use the same type of results just to make sure that we're using the same type of a mask. And just like that or we can reattach it, we get the right type of blurbs. And now we need to attach alert student Material Function itself. And in order for us to see which ones we actually had, we're going to just hover over the line and we can see it highlighted. This point is going to be roughness. And we're going to attach this roughness. We're going to hover over with my mouse over this line to see that it's actually attached to normal. So I'm going to attach this to normal as well. Finally, I notice this will be an ambient occlusion that will be attaching this to emit occlusion. Once we're done, we can click Control and S to save it out and see how it'll look like within our view. And this is the type of result and we're going to get, so it's already looking much nicer actually. We just now need to play around with the overall scale. So I'm gonna go into the Terrain Material Instance and enabled both of these values like so and play around a little bit with the overall scale itself. So looking from a distance, we know we don't need to worry about it too much in regards to just making use out of a high-quality texture since they're going to be a mountains in a distance. So if we were to set it up to something like for, for example, it's just going to be a bunch of noise and we obviously don't want this to happen. We wanted to make sure we break off a little bit of that terrain. So by playing around with the values, setting it up to the right kind of a scale. Maybe making use out of 0.5. And getting the right kind of results might be quite alright. But obviously we don't want it to make it to low resolution because it won't look quite as right. And I just realized that we actually have dirt on the very top and the Rocks at the very bottom. So it's actually quite an easy fix to get that sorted. We're going to go back into the material and get that sorted right away. All we need to do is get ourselves one minus X to convert entire mask next to the cheap contrast. So we're going to right-click search for 1minus like so, and get ourselves this sort of an hour. And now while holding control and we're just going to link all of those nodes from here and connect it to one minus X. And then going to connect the input from the chip contrast there. Now, once we hit Control and S to save it out, this should hopefully be inverted like this, and we're going to get much, much nicer result. So now we can change up the scale a little bit. So we're going to start with the ground direction. I think we can just get it to this kind of results. So by simply playing around with these values, by simply clicking and holding and dragging them around to left or right side. We're going to be able to visually see how they would look like. And getting into a valley of ink 0.7 around this value is going to give us real nice results as it breaks off certain areas for terrain. Now as for the rocky area, we might need to play around with that a little bit more and see how to look like. So this is going to be too much, but going too far off is also going to be too much as well. Or maybe that's actually quite alright. Quiet like this. Look. So a value of 0.1, 0.1 ish is going to give us this solver will look, which if we look at it from a distance, is actually going to be quite nice. So now we just need to figure out on the regard, on the scale of these mountains. As I think, bring them up higher might look quite nice, but that's a little bit too much. So let's go ahead and drop this down. Or I'm just going to click Control Z. And I think we're going to leave it as well. I do actually want to raise it up just a little bit more, but I'm not too keen about this section. So in order for us to quickly, kinda deeply fix this section because this area has a sort of a pump that actually sticks out whenever we're looking at from this place. What I'm gonna do is actually I'm going to slowly rotate this entire mountain a little bit to the front like so. So we're looking at it from this kind of an angle. We're still not going to be able to see the edges, but we're just hiding this entire frontal section just like that. And studying those kind of couple of adjustments, we're able to get real nice couple of mountains here and we might need to break them apart a little bit. Decide, just like that. Maybe this one a little bit lower. Preferred this to be a little bit higher and this lower. We can tweak the values as much as we want to be honest. But all in all, when we're done, we're going to get some nice landscape background results. So that's going to be it from this lesson. Thank you so much for watching and I'll see you in a bit. 75. Sun Light Setup: Hello and welcome back everyone through Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting some of the mountain terrain within a background and of course, texturing them in using a material that applies a mountain height map. And in this lesson, since we're pretty much done with the overall Silhouette for our environment, we're going to continue working on our scene and set up some of the lighting within it. Since although we got couple of extra things left, it'll be better if we set up the lighting first and then add a fireplace in a corner, as well as Birds Flying over them over the sky within a proper type of lighting. And right now we only have a default type of setup. And if we were to scroll all the way up within our Outliner, we're going to find ourselves a folder that contains directional light, exponential height, Fog, Sky Atmosphere, skylight, Sky sphere, and Volumetric Clouds. All of them add up to give us this type of environment and we can make use out of it in order to get ourselves a more suitable type of lighting within our scene. So to start off, we're going to make use out of direction lighting and set it up as a sun type of a light source within our scene. And right now I think is just set up to be going from the top area from over here, since we have some shadows over here, I'd like us to get the sun to be going over the horizon of our mountains. I think that will make the entire scene look much nicer. So it's actually relatively easy to set it up. All we gotta do is make sure that by default it should be set on is is both the direction Light Within the Details tab. It should have, if we were to search for sun, it should have something called atmospheric sunlight ticked on. And with this ticked on, if I were to just click back onto my Viewport, so we'd have it selected. If we were to click and hold Control and L, we get this sort of a Gizmo within our screen and that allows us to basically change the way that lighting is positioned. So by going left and right, we're able to rotate our sun sideways. And we're going up and down. We're able to kind of position it to be going up and down within this area. And if you ever notice, we have a sort of arrow within it as well, I just ticked on my it seems like it disappears, so I'm going to hold control and L again. And that should give us, it gets more back. So we have an arrow over in this area over here, and that just shows the position, the exact position of the sun. We're actually just going to lower this down using our mouse by holding Control and L. And I think before positioning it though, we're going to, what we're going to do is we're actually going to turn off the Clouds for a moment because right now we're can't see the sun position quite as well. So we're going to go all the way up and just simply tick off the Volumetric Clouds. And this is going to be responsible for all the Clouds within this area. And once we take it off, we'll be able to see our sun much nicer. So we're going to go back onto the sun. Actually, we don't have to even have it selected. We can have anything else selected. And now once we click and hold Control and nail, nothing happens because we need to make sure that we have the selection within the viewport itself. And once we are in beef port by, we can just simply tap right mouse button and we're going to be within it. Afterwards, clicking and holding control and L will allow us to make some minor adjustments. And we're going to position our light just like this thing. We can position it just a little bit more to the side of the mountain. Something like this might look real nice, but I want to have some additional shadow's going over the side of the water, maybe a little bit higher. So I'm slightly tweak in the mouth going left and right to position it to rotate my son and maybe a lower down a little bit. That's a little bit too much. I think. We might get it like this. For now. We're going to keep your eyes this. And now. Actually don't quite like the way the sun is hitting on the side. I want to highlight a little bit of an edge within the within the heart itself. So more like this, kind of a sudden prefer having it like so we'd need to switch up the mountains a little bit. Maybe just maybe something like this might do it. Much nicer. So now, in order for us to adjust the sun as well, we already have a somewhat of a nice setup with the lighting, with everything in it, but it doesn't look quite as well. I want to make sure that the sun is a little bit bigger as well. So we're going to make some adjustments within it. We're going to go into directional light and we're going to get some settings out of them. So for starters, we got a couple of options within the Details tab. We got light color and I usually like to change a light color to be a little bit of an orange tint, a bit more of a yellowish tint, because by default, the default white doesn't look quite as right, so just Slightly increasing it to be towards this area like so. Just a little bit is going to give us a much nicer and softer type of a lighting within the scene. So we're going to hit Okay. Then afterwards we got a couple of options in regards to the size of the sun. And if you were to think if we were to change the source soft angle, that should be the one. That's not actually, that's going to be sourced angle itself. If we're to change that, we can see the type of a change it gives us Within a Light. And if we were to increase it all the way, do I five, we're going to get a much, much larger, diverse sun and nothing. We can even go Larger by changing up this value and we can make it quite extreme and to set up our light source to be really, really big. But of course that would be, I think a little bit too much. We need to lower this down. So maybe something like, let's say six. Or actually I've picked, I'm going to keep it as five. And then afterwards, we might need to readjust the lighting, the sound itself just a little bit more. I don't quite like the way this is some going to right-click on the report itself and slightly readjust the sun by holding Control and L and just lowering down this just a little bit more like so. And I think it might it might look nicer if we have the mountain to be going on the other side. So I'm going to actually grab this mountain and put it, position it on the other end. Like so. Maybe we raise it up just a little bit. Just like that. That's going to give us much, much nicer results. So now I'm going to click and hold Control and L and reposition the sun to be going over this area like so or even like the way the lighting turned out to be. So I'm just going to get out to be over in this section like so. And then bring the mountain back. Just like that. Maybe lower the sun a little bit. So holding control and L and getting it back to the side just like that. And I think I actually want the sun to be in-between the mountain. So I'm actually going to bring another mountain like so. And looking at it like this might actually give us a real nice type of our result. So just like that, I think that's going to look quite nice. Actually. We got a couple of mountains and assign going right in-between them. And I think that's going to give us a really, really nice about, we'll look. I'm actually going to I think, use some creative freedom and set up the Lighting. Be more on the side like so. Still highlight a little bit more of that housing. And then afterwards, once I'm done with this, I'm then going to set up the entire setup within the terrain, within the mountains and then play around with the overall design with them. I think I'm going to set up Mandarin to be over here. And another one, maybe raise it up a little bit like so you could get a really, really nice type of a sharp thing that's going to look quite alright. I think at the moment though, the sun itself is a little bit too bright. So we're going to lower this down by quite a bit. So we're going to go into direction lighting. And in order for us to control the intensity for it. If something called lugs and this setting, if I were to just simply change it to one, we're going to get this low type of lighting. And just by doing that, we're able to get a more of a family looking type of a Lighting for our son. So think changing it to a value of three might look a little bit better. I think that's going to look quite nicely. We can some shadows go in over the height over here to highlight some of that shape within a house as well as some of the rock formations over here. We are getting some of the more pixelated shadows from the tree branches going over the side, over here. But we're going to be fixing that in the bid. And yeah, we now adjusted the lighting source within our scene. We of course need to adjust the overall atmosphere since it is quite bland looking since we disabled the Volumetric Clouds as well as the entire environment, doesn't look quite as right since it's a little bit too much of a bluish tint. So we're going to be fixing that in a less lessons. So thank you so much for watching and I'll see you in a bit. 76. Working with Sky Atmosphere: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting up the sun source to be shining over the terrain, over the horizon. And in this lesson, we're going to continue working with the overall scene Setup off the Lighting, and we're going to be setting up the entire atmosphere in the background. So we're going to be using something called Sky Atmosphere. If we were to go ahead and find it within a Lighting folder, the Sky Atmosphere. So this is what controls basically this entire kind of a gradient that we have over in this end. And if we were to turn it off, we can see the type of a resilient we're going to get, which basically it'll turn off entire sky. And if you notice even the sun disappears. That is because the Sun is being set up with this Sky Atmosphere, which allows us to basically get this result over the horizon. So there are a lot of options for us to make use out of an, even. There is an option to set up an atmosphere to be used within a planetary scale. But of course, this is not what we want for this specific environment. What do we actually want is just to simply change color of the sky to make it more orange, to make it look like it's a dawn type of a scene. So it's actually relatively easy to do if we were to scroll down until we find ourselves clumping called atmospheric absorption. We're going to have atmospheric absorption scale as well as the absorption color. And if you remember, when working with the water, we had a similar type of a setting. What absorption and it actually works in a similar manner where it actually absorbs the type of color and it gives us a type of a tint within our entire sky. So right now we, by default, habits set as green. We're to increase the absorption Scale to somewhat of a more extreme value. We're going to notice that absorbs all the green kind of a color and gives us more of a pink, a purple type of a ten for the sky. So that's already looking quite nice. So by default, I recommend you to increase the absorption Scale to quite an extreme value like so. And then we'll be able to see what type of absorption color we want to get out of our Skype. And so once we increase the absorption Scale, we can open up the absorption color picker and we actually want to get a sort of orange type of a dumb luck. So we just need to set it up to be a more bluish type of a tint of things, something like this. Quite alright, actually. And we can keep the brightness and saturation as is maybe we can play around with, no, we're going to use more of a cyan type of way color. So this sort of a color will work quite well enough for us. So now that we have it set up, or actually just a little bit more, we can tweak to ****, use quite a bit. So once we're done, once we're happy with the tint, the exaggerated version of it, we can go ahead and click Okay, and we can go back and set it the absorption Scale to the default value for now just to see how we would look like. And of course, because it doesn't absorb enough, it's going to give us a weird type of a log. So we're just going to slowly, gradually increase it by clicking and holding and then scrolling our mouse, moving or mouse the right. And just by doing that, we're going to get a really nice type of an orange tint within our scene. So already we're getting ourselves a really nice typeof a look. We are making it look a little bit more orange. Maybe we should do it. Mortar extreme. So I'm actually just going to raise it up even more and see how this would look like. And paint that's going to be a little bit too much. So I don't love it is down around this amount. This might look quite nice. And just like that, we're able to get a much different type of a look. And of course, because the Sky Atmosphere is giving us an ambient lighting within the scene, the overall kind of a shine, the tone within our environment is also going to be a little bit quite different. Because going into lower this time by little bit more, I want to overdo it because the sun is actually within this area, Within this case, relatively high. So I don't want to making it look like it's too much. I think there's going to be quite alright. So a value of 0.014 is going to give us more or less the same kind of results. And we have couple of other options for us to use. Like, for example, our direction has a sky luminance factor, which will also allow us to adjust the overall color in a quick and easy way. But personally, whenever I'm working with the colors, I just Rabaa would use Absorbtion Scale as that would give us a really nice result within our area, within the atmosphere itself. Now we also have couple of options. For example, if we were to scroll down, we have MIE absorption and scattering, which would also affect the lighting. But within this option, the only one that I might want to change would be the MA exponential distribution. And by just increasing this would get a much nicer type of a light around our Sun. So if we're to put this, put this to an extreme amount, we can see the type of difference we get from this overall area. And that would make the overall sun look that much brighter. Of course, for now, I don't think we need that much. We can just increase it to a value one point free, just slightly increasing this overall brightness in this atmosphere around the sun. I think that'll make it, We're look really nice within this overall area. So that's going to be it in regards to the Sky Atmosphere, that's all the settings that we need to change Within this. And in the next lesson we're going to continue on working with the overall lighting parameters. So thanks so much for watching and I'll see you in a bit. 77. Setting up Ambiend Lighting and Volumetric Fog: Hello, Welcome back everyone to beginners guide to building an environment. In our last lesson, we left it off by setting up the atmosphere to be used within the background of our scene just to get a nice red, pinkish type of a tint or our sunset. And we're now going to continue on working with this and set up some of the more ambient lighting within the scene, because right now it looks a little bit too dark within those areas. So let's go ahead and fix this type of an issue. I'm just going to click G So could hide all the gizmos. And now in order for us to control the overall ambient lighting, what we're going to use is we're going to make use of something called skylight. What this will do is basically it grabs the overall reflection of the entire scene and projects that within ambient lighting, because when the light will bounce off, it gets scattered with an atmosphere in this way, even when we have some thing blocking our view from the sun, the what's behind, for example, a shadow. It's still be able to see an object, although it would be not as bright as if it put it directly under the sun, for example. But in the areas where it's like behind the reach of a sudden, like the roof over here, you're still able to somewhat distinguish that there are some tiles within here. And this is basically what the skylight does. And if we were to go within its settings, we have couple of options to use. But the main one that we need to sort out is we've got to make sure that we're using a real-time capture turned on. And this will just make sure that the entire thing gets updated based on the atmosphere, based on a lighting that we're getting from the sky, from the clouds, from the sun itself. And afterwards, once we have this enabled, we get up another option use and we're going to make use out of intensity scale end worked in Greece this dumping to quite a high amount like 50 for example, we can see the type of difference that we're going to do. And the entire shadows, everything kind of gets bleached out. And that is because we're basically amplifying the entire atmosphere, but quite a large amount. And I recommend you whenever you're working with intensity scale of photo skylight to not overdo this value and you usually want to keep it as one because of course, by making use of the shadows, you get a nice type of silhouettes, nice type of shapes within your scene. But because specifically for this environment, because our sun is facing from this direction, will want to slightly increase this intensity scale highlights some of the other areas. So I think by setting this up to a value of five, we're going to get a much nicer result. And in this way, we're able to brighten up our entire environment. The other option that we have within here that might sometimes be useful might be a skylight color. And if we were to change this around, we're basically able to change our entire ambient lighting within our scene. This is quite visible within our lighting on the water especially. But usually I recommend you just to leave it as is as a default, white as that alone, just ensure that we're getting the right type of lighting, ambient lighting to the scene. Now another thing that's important within ambient lighting, within the entire environment is going to be something called exponential Hyde Park. And if we were to turn this out, we can see the type of difference every cat and basically the mountains in the back. We can see them then just being not quite as distinguishable to be in a background. So basically what this does is based on the distance we get a certain amount of fog within the areas. And for example, we have couple of options but may wants are going to be fogged. Density by default don't give you a lot of control if you just were to scroll up and down within this bar. But if we want to go to an extreme, we can click on this entire value and set it to something like 0.1 and get a much nicer result. So already by just playing around with this, we're going to get a much different type of result. But to bring out even more lighting and make it look nicer of a scene. Instead of just playing around with these values and kinda trying to get it the right way and just changing up the scattering color, which would, by the way, just change up the entire were to make this a little bit higher so we could see a little bit more would be basically allowing us to change the overall scattering for this area. But in order for us to make it look nice, so we're going to make use out of the volumetric fog instead, just to make sure that the fog itself inherits the colors of light. And if we were to scroll down within our Details tab, we're going to find ourselves volumetric fog tab over here. So in order for us to make use out of it, we're going to enable this icon over here and right away, we shouldn't get some nicer results, especially in the background. So if we're not seeing any types of changes, But do we need to do is we need to make sure we have volumetric fog settings enabled and we can do so through the project settings. So we're going to go open up the project settings. We're going to find ourselves a fog. And we should get ourselves this tab over here, which says supports guy atmosphere effecting height fall. So make sure that this is enabled. And then afterwards is going to say restart required to apply new settings. So just go ahead and click this and then save out your project. You should be ready to use a volumetric fog. So since I haven't done much of it changes, I'm just going to dismiss it, but make sure to restart it to apply the volumetric fog settings from your project settings. Remember just having it enabled, we're going to get a much nicer type of a lighting within our scene. And in order for us to get a proper type of a color inherited from the atmosphere, we need to make sure we somewhat of a disabled the previous exponential height for default settings. So we're going to scroll up all the way until we get to the bulk scattering color, will need to make sure that this is set all the way to black. Otherwise, if we were to enable this, we're still going to be applying additional settings on top of it. So we want to make sure that this is set all the way to black. So we're only inheriting the type of color using the volumetric fog from the atmosphere itself. And then afterwards, if we were to scroll down a directional in scattering, and that also needs to be set to black. Otherwise, we're going to get additional color applied. So we need to make sure that this is set to black, like so we're going to keep it as black hit. Okay, so basically in directional and scattering color and the one previous bargain, scattering color, both of them have to be black in order to set up some nice volumetric results for the park. Now if we were to increase this, we can still see that we're making a really nice volumetric type of a fog. Of course, this is a little bit too much, so setting it up to maybe a lower value. This is still too high. So I'm going to set it to 0.1. Or actually we can keep it as 0.3 just a little bit more than the default value. That's going to give us a really nice result. And now we can hide and unhide to see the difference before and after within our scene. And we can see the type of resistor we're getting just by simply having a nice volumetric fog within our area. Yeah, that's how we get ourselves a real nice ambient lighting setup within our scene. So thank you so much for watching and I'll see you in a bit. 78. Volumetric Clouds: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we set up some of the more ambient lighting within our scene by making use out the skylight, as well as the exponential height Fog. And this gave us a real nice sort of a light within the entire environment. But we're going to continue working on this because now we don't exactly have anything in the background. We don't have any Clouds or anything of that sort. We just have a nice atmosphere. And the two things that we're going to be working on to be with the sky sphere and the volumetric cloud. And actually, the sky sphere is usually pretty good for whenever you want to get a nice kind of a light box within your scene, a background image you have that just kinda dictates the environment, the Lighting, and just a nice type of a look Within, just overall background, atmosphere. But right now, actually, I'm just going to click F with this selected to show you what this is. And it's just a massive sphere basically. And we can apply a type of material with an image and get some nice results. But I think by default, because we're making use out of a, just a Atmosphere with directional light, exponential height, palms and whatnot, we're not even able to see it. So even if we're to hide the subway or even if I were to delete this, nothing would happen basically because we're not exactly making use out of it. So usually I leave it out as it is if we're working with atmospheric settings, such as the exponential height, Fog, volumetric Clouds and whatnot, and of course, the Sky Atmosphere. So we're going to move on to the Volumetric Clouds. We're going to leave this guy sphere is, is actually and we're going to unhide the volumetric cloud. And we're going to see the way our entire project is going to look like. So by default, of course, the clouds are going to look somewhat nice, but they're going to hide away or sun. So within the details that we only have couple of options to make use out of. And the ones that we have is going to be lighter bottom attitude, layer height. And the other ones are going to be more or less helpful to save out your performance. Since direct where the clouds and often a distance, and usually it just like to leave them off. So Light bottom and layer height are the ones that are allowing you to kinda keep the distance, keep track on how high up in the air the volumetric cloud Clouds are and the layer bottom attitude will allow you to basically control the height of the overall cloud system. So if we were to lower this down to zero, for example, get it at a same Horizon level as we have our entire scene. And so we won't be able to see where the clouds and when they start. And it might be nice for certain cases, but we're not going to make use out of that. Then the next step, the next option that I like to use sometimes is going to be layer height, which you might think is going to be how high the clouds are. But it's actually used to mainly control how wide the overall section for the Volumetric Clouds are. So for example, if I were to lower this down to quiet a small amount, we can see how thin the clouds become an actually, by doing that, we're also able to kinda get a more of a distribution between the clouds. We can open up the sun by doing this and see more of the sun. And by lowering it too quiet a small amount, we can see all of the clouds are more or less kind of a flat Latin doubt. So we're not even having that kind of a Volumetric type of a cloudy anymore. But of course that those settings, we don't have a lot control where we just have control over the height and width of the overall Clouds. And usually the default volumetric cloud settings are quite alright. I sometimes like to change them up after I'm done adjusting the other values within these volumetric cloud parameters. So in order for us to adjust the Volumetric Clouds themselves, what do we need to do is actually we need to scroll down until we find cloud Material. And this is the one that's going to allow us to make changes for the clouds themselves. If we were to click on this button over here to browse it in a quantum browser, we're going to be able to see whether volumetric Clouds are located within our Engine. And if you're not able to see this folder over here or Engine folder, you need to make sure you open up the settings tab and make sure you have show Engine content and show Plugin content enabled. And this will allow you to see this type of a folder. Now, with this, we basically, we could make changes within it right away within a Material Instance, but this is a default Material Instance that is located within an engine itself. So all of our new levels, all of our new projects will make use out of this specific Material Instance. So instead of just adjusting that and adjusting it throughout all the upper projects that we have or will be making in the future, what do we need to do is we make, we need to make sure that we make a copy out of it and then replace it within our volumetric cloud system within this project. So the way we're going to do it is we're going to select this. We're going to click control C control V to make a duplicate out of it, which is going to be this one over here. Then within a left-hand corner, we're actually just going to locate ourselves The original content folder that we have, which is going to be at the very top. If were to click on it, we can see that this is actually R1 over here. I'm actually just going to go back into the folder for where we had our entire volumetric Clouds, going to go back onto this simple volumetric cloud instance. And I'm just going to scroll down, scroll up until we get it to the Content Browser folder. And then I think we can just move this onto Landscape section. Since I've pink, we can just have it with your Landscape folder. So what we're going to do is we're going to click and hold and then drag it into the landscape folder underneath content browser that we have. So this one over here, we're going to drag and drop and then make sure that we have it set to move. Move here. So it's going to move it to this area over here. Then we're going to go onto Landscape folder. So our content folder, Landscape folder like so, which contains all the materials. And now we're going to have a Material Instance for the Clouds as well. So we're going to have volumetric cloud selected. We're going to replace this one with the one that we have. So I'm just going to click and hold and then drag it Interests box over here. And if we were to hover over it, we can see the underscore two at the end. That means we have a copy, we basically replace it with a copy. So now, once we open this up, we can see all the type of properties that we can change. And there's actually quite a lot of the settings that we have. So we're not going to go too much into detail, but we're just going to cover a little bit of them. The ones that we wanted to change are the ones that are at the very top. Actually, Base noise scale is what's going to control the overall kind of annoys, look, or are Clouds. I'm actually just going to reposition my camera just a little bit so we could see more of those Clouds. And by changing, It's changing this scale. We can see the type of effect it'll have on our Clouds. And by having this to a lower type of a value, we can see them kind of breaking up a little bit more legs. So to be them, to have them be more chunkier like so. And by default, it might look quite right, but if you want to have them look a little bit more chunky, we can change this to be a lower value. So I think a value of 0.06 would look a little bit better, is it has that kind of a way of breaking up the entire Edges of those clouds a little bit more. Then we have Base noise, EXP, which will basically control the strength, not the scale, the string itself. So I'm actually just by playing around, we can see the type of result that we're going to get. And by lowering this amount of value, we're going to get a more fluffy type of a Cloud, since this doesn't affect the overall result of a cloud. And by increasing this, we're going to be able to break apart those clouds just a little bit more. So that's a nice way of switching up those kind of cloud shapes and getting them to kinda break up our entire Edges of those clouds a little bit more. I think by setting it up, 12 will get more detail. Are these Clouds like so I think that's going to look much better. And afterwards we have bear powder, which if we were to play around with this, we can see the type of result that we're going to get. And basically it kinda controls the way it behaves with the light within our scene. And if we were to set it to an extreme, I think is going to make the entire cloud to be really, really bright. And I think we don't exactly want this. I'm actually just going to leave this setting as is. Then the other one that I like to change up within the Clouds is going to be erosion noise scale. By default, it is quiet, a low value. And that means that the overall setting is actually very sensitive. So we're just going to double this value from 0.00. I think it has five zeros. We're basically going to change the last number, 1-2. And just by changing that, we can see that we're going to get much more detail out or Clouds just like that. Or even instead of just changing it from 0.0 to, sorry, we're going to change it to just 15. So from one, we're going to add basically a five on the very end. And we're going to get these sort of Clouds, which already are looking pretty nice. But of course, just now we're not going to be seeing the sun quite yet because we're not changing the overall shape of the Clouds, so we need to focus on changing that first. Probably that's going to be a little bit better. And we got ourselves something called wherever UV scale. If we're to change this from one from free at the very end to one, for example, we're going to see that the overall Clouds get us a complete different shape. And maybe that one's a little bit too much to change. So let's go ahead and go back to free. And it gives us back the chunkier wants. If we're to change this to six, something like that, we're going to get this result, which might look nice, but that might be a little bit too much. So I'm going to go ahead and maybe change it to four And that might give us some nice results. I think that's going to give us a nicer results like so. And actually, I think we're going to add some when you are Clouds as well. That's going to make it look real nice. So by adding global vector parameter values and enabling been vector will be able to control some of that means settings like so. So by default, it is said as 11, and that means it's just moving diagonally. If we're to set the red value to something like 100, for example, will be able to see the type of results that we're getting. And the motion is obviously too fast, and instead, it's going vertically and we want to go for it to go sideways. So we're going to change the green channel and said, we're going to keep this red as a one just so we can have some variation within. And by changing this green to 100, we'll be able to see which way the overall kind of a flow for the wind goes and it goes left. I think that's going to look quite nice for this section. We're going to keep it as is, but we're not going to use that high of a value of thing. Changing it up to a value of two might give us a nice double result. And I think that's going to give us a really nice type of a transition for the wind, for the overall cloud settings. Now that we're done with that, of course, we need to change up to overall look. And we only have somewhat of a limited amount while using these settings to adjust the Clouds the way they're behaving. So another way that we can do is just like I mentioned previously at the start of a lesson, by adjusting the height of the Clouds. So right now I quite liked overall the shape. Everything that turned out from these clouds and the wind, and we're getting out of them. But of course, we need to make sure that we're having the sun to be a little bit more opened up in this area. We're going to actually just changed up the bottom, the layer height. That is, you kinda make sure that we squish up the Clouds and get more of a gap in this section. So by changing its up to a value of, I'd say, something like this. We'd be able to get some nice results out of it. Or actually, we might want to increase the overall layer bottom attitude. And just like that, we're able to get some nice gaps in-between. This way, I think we can increase the overall layer height and make sure that they still have some width within them. And yeah, I think this turned out quite alright rehab, a nice kind of a separation of the Clouds in area. And I just brings up the entire scene for looking quite nice. So that's going to be it from the lesson. Thank you so much for watching. And I'll see in a bit 79. Creating Fire Fluid Simulation: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by getting some of the Cloud setup within our entire project. And we're basically covered up our entire lighting setup to be used within this environment. Now once we have ourselves the basic, the foundation of the overall lighting, we're going to continue working on this project and this time we're going to set up, sell us a nice fireplace for us to be used within a front section of the house. So without further ado, let's get started. And in order for us to create a nice by Simulation, we're going to make use are the Niagara Fluid Simulation. So as a starting point, we're going to enable cells, a new plugin. So we're going to go on the upper left corner, we're going to click Edit and we're going to go on to the Plugin stamp. Once we go within it, we're going to search for a liquid liquid, Niagara fluids. So this one over here actually, and we're going to enable that one. Like so. We're going to click Yes and now we're going to restart at Engine. Of course, we need to make sure that we save everything out like so. And once it resets, everything wants it restarts or project, we're going to be able to make use out of it. Now that we're loaded up within the Engine, we get some shaders compiling in the bottom-right corner. So that'll take some time for us to do. We can now go ahead and close down this window, like so. And actually we're going to create ourselves a Fluid Simulation Within a different folder right now we have ourselves Landscape folder Still open up. So let's go ahead and change that up. And we're going to create it within the VFX folder over here. And actually think I'm going to change the Scalability from low to high. So could get ourselves in nicer type of lighting. And actually in order to save up the performance, it might be just easier to do so by changing up the Foliage settings. Since this is the most prominent thing that actually affects our entire performance, I'm going to go into Scalability like so. And within it we're going to find ourselves foliage and I'm just going to change this to low. And this way we're going to get a much, much better performance in regards to the entire Foliage setting. And I think for now we're going to leave it is this. So going back to the Niagara Particles Fluid Simulation, we're going to right-click. There are cells, an error system. And this time, instead of using the selected emitter, we're actually going to copy an existing system, which because we have the plugin enabled, we're going to get ourselves a lot of different templates that includes water and fire simulations. And we will want to make sure we use a free day Fluid Simulation. So let's scroll down until we get to the 3D gas section. And we're going to make sure we get ourselves something called grid 3D gas simple Particle solus. Since I find that this one is just the nicest want to start with. Let's go ahead and grab this. And once we have it selected, we can just click finish. And it's going to create us a new Niagara system within this folder. And we can call this one Fire Fluid Simulation. Like so. Once we're done with that, we can go ahead and open this up and see how it looks like. And I actually got myself this kind of Windows. I'm think I'm just going to reset it off the default editor Layout real quick. So I'm just going to get the same type of result. And if you just open up the VFX folder like so, you're just going to dock this entire content browser. So I'll open it up. So this is the type of view you're going to see. And by default, you should get yourself familiarize a little bit more with the overall layout, which if you follow along the system for the Particle setup for the border, you'll notice that it looks similar to the particles that we used before in which, because it's an agora system, it gives you a graph system at the very middle, and it gives you a preview on the left-hand corner. And if you were to select the properties, I'll give you a bunch of properties on the right-hand side. So what I'll personally like to do is actually set up this entire Fire Fluid Simulation within the world. And all we gotta do is we gotta just make sure we simply grab and drop it interval like so. And we're going to get the same time of Simulation as we have Within a preview within this area over here. Now, the downside of using a simulation is that it is quite a performance heavy task within our Unreal Engine. So what I like to do is actually I like to turn off the animation for Within the Niagara Particles System window itself. So what do we have to do is just at the very bottom where the animation is playing, we just can click pause, and that'll just pause the entire system like so. And just in case, I'm also going to change this from lid for the preview to unlit, just so you could take off all the performance heavy tasks from this section over here, we're going to be basically left with a frozen type of a window. Which one we're going to be setting up our entire Simulation Results, going to be seeing the results within a level over here since we got the entire Fire Simulation dragged out into this area. And I'm actually just going to position it to be placed in more or less of an area of where our fireplace is. So in this area over here. And basically in short, we got a lot of options in Properties tab for the particle source emitter. But for now though, we want to set up the overall kind of a grid for where the fire is being simulated. Because as you can see, we have ourselves a nice type of a box, which if you look at the very top, we can see it being stopping the entire fire within this area. And that just means that everything that touches the edges of the pyre, Edges of the boundary box is just going to stop the entire simulation. So what do we need to do is we need to fix up the entire boundary itself. And this, by default is quite a wide box. So we're going to, in order to fix that, we're going to open up the Properties tab for the Fire Fluid Simulation itself. And if we were to just I'm actually just going to meet this entire window quite a bit smaller like so. We'd have the Properties tab on the right-hand side and we could still see the entire simulation within our level. So I'm actually just going to make this a little bit bigger like so. So we have ourselves to graph and we have the selection on the right-hand side. So now that we have the fireplace Simulation selected, we're going to scroll all the way down until we get the reuser prep Parameters. And we have couple of options. The ones that we need to worry about the most is going to be if I were to make this a little bit larger so we could see the actual names of them. World space size and resolution, max axis. The world space size is basically what determines this boundary box off the red area that we see over here. It will determine the entire Simulation area for the buyer. And by default, it's set 600 by 300, 300. And that's going to give us a wide sort of a box. But why do we want is we'll want to set up a fire that also is going to give us a nice type of a Simulation going upwards and right now is actually going sideways. So we're going to be fixing that in the future for now though, we need to make sure we set up a nice walled space size. So we're going to get this to be 300 by 300, by 600. And that's just going to give us a nicer type of a result for our boundary box. And of course, because we cut off the side of the fire, we're going to have this sort of result. But again, we're going to be fixing that in a bill. Other thing that we need to talk about a little bit is the resolution max axis. And this is what basically determines the overall quality of our buyer. If you feel like the performance-wise, it just doesn't feel as optimized. If you feel like it's a little bit too sluggish on your current level, what do we can do is we can always lower this down to something like very to, for example. And right-of-way, we're going to get a much nicer performance out of a Fire Simulation. Of course, because we're lowering the resolution, we're going to get a much chunkier type of a fire. So that's something to keep in mind. Another thing to keep in mind is that we don't want to go and overdo this. And usually, I tend to, even with high-quality type of pyres, I tend to not over go to five-sixths of a resolution because this is a 3D type of a noise. It's not just a simple two-dimensional texture map that we're applying. So it's going to give us a really heavy performance-wise issue. When we're increasing this too much, it might even crash our entire project. So make sure not to overdo it in regards to the resolution. And one other thing that I need to mention is that the resolution max axis is also reliant on the world space size. So for example, right now, if I were to set this back to one-ninth to and get ourselves this sort of result for the fire. Looks, it looks quite alright. But if I were to extend this entire world space size to be, for example, to 1,000. Hopefully, as an example, it's not going to crash. So it's going to noticeably lower in the resolution because this entire resolution for the max axis is actually being applied to the entire space that are entire boundary box. So by increasing this boundary box, we're actually lowering down the entire density for the resolution of this area. So keeping it back at 300, we're going to see a much sharper type of results out of the fire. So that's something to keep in mind. And so basically, we're pretty much set with the world space size. We're going to keep the resolution as 192. And in the next lesson, we're actually going to continue working on this Fire Simulation and set it up to be used properly. Within this area, we're going to talk about how it's actually being applied as a Simulation little bit as well, more in-depth. So yeah, thank you so much for watching and I'll see you in a bit. 80. Working with Fire Fluid Properties: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by placing a Fire Simulation within our scene. And we haven't got anything yet Setup. We just got ourselves a nice boundary box to work with. But in this lesson we're going to continue on with this entire Fluid Simulation and work on it in order to make it look quite nice within our fireplace. So for us to do that, we're going to talk a little bit about Particle System, the way it's being used within the Fluid Simulation. And I'm actually just going to show you right away what I mean within this area over here. And basically, in short, the Fire Fluid Simulation is making use out of this grid. 3d gas controls emitter, and it plugs in all of its properties details into this particle emitter over here. And so in turn, we're getting this sort of a fire by simply checking how close the proximity is to the emitter Particles, the density of the Clusters in-between, we're going to get different types of heat from coming from those particles. And actually I can show you the type of particles that are being used within this section. If I were to turn off the set Fluid source attributes of like so and simply turn on the source render or the sprite render itself. We can see the type of sprites that we're getting. And basically these are the ones that are creating us the type of the fire that we want. And as you can see, for example, the ones at the very start are actually going to be quite dense, but the ones that are going to be further off are going to be more dispersed as Particles. And in turn, if we're to turn on the set Fluid source attributes back on and turn off the sprite renderer. Or we can just leave it all on for now. We can see that it is giving us this type of a fire. So yeah, by default, we are basically just making use out of a simple sprite Particle System in order to give us a nice relation for the fire. And as a starting point, we're going to set it up so it'd be right in the center because right now is just being blessing of entire empire onto the sides. So let's go ahead and fix that right away. Or Cyrus, we're going to change the shape location for where the particles are being spawned. So we're going to go into reshape location for the Particle spawn area over here. I'm actually just going to make it a little bit larger, so good within this view, within our grid. So with the shape location opened up, we have couple of options. One a, which is going to be offset mode. So because right now it is being offset by -200 off to the side. We're going to get the entire Particle System to be spewing it out and it's pointing all the particles on the side. So we're going to change this up to zero and right away we're going to get it right at the center of where our grid is. It's already looking much better in regards to where the fire is located. Course is not quite done just yet because it's still spewing to the side. And that is because we're adding some velocity to these particles. So we need to go to the velocity now and we need to turn off the velocity settings themselves. And we're going to just simply take off all of these velocities like so. And we're just going to get some spawning Particles over in this area over here, we might want to add some of the velocity to go upwards that we will get a much nicer shape to the overall Fire Simulation. And we can just set it up by something like chew something miniscule like that. If were to turn on the sprite render, we can see the type of particles that we're going to have. And actually we might need to set it up to be going up a little bit more. So maybe something to a value of for just a little bit. Actually maybe even set it to attend. That might give us the right kind of result. And I think yeah, I think that's going to be looking much nicer if I were to turn off the set Fluid source attributes of we can see that it's going to give us this type of a result. Now, we can see that what blueness and the reason being is because the entire particle is actually making use out of the curl noise force. So of course, by default is going to be a little bit too strong, so we need to fix that up as well. So we're going to go into the curl noise force and change the strength form 100. We can set it to I20. And that's going to give us a much more constraint of a Fire. And if we were to turn on the set Fluid source attributes, we're going to see it a different type of result. Actually, the noise frequencies deliberate too low, so we're going to set it to a value of ten, something of that sort. We're going to get this result and it's just by wobbling around We're going to get a really nice type of animation. Made me the strength though is a little bit too small, so setting it to a 50 might be a little bit better. And just like that, we're going to get eight cells, a real nice type of a log. And by default though, the fire is way too big. So what are the ways we can control the fire? The size is even by making the Particles, them size to be much smaller. Or alternatively, we can simply just click our within our level and just make this entire section a much smaller. So if I were to just lower this down and see how this looks like, we can basically change up this entire Scale or the entire particle within a detailed step. And we can change this to 0.1 for example. And we'll basically get this entire simulation to me is molar. A much smaller version, maybe not as small though, we can change this to a value of 0.5, then it's going to give us a nice a type result. What if I might be a little bit too much? So 0.7. So because we have the constraint log on, it's going to change the points throughout it all. And as you can see now, it's hitting this yellow box. But basically this yellow box is just resized box of the red one, which we're still seeing by the way as a visualizer. And we can turn this off actually. But it's going to be within a data step. If we were to simply just have the Fire Simulation selected, we can change, I believe allows Scalability. That's not going to be it. It's going to be if we scroll down a little bit, show overlays. That one. If we turn this off, we're going to remove this entire red box and of course the selection, if we were just to click somewhere, somewhere off, we're going to take off this entire selection. So that's how we doing. Now. We're going to go back into its properties, into Fire Simulation Properties, and make some additional choices. So right now, I think we can, because we have the box quite tall and it might be better if we just put it all the way higher-end go into shape and its own inter-particle spawn shaped and actually just lower the offset by quite a bit. So right now it's set to -50. If we were to set it to -200, we're going to get this entire thing much lower. Maybe -300. I do. That's a little bit too low, I think. Or maybe just quite alright. Because right now our entire Fluid Simulation is being placed at the very bottom of our simulation. We have much more space to work with in regards to how the Fluid Simulation is being affecting our entire area. So that's quite nice. So now we have a couple of things to fix. And I think the first one would be best to fix in order to get more of an area for the fire to be just spawning in. And I'm actually just going to turn off this pride render because I forgot to do that. We had some sprites still spawning. And that's going to be much nicer if we have them turned off. We can see the Fire much better, much clearly. And now we're going to go into the shape location and make sure we switch up this entire sphere radius. And instead of just using a sphere, a finger, it'd be best if we'd use a cylinder. This way we can control the width and height for our entire Fire and we can get much nicer results out of it. And the radius, by default 100, I think it's a little bit too much, maybe something like 50. That's going to be much better. And as regard for the height, we don't need to do it too much. So something like something like 20, I think that's going to be better and we just got to worry about it for now in regards to the overall size of the area for where they spawn. So maybe we can turn on the sprite renderer and see how exactly they are being spawned. And see this type of results. I think there's going to be quite alright. I think there's going to give us a real nice by irrationally. So let's go ahead and turn back the set Fluid source attribute, like so. And it's going to give us this result, and that's going to be it for now. In the next lesson, we're going to talk about a little bit more in depth in regards to initialize particle as well as the spawn rate. And we're going to finish it off with the set Fluid source attributes. So thank you so much for watching and I'll be seeing you in a bit. 81. Working with Fire Simulation Density: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting ourselves and nice Fire Simulation, which is a little bit too heavy on us right now as the entire fires just being flung right into the sky. And of course we gotta make it smaller. So before when we talked about the Fire Simulation and it being making use out of the Particle System and the overall density of its Clusters. What I meant is that now the life minimum and maximum will determine how long the particles will last within the scene. And if we're to lower this down, this will affect the overall density. So whenever they spawn, for example, if we were to lower this down to a value of 0.1 right away, we'll see the type of a difference within our entire fire. But in turn, so the density is going to be smaller, but in turn at the same time, the overall shape is not going to be quite as nice. So I'm actually going to click Control Z and keep this entire buyer is, is because in turn, I'm actually just going to lower the lid, change the view to unlit so we could get more of a performance identifiers. So you could see the entire simulation in a bit better kind of away waste going back to the density, we have some control within initialized Particle in regards to, for example, lifetime minimum and for example, something like Sprite size, but all of them would still keep you, will still give you the same kind of a fire, more or less. You'd be able to change the density. You'd be able to change the heat a little bit, to look a little bit different. But for example, if we'd go to the spawn rate and see how many spawn Particles there are. It's going to be the by default a 10,000. If we were to change this to something like 100 and see the type of result that we're going to get. We'll see that the type of fire is actually going to be really, really small. We're barely able to get any smoke. And so if you want to get a Smaller type of a density, a density for the fire will be basically it just lowering the amount of spawn rate and that in turn will give us a smaller amount of a cluster within our scene. So in turn is going to give us this result. Now I'm actually going to play around a little bit with this bond rate, increase it to a value of 200 just to see how it would look like if were to double that amount. And just by changing into a 200, you can see the type of a result we're going to get out of our entire Fire Simulation. And I think we can just go up in a distance and see how it would look like because we're trying to figure out the exact amount that we need. And I'm going to double it again just to see how it would look like within this area over here. And we're going to wait for it to end up going up like so, and see how that would look like. And it's actually a little bit too much. Maybe the fire is quite alright, but the overall smoke is a little bit too much. So not always done with this bond rate. We're going to play around with the smoke. And before that though, I think lowering it down to a value of 300 would do us a little bit better because it was a little bit too much in that regard. So by lowering down to a value of 300, we're going to get ourselves a different type of a result, much smaller amount of fire. And yeah, there you go. That's much better in regards to how the fire is within this fireplace. Now we're done with the spawn rate. We can now add, go ahead and adjust the actual Fire Simulation, the main property settings for this area. And so we're going to find them within the set Fluid source attributes. If we were to click on it, we basically need to worry about two values, the density and temperature. And by changing them to around, we'll be able to get a much nicer type of a fire. So the temperature, just as it says, it basically controls the kind of a visual look for the heat of our Fire. If we were to change this to a value of one, for example, will be able to get a much harder looking type of a fire, which might look pretty nice, but I think that's actually a little bit too much for us. So of course we're going to lower this down. So I think we can start off by getting a type of a smaller fire or actually a quite like the default 0.2. Let's go ahead and just see how that would look like when it starts playing out within the simulation. And it's quite alright. We might need to lower this down. And the second option, going back to the second option, the density, the one that we haven't touched, is going to basically control the density of your smoke. So if we were to set this to a zero, we're going to get rid of all the smoke and we're only going to get the fire within this area. So if you have a look at it, I'm actually just going to get closer so we can visualize it a little bit better like so we're only getting any like basically the type of fire within our area without any type of smoke. There is some black bit of smoke, but that's actually counted as part of a fire. And so with that, we can determine how much fire we need to have. So right now, I think by default, a value of 0.2 might be a little bit too small. So just in by increasing adjust by a little bit, your value of 0.22 is going to give us a much nicer type of a heat coming out of this Fire. So we're going to get this sort of result. I'm not sure about the fumes going off a fire like this. So maybe lowering down to a value of 0.21 is going to give us the right type of a look. Let's have a look about tweaking those kind of values just a little bit, seeing how they're going to look like visually. And I think that's going to look actually quite nice within this Fire, within the setting. So let's go ahead and keep this Fire as is, and ask for the density as for the smoke of the simulation. Let's go ahead and try using it. A value of 0.2. Let's see how this would look like. And I'm actually just going to turn off the lid Mode to be unlit just so we could speed up the performance within our entire simulation. And this is looking quite alright. Actually, let's try going a little bit higher just to see how that would look like in return, value of 0.4 might look quite alright. But actually it's a little bit too much and I think we need to go the other way instead. So value of 0.1. Let's see how that would look like. And quite like this result, we're getting some basic type of a smoke going off. And I think in return, if we were to go to the lid mode and see how that would look like. I'm just going to make sure I position my camera in the right kind of area like so going to let Mode, seeing how this would look like. And they go, we get ourselves a really nice type of a fire with some smoke coming out. But we're not quite done yet. We still need to set up the file with some Fire ambers and make sure it flickers with light because by default, the light, the Fire Simulation doesn't have any type of a light. So we gotta make sure we create a blueprint for that and we'll basically be getting into that in the next lessons. So thank you so much for watching. We can now close down. This is assimilation, makes sure it's saved out. And yeah, I will be seeing you in a bit. 82. Setting up Fire Ember Niagara Particles: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by getting some of that Fire Setup using Niagara Particles Fluid Simulation. And we set it up basically as a nice fire to be used within the fireplace over here. And now we're going to continue working on it and actually add additional effects using Particles and create some Fire ambers. So let's go ahead and get right into it. We're going to right-click within or VFX folder. We're going to get ourselves a Niagara system. And we're going to get ourselves and emitter. So we're going to click Next. And just like we did previously with water for example, or whatnot, we're going to use fountains since that is my usual go-to type of a particle to start from. Let's go ahead and selected click Finish. And now we gotta sell some starting point for the ambers. So we're going to call it Fire Ember Excel. We're going to double-click on it and we're going to start setting it up. Don't think right away we can start setting up the way they look like within the preview window. And I think it might be better if we were to just grab it within our scene just like we did with the entire Fluid Simulation for the buyer itself. So we're just going to drag and drop it into our entire section like this. And we're going to see the way this looks like within our environment. So I think we're going to start on by getting the spawn rate changed. By default. It is way too high. We're going to have way too many of those particles. So we're going to spawned, have the spawn rates at ten. And in order for us to randomize the spawn, we're going to also change up the spawn probability because this way we'll be able to get a more organic type of a look of ambushes being brought up from the fire itself. We're going to get this to be 0.3. And this amount will just make sure that we're getting some random bursts of fire in verse like so. Then right away, I think we can just go into the initialized particle. And actually for now we're going to turn off the forces acting up upon these particles so we get a better understanding on how they are alike. So we're going to turn off the ad velocity for now and gravity force just so we could get a better look into Particles. And I'm actually just going to zoom in within this window over here, just so we could see. Now we can go into the initialized particle and actually play around with the values. I think for the moment, the default setting for the lifetime minimum and maximum meshes too close to one another. And we should get some other particles that are going to be straight up, appearing and then disappearing. And then some of them are going to last quite a bit longer. So the minimum, I think we can set it up as 0.5, so we're just going to appear and straight up disappear. Then for a maximum, we can set it up as four. So some of them are going to be appearing for awhile and some of them are just going to be straight up disappearing. Then the next step that I want to do is change up the color. But by simply changing up the color, it's not going to look quite right because we're just going to have a single type of a color. And of course, that's just going to look to plane is Fire ambers. So we're going to, instead, what we're going to do is just we're going to have a random type of a color in-between, a set of values. So we're going to click next to the color mode. We're going to click on this button over here. We're going to open up our window and going to search for random like so to get a random range of linear color. So now in-between those two colors, we're basically going to get a value that's going to be placed at random. And now we can change the minimum color to be a reddish tint. Lets go ahead and do that. We're going to get a read ten. Let's not forget to change the brightness as well. And we can just get a moral red look like so saturation, we can bring it all the way up and maybe lower the brightness. We just want to make sure we get this sort of a red we can hit Okay? And then afterwards, for the maximum, we're going to set it up to be an orange type of a tenth as well. A high saturation, maybe a little bit less towards yellow and more towards red, like so. I think this will do quite well. Now if we were to hit Okay, we get, we can see that we get a bit of a variation in-between those two. Actually just going to get this window to be more like this. Just so we could see a little bit more like so. And that's going to be quite alright. Now, in order for us to get some variation within the size as well, we're going to change the sprite minimum and Sprite maximum. And I think We can get it 4-8. That's going to give us a nice type of result. I'm actually just going to click, going to bring this Particles actually back a little bit so we could see how they look like within this area. It's going to click F and just slowly zoom in to this area over here. And just so we can visualize how they look like, like so I think there's still white and that is because we haven't saved those Particle setting stress yet. So I'm going to click on this window over here, like so. And we're going to click Control and S to save it out. And this way, we're going to get a nice type of a Light. So there you go. Actually just going to bring them a little bit more to front you go. Okay, so now what we're going to do is we're going to set up the shape location for how they spawn. And we're going to go into the shape location. And we can keep the sphere as a shape, spawn location as its original shape. But I think we need to increase raiders by quite a bit. Setting it up to a Fifi is going to be giving us a nicer type of result. I'm just seeing how they look like in front of the fire. We don't need to put it right in the fire itself for now. We're going to be changing that up a bit later. But for now though, we should get something like this and are actually quite bright. So the color for themselves are going to look a little bit too bright. So we're going to be changing that up with something called velocity color scaling. But we're going to do that in the bid for now though. Let's go ahead and add our velocity back and make sure that we do have some speed that will make these particles lie up. So they are already set in a cone, which is pretty nice. But we're going to set the velocity of minimum set as ten and maximum set as instead of 200. I think that's going to be quite alright. And I think of course we need to make sure we take them on to make sure we have that enabled within our scene. And just like that, we're able to get some nice variation. Some of them are going to be slower, some of them are going to be faster. Just like that. We'll be able to get some really nice results out of them. And to continue on, we're going to get ourselves some particle updates as well. For starters, let's go ahead and change up the sprite size. So based on the scaling with to get a different type of a result. So we're going to add a new particle update and we're going to search for scale, right? Size, like so. We're going to get this just like that. And we're going to get ourselves a simple pulse value. But we don't want it to be going all the way to zero at the very end, since we don't want them to just disappear just like that. Instead, we'll be using a scale instead of the, sorry, not Scale. We're going to use a color opacity instead of this scale and set it up like that, because right now that you're going to be too small, going up like so. So we're going to select the very last key, just like that. And we're going to change this from zero. We're going to change it to 0.5. And just like that, we're just making sure that they don't completely turned into a really small type of an amber like that. Then afterwards we're going to go actually onto the drag force like so. And we're going to change this from 0.252, 0.5. So we'll be able to have some slowing down of an effect whenever they go a little bit higher up. But that's quite nice. I'm actually going to turn this off to unlit so we can visualize the Particles a little bit better and see how they look like within this window. So it's already looking pretty good, but we need to add a scale color as well. So we're going to add a new particle update. And actually, I think we had, we had, actually had the scale color already. So let's go ahead and just make use out of that. We're going to select it like so. And we're going to get ourselves at Template. If we were to look for it, I think my window is a little bit too small, so I'm going to make it a little bit bigger. Actually, see the templates of them just like that. And we're going to select the ramp up and down. So basically the color, the Alpha, the opacity for these are going to start off at zero. They're going to increase and then slowly fade out. And that's going to give us a really nice organic type of a look for the ambers. So I think that's quite nice. And now we need to set up some motion with them as well. We need not to forget that. So we're going to actually add a curl noise force. We're going to search for accrual noise force just like that. And we'll begin by just getting a really strong animal string so we can see the type of frequency we're using. And having it as 100 will allow us to just tell apart what kind of a frequency we need to have. And I think we need to lower this down to a value of 20. Let's see how this would look like. It gives us sort of emotions in these, I think that's quite alright. Actually having a value of 20 is quite alright. Let's set the strength to ten and see how that would look like. And that's a little bit too small Let's go up a little bit more in strength to 20. And this way we're going to get some nice kinda float to the side just like that. So that's already looking quite nice, but we're not quite there just yet. Because I think we need to add a little bit more of a curl noise force to the entire Ember flickering and their motion. And so we're going to add yet another particle update. We're going to search for curl noise, like so. We're going to add this one over here. And just like we did previously, we're going to add 100 of a strength. And we can see the type of frequency that we need. So we can start off by having it set to ten and see how this would look like and maybe a little bit less set to eight. This way we're getting some nice motion going off on the sides. But it's a little bit too much. So maybe hopping it will do the trick. Let's go ahead and see that. There's just going to give us a nice type over swaying, motion while and going up. So already they're looking pretty good. So that's really nice to see. But now we need to have some control based on the type of speed that they're having. So right now they're just all of them having this randomized type of color. Of course, that's not going to help us out in getting a nice result in regards to that, because usually when we have a harder Ember, they'd be more heated up and they'd usually fly up faster. And in that regard, we need to set up something called Scale color by speed. So if we're to add particle update and search for scale color, high-speed, go this one over here. We're going to add this one. And by default, the minimum and maximum threshold is set to us 100,500. And usually what I like to do is to set the minimum and maximum speed is I like to go back onto one of my velocities and seeing how the main Kadima speed that we're having is going to be affected. So the maximum was set as 200. And that means that it's usually best to keep that as a maximum speed within the scale color by speed. This will make sure that we get met the best kind of arrange out of this entire properties. So we're going to go back onto the scale, color by speed and set the max speed pressure 200. Just like that. And ask for a minimum. We can probably set it up not to a value of zero, but something that's close to it. Something like a ten thing that's going to be quite alright. Just like that, we'll be able to get some nice results. So we can change up the RGB scale, minimum and maximum, and alpha, or minimum and maximum as well. So usually we're just use one or the other. So we wouldn't get in the way with, they wouldn't collide with one another. They wouldn't be amplifying this entire effect. So what are we going to do for the Alpha, which is going to keep them both as one, since we don't actually want to have any opacity changes for them. We just want to make sure that some of the and massiveness gets changed up during this entire process. So right now the minimum, we don't want it to be set as zero, otherwise they're just going to not behave as Amber's. I think we can set it up as half of our original value, 0.5. And then the maximum can be bid a lot, a bit larger. So 1.5, I think that's going to give us a nice type of a result. So just like that, when you'll be able to get some real nice results out of it. And I'm actually just going to go into that by accident. Going to make sure we go into those embers and see how they look like. Like so licking F to focus my entire camera onto this area, clicking G to make sure we don't have any selections and just seeing how they look like from a distance. So I think all in all they look quite alright. We might need to change the orange color since I don't like the scatter of a yellow. So we'll go real quick back onto the initialized Particle and change up this maximum color just to be a little bit more towards an orange, just like that. I think that's going to give us a much, much better result they ago. So yeah, that's all it takes for us to get us some nice Amber's within this area, we might need to lower down the saturation a little bit for the red, just a little bit, and make it a little bit brighter. By tweaking some values around like that, we'll able to get some nice, really nice results for our entire Amber system. And we can now close this down and see how they look like. Of course, we got a Setup them to be in fire itself, like so. So it'd be, they'd be combined with the entire Fire Simulation. And this way we're able to see how they look like in regards to the entire camp site fire? Yeah, that's going to be it. We're still missing a five Flicker, so we're going to do that in the next lesson. So thank you so much for watching and I'll see you in a bit. 83. Setting up Light Flicker Blueprint: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we added some Fire Amber's to our scene and made the Fire look just a little bit better. But we still don't have that Light Flicker coming from this fireplace. So of course we need to make that happen. And so we're going to make use out of a blueprint in order for us to get a nice light flickering effect. So right away we're going to right-click and we're going to get ourselves Blueprint class. Let's open this up and we'll simply want to get ourselves and empty actor. So we're going to click on an actor like so. And we can call this one Light, Flicker, like so. And I think we can right away just add it up, even though right now doesn't have anything within it, we're just going to add it onto the scene. Let's click G to make sure we see are all the icons within the scene. And we're just going to position it to be right above the fireplace just like so maybe lower down just a little bit. That and around this area, we're now going to open as Blueprint, Blueprint Class up. And if you ever worked with something like unity for example, it's, it can be used similarly to a prefab in which it basically stores items within itself and it can also contain codes and whatnot. So we're going to just simply create a cell is a very basic blueprint for the flickering. So for us to do that, we'll need to get ourselves into the view port. So I'm actually just going to make this a little bit bigger like so just like that. So we could see the scene as well on the left-hand side. And I'm going to just position the window just a little bit like this. On the left-hand side will have components. And with the view port window open will be able to add ourselves as simple spotlight. So we're going to click on this button over here. And within it, we're going to search for spotlight or just we can search for, I guess, Light. And we're going to find ourselves a point light legs. So we're going to add it. And once we add it right away because we added this Blueprint within the scene, we're going to light up our entire scene. So for now we just need to set up the properties for this light source. And we're going to have the properties with the point Light selected. We're going to have it on the right-hand side, the Details tab. And we'll basically wanted to start off by changing up the attenuation radius, which will affect how much it affects the level to how Larger perfect. And we'll want to set it up to be affecting it basically to the edge of the house. I think that's going to be quite alright. I'm actually going to deselect it and select the Blueprint again so we could see the visual attenuation rate is within this area over here. And we'll want to set it up in a way that's going to be like this. I think can just use a value of 500 that's going to be more than enough for us. The more we use typically, the more performance every the lighting will get. So keeping into as small as possible while not making it too small, soda would still affect most of the radius within a light source. It's still going to be giving us a real nice effect. So the next step that we need to change is of course the light, because by default is going to give us a wide type of a thin. So we can just click on this area over here and change this to be more of an orange type of a light. So by adjusting it, so we could get a real nice type of a result like so. It's going to give us a really nice type of intensity we can now hit Okay, and see how it is looks. And we also have an intensity or the light area over here as well. But we're going to use a Blueprint in order to change up the intensity so we don't have to worry about it just now in regards to the intensity itself. One more thing though, that we'd like to maybe change up is going to be the source radius. If we were to increase this to more of a high value like so, we're basically softening up the shadows that are around it. Because otherwise, if we have a too small, I'm going to zoom in a little bit just so we could visualize that a little bit more within this area like this. So by having this of a smaller area, we're basically telling the source angle, the source radius of this point Light is actually quite small. So we're going to get some really hard shadows on the edges near the fireplace. So by increasing it too much though, we're going to get rid of all of those shadows and that's going to get, not give us enough our deaf. So we gotta make it somewhere in the middle. And I think by adjusting it to a value of 100 is going to give us the right type of results. So let's go ahead and keep it as this. Now, in order for us to create a code for the Light Flicker will need to go into the event graph. So that's going to be located in the upper corner of our window, or actually right in the middle of the window like so we're going to open this up and we're going to get ourselves to Blueprint graph, which will be able to use in order to get ourselves a really nice Flicker. So for us to make the set Flicker, we're going to start on by making use out of the event begin play. And that means that whenever the scene gets played, it will start flickering and in turn will give us some real nice results for the lights. So we're going to just simply drag it from this area over here. And we're going to search for an event timeline. So we're going to search for timeline like so. And we're going to add a new timeline just like that. And we can keep the name is as we don't need to worry about the name since we're only using one timeline, that's going to be fine. So we created ourselves a timeline that is going to be played whenever a, an event is going to be beginning plane, we need to make sure that it gets played in a loop and we'll be able to get ourselves a constant Flicker within the scene. So for us to do that, we're going to double-click on a timeline and open up the timeline settings within it. All we need to do is set the loop to be constantly looping. So this button over here, with this enabled, we'll be able to basically get ourselves a nice flickr constantly within the scene. So of course we can now close down this tab like so and get back onto our Event Graph. And we're going to get ourselves a sequence which will allow us to get multiple events happening at once. Because we'll want to be changing the intensity with the intensity of float value that is also randomized. So we want to at same time change the intensity and randomized a certain value. So for us to do that, we're going to drag it from the Update, which will be constantly updating our entire section within this Light Flicker. And by dragging it out, we're going to search for a sequence like so. Then we're going to get a sequence of two. Just like that. We don't need a third one, but if we do, if it wouldn't need it, we can just click on the plus symbol over here. That would give us a new sequence. Just like that, I'm going to click Control Z to undo it. And now in order for us to create an intensity for the point Light, well, first of all, just drag the entire point light into our scene just like that. So from the left-hand side, we're going to drag it out into the world, into the Blueprint that is just like that. And this'll give us a nice point light area just like that. And of course we'll need to set up an intensity from it. So we'll need to determine the intensity. And the way we do it is just by clicking and dragging it from the point Light like so we're going to search for intensity or more like set in density that is. But this one over here, we're going to set ourselves and intensity, and we're going to get ourselves this type of a node. So now we just need to connect our sequence to this node like so. So it'll be constantly setting us a new intensity. Of course, we need to tell the type of intensity that we're going to create. For now we're going to leave this as is. We're going to put this a little bit more to the side, like so. And then for the next sequencer, we're going to get ourselves a new event. So we're going to drag this from a sequencer and we're actually going to begin by getting ourselves a delay, node. Delay, like so, which will allow us to give us a sort of a delay between those Flicker intensity changes. So we'd get a more of an organic type of a look and it wouldn't be too fast. And it'll make it look like a natural type of a fire Flicker Light type of a delay? We need to set up a value and the value by default is set at 0.2. But of course we need to slightly change that up. And instead of just changing the value as is, we're actually going to make use out of a random range. We'd get a more organic and randomized value. So we're going to right-click within a blueprint and we're going to search for a random range, like so, so random float in range. We're going to get this sort of a node right away. We're going to connect this to a duration just like that and ask for the minimum and maximum. We want some past differences, a pass the type of delay. So we're going to get a value from 0.082, a value of 0.13. And this will give us a nice type of result for the delay. And then after each layer, we need to basically get ourselves a type of a change Within a value. So for starters, we need to get, we need to tell this Blueprint what kind of value to use. We need to get ourselves a new variable for it. And so for us to do that, we're going to click on this plus symbol over here. You will create ourselves a new variable. We can call this intensity like so. And we're going to change this from a boolean. We're going to change this to a float value. So this will allow us to get us a number or this entire variable. And now all we need to do is just click and drag and drop it into a Blueprint and make sure we're setting an intensity this time. So we're going to be able to, every time After a delay, set a new intensity for this section. And we're going to attach it right away after the delay into this set node. And of course we need to set the intensity. And just like we did previously with a delay for a random node, we're also going to randomize the intensity as well just to make it more organic. So we're going to right-click search for random float in range. So we're going to attach this to an intensity. As for intensity, we are going to change this to a value of between 200, just going to delete it 200 and a value of thousand, like so. So it is going to have a last type of arrange between those two values. So it's going to be changing a value after every delay of a randomized value to a randomized type of an intensity type of a float variable. So now that we have a change like so, now that we have ourselves a randomized value for our intensity, of course we need to add it up to our point light intensity over here. So the way we're going to do it is actually quite simple. We're just going to make use out of Alert value. And we're going to hold L and we're going to click on a blueprint or sorry, because that's not a Material Blueprint really need to actually right-click and search for a loop. Like so. We're going to add a float, and that's going to be switching between those two values. So now what we need to do is tell the which is a and that's going to be an original intensity value. So for the point Light, so we're going to drag it out from the point Light, Light so, and get ourselves and intensity. So for search for intensity, we're going to get ourselves a light intensity. So this one over here, this is not the intensity float Valley, this is a light intensity. So this is going to be a different type of a value, like so. And we're going to attach this to a, an, a just like that. Now as for the B, we're going to be attaching this to a randomized variable that we had to discipline over here. We're going to drag it and drop it over here. And we're going to get the intensity value just like that. Then we're going to attach this variable to a B. And of course, to finish it off, we're going to attach the slurp to a new intensity. So every time this sequence is going to be activated, is going to change us with a new intensity. And of course, right now because the Alpha is set at zero, we're not going to get anything. So what we need to do is actually change that up. And basically the higher the value for this is going to be, the more of an intense of a change that's going to give us. And by default, I prefer to use something of a value of zero point a that's going to give us a real nice type of a result. And then afterwards, it will basically add a, it will combine between the values of an original value and with the intensity variable that we have. This way, we'll get ourselves something of a value in-between. And then afterwards, another time it activates, it's going to get that new value that it just created and apply our new intensity that's going to be randomized again. So that's going to be the way it works. Basically, it's Unreal, nice and simple type of a blueprint that gives us a nice type of Flicker. So once we compile this type of a Blueprint by clicking on the top left-hand corner like so we're going to get ourselves nothing because we still need to play the scene. So I'm actually just going to close this down closest entire Blueprint like So hit Control and S to save this entire scene. Now going to position my camera to be right above this area over here and then going to hit play. Just you could see how it looks like within the scene. So just by doing that, we can see the type of Light Flicker is going to give us. And just like that, we're going to get ourselves a really nice dipole Flicker. It might be a little bit too yellow because we can see that the light, the flame itself is actually more orangey type. So what I'm actually going to do is actually I'm going to close this down and go into the blueprint itself, which in order for us to add it to Blueprint, again, we just have to select the Blueprint. And on the right-hand corner we're going to click Edit in Blueprint over here. So after we click this button, will be able to go back onto the Viewport, have the point Light selected, and change the color over here. So I'm actually just going to click on it. And I'm going to make it just a little bit more red, like so. And maybe a little bit more. Just going to click Okay and see how that looks like. And I think that looks quite alright, actually, quite like it. We can keep it as is. And just like that, we're going to get ourselves some really, really nice results for the Light Flicker. But that's going to be it in order for us to get ourselves a nice type of a fire within the section of the hut. So thank you so much for watching and I'll see you in a bit. 84. Sculpting out a Bird Mesh: Hello and welcome back everyone to Unreal Engine five, beginner's guide to building an environment. In the last lesson, we left it off by getting ourselves to fireplace that out with all the ampersand light clickers. In this lesson, we're going to continue building upon this level and actually set up more of a natural look within our landscape. And we're going to get some birds within this area. So without further ado, let's get started. We're going to begin by setting up the measures for the birds. So what, we're going to go into the select mode and we're going to change that to our modeling mode. And within it, we're going to make sure that the new asset allocation is set within auto-generated, auto-generated folder, moral relative. And of course we'll start off with the shapes. This time we're going to start on with a sphere. I think that's going to be a much easier way for us to get a nice silhouette of a bird. We're going to have it in a bag of our environment flying over these mountains, in front of the mountains that is. And so we just need to make sure we get ourselves a really nice silhouette for the birds. And so we're going to just click on a sphere and actually just place it somewhere in the scene like so we're going to hit complete. And for now, that's what we're going to get basically out of it. And I think we can just put it on the side of our yeah, we can put it on the side of our area like here. And we're going to click F to reposition our camera so it'd be facing the words, objects like so. So now we need to get ourselves a basic shape of a silhouette or a bird. And the way we're going to do it is actually quite simple. We're going to scroll down and we're going to go into the form. There are two deform sculpting modes. The first one is going to be, be sculpt, and the second one is going to be D sculpt. The second one is a dynamic mass sculpting. If we want to not worry about the vertices too much, we can make use out of and get the really real nice type of a shape out of it. But for now though, I think we can start on with the vertex sculpting, which will allow us to, if we click on it, just basically sculpt out a shape out of this type of a sphere. And we'll begin by just increasing the scale to a quiet larger amount like so. That's going to be a good start. And we basically have a couple of options. The first one like flow spacing, that's going to control the type of a way the brush is behaving basically. We also have something called the Hidden back paces. I usually keep this on as that's just going to make sure that it hits the back faces. But if we have a larger brush, for example, and we don't want the bottom of this sphere, for example. It'd be affected when we're stretching out the top. We're going to have this disabled. Now though, we're just going to keep the rest of the options as is. So we're going to have a brush set, sculpt n with a region as a volume and a follow-up as smooth. And this will just allow us to, if we were to click and hold, to just sculpt out these kind of a shape. So I'm going to click Control Z because that was too much. And what we're going to do is basically we're going to start sculpting and we're going to keep in mind that we're only going to be using one side of the mesh, since other one we're going to just basically mirror the mirror and tight mesh around and get ourselves to symmetrical catalyst shape or a bird. So let's go ahead and get started. We're going to stretch out the very front like so just by quite a bit. And then we're going to, actually, this might be going a little bit too high up. So I'm going to hold shift and we're going to click on the mesh. And that'll just kind of bring this entire mesh backwards, like so. And we're just going to expand it just like that. We're also going to get some bit of a shape out on the side as well. Just like that, we're going to get a really kind of a nice basic type of a wing. And as for the body, as for the back of it, we're going to just hold it and just drag it out. Words like so. And the top might be, if we were to hold Shift, we're going to just kinda squish it down a little bit like so. And I think that looks, that looks quite bizarre for a moment, but bear with it. Or as we're just making a very, very basic shape of a bird, at the very least one side. So keep in mind, we're going to have a line going across this section. And that'll just help us to get a nice kind of a mirror of this bird area. Now for example, once we get it like so, we want to move the vertices around. We can click on this button over here and change this from sculpt n to change it to move. And this will allow us to just click and hold and then drag the vertices around. And it will help us to reposition the vertices in a way that we want. So we're just going to reposition them all just like that. And I think the bottom of this is actually a little bit too wide, so we're going to love it, It's down. Otherwise it's going to look like Chunky type of way burden and I don't think we want that. So let's go ahead and use the move tool to drag this back leg. So if you want to smooth out the vertices, we can also do that as well. Within a sculpting brushes modes, there's something called smooth. If we were to click on it, we're going to select it. And now we can just simply tap on the very bottom. I cut up average out to vertices the way they are. So it's not going to have any type of a bumpy detail. And for now though, I think that's going to be quite alright. It's going to have a bit of a messy type of an area for the vertices. But we're going to fix that up in a bit. We're going to hit Accept for now. And we're getting to get this sort of a shape for our bird. Of course this is, doesn't look quite as, Alright. So we're going to be fixing that, but we're going to actually use dynamic mass sculpting this time. So if we were to select it, the difference between a vertex skeleton and dynamic scoping is that this one is going to be able to add additional vertices, additional details. So for example, for the edge of the bird, we only have one vertices that points in this area. And if we were to click and tab, we can see that we're actually adding additional vertices simply by sculpting this out. So the brush type is set as move. We can change it up to something like inflate, for example. And we can just inflate, inflate the vertices. Size, of course is going to change up the size. So we're going to increase the size like so. Just by doing this, we're able to get some real nice results. And if we want to have some control over the remeshing, over how many topologies, how much topology actually, as we can make use out of these settings over here. So for example, if we were to change the relative triangle size to a low version, we'd get more of a density. So if I were to do that like so minus one, we're going to actually, sorry, we're going to get a smaller amount of vertices. And just by using that, we're able to get some more topology out of this area. So we're going to use this for a bit. We're going to actually use another brush type, which is also available when the vertex sculpting. But of course, we're going to add some vertices to this area. So we're going to make use out of that. We're going to make use out of Latin. And if we were to use that, we're going to be able to flatten out these wings a little bit. So we just want to create a nice sort of a silhouette just like that. And we don't have to worry about the shape at the moment. We will not have to worry about the vertices amount because we're going to change up the vertices themselves in a bit. We just have to make sure we get a sort of a head shape at the very front and some wings on the side. And the thing that's going to be quite alright, actually, we just need to set up something like this. Get more vertices, lot of it we can hit Accept and we can actually go back onto the vertex cool thing and just go, going between those two. We can get some nice results. And I think this time we can just get ourselves into the Move tool and just set up a really nice, a bit of a nicer shape. So we're going to actually make the size to be a little bit smaller. This is going to be too big. If we were to yeah, we're going to change this up to be to a much smaller size like so. And we're going to move this entire oh, it's because I have the water plays selected. It was giving me a complete different size for the sculpting brush. So I'm going to make sure I have this mesh selected. Goto back to the vertex painting. And now we can lower this size and we should have the right type of sides. We're going to use Move tool to just move this out like so, just like that. And we're going to get ourselves a bit more for the wing as well. So we're just going to drag this wing out just like that. And I simply playing around with these, we're going to be able to get a sort of a shape. So if we want, for example, we can go to the top view as well. That might help us out to get a nicer shape so we can click on this button over here. Then there's going to be something called Mu. If you're not seeing it, we can always change that up and select top view. And then we can click on the same button, but within only that window over here. And we're going to get this result. And now we can just simply sculpt it out within the top view only and get the right type of a result. We're going to get something like this. We've got to make sure that the body is basically Placed position in a right way. And the head, I think we should have more of a neck over here because otherwise it looks a little bit too thick. So I'm actually going to lower the size a little bit like so. And I'm going to just kind of push it in words and get this head to look like this. So that's going to be alright. We don't need to worry about, we don't need to worry about it too much. We just got basic shape out of it. And now we're going to hit Accept and we're going to get this result. So now I'm going to go back onto the view, onto our main view that we had to see the type of progress we've made. And of course, this looks a little bit weird because it doesn't have the other side. So we're going to be fixing that right away. Actually. We're going to go into the modeling mode and make use out of the mirroring. So we're going to use tri modal select mirror. And right away we should get ourselves. Again. I think I selected the water plane, so I'm just going to hit Cancel real quick. Make sure that the bird mesh is selected. Hit mirror. And now we're going to get this results. Of course, we don't want to make sure That we're just connecting the front and the back. We want to have this burden be facing sideways to it, mirror to the side, other side like so. So what we're going to do is we got some mirror preset directions. If we were to go through them, we can see the type of presets we get. So left and right, it seems like it goes to one side and number. So think up and down should be, doesn't seem to be going the right way, forwards and backwards. They go forward, seems to be the going the right way. And once we get this sort of results, are we gotta do is reposition our gizmo. And if we were to just simply drag this in words, we're going to get this result, which is already looking pretty nice. So I think I'm gonna go ahead and hit Accept and keep it as is. So we're going to get this sort of a shape for the bird. And of course, I think we need to adjust the head a little bit. We want to make it a bit more of a solid type of a shape. Since the main concern when we're looking at this side of a sort of a bird is the site of way kind of a view. And I think I'm actually just going to squish it down just a little bit like so. So this sort of shape for the bird is actually looking quite nice. So we've got to make sure we just have a bit more for the head. So we're going to go into the sculpting mode just like we did previously, and find ourselves the sculpting mode within all those modeling mode areas. And there you go, vertex sculpting. We're going to enable this. And this time we're going to, instead of using Move tool, we're going to use and inflate. So what inflate will do is basically it'll expand all the vertices based on the selection. So it's quite easy to give us more of a solid shape. What is kind of a head? Actually, we can use this to soften up the shape for the wings as well because they are too a little bit to figure at the moment. So I'm actually just going to make use out of it and hold Shift and it'll invert the entire effect. And instead of inflating it, it'll kinda shrink everything down. So I think that's going to be quite nice in order to give us a nice type of a flat shape for the wing. So that's going to be quite alright. There you go. I think we can fix up this middle as well a little bit. So we're going to use a smooth tool. So we're going to go into a smooth option like so and just move out the front a little bit just like that. Now as for the back, we also need to make sure we fix up the bottom just like that. And I think that's going to give us a much, much better looking off a result. I don't like the way this thickness is really real quick. I'm just going to fix that up using a move tool and just kind of bringing this entire wing a little bit upwards, just like that. A thing that's going to give us a much, much nicer result in that regard. There you go. We need to fix the top a little bit and maybe just flatten it out. Maybe that might give us the better type of results. So we're going to use a flattened tool, which if we look for it, should be over here. So that will flatten an entire mesh quite nicely. That might have been a little bit too extreme. So I'm going to click Control Z to undo it. And this is the point where we actually make use out of the head faces because we don't want to our ends to be affecting it. Upper side of the wing to affect it. And I think it's too strong. In order for us to lower the strength, we can use the flattened brush strength and you set it up to be 0.1. And this way we can just click and tap real quick to give us this result, which might look quite right, but I think the bottom bid is, needs some fixing as well. So I'm actually just going to do like so. And just like that we're going to get some nice results. We might need to finish it off by getting a and inflate real quick. So we're going to go and open this up and just kinda fixed this kind of a hole over here. And I think that's going to be quite alright. We just need to use a smooth tool to just kind of average out to vertices a little bit over here. All in all, this is going to look like a nice type of wings. So can, we can now hit Accept finally and get this shape. And just to make sure that it is symmetrical, we're going to go into the mirror tool again. And it was, I think was forwards like so we're going to set it up to be just like we had before. Something of this shape, we're going to hit Accept. Now the only thing that we need to sort out is going to be actually, well, first of all, the entire shape I think needs to be going forward. So we're going to lean forward just a little bit like so we're going to give us a nice the type of results. So it's going to lay sideways just like that. Then another thing that we need to sort out is going to be actually something to do with the overall vertices. So we'll need to fix that as well. And we're going to use a simplified mesh in order to remove excessive amount of vertices that we're going to click Simplify. And this will allow us to remove our vertices based on a percentage. So if we were to increase the percentage, we're going to get back the vertices. If we were to remove them. We're going to remove all those vertices. And when doing this, we need to keep in mind that we're going to actually have some of those vertices to be used within a vertex pain in order to have those wings flapping. So we gotta make sure we have a certain amount of vertices. And I think this amount is going to give us a right amount. Maybe set it to ten, a little bit too little. So set it to 14, and that's the right amount. We don't need to do too much. We don't need too many vertices, but just a little bit enough for us to get a certain transition in-between those rings and actually think, setting it up to a high amount. I think that's going to be quite alright. Since we will have more control over the way the wings are going to behave. And setting it up to a target percentage of 20 and lowering basically 80% of amount of vertices is going to do us quite well. Now we're going to hit Accept and get this sort of a simplified shape for the bird. So we just need to focus on an overall type of a log. I was thinking about making use architecture for a burn as well. But actually what we're going to do instead we're just going to make use of a simple silhouette. And before doing that though, I'd like us to go into a quick fix for the rotation of this bird. So we're going to go transformation, bake are as we're just going to remake our position for the bird like so we're going to get this sort of a look. So there you go. Now, in order for us to get ourselves, the bird to be just a silhouette, we're actually going to go into the materials. And I think since we're done using modelling mode, we're going to go back to the Select mode so we can get rid of this tab on the left-hand side. And that's going to be here. We pretty much set up a nice mesh or a bird to be used at the very back of our scene. And we're going to make use out of the wireframe to set up some nice motion for the wings as well. So that's going to be pretty nice. And we don't need to worry about the UVs because we're actually going to be setting up by a real nice silhouette type of a material. So that's going to be for the next lesson though. So thank you so much for watching. And I will be seeing in a bit 85. Setting up Bird Material: Welcome back everyone to Unreal Engine five, Beginners Guide to build an environment. In the last lesson, we created the basic mesh for the bird, the Silhouette upper Bird. And in this lesson we're going to continue working on it and set up a Material for it to be used. So could have it lying over the terrain are next to the mountains. So for us to view that, we're actually going to get ourselves a Material are created and I think we can just keep it within the VFX folder, since that's also part of the visual effects, I suppose we're going to right-click. We're going to create a Material and we're going to call it Bird flap Material. We're going to double-click to open it up. And the first thing that we want to do is actually set up a material that is going to not be affected by the light since we want this Bird to actually be as simple Silhouette in front of a sun. So we're actually going to simply make a selection for the properties Material. And we're going to change the shading mode from the default ggplot, be unlit and right away, once we do that, we get most of the options to be ticked off and we're only going to be able to make use out of the mess of color to set up a nice sort of a Silhouette of a color. Since it is unlit, Material, emissive color doesn't get affected by the light, so we're only able to make use out of this. And of course, we're also able to use out of old position offset, which will be able to set up in order to make this bird flies. So actually, before doing anything, I'd like us to just apply a Material Instance onto this bird. So we're going to right-click onto material that we created. We're going to create a Material Instance, and we're just going to apply this directly onto our Bird, just like that, which seems like I didn't make an assignment. So I'm actually just going to minimize the Material window that we have. And I'm going to have the Bird selected. Just apply it onto the right-hand corner within the Details tab, just like that. And I think that works out well. It's like right now as science. So we're going to open up the material and we're going to firstly change the color for it. We're going to get ourselves a very basic setup parameter to change the color just in case that we want to, we're going to hold free. We're going to tap on the screen within a Materials tab, and we're going to attach this to emissive color and ask for the parameter itself. We're going to right-click and convert this to a parameter just so we can make some adjustments in case we needed in the future. For our Material Instance, I can call this one color like so. And default one is black, which is actually totally fine for us. We're going to click Control and S to save it and compile the entire material. And this is a type of result that we're going to get. So right away it's actually going to look quite a nice like a silhouette type of a Bird. We're going to put it all the way in a bag so we can see how it looked like behind our Lighting. And now we're going to set up the motion for the birds to flap. So what we're going to do is actually going to be relatively simple. We're going to firstly make use out of a sine value, and that'll just allow us to move our entire birds so by right-clicking, searching for signs like so. And of course we'll need to attach the time to it as well. But before doing that though, we need to make sure we have some control over the speed of the motion of those wings. So we're going to right-click search for time and waste the time. We're going to set a simple parameter for a Bird, fly speed. So we're going to hold em, we're going to tap on the screen and we're going to hold S and tap on the screen as well to get ourselves a parameter, we're going to call this one wing speed, like so, going to basically attached to time and the wind speed, both of them into the multiplier. Just like that. And of course, we're going to maybe just move them a little bit to the back. And we're going to attach it right away onto the sine value just like that. Of course, the default parameter is going to be zero, so we're going to change it to one so we could have some bit of the movement from the get-go. So now we're going to basically attach this to the world position and see how this would look like. We're going to hit Control S to see what kind of emotion actually gives us. And it just gives us a slight bit of a wobble. So the next step that we're going to do is actually go ahead and add an intensifier that basically will allow us to make the bird to have an increased amount of intensity for from this sine value. So we're going to simply hold S. We're going to create ourselves a parameter and we're going to call this wing flap amount, like so. And we're going to get a cell as a multiplier holding M tap, tapping on the screen. We're going to both combine the sine value and the wing flap amount. And we're going to attach that to the world position offset. Just like that. And maybe the default value was a little bit too small, so we're going to get them default value to set the free. And now we're going to click Control and S to see how the motion is going to look like what a Bird. And that's going to look a little bit more of an intense type of value Just to see it works properly though, I'm going to set this to maybe something like 50 just to see it wobbling around like so, so that's going to look quite nice. There you go. And it's already having a certain emotion. But of course it's not the type of motion that we want because we don't have motion in the right way. Cartilage just wobbling sideways. If we look at it from side, it's actually just going diagonally like so. So we obviously don't want this to happen. We want it to be going up and down. Only know before we even create a motion for the wing, we've got to set up the motion first properly. And so for us to do that, what we need to do is we actually need to get ourselves a new multipliers. So I'm actually just going to move the emissive color out of the way when to just reposition my window real quick. And now what we're going to do is get ourselves a multiplier like so holding M, tapping on the screen. And we're going to attach the B to B, the sine value that we had previously. We're going to attach this right away through well-positioned. And as for the a, we're going to make sure we can mask out only vector Z. So we only the zed value will represent the up and down motion. So basically we're going to get ourselves vector free. We're going to click and hold free and then tap on a screen. So we're going to get ourselves vector free. For this vector, we're going to simply extend this entire value, like so we're not going to go into Color Picker, and we're just going to set it to be a blue value of one and rest of them are going to be as zero. This way we'll be able to control only the blue value like so. And then we'll need to basically right-click and search for transform vector or vector like so. And actually we're just going to need to use only transform. So by searching transform, we're going to get this one over here. We're going to select it to get transformed vector. And we're going to connect this blue value right into it, like so. Now we need to make sure that it is being used as a local space instead of world space. So having this node select a liberal need to change it up from whitespace to local space. So this way, we're just making sure that it is not using the vectors within a world space. And we're able to attach it directly to the objects individually. So that's going to give us the right kind of results. Now all we need to do is set them up with the multiplier like so. Once we do that, we're going to click Control and S to save it up and see the type of result that we're going to get. An actual, this is what we're getting at the moment because they just realize that it is not the right type of local space. We need to go into it and we need to change it from destination. Instead, this will need to be world space. The source itself, though, needs to be local space if we change those two together, like so, we're going to get wobbly effect going in emotion of up and down. Now if we click Control and S to save it up, we're going to get this sort of emotion up and down within the Z axis. So they're always going to be wobbling like so that's going to be quite nice. But of course we're not quite done just yet since we need to set up some of additional settings. And so for starters, what we need to do is firstly, we need to make sure that we are using Vertex color within this area. And the way we're going to do it is actually, we're going to just right-click or actually I'm just going to move the color, but AMISOM color just a little bit out of the way. And we'll need to just right-click search for Vertex color. We're going to get this one over here. And we're going to just multiply this by the red one, like so. And by using them up, using the previous multiplier with the multiplier for B, attaching this to the world position like so, we're going to get the right type of result. Now, if you click Control S and save it out, it should still be wobbling. But that's because we don't have the vertex Painting yet. And we're going to paint out the entire body in the BID. Before doing that though, what I'd like us to do is set up the wobble motion for us to be a little bit more randomized. And the weekend we can achieve that is actually if we're to add an additional setting onto our timer before adding it to the sine value over here. If we were to simply add a world position, would be able to basically move the Bird a little bit because right now if I were to make a duplicate out of it by just holding Alt, you can see that both of these motions are actually the same. So we're going to be changing that up a little bit. And we can do so by right-clicking and just getting ourselves the world object position. The object position in world space like so. Now we're going to of course, use a mask, because right now it's just making use out of a free directional vector. And we need to just use a simple one type of a value. So I think the best one is going to be if we were just to drag it out, use component mask, like so. And we're just going to use one value actually, I think that's going to be more than enough. In this case, we're going to set it up like so. And by default, the value is actually going to be quite large, so we need to divide it. We're going to drag this out, search for divider like so. And the right value that we're going to make use out of is going to be 1,000. I think that's going to be quiet. Alright, you go. Now we just need to add it up those to the time and this position, if you hold a and add it up to the side like so, we can simply add both of these together and add it to a sine value. We can click Control and S to save it up. And now if you have a look at it, we're going to see that both of them are actually wobbling in different directions. Now what's not going to change is that both of these birds, if, for example, we duplicate it to the side, we'll notice that they're actually still they still keep the same motion. So in order for us to make sure we truly randomize it based on a position we're going to make a duplicate out of this mask. And the divider as well, going to hit Control C, Control V, just like that. And we're going to attach this world position, this time the component mass. Instead of using a green one, we're going to use a red one. So this way, it'll be the x-axis instead. And now we're going to add the, add them both together basically. So we're going to hold a, tap it on the graph, and we're going to add these two together, like so. And both of these, we're going to just add it up to the entire value just like that. So now we're going to hit Control and S to save it. And now, once it saves up, we can see that all of them mobile in their own different kind of a Pattern. And that's actually going to make it look much nicer in regards to how to look like. So that's going to be it for the regards of the material. In the next lesson, we're going to continue on with this and actually set up a nice type of flock of birds going over the side of the Horizon within our landscape. So thank you so much for watching and I'll see you in a bit. 86. Vertex Painting Bird Static Mesh: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting ourselves a nice Material Instance which allows us to move our Birds route the Sky. And now we're going to make use out of those vertex Painting nodes. We set up with this entire mobile mesh and actually make only the bird wings to move within this area. So right now they're moving and we need to make sure that we set them up in a nice way for service, we're just going to grab the first Bird that we had, this one over here. And I'm actually just going to rename it first. I'm going to select it within my outliner and just click F2, like so. And then we're going to call this Bird just like that. And I think that's going to be actually alright. We can delete the rest of the birds for now, or we can leave them as is for now. Since when we're going to be doing vertex Painting is better. It might be as well better to have multiple Birds, one area just to see how the wings will flap in multiple varieties of measures. So let's go ahead and just select the Bird that we just renamed, like so. And we're going to go onto Modeling Mode. Sorry, not the Modeling Mode. We're going to go from the select mode to the mesh paint Mode. And we're going to make sure that we have this Bird selected. Then we're going to go onto the pain Mode. And we're going to make use out of the red channel just to pay out the different types of a section within this bird. So we're going to change the color view mode to be a red channel. And what you'll notice is because we are having it selected within a red channel. It's actually not going to be affected by the material anymore. It's not going to be moving around. The rest of the meshes are going to be moving around. But this one, we have it within our channel, is not going to be affected anymore. So we're going to make use out of that because right now it's not moving. And we'll be able to paint it in a nice way. And actually, I'll just go back real quick and just move this away because the wings were kind of interacting with one another and they were overlapping with other birds. So I'm just going to move it to the side like so what we need to do is basically we just need to pay it out this entire section in black for the main body. So we're going to go into pain mode just like that. And we're going to change the paint color from white to black. And are the secret is to have the falloff to be at 100%. So when we're painting it, or actually one more painting is going to be completely hard. But if we were to set this to 100, the fallout will be the maximum size. And that'll allow us to have a nice transition for the wings. So we need to not only have the body set as black, but we also need to have some transition in between the wings. So this way we'll have some less of a strength go in, in the areas that are close to their body and the areas that are further away from the body for the wings are going to actually be more affected by this movement of the bird flap Material Instance. So without further ado, we're just going to paint out the body first, like so. Just like that, we're going to paint it out entirely. And let's not forget to have the bottom painted in as well. I'm just going to love and my camera and just have this section painted out as well, just like that. Now we can also lower the strength for this entire section. We can put it as 0.1 and we can just lightly tap on the sections of the size of the bird for the wings. And just by clicking and holding and slowly tapping it like so we can darken it up just a little bit. But it's going to be enough for us to have some more variation within these Bird played, a Bird flap wings. So we're just making sure that we have some nice, nicer transition just like that. And once we're done with that, we're pretty much going to be able to live it out as is. So we're just focusing on getting ourselves a nice gradient. I might need to increase the strangers by a little bit more. So 0.2 maybe will be a little bit faster. And I'm just tapping it out at the front, making sure that the gradient is a little bit nicer. And if you want to go from dab away, just use a wide channel exhorts. I'm just going to click X and just change up this and just kinda get a nicer type of a gradient. That's all we need to do basically in order to get ourselves a nicer kind of a vertex Painting. And I think that's going to be alright. Don't need to overdo it. So now once we're done with that, we can actually leave the red channel and turn the color view mode off. And we should see that only the wings are actually moving. So it's going to be much nicer. Now in order for us to apply this to the rest of the mesh, to its original Static Mesh, because this is only applied to the instance of it and it's only going to be onto this one of the mesh. We need to make sure we apply by clicking on this button over here. So if were to click Apply and then click Continue, It's actually going to apply all of those vertex Painting onto the rest of our meshes Within the Static Mesh. That's going to be quite nice. We can now go back to the Select mode and just take off this tab from the side and see how the wings would look like. They're looking quite alright. They're looking quite nice. But of course, they might need to have more adjustment because they're not flapping quiet enough from the side except, for example, if you look at it, we can see that actually they're not, they're not behaving as the 3D type of birds. We might need to adjust them even more. So we're going to go into Material Instance, the one that makes use out of these emotions. And we're going to actually just make use out of the wing flap amount. And we might as well turn on the wing speed just in case. And what if wing flap amount, we're just going to increase this by quite a bit. And just by increasing this, we can see the type of motion that we're going to get. So they're going to be looking much, much nicer. If we set it to 40. I think that's going to be quite alright. We're going to get a nice type of motion, especially for looking for a distance and maybe set it to a little bit more. But in general, I think that's going to be quiet, alright, because we're only worried about the overall Silhouette, although from the front they don't look quite as well because we don't have a nice type of a gradient applied because of course we using less amount of vertices and that doesn't give us a lot of control over the way they're behaving the wings themselves. It's actually going to be quite alright. We now need to worry a bit, a bit, a little bit. In regards to the wing speed, I'm going to be affected by the position of this object. So for example, when we're moving it, they're going to have a much different type of automation, a much different type of a wing flaps been. So we're going to live this setting for now as is. And then in the next lesson we're going to continue working with the Bird and actually set them up to be animated, to be flying through the sky using a level sequencer. So yeah, that's it. Thank you so much for watching and I'll see you in a bit. 87. Animating Birds Flying Across Horizon: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting some of the vertex Painting. So the birds were actually flap their wings instead of just wobbling their entire bodies. And in this lesson we're going to continue working with them and set them up to be a nice kind of flock of birds to be going for the side of the mountain. So we're going to start off by just getting the Bird that we renamed. So this one over here, and we're actually going to delete the rest of them. So to make our lives a little bit easier in regards to having them named properly. So I'm actually just going to take them off like so. Delete. And now we've got ourselves a single name, Bird Lake. So what we're going to do is actually we're going to make duplicates out of them and set up a nice shape out of them. So we're going to hold Alt. We're going to just simply drag it out like so to make a duplicate and we're going to just position one of them to be on this side. Then for the next one we're going to do it on the other side. So we're going to hold Alt, we're going to drag it out like so. And we basically are going to make a nice V shapes. We're going to actually go, go ahead and grab both of them just like that. We're going to hold Alt, we're going to grab them to the back, like so. And we're going to grab one of them and put it on more reside and the other one on our side, just like that, we can make it as long as you want it to be a thing for now though, we can keep it as as and worst-case. We can always add them up to be a little bit more, but they're going to be looking quite alright as they are now. So we're actually going to make use out of them and in order for us to just animate it nicely and to just speed up an entire process instead of just animating the motion of them moving all of them each one of the time. We're just going to animate one and we're going to attach the rest of them into that section. So the way we're going to do it, There's actually, we're going to grab all the birds except for the one in the very front, like so. And we're going to Within outline and we're just going to click and hold and then drag it and drop it underneath the original birds. So now when we have this selected, when we move this around, we're going to have all of them selected within the same Bird cannabis space. And this way we're able to just move them around nicely and have a nice Motion algorithm. And now the way we're going to set them up is actually we're going to go back onto the content folder and just set up in level sequence for the Bird motion within this area. So that's going to be a little bit easier for us to navigate. So we're going to right-click. We're going to go ahead and get ourselves a level sequencer, which if we're just simply search for Level sequencer like so, we'll be able to find it over here. There's going to be underneath the animation section. Let's go ahead and add this up and we can call this Bird Motion just like that. So now in order for us to animate it, we're going to double-click and open it up, which should open it up at the bottom hand corner. And our tab, if we're not seeing it, we can sometimes have it hidden away. And that's because when we have our cognitive browser doctrine and the secret NJ, the sequencer by default is just going to automatically dock itself next to it. So we've got ourselves a content browser and the sequence of browser as well. So keep in mind that if you're not seeing it, just makes sure you open up the tab is going to be over in this section over here. And all we're going to do is firstly, we're going to position the birds to be on the side of the terrain. So we're just going to our camera to be way off in a distance. And I think we can just drag the birds out like so and put them off in the distance. I think we can start off by getting a default kind of a look to see how they're going to look like exactly by flying over the mountains. And I think I'm just going to position my camera firstly to be like so and just see which angle exactly we need to set them up to be. So just having a camera like this, we're going to see the Birds. And I'm actually just going to click G just to make sure we hide away the gizmo, like so. And we're not quite seeing the birds. I think they're actually too small or they might need to be a little bit more to France. So let's go ahead and to bring them up a little bit more to the front like so. And I think that's going to be quite alright. Now we're just going to lower them down. Just like that. That's going to be quite alright. Actually, we can see some Bird motion. And I'm just wondering if they need to be a little bit more to the back or if they're going to be alright. Think we should get them a little bit more to the back. So we're going to go ahead and have them selected. Like so the very first Bird. And we're just going to move it motor bag. And it's going to see if they're going to look nice in this kind of a height. Just by dragging and across our entire section. Camera is going to be somewhere in this area over here. Like so. And I think they're going to be quite alright in this section. So let's go ahead and make use out of this area. I'm actually just going to select the bird, the first Bird, just going to click F to reposition my camera and we're going to see where exactly they're going to be landed. And there's going to be landed on a very edge of this Terrain. And I'm actually just going to position this like so. That might be a little bit better. And just going to go actually go back to the section and see if they're going to be not adjusted by too much. We don't want them to make Big of a focal point when we're reviewing our scene. So just having them off in the distance like that, I think that's going to be quite alright. We might need to raise them up just a little bit. And we're tweaking this value, were able to get it in this section that's going to be going across the sunlight. So now we're going to click F. And now in order for us to get the Bird section in the level sequencer by default, it actually already gave me a section for the transformation, but if you're not seeing this, we can just reset it and redo it again because when we have a sequence, it tends to add automatically sections of our Static Mesh and whatnot when we have different selections, they tried to automatically add it into the sequencer. So we're going to actually reset this entire thing. We're going to delete this area and we're going to start out fresh. So with an empty level sequencer, we're just going to position this bird with its flock on the side of our level. Just like that. And we're going to simply add a key starting point within the sequencer. And actually before adding that, we're going to change our frames to be seconds. This way we'll be able to tell the timeframe that they take to travel from this area to the other side. So the way to do it is we're going to change up this FPS to be shown as time. So we can just hover over Showtime as seconds and we can just change that up. Now by default, we should have something like 0-5 s to see it, to see the entire timeline. But that's going to be an downside for us because we need to actually set up a much longer animation. So we're actually going to increase the working range. And the way for us to do that is by on the right-hand side, we have something called working range. And so we need to change a sub. If you wanted to change this up to something like 300, we get this bar on the bottom to be much smaller. And now we've worked to increase this entire thing. We can see much more of our timelines. So by simply clicking, holding, and dragging this out, we can just expand our entire timeline. And I think we can just set this up to be something like 25 s. I think that's going to be perfect, which is going to be over in this area over here. So by clicking, holding and dragging this red bar, we're able to adjust where our time, our level sequencer ends. And that's exactly what we wanted. The beam. Now we're going to add the birds. So we're just going to simply click and hold from the outliner and drag it into sequences that's like that. And we're going to get ourselves a Bird Static Mesh alongside with the transformation. So now all we gotta do is make sure that our first initial frame is positioned accordingly. So the top orange type of an arrow allows us to position this at where we want it to be. Just show us where exactly it is within a time scale, the timeframe of Level sequencer. And we'll want it to be at the very start. So we're just going to click this button over here to get back all the way to 00. And then afterwards we're going to click ourselves this button over here, which will add a new frame. And afterwards we'll want to put this at the very end, like so by clicking on this button over here. And once we have ourselves this orange arrow placed all the way at the back, will just want to drag our entire sequence of Birds all the way through the upper end like so. And just like that, we'll be able to get ourselves a really real nice sort of emotion. So by just doing it over in this EGN like so and clicking another Add keyframe will be basically able to get ourselves a nice motion going across the sky. So let's go ahead and check that out. If we were to select ourselves the sequencer and then click the Play button over here. Or alternatively we can, we can just say space with the sequence is selected and we'll see the motion of the birds. Now by default, I think the motion of the wings are actually going to be a little bit too fast maybe, or a little bit too short. But we need to set up the motion first properly and we're just going to reposition our camera back at our Environment, back out our dock. And I'm just going to position it like so we could see where the motion is for the birds will want to have our camera shots, something in this area. And we'll basically want the birds to start flying out as soon as the shot starts. So we'd have some motion within our entire environment right away, instead of just waiting it for them to appear. So what are we going to do is actually quite simple. We're going to determine the speed by just having this basic animation. We're going to tell where it actually starts and how long do we need to wait. And actually 6 s before it actually even appears within this shot, I even positioned my camera a little bit more to right, so we can see more of this area over here. But the way we're going to do it, it's basically we're going to start out by moving this entire frame motion all the way to this area over here. So we're basically only seeing the birds only barely. And actually even instead of that, we're just going to position them to be out of the shot itself so we can see just barely a tiny bit on the right-hand corner. Then what we're going to do is actually we're going to create ourselves A new keyframe by clicking on this button over here, we're actually going to delete the original keyframe. And we're going to select it, hit Delete, and we're going to drag our keyframe that we just created into the back, just like that. So this way, we're actually going to start this animation to be moving within the very first Within a very first level sequencer of an animation. And we're going to get this sort of a result. So of course, right now the motion for the birds might be a little bit set to off. So we're going to have them flying off in a distance. And emotion itself is because it said as Automatic kind of an interpolation, we're not going to have a nice type of shot because they're actually going to slow, start slowly and then speed up and slowed down once it reached the end. So we need to make sure we fix that. We're going to select both of these key points holding shift like that. And we're going to actually just right-click and set them to linear. So what this will do is just make it, we'll make sure that motion is constant and doesn't get affected by any type of a speed in-between the frames. And we're just going to have a constant type of a speed go in. The birds go in through the mountains just like that. And that's going to make it look really, really nice. So once we have it like so we of course need to set up this entire level sequencer to be set. So whenever the level would get played out, they'd start moving. So the way we're going to do is actually quite simple. We're going to go back entrepreneur browser. We're going to get this level sequencer in reward like so it's going to drag it and drop it. And we can actually see it because I had a game view of. So I'm going to click G and then we're going to see the icon over here. So this Level sequence or just needs to be made sure that it automatically gets played out whenever we're actually just running this level. So we're going to, Within the bottom right-hand corner, we're going to go on to the playback section and we're going to hit auto-play. And this will just make sure that whenever we hit Play, it's going to start playing out. We can actually just position your camera or like so, or I'm just going to put my character over here and just see how that would look like. So now, once we hit play, like so, we're going to see the Birds Flying Across the sky. That's actually quite nice. Now, in regards to the emotion itself, we need to determine the animation overall kind of emotion of those wings. So let's go ahead and do that right away. What we're actually going to start off with is if we were to go on to the sequencer, just like we did before, and we're going to set them to be looping. So we have the constant motion of looping so to be able to play around with the settings while it's in motion. So we're going to click this button over here and enabled Basic loopback range. So now whenever we hit Play, we're going to have them constantly go in and add whenever they reach an end, which is going to be right now. So if we give it a second and then they go like this, they're actually going to reset this entire thing and there's going to continue starting going across the sky again. So that's quite nice. And I'm actually, I think I'm going to hit pause real quick and just change this up from a Scalability to a low, just so we can have more of a performance while I'm recording this and I can see the motion in real time a little bit better. And now we're going to hit play just so we could see how it looks like. And they are looking quite alright, but of course we need to make some adjustments. I think there are a little bit to slaughter moments. We're going to go to the content browser. We're going to open up the VFX and Bird lab Material Instance. And we're going to set up the wing speeds. So let's try something extreme. Let's try something like ten. That's obviously going to be too much. So maybe something like to, I think two is going to actually look quite alright. I'm going to have some nice wing flap going across the sky, like so. And that's all it takes for us to get us some nice Silhouette of the Birds Flying Cross the sky. So, yeah, let's not forget to turn off and pause the sequencer for the Bird motion. And let's go actually back on through high view and see how this would look like within our sequence you'd like now. And I quite like the overall Silhouette going over the mountains, over the shadows of the sun. Yeah, we're going to leave it as is. So thank you so much for watching and I'll see you in a bit. 88. Creating FireFlies: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by getting some of the birds to be going across the mountain Across Horizon. Now we're going to continue working with this project and set up even more motion within the scene. And this time we're going to get ourselves some fireflies to be going across our area, just buzzing around over the top of the water. So in order for us to do that Bird, firstly, we're going to close down the sequencer for now as we'll be able to open that up later on. So I'm just going to go ahead and close this down. And now within the VFX folder, we're going to create ourselves a new Niagara system particle. So we're going to right-click, get ourselves a Niagara system like so. We're going to create ourselves a simple emitter. Click Next, and we're going to make use out of the fountain added to our entire emitter. We're going to click finish. And then of course we're going to rename this so we can call this Firefly, like so. We can open this up. And now we can finally do some settings within it to get ourselves some nice FireFlies. So I'm actually going to just open this up entirely like so. And it's actually rather easy to set them up. So without further ado, let's get into it. We're going to start off by probably lowering down that matter particles were spearing this out of this. So within spawn rate, we are going to change this from 1930 and we're going to keep it as is. And now for now we're going to just remove all of those initial voices that we have. So we're going to just simply untick the velocity, gravity force and drag force and just going to have some nice Particle System over here, just so good. Clearly visualize it how they look like within the section. And we're going to straightaway change up the shape location of this entire thing where they sponsors to currently kind of clustered up to gamma. So we're going to open up the shape location and change the shape radius. So we're going to get this 8-200 to get it be spread out a little bit more like so. Now there's also additional setting that we can make use out of something called Spirit Surface distribution. By default, it's always zero, which will mean that it'll spawn everywhere within this sphere. But if we were to sport, set it as one, which will notice is that it will spawn everywhere around this sphere, around this shape that is making use out of in order to on all of those particles. So we're going to actually get it to be spawning a little bit outside of the center area. So won't be just clustered up together. All of those Fire box that we're making. So right away we're actually just going to change this instead of just one. We're going to change this to 0.7. And this way they're going to be spawning Within the inside of this sphere shape, but at same time they're not going to be completely inside of it, inside of the middle section. Now going, moving on with the Particles, we're going to go onto initialized particle and we're going to set up the lifetime minimum and lifetime maximum to be a little bit longer. So we're going to set it to 86.8. That is. So they're going to be lasting much, much longer. And in turn, we're going to get more motion out with them. But keep in mind that while we're increasing the lifetime also this bond rate will make it look like there because they're lasting longer. They're going to be more types of particles within this section, which is actually exactly what we want for a moment. But just keep in mind that whenever you're playing around with lifetime minimum and maximum, you are probably also want to adjust the spawn rate. So continuing on, we'll want to set up a color, but we'll want to have a random range. So let's go ahead and simply click on this button over here. Search for random carousels, random arrange, Excel, or sorry, that was in the lifetime maximum. We need to click on this arrow over here, search for random. There you go, random range linear float. We're going to get two colors, minimum and maximum. And we're going to set the first one to be an orangey type of a look vein. That's going to be quite alright. Let's go ahead and click Okay. And I actually forgot to turn up the brightness, so I'm just going to move it back within a color picker and just increase the brightness like so. And it's going to be quite alright. Let's go ahead and click Okay. And as for the maximum mortgage is going to get ourselves a yellow type of a color just like that. So we're going to get arrange of a orange and yellow type of FireFlies. Then as for the size and we can keep something in-between of 5.10. Let's go ahead and just those actually right away. We're going to get ourselves a nice variation of sizes just like that. There'll be popping in nicely in our area. And I don't quite like just a circle or type of a look that we're having out of them. So we're going to adjust the way. I think we're going to make it to be slightly squished up. So the way we're going to do it is actually relatively easy within the sprite size if we're to change this from random uniform to non-uniform. So we can have ourselves, right, size of X and Y. And we can just change X to be half of the original value. And we're going to get this sort of results, whether you're going to be squished up and you're going to look like a bit more like Buck Shapes. So it's going to be much, much nicer in that regard. Now we need to set them up to be actually moving along the area of how they're shaped up. So we'll start off by getting ourselves a really quick vector, noise force And for a city that we're going to go into the particle update, we're going to search for a noise source, enrich, going to get ourselves this one over here. So this one allows us to just get ourselves a simple force amount. And that just gives us a really quick and easy way to just get some nice motion within this area. I think we can just increase it by a little bit. Try something like that. Think by default is actually quite alright. Let's go ahead and keep it as 240, like so I think that's going to give us a nice type of result. Now because you can see it's actually they're moving sideways, diagonally or whatnot. We need to go ahead and fix that. So we're going to go into the renderer interests, but no a here, and we're going to adjust the parameters from here. Now that alignment is set to unaligned, we need to make sure we set it to velocity align. So they're always going to be moving in a way of the velocity are always going to be rotated position in that regard. So that's going to give us a much nicer type of emotion. Now, going back to the size of our particles, size of those fireplace, what do we have right now is because we set them up to be with the same sprite size of 5.10. They're all going to be the same size. So we need to find a workaround carve away because otherwise, there is a way to randomize these values within here. But we can exactly do it because they'll try to randomize not only between X and Y, they'll just randomize between those two values. And some of them, the bugs will be kind of squished up a little bit more and more roundish and whatnot. So of course, we need to find a way around that. And the easiest way would be to just make use out the scaling within a particle updates, so forth. Just search for scale size. Like so. We're going to get ourselves Scale sprite size by just using this to, let's say we can just use a ramp-up and get both the starting point and the final point before to click and hold Control Shift and just select them were to just get these to be 0.5 of value. So whenever they start off going to be small and they're going to get larger and then go back to Smaller. And in that regard, because we have so many of them spawning constantly, some of them are going to natural look Smaller right away and some of them are going to look bigger. And in that regard, we're just going to have a variation of sizes just by using the scale of a curve. Now of course they're popping up right now randomly. So we're going to make use out with scale color, and we're just going to select it and equip quickly add a ramp up and down. So I'm just going to appear disappear. Simple type of emotion. That's going to be quite alright, Perez. And that's all we need to do actually for the regard of the scale color. But if we want to have them slightly a flickering and make them look even nicer, we're going to make use out of a scale RGB value. Or nowadays, they're going to be set in the vector free type of format. So they have X, Y, and Z. And if we were to just add a curvature right away, we're going to have multiple curvature lines and that's going to give us more of a hassle to work with. So what we're going to do is, well firstly convert this to a, just a single float value. So we're going to search for a vector from float that it'll just give us a simple type of a number that we can control by going up and down, they'll be able to just increase in the brightness for them. And of course, we're going to adjust this using the curvature. So we're going to click on this part over here. Search for curvature, the float from curvature, like so we're going to get this result. We're going to get ourselves a ramp up, down. Or actually we're going to start off with the pulse and we're just going to make a couple of additional values. So I think we can just get ourselves hey, of the front and back value to be set as one. So that'll be a default value for it to select those. We're just going to put in the one value like so. For this middle one, we're just going to drag it up a little bit. And we're going to get ourselves a new key by right-clicking and adding a key. This key is actually not automatic, so we're going to right-click and also change this to be Automatic. So it'll be a nicer type of a transition. And we're going to lower this down to 0.5 over value, just like that. And we basically need to transition between those two values and just get a nice Kadima results. So we're actually going to just right-click and get a sells a new value. Or actually we're just going to copy this key and just paste in the values like so to select it. Or actually, I'm just going to delete this key, right real quick and get ourselves the key data from this value, which was 1.75, gives us a quick copy control C at a new key. Like so, make this key Automatic and put it in the valley that we had. And this way will give us a, this type of a result. And just for good measure, I'm going to add one more and set this up to auto. And this was a value of 0.5. So we're going to lower this out. We're going to get this sort of result. And finally, just more and more. And we're going to just bring it all the way up, set this to Automatic as well. And we're going to get a 1.75, just like we did previously. We're going to get a bit of a zigzaggy type of a Pattern. They don't have to have a type of a pattern that actually has a rhythm to them so they can have more of a variation within them. But all in all, once we have more or less this sort of a Pattern, we're going to have more within these sort of life flickers for whenever they're flying around. So we might be able to see it a little bit more if we were to change it to unlit. And this might give us a better understanding on how they work. And for example, if I were to change this value to eight, then just to exaggerate a little bit, just to see how they look like. We're going to see more of a Variations. So I think that's going to be quite alright. But keeping it as the value of 1.75 is going to be quiet. Alright? So yeah, we're going to get ourselves a real nice type of a Flicker. Now, we just need to make sure that are actually kind of lying around in a certain pattern, in a certain position because right now they're just randomly being spread out. And so for us to do that, we're going to get ourselves a new particle update. We're going to get ourselves point force, like so. So Using this point force, if we were to set this to a value of -300, just like that, they should be going inwards like so. They're going to give us a nice result, but of course they're colliding right down in the middle. We want to fix that up right away. So we're going to get a, another point for sexually. And we're going to actually this time we can just make use out of a point attraction force because this will give us an attraction radius as well. So attraction radius will basically tell how effective it is within that area. And we also have a poll of that area as well. So it's going to create a certain gravitational sphere that wants the, the bugs the particles are inside of it is actually going to start affecting the overall section. We're going to start off with the strength of -350. This way, because it's negative at the moment, the point for us will always try to repel. So by setting this to minus value, that's going to actually attract them all together. And this one is actually the opposite of that. So by setting this to a negative value, it's actually going to repelling. So by setting it to minus 350, they're going to start to repel from this section over here, we just need to make sure that the attraction radius is set properly. So right now it's a little bit too much. By setting it to a 50, we're going to start getting them to start attracting to this area. But when they reach the middle section, they're going to be repelled to this amount. And when we're working with the repelling and attraction, we just need to make sure that the repellent, it's actually going to be just a little bit bigger than attraction force. And this is set as 300 and this is 350. And this is going to give us that sort of a result. So we're pretty much done with that now we can go ahead and just close this down. Of course, we need to save it out. And once we have the FireFlies, we can place them within our world and see how they look like. And what's nice about them though, is when you just keep them in a place or it's going to have a nice sphere. But once we start moving them around, they're just going to fall around this attraction type of a force. And so we can make use out of that within our level sequencer, Within the one that we did for the board, for the birds. And get ourselves a real nice motion of them flying around over the top of the water. So that's going to be in the next lesson though. So thanks so much for watching and we'll be seeing it in a bit. 89. Adding a Pattern Motion to our Fireflies: Hello and welcome back over on to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it all by setting up some nice fireflies to be used as Particle System. And in this lesson we're actually going to make use out of them and set up a quick animation using a level sequencer. So for that, we're going to create ourselves a new level sequencer and just allow us to get ourselves a quick motion in a similar way that we did for the birds. So we're going to right-click. And on the folder we're going to search for Level sequencer. Or actually, let's make sure that we have R over with a mouse over the entire menu Level sequence alike. So you can call this Firefly motion Excel. We're going to open this up and that'll pop is with a new tab of a sequencer. And right away we're just going to get ourselves a quick Motion for them. We're going to change the FBS to be from FPS to a seconds, like so. And we'll make sure that we extend this. We can extend this to be like 300 as well. Like so. We're going to extend this entire thing just by a little bit. And I think we can use the 22nd mark. I think that's going to be quite alright in regards to the entire motion. So we're going to set it up is 20 s. Now right away, we're just going to bring this FireFlies into this section over here. And I think we can just get those fireflies to be going from the side of our house, our Hut, to the other end of the river. So we're going to just put them in this area over here. Like so. Going to get them to be within the entire section of a level sequencer and actually they don't have transformation. So I'm just going to redraw it just in case and now added myself by clicking on track and then adding transformation male manually myself. So this way we'll have some control over where it had been placed. So by having them behind where it's going to get ourselves the first frame, we're going to set it to the front section. Like so. I'm actually just going to turn off the lid Mode to be unlit. So we're going to see a little bit more in regards to how the fireflies are behaving. So right now we just have it at very end. We're going to create ourselves a new frame. And we're going to straight away go to the very end and just basically move this entire thing. I'm just going to play G to move this to date our end like so. And by doing this, by adding a new keyframe like so, we can see how they look like. And if we hit play, actually going to drag all of those our Fireflies, riverside. But basically what it's going to get a motion that's just going to go across this entire section. Now that's actually going to look quite nice. This might be a little bit too far off, some actual just going to grab it somewhere over in this section over here. So three second mark, and then just going to click a new frame. So they'd start a little bit faster, going to delete the original frame and just bring this new frame to the very start. This way we're going to have a nice sort of a motion for these fireflies. And they're going to give us a really nice type of a look within the scene. But of course, just having them move forwards like sodium are going to look quite as nice. So whatever I Can we should do is reshape gage is going to add a bit of a loop for our emotion. What is FireFlies just, you could have a bit of a playful type of a look over the water. So the way we're going to do with is actually we're going to grab them for when they are actually over the entire world leg. So we're going to get ourselves a new frame. So we're going to click the plus symbol over here when they're like this. And now the other frame that we're going to have is actually going to be on the other end, over, on this section over here. So like this, we're going to create ourselves a new frame. And now what we need to do is actually we need to set up a couple of frames in-between, in-between those two frames. So we'll have a more while loop, sort of emotion. So we're going to get it around like one-fourth of the way in between those two frames. And we're going to basically move this to be going actually backwards, like so. This way, when we add a frame, we'll see that it actually goes upwards just like this. But of course, we need to make sure that we set up a Motion to be going over in this end over here. So when we're going to do is actually, we're going to get ourselves a different frame that's going to be in-between those two frames. The one on the end that we just created and the one that we created the most recently. And we're going to add a new frame by moving this position over here. Like so, we're going to click Add symbol and we're going to get ourselves a nice sort of a loop. Now by looking at it, it seems like I created my life's loop to be right above it. So it's actually just going to go straight up in this sort of emotion. So we can see that it actually just picks it up straight up. So I'm actually going to select this and move this key a little bit more to the side, so we have some adjustments. We've got to make sure that when we're doing adjustments, we need to just select the keyframe first And so to be in the right type of a timeline. And then we can just move it a little bit to decide and add a key. In this way, it will allow us to, by adding a little override the previous key and it'll give us a nice type of adjustment. So now we have this emotion of them going up and then moving to the side and then down again. So in order for us to create a loop though, we'll actually need to flip these two frames together. So what are we going to do is actually we can click and hold and drag it to the side over to the other end like so. And right away she's going to give us this sort of a zigzag and the one that's before we're going to move it a little bit more Tree bag. So basically, the one that we had a bit more to the front of our sequence is actually going to be behind it now. And we're able to flip around the motion between those keyframes to get a more intricate Adjustments when we need them to be. And I quite liked the way the results from that to be with. I don't like the way that the fact that it's just this area is just straight up, kind of a horizontal. We should probably get a bit more of motion. So I'm actually just going to position this entire section to be right in the middle of the loop, like so. And we're going to add more of a motion to it. So by just simply dragging this top a little bit like so, adding a new key, we're able to get an automated kind of a loop. And this entire line just shows us where the motion is going to be. So now if I were to click Play, we can see the motion is actually going to be quite nice. When they go over the river, they're going to start going in a kind of a loop of a pattern like so, and then continue moving sideways like this. So that's already looking quite nice. I think though, it's a little bit too fast in regards because they're being thrown our way like right away. So we're actually going to fix that real quick. You can see because the motion is so fast, they're getting thrown away. And actually, just by looking at it, I'm going to simply click, simply, go over it with it. And yeah, it's, the frames are a little bit too tight. So what we're going to do is actually we're going to make a slight adjustment to them. So I'm thinking that we could well, let's go ahead and fix up this frame. A finger got this frame at the very start just so we could get it at the end of this house. So I'm just going to replace this one. It's like I did previously. And now we're going to get this motion, this entire motion a little bit more spread out. So we've gotta make sure that they have more or less similar kind of gaps. Like so. Actually just going to put more emotion in here. And this way it's going to be a much slower type of emotion. And now if you hit play, hopefully they're going to be more attracted to one towards that kind of origin point. And they go, when we move up, they're going to give us this sort of emotion. And even so it looks like they're actually quite a bit fast. So another way for us to adjust the keys to make them slow down overall and actually give us a nicer type of a result is within the detail step of the entire level sequencer. Actually, I don't think I added this to the Firefly motion of these areas. I'm just going to drag this entire thing out. So let's go ahead and just simply drag this Firefly motion into our Level exome. We're going to just get it next to the Bird motion like so, willing to make sure we have it auto-play. And right now what we need to do is we need to make sure that this entire thing is actually just slowed down in regards to the entire play. So the way to do it is actually there is something called playwright. If we were to set this to a value of 0.5, it's actually going to slow down when we hit Play button. So if I were to just position my entire camera, like So hit play and so we could see how it looked like. We can see the type of motion that we're going to get out of it and it's going to be slowed down by half of it, half of the Spirit, and in turn, is going to be a much, much nicer result, although the 0.5 might be a little bit too much. But already it's looking quite nice. So I think I'm just going to speed it up just a little bit. So a value of 0.8, I think that's going to be going much better in that regard. So neither we're done with this, we can pretty much save it out. Click Control and S to save it. And we can keep it as is one more thing though, before I forget that, we can also set the motion to be looping. So there is something called loop. If we were to select this loop indefinitely, this entire sequence will be always looping said. So even also for the birds, if we were to get on the Bird Motion, we can set this to loop indefinitely. But honestly, both of these sequencers, one is set as 20 s and the one, the other one is said 25 s. So both of them are actually going to be long enough for us to give us a nice sort of a composition within the scene for when we're rendering everything out. So yeah, that's going to be it. And thank you so much for watching. And I'll see in a bit 90. Fixing Water Reflection: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left off by setting some of the FireFlies to be going across our environment. And in this lesson, before we move on and set up the nice Composition and some post-processing effects. We're actually going to begin by just fixing up the water because right now with this type of lighting, it doesn't look quite as appealing as a sort of a water body. So an awkward us to do that. Well, firstly, make use out of the reflection probe because in this version of Unreal Engine, it doesn't, the single layer Water Material doesn't exactly support the lumen lighting. So what do we need to do is actually we need to go and add ourselves a reflection probe. So if we were to open up a tab over here and search for reflection, reflection. So sphere Reflection capture, if we were to just simply click and drag and drop it into a role, we can see the type of difference it already is making. And by default, the overall radius is not going to be quite as big. So we need to increase this by quite a bit with a bottom right-hand corner. We're just going to increase this to a much larger value. And we can just set it up to something of value like 10,000. That's going to looking quite right and right away we can see the type of effect that it gives us before and after for our entire environment. And I actually want to add this sphere Reflection capture right at the very top where we have our lighting setup. So by clicking and holding onto the Reflection capture and then scrolling my mouse wheel, I'm able to just scroll up all the way through the top like so, and just simply place it within this folder. So by doing that, we have everything in one place and now moving on wastewater to continue talking about the water itself. Because of the way this Water is said. And with the sun going over the distance over here, we have our entire Canada Reflection position this certain way. So now instead of just adjusting the colors and I'll wait for what we can do is water. It doesn't quite look right just yet. And so we're going to be changing up the overall color using the material Instances that we had. So we're going to go into the VFX folder, into Water folder. And we're going to start off by changing up the main water body. So when we actually just going to select this one and located within my folder by clicking this button over here, we're going to get this Material Instance and we're going to start playing around with the values to get a nicer type of a result. And we're going to start off by just changing up the Scattering color thing that's going to give us a nice for gear type of a log. So this is already pretty dark. We're just going to lower this down by quite a bit. And just by having a much lower of a value, we're going to get a much, much darker type of a look. So zero point one-six might give us a nice type of a look. Now another one is absorption, but the absorption is going effect the transparency of the water. So keep in mind while working with this, we might even just go into color itself and just play around with the color only of pink. If we were to just lower this down by little bit, we're going to get a much brighter type of a color from our entire Water. I think I'm just going to lower it down by a little bit so I can see the edges are more transparent actually. So that's going to be much nicer type of a result. And in regards to the Absorbtion value, we might need to adjust that a little bit as well. But I don't really want to, so I'm going to click controls. There'll be like because I already liked the amount of depth that we're getting out of it. And instead just going to continue playing around with the Scattering multiplier, actually just going to lower down by quite a bit. Even more value of 0.001. Let's try that. This might give us a better type of result. We might even change the Scattering color itself. And we don't want it to be changing it to a complete blackout because I'm not going to get at the right type of a result as otherwise. I think I'm going to change it back 2,180.018, like so. And by just tweaking couple of hours, just like that, we're able to get some really real nice type of a look at of our water. Now of course, the water itself might look quite alright. But we also have some water over in distance for the river itself, for the flowing of the waterfalls. So we need to adjust that a little bit as well. So for us to do that, I think the fastest way would be to just copied the Scattering color parameter value and then paste it in interest of the body. So we're going to just right-click, hit Copy, then close this down and just simply reapply this through all the rest of them. So we're going to actually open them up all at once like so Water Base Material regard, multiple of them opened up. I'm just going to replace this value to each and every single one of them. Just like that. By right-clicking and pasting all the values in. We're able to get the same type of a result. And just by doing that, we're able to darken everything up. We can now close this down and it's going to update all the textures. Then we're going to get a real nice type of a river in the background. So that's going to be quite nice. Yeah, that's all it takes in order for us to adjust the overall main body of the water and we're going to leave it as it is. So thank you so much for watching and I'll be seeing in a bit 91. Color Grading Scene Using Post Process: Hello and welcome back everyone to Unreal Engine five, beginner's guide to building an environment. In the last lesson, we left it off by setting some of the flexion for the water to be looking a little bit better within our scene. And in this lesson we're going to continue on working with the post-process effect. So I think we can just close down the sequence or Anaconda browser for now. So we'd get a nicer view within this area. So I'm just going to close tab on both of those like so. And right now, right away, we're just going to get ourselves a post-process effects within quickly to add project. We're going to search for post-process and visual effects. We're going to get this post-process affect volume, which if we're to drag out, I'm going to click G also to just show the icons. We're going to get ourselves a simple box within the scene. Now, this box by default, it's just going to get affected. The post-process volume is going to affect everything inside of this box. So what we need to do instead is actually we need to set it up so it'd be affecting the entire environment within our view. So within as Details tab, we're going to search for infinite. And it's going to find us infinite extent unbound. We're going to enable this. This will just make sure that it affects the entire level within our environment. So now we can close this down and we basically have a lot of options to work with for the post-process effects. And we can set up a lot of different little visual looks in order to get ourselves a nicer type of a look, I'm actually just going to click Control G just to hide away the entire icons. And I just forgot to unclick the search bar. So I'm actually just going to click within the scene, then click G so we can hide everything away. And now we're going to set ourselves up a nice post-process effect within our environment. So the first thing that I like to do within a post-process, seen within a post-process volume, which I actually am ticked. So I'm going to just quickly re-select it within my outliner. And now I like to basically set it up so the exposure would be a constant type of an exposure because by default, the Unreal Engine characterize the simulate the way your eye tries to adapt to the environment within dark areas, within brighter areas, and it changes the exposure based on that. So we gotta fix it up and make it constant. And a way for us to do that if we were to go for the settings and find ourselves in exposure. So I'm just going to scroll through all of these settings and get ourselves into Exposures tab like so. We're going to enable basically minimum and brightness and maximum brightness. And we're going to set both of these values to one. And this way it'll give us the right type of exposure without any type of adjustment, is just going to give us a default type of a look. Now, right away, of course, this is a little bit too dark for us, so we need to adjust the exposure itself. So actually, the way we're going to do is we're going to make use out of the exposure compensation. So let's go ahead and select this and change this value to A2. And I think that's going to give us a nicer type of a result. So it's going to give us a dimly lit kind of an area. It's going to make it look a little bit darker. And in turn, set our entire scene to look like a type of a dawn that we want. Now scrolling down, we also have couple of additional settings. We have a lot of our options, but of course we're only going to touch a couple of them in order to set ourselves a basic type of a post-processing within our environment. And the ones that I want us to make use out of a is actually going to be underneath the color grading. This is where most of the post-processing effects, the visual color tuning is going to be placed for us to make use out of, and we'll mainly make use out of a global setting. So we have saturation contrast, Gamma, Gain and offset, and each one of those scanners work with one another and they overlay on top of each hour in order to give us the right Calloway visuals within our scene, we'll start with saturation. If we were to take this on, we'll be able to make use out of it now. Now we're going to extend this entire tab. And in short, if we were to lower this down and we'll get the saturation lower down. The colors are going to be more or less black and white. If we were to turn this to zero, we'll get completely black and white type of value, and vice versa. If we were to purchase their maximum, we're going to get a very saturated type of a look. So what I like to do is just simply set it to 0.9. And this way we'll just take off some of that color out of our scene a little bit and make it look a little bit more greatly within this environment. Then the next step that I want to do is to sharpen up all the colors a little bit using the contrast. So if we were to open this up, make sure we have this contrast Enabled as well. So this one enabled. And in short, contrast is just in a way to sharpen up the entire scene. It's going to look quite nice. We're going to use a value of 1.23. And I'll just slightly sharpen up the entire scene. And we're also going to blow like to do in general when working with the contrast is set up this a more of an extreme type of a value and then play around with the color picker. So when we're playing around with this, we'll get a more of an understanding on how it affects our entire level. So we want to basically set up the contrast to be a bluish Hi of a contrast. In this way, we're going to get a much, much nicer type of a result. So something to this sort of a value like so. And now we can finally it lower down our entire contrast to a value of 1.23. This will give us a nice type of a golden within the scene. And moving on. For the gamma, the gamma basically applies kind of an overlay in itself. It doesn't sharpen up the image or anything. If we're to set this to an extreme and even bleaches out the entire color to quite a bit. So what I'd like to do with gamma is I like to increase this to something like a value 1.5 and basically offset it from the contrast color. So because we had this on the blue area, we're going to set it to an opposite value like so. And in turn, this is going to give us a really nice sort of look as it will offset that kind of a sharpness that we get from the contrast. But in turn, the color itself is going to make it look so much nicer. I think it was a little bit too much though in regards to the Gamma. So we're going to lower this down by quite a bit. Actually we are going to increase this. And instead, I think we're just going to lower down the contrast. And just like I said before, by playing around with these two type of contrast and gamma, we get a really nice natural type of a look. And because each one of those have just an overlay on top of each other, the contrast and Gamma, for example, you can see that even though we changed up the gamma, we have now different result and we had to go back to contrast and change that as well. So once we're done with this, once we got this type of a result, we can now scroll down and get ourselves some additional settings. We're going to leave the rest as is in regards to the global settings, we also have something called shadows within this as well. Basically, it'll work the same way as a global, except this time it will affect only the shadowy areas more so we get more control over how it's being graded out. So what I like to do right now, what I'd like for us to do is turn on the Gamma, like so. And if you were to increase this, we can see that it affects the darker areas within our scene, which is actually quite nice. Then what I would like us to do in this case, with regards to the gamma is actually set it up to be a bluish tint. Wherever the sun is not reaching is going to give us a bluish tint. And in turn, it will make the entire scene look a little bit more cold since we are having those kind of a trace and whatnot is just going to add to this entire environment, the wilderness of it. And I think that's going to make it look really nice. So we're just going to play around a little bit with the overall setting leg. So it's going to be quite alright, just like that. And if we need to lower it down quite a bit, so I'm going to use a value. I'm actually just going to click on this area over here and type in the value myself. I think that's going to help us get a much nicer type of result. And that's all it takes for us to set up a nice type of lighting. And yeah, once we're done with that, we're pretty much get ourselves a nicely colored toned type of an environment with pain are Unreal Engine project. And I quite liked this overall look, so I hope you do as well. And in the next lesson, we're actually going to start and set up our camera shots and compose our entire scene. So that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 92. Setting up Camera and its Composition: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we left it off by setting up the post-process volume effect and getting some color Grading done within our scene. And in this lesson, we're going to continue on working with this and actually set up some of the camera shots so we can later on render them out. So in order for us to do that, we're going to go onto the upper left-hand corner. We're going to quickly add to project a camera and we're going to search for cinematic Camera actor. So this one over here, we're going to simply click and that'll just bring it into our view. And what I like to personally do is actually just I will turn off the lid Mode to be said to unlit. And this way we're going to get a nice type of a perspective within our view. And I'm just like to position my entire view, myself personally and set it up nicely within the viewport itself. And once we get ourselves a nice type of an angle, just like this one. Like so. What the next step Water likes to do is just simply place the camera Within the way that Viewport is facing. And the way we can do that is actually we're to right-click on our camera. What do we can do is just simply snap our object to the view. Once we do that, we get this result. Now we're not going to get the same type of outlook right away because it actually uses a different focal view, different FOB by default. So in order for us to just bring it back, what we can do is if we were to scroll all the way up with Bennett settings, we get focused settings. And within here, there's something called current focal length. If we're to lower this down, we're going to be able to bring our camera back to the way the view is facing. And we get a much more proper type of a result in comparison to what we have over here. So by just bringing it back to something like say like 12 degrees, I think that's going to be too much. We don't have to overdo it. Otherwise, it's going to be stretching out our entire view. And obviously that will be a little bit too much so we can just bring it up like so. Maybe we can bring out the entire camera. So actually we're going to set up our current focal length to be 14 degrees like so. And in order to bring it back a little bit and get the right kind of shot. So we'd see the side of the house within our cinematic camera. On the right-hand corner, we're going to actually select the camera itself. And we're going to just simply change the gizmo from the world position to the local position. And this will get the same kind of rotation. All we gotta do, shes, use the gizmo to just bring the entire camera back. I'm just going to click G so we could see where the camera is actually change the position because we were using right-click to snap it to the view. So we actually need to just unclick and click back and we'd get the right kind of a gizmo. And we're now going to just simply bring it a little bit back leg. So we're going to get this sort of a view. Now we might look in, now we might need to just position or camera a little bit more to the right. So I'm actually going to click E and slightly rotated sideways. But of course, because we have a local axis, we need to turn it to the world axis so they wouldn't rotate our entire angle for a short. And just by rotating it a little bit so we get some mountain center right-hand side and a hat on the left-hand side. I think that's going to be looking much, much nicer. And actually I just want to bring it more to left like so. And even now, we can now bring it back forwards. You make sure we don't have too much of an empty space within a shot. And I think I'll go back to the local gizmo end position my camera a little bit more different. And one more reason why we work within unlit mode during these kind of shots is because not only we are rendering out our Viewport, we're also rendering out this angle of a camera in the corner over here. So because this camera has already a visuals with all the type of lighting and whatnot. If we were to set them both up with lead mode is going to be quite performance heavy. So especially if we're working with multiple cameras and whatnot, if we want to have multiple cameras over in here, than it would be quiet performance heavy to just have multiple view shots of our scene. So by just using unlit Mode, we're able to just get ourselves a nice unlit Mode within the viewport and we can still see how it will look like with normal lighting within our camera itself. Now that we have our position for a camera or something of this sort, we can now go ahead and sort out everything in regards to making a presentation or video to render out our entire scene. So for us to do that, we'll start off by creating ourselves a new level sequencer. We're going to go onto the contents folder. We're going to right-click and search for Level sequence. Level, sequence, this one over here. We can call this one camera work excel. And we can drag this into our level just like that. And of course we'll set it up to be autoplay. Then what we'll do is just simply click and drag and drop the cinematic camera, enter camera work of our Level sequence. Once we're done with that, we're going to set up the cinematic camera, be within Level sequencer itself. So with this camera work Level sequencer selected, we can actually open it up through the details tab itself if we're to click on this button over here. So it allow us to just simply get ourselves to Sequencer tab like so. And now we can just select the camera and drag this from our outliner into the sequence is just like that. And let's make sure that it is showing time in seconds. So we'd have some nice visibility of, in regards to the framework of how we're going to work with, we're going to set this up to 304 now. We basically will basically are going to leave it as is, but we can't move it at the moment because when we drag it into sequencer is going to start piloting this entire camera. So what we need to do is we need to click this button over here to undock our view from it being linked to the camera. This way we'll be seeing our entire level would be able to move around without moving the camera around. If we do want to see what the Preview would look like within our level, within the camera shot itself, we can click on this button over here to lock it to our Camera cuts. And once we have it locked, your Camera cuts, it's not going to be piloting. So previously, if you noticed, we had something called Pilot active. If you were to just simply select the camera. But by selecting on this, we basically can't move our entire view and we're going to be able to just simply preview what the camera is looking. So yeah, that's a quick and easy way in order to not mess up the camera. In order to not mess up its movement. We gotta make sure that whenever we're moving our Viewport, it doesn't have the pilot. Top left hand side will be moving or camera whenever we're moving our view, our view within a report. So that's going to be pretty much it. In the next lesson, we're actually going to be setting it up using a movie sequencer to get ourselves a nice shot rendered out within the Unreal Engine five. So thank you so much for watching and I'll be seeing you in a bit. 93. Rendering out our 3D Environment: Hello and welcome back everyone to Unreal Engine five, Beginners Guide to building an environment. In our last lesson, we left off by setting ourselves a nice composition with a camera. And in this lesson we're just going to render everything out and make sure that it gives us a real nice image for us to show off. So in order for us to get that, first of all, let's go ahead and make this video a little bit longer. I'm just going to extend this entire video range because by default it's set as 5 s. And actually, if you're not seeing more of this sequence, so just make sure to go through bottom right-hand corner type in 300 and that should give us plenty of work room to make sure we extend this out. So I'm actually just going to extend this bar just by a little bit like so. Until we see a two-second mark, then what we'll need to do is just simply drag this entire red bar that are very end of a two-second mark. So this entire, so you can search, it's going to be 20 s like so. And of course we need to make sure that the camera itself is also extended. So we're going to just drag this as well onto 22nd remark, which should snap to our red bar like so. So that's going to be quite fine. Yeah, we're pretty much going to be now rendering this out in a nice way for us to do that. We're going to make use out of a movie scene, capture legacy. So let's go ahead and use that. Now in order for us to render it out, we're just going to click on this button over here, which will open up a random movie settings. So for us to render out everything nicely, we're going to first of all, change-up couple of settings. And the first and foremost is going to be imaged output format. This has to be set as an AVI. Otherwise, it'll just give you a bunch of image sequences. So for us to avoid that and get ourselves a nice video right away, we're just going to make sure we have this on that afterwards since we have no audio, we don't need to worry about this. We got ourselves a frame rate, which we can leave it as a default to be honest, 30 frames is going to give us a real nice set of results. And as for the resolution though, we need to change this up to be 1920 by ten at just to get ourselves really nice HD type of a video. So let's go ahead and do that. For the advance, we don't need to worry about enabling texture streaming. So let's close this down. In regards to the compression, I usually leave this on by default, TikTok and compression quality set as 75. The higher you go up, the less of a compression is going to give us. And the lower you go down, the more of compressed file you get. The advantage of it is basically you just get a smallest size of a video. And usually you want to leave it on unless you have some rain or some snow in the scene. In which case the compression will work really poorly and I recommend you turning it off at that point. But by default, living your own is going to give us some nice results in a high type of a quality. And we want required to have a lot of space in order to save out this video. So, yeah, just leaving it all is going to give us a nice result. Afterwards, the output directory, by default, it's just going to save it within our project folder. So that's going to be fine. We can change it by clicking on this button over here. But leaving it on is totally fine. And then afterwards it's just going to save out the file format is a level type of a name which is totally fine and advanced. We don't need to worry about this too much because it's going to give us the right type of results as all it is. It's just additional couple of tweaks to get us a custom way to save out the render a video so we can leave this out as is the sequencer. We're going to leave them both take tan and ask for advanced. We can leave this on as well since we changed the movie extension at the very top. In regards to cinematic, we definitely need to make sure that both of these Arctic tone, this will make sure that the Scalability is basically changed up from just the high to cinematic. And that'll give us much better and CRISPR type of a result. And yeah, that's pretty much it. We don't need to worry about this. We don't have any hands or anything of this is not going to help us out for rendering out this sort of a scene. Then afterwards, at the very end, we got ourselves and Advanced tab over here, which is actually we're going to make use out of. And we just need to make sure that the warm-up frame count is set, is 42. So let's go ahead and just make sure reuse that. So this will just make sure that whenever it starts rendering out at one start recording, and it'll give us 42 frames to just load everything in within the scene before it actually starts giving us a nice type of result. So yeah, that's all it takes. Once we're done with it all, we can now go ahead and hit capture movie. We don't really need to worry about delay before warm-up or delay after every frames and already, we're going to give us some real nice results. So let's go ahead and hit capture movie. Let's make sure that we save everything out like so. Once we're done with that, it's going to start rendering it out. It's going to give us very bizarre looking of a camera, since that's actually started off to warm up our entire video. But after the warm-up, it's going to put it in the right kind of a place. Start rendering everything out. And yeah, that's all it takes for us to get ourselves a nice video there. By default, the previewed, this is just going to be a low type of a quality, is going to give us much better type of quality once it's done rendering it out. So that is going to be the end of our journey. We started off from scratch with a simple gray box in our scene and started building it up using Quixel Assets router course, we learn how to sculpt out environment, constantly paint them, and even generate them from scratch using height maps. During the lessons we made use out of various types of adjustments within the Meshes, things like deformations, color adjustments, and even cutting out the shapes themselves. All of it to build a custom hut for cells within Unreal Engine five. And in order to enrich environment, we went on and made antiwar system for the river and lake, including Materials and Particles, all of which adds up to get a nice flow for the water within the scene. We worked on atmosphere and lighting to get a nice sunset for the area, which to make it cozy. We enriched it with a nice campfire by our little hut. If finished it off, broader to life, all with nature, vegetation, birds, and insects, using a variety of methods within Material and particle systems. By now, you would have learned a variety of new and interesting techniques which you will definitely be able to make use out of in your future projects. So thank you so much for watching and I hope I will be seeing you soon on our 3D courses. 94. Bonus Lesson Setting Up Curved River Meshes: Hello guys and welcome back to Unreal Engine five, Beginners Guide to building an environment. In the last lesson, we pretty much finished off our entire course. But just as a bonus lesson, I figured I'd show you how to get ourselves a nice riverbed. It has more of a curvature then this, since by default I personally preferred to keep a reverse to be as straight as possible whenever I can. Since that doesn't over-complicate certain scenarios. But I realize now that having some additional ways of working with a reverse and just sometimes you want to have a nice curvature within them. Makes the entire scene look much nicer. So I'm just going to show you a quick way on how to set that up. And let's go ahead and get started by getting themselves into modelling mode like so, getting ourselves a rectangle and just placing it in the world. Let's go ahead and hit complete. We're going to just make sure that the rotation is set to 00 is zero. And we're going to get this sort of result. And I'm actually just going to expand this right away. So let's go ahead and just simply extend this all the way. Like so to this gamma amount. I think that's going to look quite alright. I'm actually just going to make this quite a bit larger, actually. Just like that. I think that's going to give us Nice type of a starting point. Once we're done with that, of course, we'll need some vertices in order to make use out of the vertex Painting. So sure it away. We're going to make use out of that, which of course will also allow us to make some Ben's within this area. And actually I'll just make it a little bit smaller like so a little bit thinner. So we'd have more control over how it bends. And once we're done with that, let's go ahead and add some more vertices to this. And it's going to be rather easy. We just need to make sure we make use out of Mesh ops 3D mesh. And once we do that, we're going to get this result by default. It's set as 5,000. I think that's going to give us a nice type of a density within our Mesh. Let's go ahead and hit Accept. And we're pretty much done by setting it up. But before we actually start making curves, we actually need to set up ourselves a real nice starting point in regards to the UVs, since we're going to make use out of the EVs in order to get a nice low of Textures going throughout this river. So in order for us to do that, we're going to scroll all the way down until we find Automatic UV unwrapped. We're going to hit this. And this will give us, actually, I stress out kind of a curvature because before doing how do we actually are going to go up until we find within a transformation type bag R, S. And let's just make sure that we hit Accept and this is just reset the scale so it doesn't get stretched out. So now when we're going to make use out of the Automatic UV unwrap, we're going to get the right type of a ratio. So that's not going to be stretched out or anything. Let's go ahead and hit Accept. Then we're going to get ourselves a much nicer type of a result. Once we're done with the UVs, once we set them up, we can now make use out of deformation if we were to go up within a lettuce, for example, if your work to make use out of that, we can simply go ahead and add more actually vertices within the x-axis, I believe. Yes, it's going to be x-axis. So let's go ahead and just increases by, let's say like by ten. Now we can go ahead and simply just adjust the way we want them to be. So I'm just going to grab both of these and simply make some curvatures the way I want them to be. And yeah, that's all it takes for us to set up a nice type of a shape. I think that's going to be more than enough in regards to the shape, the overall shape of a river. Let's go ahead and hit Accept. And we're going to get ourselves this sort of result. Now, depending on the type of shape that you want, you might get a different type of result, but that's going to be okay. So afterwards all we need to do is just make use out of a or to just go back to the Select mode. So we wouldn't see the tab if I were to go to Content Browser and I'm actually just going to dock this outright away. We're going to go into VFX Water folder and we're going to make use are the same mesh we use previously actually are at the same Material Instance. And that's going to be this one over here. So I'm just going to simply drag and drop this. And right away we're going to get this result, which I didn't tell, realized that it's going sideways. So just to make sure we're doing it in the right direction, I'm actually just going to make a duplicate out of this. And this will give us a nice Material Instance duplicate. We're just going to drive this into here over like so. So now we're going to get ourselves a nice type of our Material Instance of our Water Mesh. We're going to open this up and of course change the vector for it. And that's going to be underneath the wave, Normal x-direction and y-direction. I'm just going to take this off the x-direction and change it up the Y direction depending on the type of results you're going to get. You're going to get this sort of a low. And that's all it takes for us to get this look. Of course we need to based on the mesh, we need to change up the scaling as well. So we need to just go ahead and increase this to a larger months. Something like for my might give us a nicer type of result. And yeah, that's all it takes for us to get a nice type of curvature for a river if you want to make that sort of a look. So that's going to be it from this bonus lesson. Thanks so much for watching and I'll see you soon.