Unreal Engine 5 Materials

1. UE5 MAT INTRO: Hello, everyone. Welcome to Unreal Engine five Mini course for Materials. In this course, you will learn a lot of tips and tricks will help you a lot in your future projects when it comes to materials, so you guys can create materials flawlessly and create your own library. We will talk about PBR materials, all its understandings and concepts for us to grasp how Unreal Engine material creation logic works. We will talk about material nodes and how to start with basic metal material. Material instances, how to create them and edit them in real time. Textures where to get them their qualities and standards for unreal engine test workfare. UVs, we will learn how to create all the parameters that we need for us to have full control over our material creation process. We will talk about mega scans. You guys will love this tool. It's a library that has thousands of high quality materials and scan TreV assets. That will make our projects look very realistic and save us a lot of time. Texture variations, an interesting concept where we will be able to achieve different looking instances from the same material. We will learn all about translucency, how to create glass material with achieving high quality in the lumin domain, Advanced metal and how to get high quality materials through specular and roughness texture maps. We will talk about how to generate realistic texture channels from scratch after downloading the Albedo texture map from Google, using external tools such as Shader map and photoshop. The Quick sill bridge tool, how to connect it to real engine, download materials from it, so we are able to drag drop the desired materials into our project flawlessly. The migrate tool, we will learn how to copy materials from any project we desire into another. And last but not least, we will talk about emissive materials and how to simulate the effect of line. Okay. This mini course expects you to have the basic fundamentals in unreal engine. You've downloaded the software, navigated within it a little, but don't worry. If you apply what you learn step by step, you won't need any previous unreal experience. I hope you guys benefit from this course, see you in the next ones. 2. Understanding PBR Materials : Hello, everyone. Welcome to a new lecture. We will talk in this lecture about understanding the PBR materials. This is a new chapter, guys. It's one of the most important chapters in unreal engine materials chapter. If I can do materials in unreal engine, I can change the style of my scene to any style I want, either stylized, realistic or anything that has its unique style, you know, because material is like a very basic fundamental of unreal engine. Or any render engine. So what do we need to know about materials before jumping into materials. I've prepared a presentation, so I can explain it to you guys. So, guys, Unreal engine deals with PBR materials, physical based materials. We will talk about how to import textures and how to do the material editor and importing everything. So we will talk theory now. What is PBR Better approximates the physical interaction between lights and materials. So it's not only about materials and textures, it's about also light, guys. So it's very important for us to understand this new concept that it's not only about textures. More intuitive and it's much easier, physically accurate and actual physics in it. It uses real physical measurements. It uses the loins and locks and actual measurement systems. And low of conservation energy and all of that. PBR is a combination of materials, lighting, and exposure. Three things together makes PBR material. Great. So primary PBR inputs. An PBR materials, guys, I have to have base color, either texture or color. I need metalns how metallic is the object. I need specularity, how specular, how high is it, and roughness, I need to know how much material is polished or not. The base color is called albedo guys in CG world, flat color without specularity, no metallic, no roughness or no specular. Here are some common color intensity values that it can use to have certain colors. We need to know something that there is nothing called black or white 100% in the real world or even in the CG world. Because if I do something that is purely white or purely black, I'm going to notice that it's not realistic at all, and it shows an odd view, you know, even the black. So let's do metallic. Metallic is 100% specular reflective and reflection material. Most correct usage is to be on or off. One is on and zero is off. Gray scale. So if I want to get a texture for the metallic, it needs to be in gray scale. I can't get it in colors, right? So this is very important to understand. It needs to be an image like this to be able to control the metalnis. No color at all. Just in case I don't want to put a value, I want to put an image. Base Color is used to diffuse shading, zero, so zero diffuses shading a lot. One base color is used for specular reflection color. So as we see in the meter. So that's for metallic. Roughness is basically the same guys. Zero is 100% polished. One is 100% mat surface. It absorbs reflection and light. So for adjusting specularity textures, conservation of energy, most notable here, gray scale, not a color value. Again, it's the same. If I want to put a texture, it must be gray scale. We can't put color texture. So the more white it is, the more polished, the more dark it is, the less polished it is. Specular. All surface in nature as well as unreal have specular highlights and reflections. So Specular is very important for highlights and reflections. Almost always guys, it's okay to leave the diffused value to 0.5. So default value is 0.5. Let's not put it zero as a default. Let's do 0.5. Gray scale, not a color value, same as the previous metallic and roughness. It needs to be a black and white map, not through a value. I can do a value, but just in case, I want to do different. Use roughness to tweak, specular texturing instead. So basically, specular offer is very connected. What are the, what are the supported formats? Uncomressed B and P, TGA, and PSD. So basically, if I have a photoshop file, I can just drag it and drop it to our content browser and realn it reads it and no problem in that. And I have the compressed formats, PNG, JPG, DDS, and HDR. So these are the supported formats for Unreal. TGA is basically an image that has saved all the layers and all the properties and the quality. So for example, JPG, if I keep on bringing it back and forth between softwares, it could get pexeltd and lose some data. TGA will never lose any data and will remain consistent with the resolution, but not all software support it. All right, so what are the rules of the materials, guys? This is very important part. We need to pay attention here. And come back to this lecture and understand it. T exercise maximum must be eight k. So we don't need more than four k in RCVsGuys. So in games we're even doing f HD. Power of two, So we can use two k to four k in RCVs. Either small scene or big scene, it depends. The smaller the scene, the higher the resolution I can go. The bigger the scene, lower resolution we must do. So, for example, if I'm doing a study design for a couch, I can give it 84k or eight k. But if I'm doing a forest or a big building, so I can go for HD or two K. Power of two. This is very important for optimization guys and very important for resolution. So, for example, five 12, 1204. So for example, what does that mean? Two, four, eight, 16, 32, 64, 1208, 2506, 1204, 512124, and ongoing. So basically, it must be in these values because otherwise, we're going to have some problem in our scene like some sort of waviness effect. It's called Morris effect. We get it into our material and the anti leasing, and believe me, it's going to look ugly. So please make sure that our textures are the power of two. For the textures, of course. Metalicrofhnes and specular. If I want to give texture, they must be gray scale as we mentioned. Normal map dxT five, no SRGB, it must be a blue map. We're going to see how it look. GR maps must be no SRGB within them, no format of SRGB within the HDR. SRGB is fur color maps only. For example, albedo. The main diffuse, for example. Later on, we're going to go and dive deep into this even more practically. But we need to have these rules in mind for us to be able to optimize our scene correctly. Because when it's power of two, if I, you know, go far away with the scene in unreal, it's going to, you know, bring it down, like compress it. Supported materials in unreal. You know, it's like almost all the materials out there, you know, standard three DS Max material, three DS Max, physical material, V Corona Arnold Minter f storm, you name it, all the material engines. V versus unreal. So what's the name of this there, right? So diffuse map is base color, reflect map, specular, H glossiness, R glossiness, roughness, refract map is opacity, bump is normal, IOR is refraction, opacity is opacity mask, displacements world displacement. Self illumination is emissive color. So this presentation, I will provide you with guys, so you can come back to any time you want and see all the associated, you know, properties and rules because we need to understand this. We don't want to learn this by heart. We want to understand this. Okay. And this is basically how the textures look like when I put them inside our editor. Of course, I'm going to show you guys this practically. So we'll come to our scene, you know, click on the windows and it. So after we've hidden our windows, we need to know that we need a reference for us to be able to assign the materials, the correct materials that are very close to the real life. So where do I get the reference? I've put it in a folder. I will, you know, zip this folder and send it over for you guys or provide you with the link so you can open the images and, you know, scroll between them easier. So now we will click on the image and we'll bring this here, and we want to start with the basic material. We want to start with color. So let's assume that we're going to talk about the table. I want to see another angle that has clearer colors and clearer view of the table. Hundred percent this is a perfect angle. So now I want to put them together next to each other and start comparing the material. So I want to decrease the speed of the camera view into unreal engine by scrolling. And I want to click on the object that I have here. So, guys, before we do anything regarding materials, it's very recommended to do reference or otherwise, if I'm doing something from my imagination, then it's a different story. So now I want to, you know, go to the materials folder, And remember, guys, we did a folder for the materials that has all the materials of our scene within it. So if I do a material here, basically, my material will blend into the other materials, and, you know, it's going to be very difficult for me to find it. I need to search for it every time. So what I'm going to do now is new folder and this from this new folder, I'm going to say our underscore materials. Double click. And I'm going to do right click material from here. That's how I create a new material, or from the ad, I do a material from here. So I'll do right click and I'll do material, and here. It's very important for us to pay attention to the naming convention. So we will start the materials with M. When it's like a pilot material, I'm starting with a new material that I'm going to copy it later on. I do as the beginning as master material, a shortcut for master material. From it, I will take material instances and material instanciations that have the same properties and has all the same, you know, colors and everything. So we'll do M underscore simple metal. Enter. Simple metal. Double click on it. I'm going to get a material editor. And this is the material editor, guys. Here's the view port here is where everything I do the work, I've got a menu bar where I file, edit and plug ins, sets if I want to get certain assets, windows, if there is a certain window that I want to add tools, if there's some functionalities or tools, tools, debugging tools, for example. If I want to get something from Excel software, for example, that is CSV that is related to certain coordinates. He I I've got any questions that I want to ask in the forms or in the documentation. I've got the toolbar here, save search home, hierarchy, you know, clean graph, preview state, hide the unrelated stats. How's the statistics of the scene or the material. Is it simple material costly material? All of these things we can see from here. Platforms if you want to see a certain platform for mobile or VR or something specific, we can all test it from the platform stats here. So here we can add multiple of materials, editors as Google Chrome, as tabs. It's not necessary for everyone to have its own window. So here, I've got the view of the material. If I do left to click and a click on the material, I can orbit within the material to view the different sides. Here I can see the screen percentage, you know, the frames per second, the stats, real time, layouts, everything that I need within the viewport perspective. Here if I want to pick certain other perspective mood. So So we can, for example, do top, and I get a wire frame by default, and I can do lit For example, if I'm doing a top land visualization, then I can view how the material look from the top. So it's very nice tools, guys, multiple of choices. Here, I can see reflections. For example, I see collisions, lighting only, multiple viewports wireframe whichever viewport I want to view in, I can view in here. So I want it lit from here, I'll do perspective. As you see front light left. Sorry. So I'll do perspective now. If I want to show the grid or not, if I want to add stats or not, see the stats, if I want to show background or remove background and things like that. Clear sky, if I want to have the environment of the material differently. All I can view from here, as you guys can see here, the axes that I have, the Gizmo, where is the direction that I have here, I can change the different models that material is viewed on. So I've got the cylinder, the sphere. I've also got a plane that I can add. I also have a cube that I can see, and also I can scroll in and scroll out and scroll in. And I can select a certain unique object to view the material on. So for example, what we want to do now is click on certain object, for example. Let's pick something from ceilings. No, let's do an accessory, a decoration. And let's do this, for example, and we're going to click on it, and now we're going to enlarge our viewport and look for exactly the model, where is it located, so the model is there, but we need to zoom into it. And whenever we upload the model, the orbiting and zooming and everything needs to be also the panning adjusted. We need to adjust everything for us to be able to see the material correctly on this object. Middle click, I pan the view through middle click. Okay. And now I want to scroll into the object. So the main concept is for us to find the suitable way for us to view our object. So let's pan it scroll Okay. Also, more panning zoom in. So for example, this is the way that I get the object that I want here. I have my sphere, and I'm interested in the sphere to be honest because there is no specific objects for me to dedicate a certain object for it so I can view. An mesh I can add here and see how the material looks on it. Great. So I've got the details and the parameters here. All the details that I need for the materials that is related to the main material nodes. So these are the basic nodes that I will connect everything to so I can get the exact material. Here, I've got some materials. I've got the domains like different types of visualization. Every time I change, it shows and hide certain elements on the main simple material editor, the one where as you guys can see, the one in the viewport. So everyone changes and varies from the other, differs from the other. I've got opaque mask and each one of them is also different and will change the available nodes for me to connect to. So translucency, for example, is one of the things that I'm going to use additives, modulate. So many, many material types that we will be, you know, covering some of them for archives and beginners. So, for example, if I'm going to do hair, skin eye or cloth is, of course, different than surf subsurface or cloth or, you know, default lit or unlit or even two sided for foliage. So all of that will be clear in our scene. Okay Difultlet here is the one we will use. If we've got two sided materials, if I've got any advanced options to tweak here, there's so many options. If I want to do material arrays, if I want to ite overwrite for a certain material, translucency options, self shadowing, usage. Many options. For example, these guys could be functions pre programmed for us to use, mobile, the forward shading, the example of how everything looks in the scene, post process material, refraction, light mass, many parameters. So we will talk about all the things that will cover an RCV and also for beginners for them to be able to create any material from scratch. And be, you know, very strong when creating materials and confiden. So, later on, guys, in the next lecture, we will talk about the editor itself and how to add nodes and assign materials to objects. I hope you benefit from this lecture. 3. Material Nodes : Hello, everyone. Welcome to a new lecture. We will talk now about material nodes, and we will make our first material. So it is the same as the reference that we have. So what we will do now. First thing we need, guys is nodes for us to make logic out of this material editor. Now I need something that is called constant three vector for us to get the color. I want to do right click and do constant three vector. Okay? Now I've got constant and constant two vector and constant three vector. Why do I want three vector? Because I need three values, RGB, red green. I will take constant three vector. I've got it in this way. Before we attach it. Is it the only way we make constant three vector? No. If we do three plus left click, we've got constant three vector. If I go from the palette and do constant three vector, I'm going to get it here too. I can drag and drop it into my viewport where I can do the logic. There are three ways that I can get the nodes that I need. But three and left to click constant three vector is the shortcut. Not all of the components has shortcuts. So if I need something that doesn't have a shortcut, I can get it from the palette here, anything I want. Also in the nodes. Also, everything is available through right click and, you know, typing in whichever node I need. So now I'm going to do left click drag and delete. And I will connect the constant three vector with the base color. Now, I've got the color of the object completely black. And I want to view it in different ways. So the orbiting here is not going as smooth as I want. So what we can do is basically maybe try. So we can navigate quickly, right? We can orbit around the model itself around the entire plane on the model. So let's close this one and maybe try to reopen it again. So I want to go and open this and go from the materials and say, simple materials. Now I'll double click on it. Now I can orbit, as you can see, very, very efficient and better than before. So before, it was just for us to know how to put an object in the material editor and C. So three and left click, I connected the black color. Double click on the color, and I want the color is white, so I will do okay now. So now the color is white. I can move the cursor to the colors, and I can pick whichever color I want, green, purple, anything you know it. So let's make the application now, make okay, save. And I will try to assign the material to the object. As you can see, now, we can see the entire object with this material. So Control Z, either I drag drop on the object or drag drop to the details of the object where I can change the material here, and both ways are correct, direct from the viewport or Control Z, and I put it in the details, my details of the object. Excellent. So now I'm going to go and see, I drag them drop and I want to change the color to blue, for example, I'll do and save. Now, everything will change directly. It's purple now. So I want the color of it to be white or si white. And as we mentioned before, nothing is 100% white, nothing is 100% black. So I can apply only guys. And then after I'm done, I do save because apply takes little less time than save. So if I'm 100% sure how material is going to look like, then I can save. But usually, if I'm editing all the time, then it's better to apply materials. So according to the reference, I've got a charcoal gray material, so I will go to the charcoal gray zone in the color palette, and I will do okay. And I will save now, for example. Okay, I got a gray color. Is it the same tone? No, I think it's a bit more dark, so I need to darken it a bit. Okay. I will apply now and save. 100%. This way is kind of the same color of the reference. In the reference, I've got a little bit of green like olih green, like olive green. So what we need to do basically is try to get the same color kind of. From here just a little bit, put it to the color green, and maybe I've got it better now. I can apply. Now, maybe I need to make it a little bit darker or make the green little less. Now we apply and see. We can make it a little bit darker. Okay. Apply. How is it now? I think the color is very similar now. And I believe that maybe my color is a little bit darker. So I want to make it a little bit dark from here from the slider or from the value that is under the HSV. I go to the V and I do 0.001, for example, that's black, 0.02, for example, or 0.050 0.01. I think this is good apply even better. This way, it became very close according to the color. Okay, am I going to do the same steps every time, like, apply and weight? No, but we're just explaining the beginning of the concept, how to do the material and and how to know the nodes. And then after that, we will get it a little bit more advanced and change it in real time directly. So I want to change the metallic a little bit now. So what I will do now is put the reference nearby my file and try to get the same values in the metallic specular and roughness. So what I want to do now a node that is called constant one. That's it. So that's a constant. That's like let's say the least node that I can put data into that determines what is the value of the metalness. And basically, zero, one, yes, no, black, white, it's like that. So let's do one metallic, for example, It changed as we saw, 0.5, maybe 0.5, let's save and see. Maybe this way it looks. Let's see if we can put the UI in an organized place. Now it's organized. I can see the table, the editor, and the scene. So let's have a look here for the table. I've finished from the metallic. I've gave it the value, and we're not going to change the value right now. Every time we change the value, we apply and wait. This is unpractical. So we're just talking fundamentals now and then we're going to talk about all the hacks and how to become much better in the software and the pipeline and the workflow that we go through. So I'll take another constant, either right click constant or one and left click or from the palette I do constant. I need to click on the search first. I do constant. Okay. Drag drop. I've got a constant or one and left click for the shortcut as a constant. One and left click. So now I will connect it to the specular. And as you remember, we've got 0.5 as a minimum specularity for any object out there. So I did save now. I've started to notice a little bit of reflections, a little bit of reflection beginnings, let's say. So let's say if it was one, for example, I'll do save. I'm going to amplify these effects even more. As we can see, it became a little bit brighter. It kind of got exposed to light even more. So one is okay for now. So one and left click for roughness and I'll do roughness zero. And I'll do apply and see what happens. Basically, it's reflected the entire scene for me. It's like 100% reflective. I can do this as a mirror, for example, object. Very beautiful. But this is not our table looks like. It has roughness, but not that much of roughness. So I think we will give it a value of 0.2. Let's do 0.3 and do apply. All right. Nice. Now we are getting closer. You can see how it looks like now reflective and much more realistic. Let's do 0.50 0.5, and above, we start talking about Mt material, which doesn't do much of reflectivity. Basically, it absorbs light. So 0.5 and upper, 0.4 could give us something in between, but still it has more reflectivity, our reference. So I'm going to do now is basically, Just minimize the value, 4.3, I think 0.3 0.35. I don't know apply. No, I like this value. I like it. It's giving me depth and it's giving me realism to my scene. Save now. Remember, always guys, save all and save your project, so you don't lose any progress. And this way, we assign a material. We make a basic material and assign it to an object that consists of color, metallic specular, and roughness. That gives us a basic material. I hope you guys benefit from this lecture. See you guys in the next ones. Okay. 4. Instances : Hello, everyone. Welcome to a new lecture. Okay, guys. In the previous lecture, we did a material and now we want to continue with it. So we did a metal that is simple, but the way that we edit our material every time we need to save and apply and see the results is not simple. Okay, so how can we make it simple and optimized in the same way? Today, we're going to talk about the material instances. How can I make a material instance that is correct? How does instances mean? It means that it is copies, is that I am doing one material, and I'm assigning it, and let Unreal read 12 versions of it, but it's the same in terms of performance. So the more I've got material instances. It's like it's reading all the materials as one from the same parent. First thing, second thing, material instances like a cover for the material. It has parameters from the outside, so I can edit them in real time without needing to go in the back end and fix it. Okay, so how do we do this? We're going to enlarge the material editor. And something very important that these nodes must be parameters. We need to bring them to the front end. So when we edit things, we edit in the front end only. Okay, how do I make these nodes as parameters? I click on for example, node, for example, the color, and I'll make convert to parameter. And it asks me, what's the name of the parameter? I'll do color, or that's for the constant three vector that has only one way to convert to parameter. This way, For the nodes, it has two ways, either right click convert to parameter or we'll see the second one, or we disconnect this node. We click Alt and left click. That's how we disconnect. Control Zero brought it back. Remember, when I hovered over it, it got highlighted. This indicates that I can disconnect it. So if I want to connect another thing here like a constant, it won't connect. It needs to be disconnected so we can connect another node. All right. So I'll delete this node for now, and I'll do S from the keyboard and left click. So it give me a shortcut for scaler. It's the same as the metallic node and the node that is under the roughness, but it's a parameter. So I'll call it specular here. I'll drag drop connect to specular, and now here, I can connect the default values and set them. So I've got the sider minimum and the slider maximum. Slider minimum and the slider maximum is responsible for constraining my values. So, for example, when I do the specular one, and when I fix outside, like the front end minimum and maximum is zero, that means infinity to infinity. So if I constrain the slider max to five, this way, the infinity to infinity is like zero zero will be constrained 0-5, so unreal will push the values within a smaller range, not an infinity to infinity. Remember, looming details, like after four and five and eight results, we can't see any changes. So why should I go and keep on going with the same result? When it's changing nothing, right? So what I prefer to do is to compress the values minimum and maximum 0-0 or 1-1, for example, so it constrains all the values, and it pushes down the limit. Like it narrows the limit of the maximum to the minimum. So when I give parameters a value, it will carry on, and it will hold the infinity to infinity into shorter values. So it's going to be much smarter for me to do like a slider minimum and slider maximum. It's okay if we leave it as is, but it's better if we want to constrain the values here as well, roughness, we'll do ten, here, right click. I'll do convert to parameter or S and left click, or there's a third way we do a scalar parameter, and we call it from here. Or from the palette, I can do scalar from here and call for the scalar node. That's a scalar parameter. So you guys see we've got different parameters from different way to spawn them. And here I can call it, for example, roughness. And I'll connect the roughness. I'll give a value to 0.3, and I'll connect roughness to roughness. This way, I can delete this from here, and we've got four parameters, the metallic specular roughness and we've got the color as well. So I can control them from the cover of the material from the front end. No need to control them from the back end. So here I put the slide maximum is ten and the slider minimum is zero. This way, I've told unreal is that, for example, if you want to go to the negative value, it's already okay. So some components, they can withhold negative value. So I just turn them to zero by zero because I know I won't be changing the constraints a lot. And let's say I know the sweet value that I need to use and fix. Okay, great. So now we saved, and we exited the main material parameter. And now we did a right click and metal and we did a material instance. So I don't want to call it an instance, but remind you that it should be a different name. So I will do an MI for material instance. And I'll drop the material into any object, and I'll do a double click. And as you guys can see, we've got a whole interface like front end interface that I can fix my material from. So, we save we close, and we do right click, convert to or create material instance, and we get the second node. Double click on it, and I get this dialogue, and now I can fix things in real time, as you guys can see. No need to go in the back end and fix it from the back end. So when I constrain my values to ten, I can't go beyond ten, so I'll do save now. I'll return it to zero, and I'll go now I can fix it. You see, guys, I can fix it from a negative value, like almost unlimited negative to unlimited positive. So we start experiencing the values, and the difficult value is the one I put in the back end, 0.5, for example. Here, the roughness, I can control it, make it mirror like, or I can make it a mat material. You see, in real time, I can see the effect of the material and how rough it is. My scene is rendered and I'm changing the materials and the parameters in real time. No need to wait. So this is revolutionary guys compared to other softwares. And when we become more experts, we're going to have more parameters to control, and we will be enjoying the material creation and the material editing procedure because it has unlimited number of nodes that I can add and logic that I can make unique materials with. And here's the specular, I can see. That's negative. You see, like, that's one. Beyond one, I don't get any result, and under negative one, I don't get anything or zero. So in the specular, I can do the slide minimum is negative one, and the slider maximum is one. Save. And now the specular is minus one or one. It's not infinity to infinity. So I've constrained all my values within two values, negative one and one. So zero is in the middle and one is the maximum. Here roughness after number one, I can't see anything else, and the negative, that's zero, and nothing changes beyond zero. So I might constrain these as well, so I go to roughness, and I'll do the slider minimum to zero. And the slider maxim can be one. I'll do save now. I can apply, but it's like apply and save in the same time. And now on the roughness, I can, you know, same for metallic. I'll look. I'm testing. Beyond one, there's no results. And under zero, there's no results. So I can go to metallic and apply the same parameter borders, zero by one. You see, guys, now, we've got, like, a bar that shows me how full my material is. So it's like constrained now. So now it's like the maximum is one, and the minimum is negative one or zero depends on what I've added. And of course, I've tested. So based on the test, I've determined that I want to do 0-1 or negative one to zero or so on and so forth. So by time you get it through experience, but if you don't have experience, you do it by test and error. So this way, we've got the first material instance, and now we can see the results on the objects that we apply for, and we see how nice it looks. So we get a different depth for material. Here, for example, we can apply, we get more roughness, here as well. This way, it's hard to to assign. So we do in the details from element one, we just assign it. Here the same, as you guys can see, If I get closer. And sometimes, guys, I get closer, I get inside the object, and it's not practical anymore. In this way, I can do right click and C, and, you know, I control the FOV of the camera, and I can control the zoom of the lens itself. So no need for us to get inside the object, and still we can see how the object in a closer range, which is very practical and very aesthetical in the cinematics later on. So here, for example, I can assign as well. It's a whole different look guys. There's a big difference between the right and the left. Here, the same. Here, as well. So we want to go around the objects that has the same material and assign them. So we've got everything in order. So that's outside, for example. Let's try to apply this to this steel mesh. It differed directly, and it looked nice. It's like our scene is little by little coming to life. So we're just testing. We're going to do a different material for the exteriors, but we just wouldn't see together how it's looking and how everything is fixed. Here we've got a problem in the model. So let's fix this quickly. We're going to fix the pivot. We'll take these two objects. We'll go to modeling from here and we'll go to pivot. And then I'm going to do bottom and accept, and then I'm going to remove all the snap and scale it up manually. So it, like, seals the gap. Almost. Here, there's an overlap as well. There's an overlap. Let's see. What I can do here is that since there's an overlap and not much of control I've done here, I can start fixing the overlaps from the scale, from the details panel, so I can get a more accurate result, so I can try a 0.0 or one point Let's see one. That's what we get. Again, I'll do select for both of these, and I'll do one, for example. So now they're working together. 1.1 is a lot. So 1.01 maybe it could be acceptable or 1.005. Perfect. This way, it's the closest possible to reality with no overlaps, and same here. I'll do 1.0 0.05. Okay. Okay. Let's do the same value and see. You know, this is higher. So we're going to need to give it a lower value. So let's do one. Then it's going to be 1.005, maybe. Yeah. This way, it works just fine. Maybe here, I can take both of these and do 1.006, then it's 100% sealed. And everything is going good. Same way we've got it here. So we just want to make sure that everything is sealed. So let's take all the objects and you try to scale it up. So make sure we don't move anything. Okay. Great. And I'll do 1.00. Okay. Okay, 100%. This way it's all correct and everything is okay. Now I can assign this material to multiple objects, as we said. Okay, now, we want to see if we want to do a different variation of the same material. How can we do that? So let's look at the references, Zoom We want to do this material. Let's see if it has any other reference that is more clear of the color and the shadows. Okay, this one is okay. Okay. Okay, I believe the picture we saw the first, this one, and the other one is the closest. So let's try to see the color and try to get the same material. So now, guys, what we want to do is that we've got a material instance, and we've got a master material. And 90% of the time I'm going to use the same as the MI sample metal, the one I did earlier. So I don't want to do another material instance from the parent, and I don't want to do a new material and repeat everything. There is no need because we have a material that has the same basis. So I can do either or. But it's more preferable is that I do right click and I do duplicate. This way, we get another material instance that we can fix. And here, I can do right click and do another material instance. What I'll do is I'll do a duplicate. That's the way I prefer. And I will do here. The first one was simple metal, and this one will be underscore bright. And this I'll do F two and rename it to dark, for example. So we can differentiate between them. Double click on this one, and I'll assign this material here and try to get all the tabs together. Let's put this a little bit on the left. And I'll fix the color from here and I'll do it a little bit brighter, so I'll do 100% white, and then I'm going to increase the color from here and see the tone, try to get the same tone. Okay, now we've got the three editors that's amazing. And let's see what we can do. So for now, I'll try to get the same color. So this one has a lot of reflectivity. So we want to minimize the reflectivity. First thing, we're going to get the tone since we have the color picker dialogue. I think the tone should be like this. Okay. And then we'll go to the roughness and do 0.5, just to get more of the color more. Okay. Let's see. Now, the color looks even clearer. So what we have is a little bit darker, so we want to remove the metallic because I think it's more of a painted wood than it's a metallic or a metal. So for this, we'll do a 0.1 just for it to take a little bit of reflectivity and I'll do the roughness 0.5, and the specular, we can do 0.5 or one. I'll keep one, and I'll just brighten up the color a bit. And I think it's a bit greenish a bit. This way, I think it's becoming closer. This way. Yep. Let's see other photos. Let's see if we can find a better angle. Okay. Okay, this one, but this one has a bit more shadows. So it could be a bit darker. So, you guys see that we're fixing our material in real time, like literally in real time. And that's an amazing revolution, guys. For example, in Max, I used to render this every time for me to get the correct tone. And try to judge from the light cache which is still unclear. You know, it was a hustle. But now I'm you know, using it and getting the perfect color tones just by seeing it in real time. All right. This is good. That will click again, Roughness, we'll do 0.45 or 0.4, try to get a little bit of reflectivity on it. I think this way it's the closest possible to the real life. S save all, save selected, save from here, and everything is saved. And this way, guys, we took the fundamental of how to do a material instance and how to vary colors from it and different parameters, and how do we fix our materials in real time. Material instances is something that we will be using all the time when it comes to materials and we'll adopt it, and we will be enjoying this process in real time. Everything that I've assigned material for is being edited while I am seeing it in real time, and everything is great and we see the frames, the frames are amazing. Let's see from the back or from the front, things are becoming clearer. I hope you guys benefit from this lecture. See you guys in the next ones. 5. Using Textures : Okay, so we talked about how to make simple material and basic material. In this lecture, we will talk about how to do textured materials, how to make materials that are 100% texture driven. So control edge for us to hide everything because I had the ceilings in. And now I want to create new material that has a texture. So now I'll do right click material. M underscore basic wood. Double a click on it. I've got a new material editor. So now we will do kind of the same steps that we did the last time. But what we will do is we will add texture. So we're going to go to two textures. And Textures basically has three main sources to download. Number one is from our project folder that we did on Mac. So I use the same textures or I download textures from Google or from text that I find suitable Minding that needs to be the power of two. The size of it, five 12, five 12, 1204, 1204 or 10204, not seven 20 by six 40, for example. Or the third step is through MgScan MegascansGuys, is going to be ultimately the basic thing that we will be using because we will be downloading very high resolution textures with all the channels, and it's scanned, and I can work on it smoothly in my scene. And basically, we will talk about how to make materials like the MgScan if I don't have the megacans and cover all the scenarios that we need the materials. Good. So now I want to look here and try to find a wood texture that has the correct, you know, dimensions. That's like 500 500. That's wrong. Same here, same here, same here 1,000 $1,000. Here we start to realize that the textures we've got that we brought from Max were just there to render a still image. They're not there for us to see in real time or to view in VR or any optimization. So basically, now what we will do, even though we have wood here, but we want to look at the reference and see if I've got a same texture for the reference or not. So the most thing I see close to this is this wood, but this is 500 500. Can we fix this? Of course, you can fix this on Photoshop. And from photoshop, we change the size of the image and make it again to unreal. But for the sake of tutorial, we will continue and we will drag drop the texture here, or what we can do here is do a texture sample. And we've got the texture because I've already hovered over the wood from the content browser, and then I told it texture sample. If I don't click on anything, basically, it's not going to it's just going to give us an empty texture sample. Or what do I do? I click T and left click. I get a texture sample. Or from the palettes, click on the search and do texture sample. And here we go texture sample. And texture sample is one of the things that has a shortcut on the keyboard. I can click T and T and left click, and I want to connect to the base color now. So you see, now I can see the albedo of the wood. But as I told you guys, I'm only showing you, I'm not going to adapt this material. I will change it most probably and get a texture from the megscans or from textures. So we did a texture. We're going to assume that this is five 12 by five 12. I'm going to do a scalar parameter called metallic. And the metallic, I want to connect it to the metallic and it doesn't have any metalness. It's zero. We will do now control Control V and change the name, give it specular. Specular, give it to the specular. And as a minimum, we're going to give it a half. Of course, there's a difference between 0.5 and zero. Another scalar or control Control V, we will take here roughness. And from the roughness, I'll connect the nodes and give it 0.2. Save the material, save it here. I'll do a material instance. We can do an material instance now, or we can do it when we finalize the material. So when we want to edit, we edit parameters that are 100% complete, right? We don't want to, you know, fix one and then after that, not use it. So I'm going to drag drop the material as simple as that. Is it the same as the reference? Of course not. It's not the same as the reference. I'll minimize this, I'll zoom in here. So the texture is horizontal to begin with. It's not vertical. Also, the texture has more reddish look than the one we have. It's more yellowish. Also, the contrast in the veins is very high. Fourth thing, the reference the roughness here is too low that we got. We increased it to make it a little bit higher, so it's more realistic. Let's see the effect of this material on the cupboards. Of course, it's not the one we're going to use. But we just see. And this material is not seamless. When we start seeing these lines, guys, we understand that the material, the texture that we have, if I, you know, duplicate it or multiply it. It's going to keep on giving us the same look. But this texture when I multiply it, as you can see, it's like a rectangle that is, you know, duplicating. And this is bad for rendering in any render engine, not just in unreal. So we need to find a better texture that is seamless. So I want to go here now and type textures co Okay. Okay. We're going to get this website. This website is free, guys. It's an amazing website. We have three D models, we have textures, and we've got up to eight K materials, and they've got foliage and assets. So textures.com is one of the most one of the oldest websites that I've been dealing with throughout my three D history. So here I went to do wood and hover down to see if I can find something that is similar to the one I want. And as you can see, there is multiple wood textures and the look and feel of these textures. We want to find something that is closest to our scene. So maybe we use this for the scene for the ceiling. And Maple veneer, I like this one. Wormwood is not okay. Tick veneer is too dark, cutting board wood. This wood looks pretty nice. And we got to take our time for us to find, you know, the correct texture. So patience is key here for us to get the exact material for us. So let's get these together aligned so we can look and see. There are a lot of wood types. Oak veneer could be. Here are wood textures, but they're not material. So I've got the albedo, but not necessarily all the channels. This is wrong when I put in unreal because it's not going to optimize the texture for me. So we prefer that our textures are squared. But sometimes, you know, the thing that I need is not like the standards I have, so I need to, you know, know when to compromise. Okay. Okay. So cutting board wood. So if we've got one or two or ten materials in our scene that are not optimized, it's not a big deal. It's okay. But if it's most of the materials that are not optimized, this will affect my computer, especially if I've got a low performing GPU. What does veneer mean? Veneer means that, you know, the crust, the end material of the object. So I think I'll take this one. Let's take this one. So these are all available for now. So what I will do is I think we need to sign in just in case. Let's log in. Okay. Perfect. And they give you 15 credits every day, so you can download as many materials within the 15 credits as possible. Okay. Map veneer. This one. I think this one, what we need, four k. No, it's not what we need. I'm going to take the five 12, five 12, so I'll download them again. And I can also download the roughness here. As we mentioned, it must be a gray map, as we always said. So now we will do Control X and try to manage our project in one folder. So now I will go to where my folder is located in the one drive, and I'll do three D Max file textures. And here I can do a new folder. Just for us not to lose the materials and we can call it text we've got textures already. So let's call it our textures or my textures. Do click Control V. These guys, we're going to zip them and compress them to send them to you so you can follow along. I'll call them basic wood. So we know that this is the first wood we've done. We'll do okay. And of course, you guys can go to the website and, you know, find any other wood and apply it to your own project file, following along with this course. You can always do that. It's fine. So now we want to add these textures to our unreal engine editor. So now what we want to do is to add the textures here. Same in textures, so we don't lose them. We're going to do our or M or our material O textures. We're going to double click on the folder, and we will do Control C, Control V or we're going to do drag drop. And again, when I go to the properties of these textures, we go to details. They are all five 12 by five 12, so they are multiplications of two. So now what I can do guys is delete this and replace it with another texture, so we can do like this and just connect this one rather than that one. It's okay. This works. Or I can click on the texture and do create material. So it creates the material from the texture without all the other parameters. Let's do an example. As you see, we've got the material with the texture. But we're not going to use such material, so we'll delete it. Ideally, guys, these should be named, so I don't lose them. Again, even if they were in another new folder, I will end up losing them after 50 textures, right? So it's ideally for us to name them correctly through Wo Vneer albedo, veneer normal, and of course, for the roughness. Wo veneer underscore normal or N R M. And here we can do F two and control C, we go here. We do Control V and rather than normal, we do ROG H rough. This way, I know it's roughness, and LBD I can shortcut it to ALB. For example, or DIF diffuse, and now I'm going to take the normal, and I will take the roughness into my material editor, and I want to see them when I add more parameters, so I need to add the normal. It doesn't really show because we're doing a flat cupboard that basically has a layer of food, a very thin layer of wood. So it's not going to show much. We're going to talk about how to increase the intensity of our normal, and the roughness we're going to add where the roughness is. You see now, it's pretty smooth. Okay. So we've got a high roughness value here. Okay, let's let's let's, take this one and apply and save. This material is basic wood, so we're going to go to our materials, basic wood and drag drop it to our cupboards, and they look much nicer. The texture looks much nicer. And also, it has changed for every model around me. Why? Because I've pre assigned it to it? So it's not necessary if I have the texture of the roughness that I must use the texture of the roughness or the normal of this type, right? No, I can get from anywhere else, and, you know, combine textures to make them look even more realistic. So this is an example, for example, for the wood material. Let's take a fabric material from the same website. Minimize, minimize. I'll go here, and then I want to close and type fabric. And I will scroll down and try to look for a fabric that looks close to our reference. So for us to work properly. What I want to do, I want to open the two windows together, and I want to look for fabric that looks close to the fabric that we have here. So we've got carpets, we've got stuff for clothes, for carpets, for, you know, decoration walls and patterns, beds, blankets, many things, guys. So this cotton texture is potential. What else? What else? We've got napkins guys. So we've got very realistic textures. I remember there was many textures down here in the website. This is nice, but it's not seamless, so it will show as the rectangles that showed on the longer cupboards, Our textures must be seamless. So we go down and try. As we said before, we need to have patients guys for us to get to the correct fabric. But in the end, what's nice is that we will build the library on unreal engine that we can come back to any time and edit anything in it anytime. It's not like I need to create this every single time. I just create an amazing material. Every time I have an amazing material, I add it to the project through migrate. We will talk about this. And we're going to have a file that has all the amazing materials in it. So whenever I have a new project, I just open the project inside this template, take a copy and open it inside the template and just use the materials that are there. So basically, what shows here is that we've got only these three textures that are the best. So we'll zoom into this one to see if it's possible or not. So this is like cton fabric. Maybe we give it a chance and we download it. So this is the seamless height map here is the normal roughness and ambient occlusion. All right. So let's see any other stuff. We've got 14 credits. We don't want to take too many textures. This one is completely out of the league. No, I don't think it's going to be the one, so I went to close it. It's fiber glass and fabric plane here. Flat maps. Let's see. Zoom in. So I will download this one for the cotton fabric and download the five 12 ones. Show in folder. I'll take these both, and I will put them into my source folder where my textures are, and I will paste them, and I will, you know, add them to archives, send them to you guys, and I will call them basic fabric. Great. And I want to take the basic fabric textures, the albedo and the normal, and I want to put them drag drop into unreal and put them inside our project here, where textures are inside textures, and there they are. Next, I want to drag and drop them into the textures our textures folder. So I'll click both of them and drag into textures. This way, I've got them both into textures. If unreal doesn't want me to or doesn't want me limits me to drag the materials all the way up to the folder. So you see when we name, it's much better because especially we've got here, it's textures.com in the beginning of any texture. So I'll do right click here, create material. Okay. And this one, I'll call M underscore cotton or fabric. Double click here. I'll drag drop the normal inside and assign it connected with the normal. Okay. We'll take a couple of nodes here. Also, we'll take scalar parameter that is metallic. We'll connect it to metallic, 0.1 we could give and we'll do here specular and we'll give it 0.5, and we'll do roughness. Sorry. Another scalar and we'll do roughness here. G drop into roughness. And of course, roughness is going to be very high because it's a rough project rough model. It's not a rough project, it's a rough model. So now we want to drag and drop the material to our model and see how it looks. Nice. So it's 100% I'm 100% sure that needs scaling, but it looks nice, okay, looks better than the one before. Normal doesn't show a lot here because the normal is rotated in a way, and the fabric is rotated the other way around. And this needs rotation and fixing. So don't worry. All of this we will fix in the UV materials lecture where we will explain how to fix everything and the axes and scale and moving and the stretching and all the things that we need. We will talk also how to take the textures from Bridge Megscans. I hope you guys benefit from this lecture. See you in the next ones. 6. Intensity and texture rotator: Hello. Welcome to a new lecture. In this lecture, we will continue with the material chapter, and we will go further deep into the materials, and we're going to talk about very nice things that will give us limitless capabilities in the material editor. So last thing, we did texture material. We want to drag and drop it to our materials, so the textures is separated from the materials. All right. So I'm going to double click on the basic material that I've done. And I want to delete the previous texture. And we agreed together that if I want to go back, let's go back to the one drive, let's go to the reference, and reference images. And we'll take the image that we were working on previously. Here it is. Great. So now, the texture is giving a little bit of red. What we have is more of a page. This we can fix in multiple ways. First way through the texture editor, we double click on the texture, and if we scroll down, this is called the texture editor, and this is the texture editor. We've got the details. We can go down and we can change the colors, the brightness, the contrast, the saturation, the RGB curve, saturation, many things. So if I give one vibrance, it's going to be more vibrant. If I control the saturation, you see everything in real time changes. This is the powerful part. So I can give it like an amount based on a certain value that I want. I want to decrease the saturation, for example, so I can make it more pale. He, I can control the color that I want. So zero is equivalent to 360. So I want it a little bit red. I can work on it from the hue here. But usually, we don't fix the texture itself because if I want to copy the texture to another material, I don't want the texture to be edited. I want to edit the material itself. So this is a smart work flow for us to adapt. Uh So we don't want the origin of the texture to be red. We want the origin of the texture to be orange and that I can add filters and nodes to change it till it becomes red. So what we want to do now. If we're going to fix the texture only for one object, one material, then it's okay. But if I'm going to do multiple materials and multiple objects, then it's highly preferred that we do it from here. So we've got a certain color that we want to a bit make it more red. There's a bit more red a bit. So how do we do this result is basically, we want to multiply this node or this color by another color. So I can get this result. So I'll do three from the keyboard and left click. So I'm going to get a color node, and I'm going to make it parameter, because I want it to be in the cover of the material. So we're going to color or albedo color, for example, Great. So we understand that this is related to the albedo and left to click, and this is a multiply node. This multiplies two values together and gives me the result of them. So multiply M and left to click or right to click, multiply or from the palette, multiply, and there you go. It's very famous node. So we're going to connect A with the texture and B with the color, and I'm going to connect the result to base color. And I'm going to make the color white here. So now we get the original texture that we've got, and also it affected it a little bit because I've multiplied it with white. So now I want to do right click and I'm going to create a material instance. As we learned, I'm going to delete the instance word, and I'm going to add in the beginning MI to make it M basic wood. I'm going to drag drop the basic wood to our models as we can see. So when we change everything changes together. Great. What I want to do next is double click on the material instance and go to the albedo color and try to increase the red amount a little bit in our material. So as you can see, everything in real time changes. No need to render and go back and check. So this helps us get the accurate and exact idea of the project the quickest possible. So let's get the reference on the left side and we will get our model on the right side to achieve the result. So this, we want to try to give it one third of the screen, but apparently it's not working. So I'm going to make it thin, and I'm going to make it right in the middle between my scene and also how the wood looks like. And we can zoom in here. So also, we're going to make the texture rotate the texture. So we want to try to get the correct color. I think it's a mix of orange and red. It's not only red because it's showing me that it's a little bit orange on the left. So we're going to have to keep trying. Okay. No, I think what I have is a little bit more red. So I need to take it to the orange section a little bit more. Okay. So almost like this. Okay, so we'll try to get the color as close as possible, roughly in this place. So that's a blend I want to do for the color. I feel it needs a bit more yellowish look a little bit more. Yeah, I think maybe a bit more than red. Yeah. Yeah. This way, it looks good. So now we want to check the metallic roughness and specularity and we can start changing them in real time. No more saving and waiting to see the result. So now metallic, for example, 0.1, we can increase the roughness or minimize the roughness. So maybe we make it 0.6 rough. Specular, maybe we do it, zero. No, I think it's 0.50 0.5 is okay. And here, maybe we can make the color a little bit dark. So this way, I think it's very, very, very close to our reference, the color from our reference. Great. So now we want to rotate the material, and we want to double click on the parent that we prede we want to do something Okay. We add an node here called right click texture coordinate. Exactly. And then from the texture coordinate, I can connect it to the UVs. Before I connect it to the UVs, I get multiply from the keyboard, and then I put a scalar parameter. And let's o scale here. And connect it with the multiply and the scale, I can do one, and then I connect it to the UVs that we have here, save. Now, if I go to the material parameter, let's get closer. I've got scale that I can make it bigger or smaller. So this is like scaling up and down. This is the first step into UVs. Maybe we want it like this. Okay. Let's do 1.78. Let's round it to 1.75. This way, the scale is okay. Okay, what I want to do, guys next now is to rotate the texture. So how can I rotate the texture? I need to double click. And what I want to do is I want to disconnect these. I want to bring them to the left a little bit and ask for a node that is named custom rotator. Exactly. I will connect the UVs to the multiply. And I want to ask for a scalar parameter, and I will call it rotation angle. And I'll give it 0.25. We can edit it later. And then after that, we can connect the rotator to the UV. So this way, I've got scale and I've got rotation. So now I go to my material cover, which is the material instance, and I've got the rotation angle. And as you realize, once we saved, it already rotated the angle, 90 degrees. So 0.25 represent 90 degrees. Why? Because in this angle, unreal engines converting degrees to radians. So 0.5 is like 180, 0.25 is like 91.75 is like 270, and as we said, maybe two is three 60. So the more we're progressing, the more we are able to control our materials. So I want to try to control the normal that comes within the material itself. So we feel that it's a little bit, you know, rough face. So we want to make it look more realistic. So we've got normal, but we want to fix the normal furthermore. So what I want to do now is write a click and ask for flatten normal. Connect the normal V three to the RGB and S and left click, and I want to ask for normal intensity here and add it to the other node. And I want to do the intensity one here as the default. And I want to connect the flatten normal with the normals This way, I've I've started to have groups that is related to certain functionality for our models, our materials. Sorry. So now I can do C from the keyboard as a comment when I have multiple nodes selected, and I can type normal. So now I've got the group as normals, I can change the color to whatever color I want, so I'll do a blue the normal itself, and I'll do okay. And this way, I've grouped my normal nodes, so I don't know, get it like, you know, complicated and all. I can comment all the materials together. So I haven't finished here yet, so I didn't want to I don't want to add any groups to the albedo till now. I'll add it later, but now we've got normal intensity, and I want to see from the right. And also make sure that if I can see. So usually the normal works very good with the roughness. So if I do 0.2 roughness and I start increasing and decreasing the normal, maybe I can start seeing the result, but it shouldn't be this way. It's very flat. The normal is very flat. I can barely see the result here. So I don't want this. I want to add a normal that has. You see, there's no details at all in the texture. So we want to add a texture that has details. So I need to look for a normal map. Shouldn't be the same material. It's okay. I can add any normal from similar material and, you know, just use it in unreal and replace the normal that I have. So if I put normal map here, no, I want to do wood normal map. I've got many here on Google, and I can pick any of them. But honestly, guys, I don't want to keep looking here because some of them are for money, and some of them are very low quality. I can find, but I need more time to find what I'm looking for here. So for example, I can look into textures.com for a wood texture normal. And I can also look in MgScans. I don't need to, you know, waste my time on Google and look for textures when I have awesome high end websites that can generate amazing textures for me. That is a multiplication of two. And I can now look for the closest wood that is similar to our wood. So we don't want something that has a very high intensity. We want something that is moderate. And we also want something that is a surface. We don't want something that is logs or even, let's say, flooring. So this worn wood could be okay. This is the take veneer is very polished. This is okay, guys. So we can take the normal here, download it this way, show and folder, and I will take it from the downloads, and I will put it where the textures I've collected earlier. So we'll go to three DS Max files, texts. And from textures. No, I've got my textures, and I will paste it here. And now I can take the normal of the wood and import it into unreal. And I will bring it here. I will close the previous one. Here is the texture I have. Now I'll drag and drop it here, and I will replace it with the normal. That's it. Save. Okay. So now we want to increase the intensity. So as you guys can see, now, I can see an accurate result. But the problem here is that the normal is too big and most probably it's rotated against our albedo. So we need to fix the scale of the normal as well. I want to delete the previous normal. And I will You know, take an node from here from the custom rotator and connect it here. I can do that. This way, when I scale the texture, it scales the normal. Let's apply. And then go to the normal intensity. As you guys can see, that the scale is okay, but the rotation is not okay. So usually when we do all the UV parameters, we give them the same for all the textures except for the normals. I kind of copy them and paste them independently. So I will copy these now, And I will paste them here, Control C control V, and I will connect it to the UVs here. I want to give it its own UV individual and independent from the one on top. But we need to change the name here, so I want to call it normal scale. And I want to call this rotation angle. And I want to call the rotation angle normal rotation angle. Remember to name them. Otherwise, I'm going to have it messy on the cover in the instance. So we won't be really knowing what are we editing for, you know? Is it albedo? Is it roughness? Is it normal? We don't know. So always name your notes. And now we can increase the normal scale. But of course, we want to increase the intensity first. So we can see it. And when the face is a little bit more rough, we can see the normal on it more accurate. So first thing, we want to do the normal intensity, we want to increase it a little bit. We want to zero out the normal rotation, and the scale, we want to decrease it Maybe we do it six. Let's see. It's getting there. Five five is okay. We can do five. We can do five. Of course, this way, we want to decrease the intensity, make it two, maybe. So it's a combination between all the nodes together. So it's more realistic a little bit. Let's do 2.5 intensity. Scale, maybe we make it a little bit smaller, maybe we do the scale ten. Ten is okay as well. And also, the roughness, we make it maybe 0.3. I like it when it was 0.2, but I'll keep it now because it's more realistic to look this way. But this way, I feel that the cupboards are not flat, right? Even if it was veneer, it has bump. It needs to have bump. It can't be just flat. I mean, it could be. It's not going to look realistic, right? Like, there is nothing called black or white CG. Same thing goes to materials. There's no called no metallic, no roughness, no scale, no normal, no. There's always all of these nodes, but in very small values. So look at the metallic, for example, we got a 0.1. The normal scale, we got at ten. So these are the small details that when I add them, it makes a huge difference in the end result. Because the camera, there's a lot of times I'm doing animation, and I'm moving the camera. It's still images. So a little bit of reflection from here and there, it's going to show either the good details I've done or the devos in my project that I haven't fixed them. But when we're moving and V R and animation, all of that, we need to fix the materials correctly. So when we pass next to the material, it's 100% correct, and I can sense the small details in the material. So we accept the material that we have, and we 100% sure that the material goes the way we want it to be, and it's almost identical to the reference. Okay. So in the next lecture, we want to talk about MgScans and how to bring all the textures from megscans and make a pure texture material from megscans and we will increase the material parameters a little bit more. Okay. 7. Megascans And Material Development: Okay, guys. So last lecture, we talked about how to increase the intensity and to rotate the texture that we have. Now we will talk how to get textures from mega scans. So now we will go to Google and we will do mega scans.com. Or let's look for it on Google. And we'll say Quick mega scans here. All right. Give me the website. We're going to click on the website. QuicksGuys is a company that scans models and generate textures with the maps and all of that, and they've done a collaboration with epic games, and it became completely free for us that uses on real engine. And they have thousands of assets. When they did the agreement in 2019, there was almost 10,000 assets. Now there's 17,000 plus. And you guys can you have infinity possibilities from different like 70,685 all the things that you can think of, all the assets that you think about. And I can create different scenes with different assets. They've got so many modular things and scenes, for example, this scene, they give you all the materials and the textures with all the models that are small and requires time for us to model. These are ready and modeled with all the LODs and all the optimization. In 2019 was the agreement and one of the highlights of that year for all the CG artists in the world. So, of course, we will talk in the bridge lecture how to download the materials directly and use them directly. It has own benefits. We will cover all the tips and tricks that hovers around it. So, for example, if I download from Bridge, I get the material as Megascs decided to make it look like. But when I download the textures only, I can introduce limitless number of varieties that I can add and it gives me more flexibility and they are free and very high resolution textures. So we'll see both ways. So I'm going to type in wood here. And I'm going to pick surfaces and from surfaces, I will go down because the moment I it's going to give me models and surfaces. Which one do you want? I want surfaces. And I will hover down till I find something that looks like what I am actually looking for. So I'm going to pick the image actually and go down. And keeps crawling. And also, guys, I can filter. Here, I'm going to see everything that is required to wood things I need and things I don't need. So I can filter through, you know, filtering the shape of the wood because I have it logs, so I can look for things that very close to logs. So I've got tiles and I've got wood. So let me see if there is more concrete historical rock. So it's wood. So I will hover down. You see now all the is filtering stuff that looks like the thing we're looking for. So maybe this. I'm going to middle click so I can open a new tab with it, and I will hover down and make sure that if there is more examples, So as you guys can see, only in the category that we picked, we've got so many icons of materials already. So they've got, almost no need for us to be Googling any texture for somewhat or somehow material out there. Okay. Maybe this one as well. I think this is it. Will do click this one. And I want to see if I can get something that is even more closer. What made me say that is that here I've got the tiles. I've got wood tiles, wood log tiles, and here it's not the same as I've got wood tiles. Maybe we can fix it on. Let's see. Okay. Okay. So now I made sure that I hovered over the entire collection of food in this category. I'll go back quickly and see if I missed something while I was crawling down. Okay. Mm hmm. Okay. So for now, we've seen four. Let's see which one is the to the one we want. We've got this. Mm. A Let's try this one. So we want to sign in to download. Of course, we've done an Epic Games account so far. So if I haven't, just go back and do it and sign up sign in through epic games. And after we sign in epic games, I'm going to be able to have all the assets for free. So same thing, we're going to sign in now and log in now. Let's pick which one that contains a guitar. Okay. Okay, verify. Cannot read properties of undefined. Mm. Products, Megscs choose a plan, sign in, sign in with epic games. Maybe there's something with Chrome. Let's try another asset. Lcoscrome and open it again. Let's say Mega scans. Sign in sign in with epic games. All right. Now I'm in. So there was a problem with Chrome. So we're going to cut the video and look for the textures we found already. And we cut the video, and now we will look for the textures that we found earlier would Okay. Okay, is it one of these two Maybe this one. So let's pick the resolution of We can do four K. We can do two K. Here, I want to, you know, study the scene. Is it a big area, or is it a small area that's going to cover. So it's a big area, so I will do two k. I can do four K. It's fine. If it's a smaller scene, I would do four K, but we want to do something that is good for all the different specs with different capabilities, you know? So now I want to check a couple of the LODs. I'll keep just the first middle and the last one. I don't need all the maps. I need the albedo normal roughness, and I'll remove opacity brush, transmission. Unique maps D available. Keep this roughness metalness specular, not metals. I need specular roughness, normal and albedo. That's it. And the LOD is 0-8, and we'll do download. Okay, so I've got it as a zipped folder. Now I can do control x and go to the folder that contains the textures that we collected there and paste it there. So I'll go to my root folder that I've determined the origin of it. My textures and right click here, Control V or right click paste, WinRar and export. Now I've got all the maps that I need. All right. Now I want to take them and put them inside unreal. I can create a material from and proceed forward with the cabins. So I'll drag and drop them and make sure are these the ideal textures or are there other textures that I need. So now I'm going to do is I'm going to go to the master material I've done, and I want to create instances from. But what I want to do is basically convert the textures that are here to parameters. But here, I've got the metallic specular and roughness as values. So what I want to do I want them to be as textures. So what I need to do is basically create a duplicate from the master material because we want to create a texture based master material, and we'll say wood panels. And we're going to double click here. Now we're going to introduce the textures we brought our textures. I'll look for an empty place and drag, I already have them. I'll take them and put them inside my material editor. Now I will replace the albedos. I'll remove the old one and put the new one. Same for the normal. I'll go to the normal. Disconnect and connect these ones. I can do it this way, Control Z, or rather than that, I can click on the texture that is here texture sample. How can I exchange them? I click on the texture sample, and if I know the name, I can just type it in or here I exactly look for it. VZ. I go here and type in Z. And now I've got the texture and it's changed and good. No need for us to cut the connection and replace it. Here, I will connect the specular with the specular, and I'll take out the value. I don't need it anymore. Same goes to the roughness. I'm going to delete the roughness from here. Here the metallic save. Now I want to assign the material and see how is it going. Wood panels, drag drop. So this way we've assigned the material. What we need to do now is the value is zero or no, I'm going to do a create material instance here as we revise together. And from the instance, I will fix a couple of parameters within it itself in real time. Now I want to put it to the side and see, I will rotate it to zero. This is the beginning. And then I want to make the scale bigger a bit where it's almost A aligning with the grooves that I've done between the logs in the modeling. So first thing, we calculate how many we have, how many logs we have, we made them larger to be able to calculate well. So we've got seven logs. So I'm going to try to make the scale go around seven, one, two, five, six, almost three, four, five, six. We need one more, so we're going to decrease the value a bit. This way, we've got four, and this way we've got six and that's seven. This is almost the correct scale. Now what we need to do is be able to stretch them and move them, right? So to make it very close to the panels. Most probably, this is the wood that we will be using, let's drag and drop it also here as well. So are we talking about the same wood? I feel it's the same wood, but let's just try to fix this one and decide later if it's the perfect one or not. So now, we've assigned the material. We need to fix we covered the rotation, we covered the scale, but there is a head for us to be able to stretch or move the texture. So what we will do now is go to the master material. And we want to start fixing the texture coordinate that we have already. So for now, what we need to do to add the stretch and the move. I'm going to take all the custom rotator and the UV related nodes that I've created so far. I'll put these together as the ones that are responsible for scale. Because I'm just going to create it as the blueprint of the master material where we copy it and paste it to any material we have. So we'll do this for one time only. So we'll do the custom rotator. I'm going to cut the custom rotator and I'm going to bring it to the right with all the other nodes. Now I'm going to click and left click from the keyboard to add the multiply node. And from here, I want to add a pen order. So I think it's a pen man it's not this pen. Three vector. Let's try a pen vector, exactly. That's it. So now I connect it to the B. And now I'm going to do a scalar from here, and I will name it move x. For example, or crop x as you want. And I'll take another scalar and call it move. I'll connect this with that again. So, this guys we're doing for the first and the last time. We're not going to do this again. We do it once, and then everything is automated already. So almost like a lot of things we will do in this course only for the first time, and then later on, they're going to be easy to fix. So now we're going to call this stretch. Sorry, it's not move. It's stretch and stretch y. Okay. And now I'm going to ask for a node called make float two. And I'm going to take a scaler from here and say move x. Right click, sorry. We're going to do a scaler and say move. And we're going to connect it to the y now. And now I'm going to do a and left click, and I will add the node from here. So basically, the add node adds any different logic that we're adding together. And I'm going to add a constant from here and give it the value of one. It's not going to be shown. I'm not going to change anything on it. Now, the last I want to do is make another ad node and add it to the multiply and add it to the other ad. This way, we've got different codes connected to the same tree code altogether. These are all different functions. So as we say, if I want to add the function to function, we just put the node at A and left click from the keyboard. So I don't want to give the same texture coordinate for multiple things. I want to give one texture coordinate for the entire texture. So now I can add this code to all the textures that I have. For all the textures in the material editor. So it fixes all the textures in the same time. So now I want to make it even smarter. I want to click C from the keyboard and put scaling. Here, comment rotation. So when I want to edit, I know which is responsible for what? Here I want to do stretch here another comment, and I'm going to say move or crop or move. Okay. Now, all of this will group together and we'll say texture go to the details panel and say texture UV mapping. All good. I can do the color red here, for example. All right. Now I want to do the same for the normal, so I can copy everything and paste it, but I need to name everything for the normal. So for now, I'm going to delete all of these, and I'm going to say Control C Control V. Oh, sorry, I took only the comment. So we'll bring this back, and we'll take all of these Control C control V, and we will connect the add to the UVs here. Now I'm going to name here for normal. So we don't have it all mixed in the cover. So we'll say R scale here in rotation Angle Stretch R stretch. Here in our move in our y and in M move. So this way, guys, we're doing it only for one time, and if I copy it, it will make sense to any normal that is there. So now we make this blue to make it distinguishable and we'll do save. Okay, there's something wrong I have because the texture does not show. So I'm just going to make sure one here and one here, here the problem was. Everything is preferred to be one doesn't multiply by zero and zero out the entire code. Save All right. So now we want to double click on the material instance and we've got a lot of things that we can control. We want to go to stretch x and stretch y and now we can stretch our texture on the x and the y axis. I have got and move also, so I can make a combination between stretch and move. Also, the scale. Okay, guys. So that was not the texture. Apparently, we tried to fix it, but it was not fixed. So we looked for another texture, and we found this one, so we will use this texture. So I brought them to unreal here. I've deleted the old textures because I'm not going to use them, and I don't want to load my file with textures that I'm not going to use. Because when I package my project, the textures that I have in the content browser will be packaged. Therefore, my package will be very large, and I don't want that. So I deleted them, and I will put the ones that I will use. So I'm going to replace the textures now with the nodes that I have there. So I'm going to go from the details and assign. And for here, I will look for specular. Let's make sure if it's specular, it's roughness. So this is not the specular. I'll go to the roughness, drag and drop it in the details. Same for the specular, or I click on the arrow. It's fine. Either I drag drop or click the button, the arrow. This way, I've got the texture the second one, and it's all good. Now, I want to try to fix the texture based on the parameters that I have. So what I want to do is return everything to how it was, and I want to fix the scale. So let's see. Let's do one, one is too small. Let's do 0.4. 0.50 0.70 0.50 0.40 0.30 0.4 is the closest. Let's try one. One is very close. Let's try to bring it to the groove 100% 0.76 I think it's 100% aligned. This way, the texture has worked and all the lines together. So, guys, there's something I don't like about the texture is that I've got lines that looks like flooring, and it's inaccurate. And the reference we've got an entire wood log. It's not a flooring. So what we want to do is fix the texture itself on photoshop, so I can remove the lines of the flooring. So I will drag and drop. Of course, not from unreal. I need to find the texture itself. Drag drop it to photoshop. Now, I've got it here and get the Clone stamp tool, click Alt on a source and start painting. So I want to hide these lines the same way as I have it here. So Alt pick source and click. Alt and I click on an empty area that is pretty seamless, and I try to find the same as the one I want to hide. Alt and scroll inside and outside is Zoom. Space with left click can pan the view. Alt and scroll to Zoom and pick a close area. So it's almost the same color of the wood. I pick an upper upper area, and this way I can hide it and it shows it's not even there. This is good here, okay? Perfect. Old. Also here. Perfect. So now we've got a seamless texture with no logs. Now I will do Control Shift Alt and W to export from Photoshop as JPG. And I will increase the quality and export and I will find the destination folder. My textures from here, I will duplicate and do two and save. This way, it's saved. Now I'm going to drag and drop it to unreal. It's there now. I can pick my material now, double click on the texture that I have and substitute it with the new one and do save PA Now, it's 100%, 100%, 100%, the same texture we need as in the example and in our reference. This way, it's fixed for all the walls. Now we've got to do variant textures to materials to fix the other walls. Okay. So everything is okay for this surface. We want to fix the other surface. So before doing that, we want to fix the roughness and the specular and all the other parameters that material matches the reference. And then after that, we can make variance. So we want to make control in the texture map here. So we want to do right click and convert to parameter. It's right here, convert to parameter, and I'll come from here and say albedo. Then after that, what we can do is take multiply here, break the node. I'll connect the multiply with the albedo color. And I want to do intensity for the albedo. So I'll do another multiply, and I'll pick Scaler, and I'll call it albedo intensity, ALB intensity. This way, I know it's for albedo because there's multiple things that is albedo related. And this will give us contrast for the albedo or sorry, it will give us the brightness of the texture. And I want also the ability of desaturation. So I will do write to click and type in saturation, exactly. And I'm going to connect this with the multiply, and I'll do another scaler and say albedo or ALB desaturation desaturation. And I'm not going to do any desaturation for now. I'll put it zero. And also, I want to introduce a new node, guys. It's called LRP. So RP is like multiply, but I can pick how much is the percentage of each object, you know, of each node. So here I want to connect a and I'm going to pick four and left click to get constant for Victor. And it's like the constant three vector, but I have the Alpha and I'm going to connect this with the B. And I'm going to pick another scalar and this scalar I'm going to call it ALB mix. And I will put this in the Alpha. So this way, I can control also what is the percentage of each node. So I want to convert this to parameter also and call it ALB color. This way, we've got many nodes. I know, but all these nodes we will use. These are the final adjustments I want to do to the material. I can control the contrast, desaturation, and the color. And these are fundamentally very important for us when we want to talk about any material that we want to control the color of it. So here I can call it albedo. And albedo is okay now. I want to save and see what now I can do in the albedo. So now you see guys when we name everything. Everything is much better for us, and my eye can catch what are you know exactly modifying So now I want to go to the albedo intensity and the albedo desaturation and all of these things. But before I want to bring the reference so I can see it, and I want to see something close to the object. So I'll return back to my reference image, and I'm going to put it to the left, and I'm going to put on the real on the right. And we will try to get close as much as possible to it. So here, what I want to do is to assign. It's already assigned, sorry. So I want to call the material editor we have this one. And we're going to fix the material that I have from the cover. Trying to dock the images with the material, we'll do we'll put it in the middle. Now what I want to do is go to the albedo desaturation and see when I put it to the positive, it gets desaturated. When I go to the negative, it becomes even more saturated. So I negative, I get saturation or in positive, it removes the saturation and I get another color. So it's all between minus one and one. One is complete desaturation minus one is complete saturated. Albedo intensity increases the brightness of the material. Okay. So I'll do this intensity one, zero, so this revolves 1-0. So we'll do 0.8, 0.9, 1.11 0.21 I think one is okay. Bedo. So before fixing the LBD mix, I control the color that I want. So I'll go to something that is see if I can pick from outside of unreal. Oh, that's awesome. I can pick the color of the image that I have guys from the unreal editor, and I can do okay. This way, I can increase the mix, when I increase the mix, guys, We're getting the effect directly. I'm going to pick a color that is more greenish, and I'm going to increase the mix here. 0.05, for example. It's pretty okay like that. I think let's see if we can increase the normal for the texture. Okay, so it's changing. Let's type in five minus five. It becomes flat, so five minus five flat ten five, ten. So let's do five. Okay. How's the color doing? I think he's doing okay. Maybe we can fix it a little bit. I can't see any edits for the specular or the roughness. Or even the specular or the reflectivity or any of this. So we need to go to the main material and add more nodes so we can customize our materials even more. So what I want to do is give it intensity here so I can control its brightness. Also, I want to give it contrast, so I can fix its contrast. So we'll do multiply and scalar and we'll connect A to the texture and B, I'm going to call it Here we're dealing with roughness. So let's check specular. So we'll call it. I've got to multiply, we'll call it spec intensity. For example, And also, what I want to do is call a node that is called cheap contrast, and we're going to connect it to the multiply. And I'm going to say, give me another scalar and call it spec contrast. And here, specular brightness. I'm going to disconnect this node and connect this one. Let's just make room for it. Specular. Okay. And I've got the metallic. Now we take these and we say C to get a comment and we group them together and call them specular. Let's move them to make our work organized. Also for the roughness. I'm going to copy these nodes, Control C control V, and we'll say here roughness. Sorry, roughness. And we'll connect it to roughness. And remember, we need to organize our work and all together. Should be fixed. So metallic will be metallic zero. And here I want to change the name for OG. Let's call it for roughness. Here, R as well. Okay. Here, let's say ALB, or U V, sorry to just get the keyword diight of U V, Caps lock V here as well, V. Also here. This guys, what we are covering now is, you know, the shortcut of years of experience, you know, rather than, you know, having the self initiative in this, you know, I'm giving you a system on naming system for you to find everything very quick and don't take a lot of time, you know, coming back and forth and trying every note to make sure which one is for what? And what's nice is I've got these material nodes now, and I can anytime just bring any texture and change it. Here I want to convert it to parameter and call it specular. Here I've got another parameter. I want to I'm going to change it to parameter first and call it roughness. And here, I want to convert to parameter, call it normal. This way, I can change all of them from outside, no, no need to enter the material editor itself from here. I've got all the nodes needed for the cover and the material instance. Here, I call it normal. Let's do it in R. Intensity. Rg spec albedo. All is clear and organized. Here, why haven't us named it albedo? Because we've connected it also to the specular and roughness. So now we want to save make sure that we have saved all in unreal always, bring it to the middle. Now you see we've got even more nodes, but everything is organized. Now we go to specular brightness and specular contrast. We can increase the brightness from here, see what happens. You see how it becomes reflective a lot. Let's make it one, zero, 00.501 Contrast, one, one, 52050. I can't see any change on the contrast. Roughness, brightness, either on the brightness. Nothing is changing here. Most probably because the channel that we've got is too flat. There's no details in it, so I can't see much of change. But I should be able to see a little bit of result. I can see the specular is kind of acting as the roughness. Let's make sure we haven't messed it up from here. So first, we've got the roughness unconnected, so we need to connect it. And now save and see the results now, if we have any results. So they often contrast. We see a difference, but not much of a difference that we want. To be honest, so In this case, guys, the changes are being driven fundamentally by the textures of the roughness and the specular. So if I've got them as different textures, it's the same story as the normal. We're going to get the change, and we're going to see the change visible way more visible than this one. We're gonna leave it as is. But as you see, now we've got the complete material for anything that we want to do further, Everything is changeable, everything is customizable and everything is there and in order. So now, just the final tweaks just to make sure that our material is finalized before we take any variants and copy them and try to fix the other surfaces. Okay. I think it's better now. Okay, great. So we've added all of these. Now what we want to do is to fix the lines on the other surfaces because each one of them has different lines. So I'll go to our materials for the wood panels. This is the MI. I'll do right click. I'm not going to do create material instance because it's going to become inside instance, and it's going to become complicated. I'm just going to make a duplicate. So I'll do another copy. I'll call the first one panels or what we can do is call them variant one and variant two. So here, I'll do F two and call it variant underscore, maybe zero two, and here I'm going to call it variant zero one, F two. Two underscore variant zero one. I took the second variant. I've applied it to the object, and now I want to see the changes I want to make. So I'll be fixing from the move move, stretch, stretch and the scale. To 0707 maybe from here. Very close. I think it needs a little bit of an offset. Here we want to do 0.9, for example, 0.70 0.90 0.95. That is great. 0.95 or 0.94 or 0.96. No, it's definitely not nine six. It's 0.94 has fixed the surface completely. Okay. Perfect. Now we're going to save it all. Looks good. It doesn't look bad. In the last surface, we want to fix now. This one, a little bit of change. So we'll do another duplicate for variant three. C is smart. It's called it D variant three. I'm going to drag and drop it here. Here in the set, I'll do 0.90 0.0 0.95 It's good, a little bit of differences, 0.970 0.98. Mm hm. Nice. 0.98 is very close. Okay, let's see if we need any crop x or crop. And this way, we've fixed the last surface and control the values This way, we've got the wooden wall 100% fixed and in order. Now the materials of the walls is okay. We need to do further materials. But now we've got an advanced material that we can copy to a material. Just change the textures and you've got it there. No need to do it all over again. And if we need to copy it to another project, we can also do this very easily. We've got a master material that we can use for any project that we want. I hope you benefit from this lecture, guys and see you in the next ones. 8. Texture Variation: Hello, everyone. Welcome to a new lecture. In this lecture, we will be talking about texture variation. It's a very nice fundamental, and it will help us a lot using the same material for multiple of variations. So we've got the capabilities, you know, to do unlimited variations. So, the example we will cover, we will cover the flooring, and we're going to talk about a little of foods. So first thing we want to do, we want to get the texture that we want to work in. So we found it on Mega scans. Warm concrete warm concrete. Sorry. We're going to have two k resolution. I'm going to see the settings. I'm going to uncheck what's not needed. So as we agreed, we're going to take zero four and eight download all LD for three D plans. We're not going to download three D plans for now. So normal deplacement we don't need, metalness we don't need. We'll leave roughness specular, and we'll uncheck the others. Four of them, I'll be the normal roughness specular, JPGs and FBX assets. So I hope it saved the settings. Yes, I did. Great. So Okay, guys, ideally, if we want to go back, we go back from here. Now, we don't close the window and we do download. So it's downloading, show and folder. As we can see it here, I'm going to do control x from here. I'm going to see where do I have a folder that has textures? I'll do Control V here. I'm going to do right click WinRAR and extract to concrete damaged. The name of the folder, don't do extract files or extract here because it will open the entire file here, and it's going to be unorganized. So we'll do a new folder and call it wood and we'll take these woods. These are fabrics, so we'll just take the woods and put them inside the wood. Also this as well. We've got both woods, great. And these are four fabrics that we took, basic fabric, we've got a folder. We'll do a new folder and call it basic fabric. So there is nothing, exploded here. It's all in one folder. All good. So now, what I want to do is I want to import the textures into unreal. So I'll open unreal, and I'm going to open it side by side, and I'm going to drag drop my textures into our textures folder. Pay attention to that. We can always move them inside unreal, but just in case. So we do right click create material. No. What we do, guys, is we go to our materials and we see where's the last material I've done that has all the parameters. So I'll take from this a new instance. Or I can do a duplicate if it's a new master material, but it's not a new master material because we've already modified the textured material. So we'll do new material instance, and we're going to change the entire name, MI underscore floor. Floor or concrete floor or correct. So we've got all the specifics and the parameters. I can uncheck these and upload my textures where the textures should be. So all with all albedo, normal roughness and specular. So we've got a new material now. As you can see, guys, this is the beauty of unreal. We take time in the beginning to build the material, but then later on, everything becomes automated, much easier to deal with. So when we get a project, we don't need to watch three to four lectures and do automate and do it manual. No, we need to, you know, just edit the materials that we already have. So first thing, first, I want to get the reference next to me, so I make sure that I'm doing it properly. So I want to get the reference next to me side by side with unreal. And I'll put the material here. I've got the area shown where I want to edit the floor. First thing, what I want to do is edit the scale of the material, so we go to UV scale. Directly, we found it. Specifically, when we name everything guys, everything is organized. I'll try 0.75, for example. I think this is good. Does it need any stretches? No, it doesn't. So we'll go fix the specular and the roughness and the brightness now. And also, I want to fix later on some of the coloring and all of that. As we see it goes more of oil green. So now we want to control the roughness. Let's try the contrast. Let's add the specular. All right. Let's see the normal scale, normal intensity, two, three, five, ten. Not much of a difference. Five, ten, one, two. Maybe we keep it two. And also, I want to fix these values, Let's see from here. It's okay from here. I feel that the example has higher reflectivity, maybe higher specular. Of course, the lighting makes a lot of difference. So if I go to sun Sky here and change the direction, Okay. I can see a different view of the roughness and the specularity, but I'm going to keep it as is, as it was -40 by minus 40100, one, two, three, five minus ten -40 -30 -50. That may be -50. Okay, guys. So now I want to see now, how's the roughness and the specular that we have as textures? I see that the roughness is there and okay, but there's not much of details here. The texture that most of it is white. Now, much of, you know, also details here. So what I want to do is to add more details and make the material more interesting. So what we can do, guys, is we go to our textures from our textures. Our textures. I'll do a new folder here, and I'm going to call it roughness where I'm going to add roughness maps here. So I'll just keep it roughness here. Double click, and I've downloaded a couple of textures from the Internet for different objects. Some of it were metal, some of it were concrete, some of it were stone. So things that has high contrast, as you guys can see and has details. It's not as plain white or plain dark. So I want to see the material now, and I want to try to give it other textures that gives us more variety. It's looking good, but we can edit it further more. Okay. So I've got them here and I've got the roughnesses here. Let's make a variation now. Try to give another map Control Z. Let's go where we are viewing here. Let's try here. There's a bit of a difference. Also here. I feel there's depth here more. Let's try here. We see that it goes away. Let's try this one. Difference. We've got a major difference now that we can see. Let's try here. No. Let's try this one, no. So we want the bright ones to be with the roughness, as you guys can see. And the dark ones goes with the speculars. So let's try this one. Also rough, here it goes away. Also here. So I believe that the dark ones that we changed is very good. I believe we've got more here. Let's try this one, no. Also, no. We need something that is more smooth. But this way, the result is already better. So I want to try with, you know, the amounts and try to make better amounts. So here I want to try to remove the details a little bit. So and I want to make it more polished. So this way it looks more polished. So I always need to, you know, make a balance between the reference and between the CG and try to make the best result possible. Let's see what we can do here, specular contrast. Okay, so specular contrast is increasing the brightness and more shining and all the shadows that we have and the light that we have. And also the reference we have, it is more shiny and and more clear. So maybe with a contrast, we make it this way, and maybe the specular brightness, we test with it, so the brightness. Maybe we make it a little bit. Right. Very nice. Very nice. Now, the floor is amazingly rough, and the material looks very realistic. It's so simple. Yeah, it's only adding the parameters for the roughness and the specularity and changing their textures. Now we've got a material that is ready and we can work with any time we want and to any project we want. So now we want to control the wall. So what I want to do is I want to upload the wall textures. I also uploaded them for you guys to use in unreal. On the website, or also offline. So now what we want to do is, you know, type in roughness here and put all the roughness maps. So we've got all our work organized and all in one place. Okay, great. So now I want to go to the wall, and I want to take these three textures and when I put them drag drop here, I've got them here, the wall textures that are here. Okay. I look for it and here it is. I do right click duplicate and I call it MI wall double click. I go to our textures. These are the textures of the wall. Now I want to change the base with the base, the normal with the normal roughness with the roughness. And I can also give the roughness for the specular. It's okay for this example. Okay, so what I want to do now is go get the material from our materials, and here it is, and I want to apply it to the objects that I want to give wall material to. Okay. That's nice. Here are the walls. Great. So let's fix the walls now. Let's see what it's giving us for the values here. It's the same values as the floor. It's not suitable for the wall. So what I want to do for the wall is give them different values. Let's make sure the material is all applied. Yes, it's all applied. Okay. Good. So now I'm going to start editing the roughness and all the different parameters. See what I get. Let's try to darken the color to have more contrast in the view, and then we can change it to white. So I want to darken it now almost like this, and now I'm going to test with the parameters. Okay, now we're starting to see results. You see, very nice. So things are more clear now. You see now how everything we've got a very decent wall material. We need to be patient till we get the correct results. Let's try to edit the UV scale, see if I get more options. This is nice for a wall base. I think 9.2 here is good. Let's try the UV scale. One, two, two is small. I think as we had it or one is good, one is good. Okay. What's left now is for us to test with the specular, see if the brightness is good or should we make it lower. Let's keep it one. We're not going to change. Let's see if we want to change our color to white now. Let's make it white. No worries. It's too bright and we'll go to the albedo and zero this out. As you can see, there is a bit of reflection. Try to enlarge the scale here a little bit. The wall is good. Let's try to apply it here. I think the material is nice, very nice. Okay. Let's try some other place. Let's hide this here and hide this here. Also this here, this as well, and try to apply it here. Nice. As you see there is reflection. Let's try to put light to magnify the reflection result. G from the keyboard to get the light bulb gizmo. And we want to decrease the intensity, maybe make it four. So now we edit the material further. This is. This is good. Now we can consider that the wall material that we have is great. Let's make sure that the post process volume parameters are okay and that has the quality that we want. 100%. Let's give it the floor here. You see how nice and realistic it's becoming. Here in the floor, we want to increase the tiling a bit. So we'll do 0.5, for example, two big 0.70 0.60 0.65. I think this is the best result for the tiling of the texture. 0.610 0.510 0.65. I think this is the best result. Now we're going to apply the wall material. Great, and we can also give it to the ceiling. I think this way for the floors and the walls, all the materials are doing great for all three of the buildings. Okay, so this way we fix the floor and the walls material. I hope you guys benefit from this lecture, see you in the next ones. Okay. 9. Tranclucency Material and Glass: Hello, everyone. Welcome to a new lecture. So now, guys, it's for the moment that we have been waiting since a very long the glass material. So no longer we need to hide all the glass every time we start the lecture. Great. So for us to be able to do glass material, we'll do new master material, and I'm going to call it M underscore glass from here, and I will make it capital M. Doubly click here, and then I want to pick from surface from opaque, I want to make it translucent from the blending mode. So it's a translucent material. And from lighting mode, I need to make it surface forward chilling. So I've got more parameters here, and I wanted two sided material. And I'm going to do three and left click from the keyboard to have color, and I'm going to do right click convert to parameter and call it color. And now I want to take S and left click and do metallic. Or I can do is right click and promote to variable. I just get the name with the scaler and it's a parameter already. So all is good. Also, I can promote this to variable roughness, and also opacity, I'll do the same. And from the fraction, I'll do promote two variable. So I'll do s for now. Okay. And I'm not going to change anything from here. I'll change everything from the material instance itself. So I closed it, I'll do right click, create material instance, and I will make it MI. And now I want to take an object. Let's take a sphere. And we want to assign the material to the sphere. As you see, now we've got translucent material. It's not perfect yet. We need to edit it and modify it. So now I need to edit the metallic roughness, specularity, and the refraction. So for the refraction, I call it refraction. It must be IOR, so it's okay. For now, I'll leave it as is. So I'll do refraction one. So it's 100% clear now, maybe 1.005 or 1.1. Okay. I've got let's say another parameter for 1.1 the parameter of the material. I'll try to edit the roughness a bit. Let's try 0.1 roughness, maybe metallic one, for example, and opacity, I can increase or decrease the opacity. I can see a direct view to my shading. I'll do 0.2 opacity or 0.5 let's change the color to white. Okay. Nice. Now, I've got an interesting look. Of course, guys, there are a lot to be done on the engine to fix the glass material when it comes to lumen. They're developing it. They've added a couple of things to make glass indeed better, but still they're still developing on it. It's not like we're using the glass of the light build or the ray tracing. So in the end of the course, we'll view the glass in ray tracing and it's going to be realistic. But for now, we're going to try to make the best of what we have in lumen. So we'll try to do the specular one or 0.1, or we can make the roughness zero, zero, maybe is good, maybe 0.1 is better, opacity, maybe 0.2, refraction IOR could be one, 1.001. For example. Great. Now I've got a glass material. I'm going to delete it from here and I'll do control edge and assign the glass material to all the faces of glass that we have. Finally, this way, I've gave material to all the glass. Let's check 100%. All the material and all the glass is good now. So let's try to fix the glass a bit further more, see if we can achieve a better result. Okay. Let's see the opacity 0.1, 0.2, 0.30 0.2. Let's see if we can mimic the metallic a little bit. I'll keep the metallic one. I'll do the opacity 0.1 is better. It's a better result so far for the glass that I have. I think these as well, I can give glass material. Also, this object here, Of course, we're going to need to edit multiple of instances to fix per object. So I'm going to do another duplicate now. And I'll call it glass zero two, for example, and I'll call this 1f201. And I'll sign zero two to this object here. And I'll do double click here and I'll try to, you know, make it darker. So I decrease a little bit of the silhouette that is happening around the object. And I will decrease the speed of the camera to get a closer view. As you see, we change the color, we change the specularity, we get different views for the object. Roughness. We can increase the roughness a little bit, so it decreases the silhouette. Maybe 1.5 is good result refraction. Now, I think I'll keep the refraction the way it is. Opacity, maybe we make the opacity a bit like this, maybe 0.4, maybe a bit, maybe 0.5, 0.42, 0.1. Okay. 0.15, I think is good. Maybe we try to mimic the metalnes a little bit. 010.5. That's a better version of the glass. Control Z. Control Z. So this way, guys, there is something unreal. Once I give glass to an object, I can't select it. So to fix this, we need to go to settings and allow translucent selection. So this way, I can select the translucency and assign the material to it. You see here how it's a whole different shade of translucency here. For example, but it doesn't show as good as the previous object. It shows a little bit of transparent. So I can take a third instance, something that is in between. So I want to duplicate now and make material three and assign it to the object and make a couple of edits here to make it fully customized for the object, and that works very good. So I'll do the metallic one. Maybe we increase or decrease the opacity. I can make the color a little bit different, maybe grayish, and I can make the opacity 0.2, for example, Specular doesn't really show us a lot of change, maybe roughness one zero, one, two, one, 0.5. Maybe here I change the color a little bit, make it a little bit darker. Opacity. This is nice, 0.1, for example. This is a third version of the material that gives us something that is more realistic and more compatible with the object that we have. Okay. Looks okay. Of course, we're going to have different things to fix the quality a little bit more. But for now, everything is okay. We also do we have concepts of glass? Let's try three different types of glass. This is a little bit high. We need to lower it down, go to modeling and get the pivot and bottom and then do accept and then move it down till it hits the surface. Then after that, I need to assign different materials and see which one is better. Perfect. Here as well. 100%. Let's see the sun here. Let's see if we can get better result by decreasing the intensity a bit. See how it is? Let's try to Okay. It is darker inside. Okay, let's try ten. Ten is too much. Let's try five. Five should be okay, interior and exterior, and I don't feel that there is a lot of illumination that is coming from outside. It's balanced kind of. Okay, so isn't there a check box or something that I can make the quality of the reflections better than this. Reflections okay. I can tell it's translucent, but I don't feel that I'm getting quality out of it. So yes, there is something that Unreal Engine added in 5.1 update that increases the quality of the lumen reflections. We'll go to edit project settings and from rendering, I'm going to scroll down till I get lumen then reflections and I'm going to enable high quality translucency reflections. Let's see. So we need to check it now. And see if there's anything changes before and after, not much. Okay. So maybe we need to fix this with the post process volume. Let's see. Let's go to post process volume and go to in reflections. And from here, I'll go to high quality reflections. As you guys can see, it needs to be enabled also from the post process volume. So the reflections are 200% more quality now, and I can fix the material now accordingly to the new edit, so I can minimize the opacity for a bit to it 0.02, for example, maybe like this. Also like this, we can do it. Also, don't forget we haven't added anything in the horizon or the landscape. So it's totally okay not to reflect much of interesting things. But we need to know something that before I enable this tool, it's frames costly. So I need to disable it from here and go show FPS. Kind of I've got 100 frames. So if I do high quality here, I've got here like two or three frames, you know, lower. This way, I do it if I want to show my scene through lumen and translucency and all. The translucency, as we said, the end destination will show it through ray tracing. So all is going to be good. But this way we know how to do both great quality on lumen and on ray tracing. So before and after before and after. So that's a great update for unreal. Looking forward where they update the quality even better, but so far so good. Also, look at the reflections here much better. Everywhere, the reflection is much better. Also, I think this one should be glass. Also here, the reflections before and after. Much of a difference. See here before, after. Before, after, much better, guys. I can keep it as long as I'm working in Lumen. If I want to change to ray tracing, don't forget to check it out, so I don't get extra cost for nothing. Okay, guys. This way, we fix translucent materials for the glass, and everything is okay. We've got new skill. I hope you guys benefit from this lecture. See you in the next ones. Okay. 10. Advanced Metal Material : Hello, everyone. Welcome to our new lecture. In this lecture, we will talk about advanced metal material. So we've got many parameters in the same material. We can edit multiple of things. It's not just the roughness, specularity and the metalness. We've got the exact parameters that we used in the texture material that we will put in the metal material. And now we've covered the translucency, so we've got everything completed to explain this material. So this is the simple metal that we've done in the beginning of the materials. We won't edit anything on this. We're going to edit on a material that we've got all the parameters set in it already. So write a click. I will do duplicate and in this material. I will say here, advanced metal or metal, as it is, metal. So double click here. And there is a little bit of modifications that we need to change here. So what we need to do is basically it's up to us if we want to choose between putting textures or removing the textures and, you know, acting as only textures as albedo specular and roughness. So what I want to do is I want to change the albedo here to color only. So what I will do is lt and I will disconnect the nodes here, or I'll keep both of them. But what I will do is just put them away. And I'll do constant three vector from here, and I will do convert to parameter, and I'll call it color, and then I'm going to connect it with the base color. That will click from here. I'll do it black or charcoal gray, for example. And here, I'm going to change the texture of the normal. So I will go where the normal is, and I'm going to see what normal maps I can choose from. So I'll go to our textures from here, and I will choose between the normal maps that I have if I have something for metal that looks good and realistic. Other than that, I can disconnect the normal. I don't leave it because it can do damage more than and it can fix. So wood veneer, this is a wood venear normal. For example, I can replace the normal that I have with such a normal because ideally, the normal should be very smooth that I will use when it comes to metallic. So like rarely we use normal on metalness, but we can do use it sometimes. So I will go to our materials here. Metal simple Luis said that we need metal. Okay, because we closed it, it didn't save, so now we're going to do the previous steps as we did it before. Put this away and do three and left click and drag where I can connect it to the base color. And from here, I will do a gray, and I'll do right click convert to parameter. We've got the normal. So I want to apply for now. On normal, we want to go to our texters, and we pick the normal that we've decided to have. I want to replace it. The roughness, I can put any roughness that I want. Either it was a wood veneer or it was a metal. These roughness maps, for example. Let's for example, change the roughness from outside from the material instance. Right click, create material instance, and now we're going to call it MI metal. Double click on it. Great. Okay. And we've got the color, we've got specular roughness and normal. We've changed the normal base. Now we want to change the roughness here maps. We're going to pick roughness and specular maps. So we're going to pick from the things that we've downloaded earlier on. So maybe we put this here in specular. Now I want to save and brighten up the color a little bit. Okay. And I'm going to assign the material to this object. I'll go to our materials, minimize metal. I need MI metal. M that's it. Double click. We want to make it darker this way. I need to go to the roughness and specular and change till I get a good result. 0.01, for example, ok. Okay, now this roughness map, I've got a problem with it, so I want to change it with another one. So it removes the big details that we've got here. I can control the scale here. So I can make a big or small scale. So ideally the scale I think should be something like this. And I can decrease how these details are present in the view. So I just want to double check the values that I'm entering. 0.25 example here. For example, a roughness contrast, we can do Okay. Almost like this -0.5. Great. Looks very nice. Let's check the reference and see if we are going in the right direction. We want something that is close and this one is the closest. So this I'll put on the side, on the other screen, so I can look at it, and I'm going to share the final result with you. Don't worry. So we get as close as possible. We want to edit the normal intensity a bit. Very nice. Very nice. It's becoming really realistic. This is the result that we want. This is the ideal value guys. So now we're going to save and save the material. And we want to apply the same material to all the objects that has the same material. So we'll search the material here and assign one by one, or I can select and control multiple control and select multiple ones and apply the material at the same time. This way, for example. And from the display materials, I can give the material for this one. So all the materials here are correct and all in shape. So let's give the post the same material, see how it looks, looks pretty fine here also here. Much better. These s, let's see. Nice. Much better. Very nice. I'm clicking C sometimes from the keyboard so I can get the correct view. I can zoom the depth of field inside. More. This object, for example, needs V. So we'll go check parts. So I'll go to modeling and I'll go to project and choose box and pick dimensions 100 by 100 by 100. 200, 200, 200, no, I think 505050. Yep. I think that's it. That's excellent. Nice. So this way, we've covered the advanced metal, how to do advanced metal. I can, experiment within the roughness, the specular, and the normal and keep on trying till we get the best result. As scalers. I can control these scales or I can control them as texture maps. So if I want to control the scaler, I need to have something in mind that I can't edit the UVs because it needs to be texture coordinate to take the proper scale of the material. So we have to take this under consideration. Otherwise, we can apply as I applied, and this is the most correct way, and there is no correct way in Unreal Engine. There's so many ways. This is one of them. I hope you benefit from this lecture, see you in the next ones. 11. Generating Textures : Hello, everyone. Welcome to a new lecture. In this lecture, we will continue and talk about new fundamentals. This specifically, we'll talk about how to download texture. From the Internet and generate all the maps that we want from it as if normal, specular and roughness. So this is the most suitable suitable texture we found. So first we want to do is to open photoshop and open open this texture with it. So first way through photoshop and the second way is through Shader map. So now I'm going to drop the texture on Photoshop. First thing I want to generate the normal map. So I'm going to go to filter three D and do generate normal map. Okay. As you see we've generated the normal map. This is the first normal map. So I did okay directly. I can edit some of the details in the parameters of the normal map. So I can control the amount of details as you guys can see. So the wood that we will have won't be rough a lot, so I can blur if I don't want to show any details. I can invert the height map if I want. If I feel the wood that I have is wrong. So I see on the other side now, we see that the wood that we have the normal that we have is as we can see, we can also control the height and shadows and the medium between them. So I come up with the best result I want. So what I want to do is to make it 30%. It was 80% one 20 cancel. I think we messed it up. So filter three D generate normal map. And we'll do this 50 or 46. I think this is good. So we'll do okay. And we can edit this further later on. So we'll do Control Shift Alt and W, and we're going to do maximum in export and put it on desktop, and we'll call it underscore N R and we'll do save. And also, I can add another one with less details. So I don't go back to photoshop. So we'll put this one to 25 25 is good. Control shift, I'll W and export and I'll do here 25 this way, I know, one of them is 45 and one of them is 25. Now how can I get the height map? I go to adjustment layer, and saturation. After that, I put the saturation to the left and I increase the light a little bit or decrease the light and I get a specular map. We'll pick the dark one to get specular export. I'll say CS underscore specular, exactly. And also I can from here and add another layer adjustment and add levels and from levels from the mid tones, I can exactly generate the roughness map. Contra shift LW export CSM underscore R. Safe. This way, we've got the whole spectrum of shades and textures. The second way is through a software called Shader Map, which we can download from Google. It's called Shader Map four. It's free. I can download it for free. We'll go to the main website, and we'll do and we download it from here. It's going to take a bit to download show and folder. Okay. Double click. Okay, except, next, next, install. Okay. Good next. It needs to download direct x setup with it, which is okay. Finish. Great. Here we've got a software, double click on it. We open it from here. We add here and we select our texture. Let's call this texture CSM underscore facade underscore ALB. Open. You see, guys, this software generates all the channels of the textures automatically, and we can modify them the way we want before exporting them. As you guys can see. Based on it, it shows me the normal in it and the intensity. I can control them either from here or from unreal. This is a texture software, so I can edit everything from the beginning. We've got the roughness map here and we've got the displacement, and I need the normal specular and roughness. So we've got the normal fot shop already. So what I want to generate now is the roughness map that is here, save from here, and then I go to the folder and I pick where I want to save it and I pick the image format. I'll do JPEG files. There are a couple of formats here that I can save with, but I will pick JPG and I'll call it here spec. And I'll do save. Now I save it from here and get saved on the desktop. This way, it saves for me. I look now. I've got the wood facade specular. I compare them together, see the specular with the specular. This is the photoshop specular, and this is the software specular. They're pretty close to each other. This tells us that either or we can generate the channels from photoshop or from a shader Mp four. So I'll go to unreal now, and I'll go to textures and pick our textures, and I'll take the albedo and the medium, 25 normal. I'll take the wood specular and I'll take the roughness. And I'll drag and drop them into unreal engine content browser. As you guys can see, Now we go to the materials and we make a duplicate from here. So we name it MI, MI MI underscore exterior would We open it. It's good. Now, I want to delete this because I want to take duplicate from the instance itself. I don't want to duplicate from the master. I'll do Control C Control V. I'll do F two now, and I will call it MI exterior. Double click on it, and I will change the textures now. So I'll go where I install the textures, and I will simply replace them. Okay. So I'll exchange the textures now with the textures that are inside the material editor itself. So I'll bring the material here, maybe a little bit to the left, and I'll assign albedo to the albedo. And the specular will go the specular. And also the normal we've got the normal 25 now. Let's open them next to each other so it's easier. And we'll look for the normal 25. It's right here. I put it with the normal. This way, I've got the normal roughness specular. So I can keep the roughness or I can change the roughness. So I'll keep it for now, and I've got the basic material for now. So I want to assign it for now and see what can we change and make it very close to the reference. So I'll go and check the material out and see where it is. So the exterior wood that we have here, drag drop, and we've got it here. The texture UV is very good so far. Let's see if we can fix the color itself. So it's very close to the reference. So I'll open the reference now an image that is very close. This is a close image, this is a close image. Let's take this one for now. Minimize from here and try to do the same one. I'll put it to the left, and I'll drag the material. I'll put it in the other screen. I'll put the viewport here, and I'll take the material editor and put it where it overlaps with the image. Great. First thing, we want to control, exactly the editor here. We can see all the viewport and the reference. So I want to try to change the color of the texture. So it's very close to this brown. So I'll do pick and try to get the tone of the brown. And what's nice that I can pick something that is outside of unreal guys. This is revolutionary. So I'll make it a bit dark and I'll try to fix the albedo mix, but minding that we don't wipe out the texture while doing this because if we increase this to a certain point, then we wipe out the texture. I'll try to fix also the albedo brightness and see what can we do with it. Okay. I Very nice. Looks very nice. But we want to explore with the normal now. So we want to upload the normal that is more that is 45. So we want to minimize from here and upload it to our text folder. So we'll go to the normal and we will upload this one and go to our material, or I go from here, search, double click on it, and I replace the texture of the normal where it's stronger and it should be more obvious. Drag drop. Nothing has changed. Let's arrange everything together, like it was before and try to get the normal as the one in the reference. Okay, so now it shows. So the problem was, guys, is that we needed to give a one value for all the constants and all the scalar parameters that we have, everything needs to be one. Nothing should be zero, so it doesn't multiply by zero, and we get an error in the code. So now we can fix the normal at our ease and it looks very close to the reference. So we'll explore 1-1 0.5, 1.25. I think 1.25 looks good. This way we've got normal and everything is very nice. We've got the same look as in the reference. So it's like the reference. The normal shows that is tiling in horizontal, not in vertical, and the same thing we achieved in our example. So maybe we could fix the color a little bit. Okay. Very nice. Interior and exterior, it looks very nice and the color is very balanced between both. And generally, this way, we've achieved the look of the dark brown wood of the reference that we've got. And this way, we explained how to get a texture and generate all the channels of the texture that we need. No need for a software for us to generate all the textures. We can generate any texture that we download from the Internet and, you know, fix it into our unreal engine scene as you guys saw and how everything is organized. So not necessary every time I download the texture. I get the privilege that I get all the channels. Sometimes I can generate these channels myself that looks very nice already. 12. Quixel Bridge : Hello, everyone. Welcome to a new lecture. In this lecture, we will talk about a new fundamental on how to connect Quiksilbridge with Unreal, so we download material directly into our content browser. So I'll go first to I I don't have it here, first thing, if I don't have it here, I go to edit plug ins, and then from here, I type in bridge. I get Bridge MgScans link for Quiksil Bridge. Then I enable it. Maybe Unreal asks me to restart. I restart it. Then I open Quiksil Bridge. And now it is a direct link with Unreal engine. I do browse now. It's exactly the same as MGAscans but directly connected to unreal, other than downloading the textures and, you know, uploading them to my materials, here, I can download the materials that are ready directly. Okay, so what we realize, guys, is that the assets that are here are fewer than the assets that are in the MgScan website itself. So if we type in MgScans on Google and we enter the website. We see here there's 1770008 for the website and on Bridge bit fewer. But it's okay. It's not much of a difference because we can download both from here or there. So now we're we're going to look for the assets based on code I've got the code of the texture earlier, so I want to type it in. I signed in. And here, it's not like the Megskans website, where I can pick what I need to select from the maps. Here, all the maps gets downloaded with the map. So from here, I can pick, is it medium high or highest quality? So I'll do high quality and do download. Once I download it, I add to my project. So what I find here in the content browser in MgScan surfaces, stones, underscore wall. So Drag drop the material. Now it's there. And if I double click on the material, I've got already parameters from them that talks to the parameter that we've done manually. But what's powerful now is that we know how to edit these parameters. So I want to fix first thing the scale. So I'll do 0.5 by 0.5. Okay. Okay. This is good. Okay, I think the scale here is good. So we want to control the albedo tint now, and I want to fix it, and it's very advised guys that we always have a reference so we don't get lost. So we always compare with the result that we have versus, you know, the reference. So now I go to a picture that has the chimney and I try to do the same. So now the albedo tint I want to fix upon. This way, it has became darker. Let's try 0.20 0.20 0.2. This is even more dark. Let's to 0.15 by 0.25 by 0.25. This is for the tent. It's a bit dark, but we will fix a couple of things to make it better. I'm not going to fix any of the albedo controls. I'm going to go to the specular directly, it's 0.5. I'll keep it the way it is. If I increase or decrease, it brightens up or makes it even darker. Okay, so, ideally, guys, this object needs to be modeled to get all these details, you know. But usually, we need to model this. There is plug ins on Max where it does this, but it's going to be fully loaded, so we need to make sure that it's quality versus performance. So here in the Albedo, I can control the brightness maybe and the saturation maybe I make it desaturated a bit 0.75, for example, I increase the contrast. Okay. So one for the brightness and 0.5 for the contrast, 0.75 base specular 0.5. Okay. Normal strength, 0.52, we see the major change. Two is a lot, I feel. So 1.5, maybe the one, maybe one. No, I think it's one is good. One is good. We already can see the changes here and there. So one is good. Minimum roughness is our object polished or rough. It's completely rough, so I'll leave it as it is. Maybe I play with the base specular, make it one. Okay, great. So this way, the material is okay, and everything is great. So I'll drag drop the material now. Same material. So this way, for example, this is the first material. We tried to take material for the chair. So let's try to assign material to the chair. Most importantly, we always have to save all and save. Great. So now, what I want to do is I want to go to the bridge and from the bridge, I will do is, I'm going to paste the code of the material. That is the leather that we want from surfaces. Okay, so now we will pick the leather material, add it to unreal and drag drop on the object. Here we've got a leather material, and now we will edit the material furthermore. So we'll double click on it. M. Okay, I think this way, it looks very nice. This is for sure, much better. So let's take this wood and give it to the arms and maybe we make another variation. So they don't look a. Okay, so this is not a fully matured wood. So what I want to do now is to change the wood color. I want to make it a little bit dark. So let's make it more advanced our material, like the floor here. So we'll do double click and develop the material furthermore. So we will make a copy from this material, Control C, and we'll go to this material. I'll make this bigger, and I'll do Control V here. And I'm going to bring all the nodes closer. In this way, and I will delete the U V from here and the U V from here because we already have UVs here. I'll connect this to that, and I will connect the normal. I'll remove this normal because I already have the same nodes connected, and I'll connect this to the normal. I'll bring this closer to the normal. And I'll bring here the rest closer. What we will do in the specular and the roughness, we will disconnect them because we don't have maps for them, or we keep them and we give them another roughness for wood roughness and specularity. So metallic here is zero, so we'll remove it from here, we'll remove specular and roughness from here, and we're going to connect the specular and the roughness with the nodes that we have. So we'll bring all of these closer and okay we have an error here. Why? Because maybe some values are zero that I need to make them one. But in this case, it's not the values. I've connected multiple of textures together. So we remove these to all now. I'll take this texture and search it, put it here, and delete this node and then connect this to the albedo. This way, we've got it all settled, and everything is correct. Now I connect the specular and the roughness, but I need to change the map first, see if I've got a wooden specular like texture. So here, the naming convention helps us the most by finding the specularity that we're looking for. So maybe we use this one. It's okay. Here, the roughness is giving me it's a tying roughness, so we want to change it. We will change it to another roughness map. Maybe this one, we can give it to this one. Now we will connect the cheap contrast with the specular and we'll connect this one with the roughness. This way, the texture is great. Is there anything zero here? No, everything is one. Now we've graded the wood material, and now we will save, close it, and we'll take an instance from it, we'll go to our materials. I'll go to FHR, materials, our materials, and then I'll do basic wood from here and I'll do create material instance. Double click. Drag drop to the object, and now I can control all the parameters. So I'll fix the color first. Okay, I think it looks okay now. And maybe we can replace it later. We can bring from MGscans that looks better and change it. Okay. Okay, so this wood here got messed up. I need to fix it. It's even better now. Great, as we said, we can change it later on from Quicksil Bridge. But this way, it's a general idea on how to get the materials from the bridge source and become direct link with everything in unreal. No need to download textures and upload them. But what's good that we already know how to do the textures manually from scratch. So any problem we encounter, we know where and how to edit it. I hope you guys benefit from this lecture to you in the next. 13. Migrating Textures : Hello, everyone. So, a new understanding of how to get new materials from different sources that we've got. So the source that we will talk about now is the source that how to get materials from project to another project. So if you go to Epic Games launcher and we ask the marketplace auto motive materials. There is a free pack that unreal engine and Epic games have done that they're giving away for free for everyone. So we can download this Pa and the only condition is that it's from 4.24, 4275. So it doesn't we don't have it for 5.1. What's nice is that I can download, let's say, if I've got unreal engine 4.11. I want to migrate assets from 4.11 for Unreal Engine 5.1. I can do this. So this is okay. This is completely. So I will put this project guys for you so you can open it from your ease and you can open it anytime and migrate the materials. So this is the project, and these are the types of materials that are available. So that's the level of the project. So I added to our project. So we go to starter content maps and we've opened the starter map. So that's the starter map I start with. Actually the minimal default. This is what I start with. Hmm. So when I go to when I add automotive materials, it's going to be added as this way. And this map is the overview, and it loads quickly because I already loaded it quickly before. And I've seen it and we see that there is a lot of materials they've got here, metal lights, tails. It's usually used for cars, and they've got interiors, of course, the interior of the cars, but they've got fabric, they've got chrome, they've got paints. So how can we take the interior? We're going to go to the interior folder from here and do right click from here, and And we will look for acid actions. It's not there, but I've got migrate. So I can migrate directly, direct migration before it used to be acid actions and migrate, just to make sure we want to select all the folders, the subfolders and see if I get acid actions or not? No, I get only migrate. So I'll do right click on the interior. And also, I can take the exterior. But I want to take under consideration that I'm copy whole loads of materials. So this can load the project that I have, especially when I package it. So unless I optimize the file and I pick specific materials that I only want to use in the scene, and this we will talk about later on in the future. But for now, I want to copy for the interiors only. Also, I've got metal frames in the exterior. We could import them later on, but for now, we will import the metals that are in the interior. So we want to see how to export the materials and migrate them into my project. So I'll go right click migrate. And then unreal asks me, where do you want to migrate it? So I ask for desktop, Unreal engine, RCV, I go to content, and from the content here, RVs content from the inside, I do select folder, and I copy the file content migration completed, and then I go to Unreal engine here, and I find automotive materials. And I find exterior and interior. In the exterior, if it exported some of the textures that is associated with both interior and exterior, which is fine. But I want to go to interior and check if I've got the interior materials. Exactly, here we go. That's the materials here. What we're interested in is the velvet material here. I drag and drop it here as you see, and I'm going to double click it and see how can I fix this material. First thing, I want to edit the subsurface color, but as we agreed, we edit based on a reference before. So we look for an image that has a couch, and from the couch, we can take the material and make it correct. So what I will do is I want to brighten up the color that I have. So let's say I don't need this much of space from the image. So I will open up the viewport of Unreal More. And I want to see the materials that I have here and see which color I want to give my material. So it's gray blue a bit. This way, the velvet effect we started to see on our couch. It's all about small tweaks to get a very high quality realistic material. So we need to be patient guys and go back and forth till we get the best result we desire. This object, we want to delete. We're not going to work with it. And also, this one, we will change it with the modeling lecture from Megscans but for now. Or, you know what? I'll just leave it. Maybe we can use it somewhere somehow. So we're just going to hide it for now. Awesome, guys. So now the material looks way better than what we started with. And we can say that this material is ready now. So we'll save all and save now so we can keep all the changes. And I'm going to assign to different objects. Of course, I can take a duplicate from it and give it another tone and just assign it to the other objects, and I can call it velvet gray. Double click on it. I'll go and see which cushions I want to give a different color and give it a different color. I'll make it darker, and I'll make it more gray. We assign the material and now we see we've got variation of materials that looks pretty good. Nice. All right. Very nice. So let's see what metal did we get with the package. So we see the reference is black. So we need to give it something that is relatively black. This couch is not lying down on the ground well. So we need to make sure that we hold everything together before we fix the pivots and make it down. And we're going to go to modeling now and we will fix the pivot. Okay, so this way, the couch is lying on the ground perfectly. Here, there is a book. That is pretty messed up. I think this one needs normal flipping. So we'll go to T and try to invert, select all the faces and try to flip normal C. So I think there is a mistake in the model itself here, so we will delete it. Okay. Okay, guys, so such an object here, it has a tool that we can fix this in unreal without exporting them to Max and then fixing it. So we go to deform lattice and then we pick the vertex points that we want to fix, and then we start fixing point by point. So this way, we can make the model comes as the blanket to the couch itself other than bringing it to max and simulating it again and Maybe it works, maybe it doesn't. This is similar to the FFD modifier four by four by four in Max. To have this tool in Unreal engine, this is a big privilege. This way, it's way more realistic and we fixed it with the quickest tool possible that we have. All right, now we accept. Great. Now we want to save all save. And we'll see what materials do we have suitable for the for the bottom of the couch. Nice. So, for example, this way, we see that the packs that we get, there is so many things that we can exploit as materials, and it gives me very good materials, pretty awesome materials, actually. And it's very nice for me to try, you know, is it worth it, or is it not? So for in our fast track projects, I know which project I need to migrate from. So this is one of the very important fundamentals migrating my assets into another project, minding that I need to migrate only what I need and that I need to work in an optimized way. Okay, so GPU crashed in unreal. Let's restart it. Here we back again. We did not lose the materials. So now we want to go to automotive materials and we want to go to textiles and we'll try to give the carpet a material. Okay, I think this is a good texture. Let's see if we can fix the scale of it. So let's try ten by ten. Five by five. Okay. That's a decent scale. I like it. Very, very nice. Okay, great. I can give it here also, and we see how realistic it looks. Here, I can give it a velvet gray material. I can change the color of it to beige or any other color. But now the room here is very monotonic, so I want to change the color here. Let's see this one. Maybe we can use this. This looks good, pretty decent as the texture. Let's try this wood here. No, this object, we will use some other wood. So for now, I'm just going to use this one. I'll go to metal and assign some metals here. This one is nice here, works well. So we're showing you guys how I can migrate a pack and it can finish two thirds of the material in my project. So never underestimate this tool. This tool is pretty awesome. Migrating textures and objects to our scene. Okay. We've got no fiber here, so we will be looking for metal material. Okay, guys, so that's all about how to import materials from another scene. Either it was Unreal Engine four or unreal Engine five and how to exploit our materials from zero and duplicate them and make many duplicates. Hope you guys benefit from this lecture, see you in the next one. 14. All Materials Pt.1: Okay, guys. So in this lecture, we will be doing a fast forward video that will include all the fundamentals that we've covered earlier on how to make materials and how to fix our materials, and we will join them all in a fast forward video, as we said that some of it will migrate. Some of it will bring from bridge. Some of it will get from Megacans. We won't get any textures from Google because everything we've got already Megacans and Bridge. So we'll fix all of these fixes. So we finish the scene interior and exterior with all the materials and everything is okay. So first thing, we want to do last lecture, we exported the interior materials. We haven't exported the exterior materials, so we want to take the exterior materials as well, so we get more options in the metallic materials and other materials. So I want to go to exterior from here and do right click migrate. I'll do okay. This migrate process guys is the same as for models, textures or even blueprints. So I can copy everything exactly with the references, of course. So I go to the project that I like, and I like the assets inside it, and I click one asset or multiple assets, and I do right click and migrate, and I migrate it into the project I'm working on. So I'll do all, and there is duplicates because it took something from the exterior. So Unreal crashed and I'll do send and restart now. So no worries, we'll restart and wait for it a little bit. We import the materials and we continue the rest of the materials. So now the project crashed the previous ones. So we want to double check if it imported anything in the exterior. So some of the materials, not all of it. Because the video has stopped while we're recording. So what happened, guys is that we tried to import the automotive materials, all of them, exterior and interior. We imported interior, but not exterior in the previous lecture. So when we imported, again, Unreal engine crashed because this project folder was already available and unreal, so it was an error. So what we did is we copied the entire project of Unreal that we were working on and we deleted from the first file the automotive materials folder, and we migrated it So not to lose this material. We deleted the main folder and we migrated the material, and we kept the old project folder not to lose the things. So I want to export one asset. I'll do asset actions, and I'll do okay. And I'll say, put it in the content. So let me try to do a new folder. It's not going to work, but let me try to do a new folder and do import and import it inside not to have any problems. So it doesn't appear to be engine game content, so I need to put it in the content itself, and yes, all. Okay, so Unreal engine crashed again. But let's see if it migrated the material successfully or not. So this is basically what happened. When we copied from project to project, the same folder, then we had an error in unreal where it had to crash. So what I do is always I take a copy from the project folder that I don't want any changes in, and I try to migrate. So in this way, we've got the material. It took the material. Even though it crashed, I've got the material. So this is good. So this is a good thing. So I can do this. I can try my luck. But just in case, what we learned from this is if I want to import, let me import the entire folder, and from the project that I've got, I delete anything else that I don't need. Otherwise, real engine could have errors and crash. And maybe I lose the material. But in this case, thankfully, we did not lose the material. Everything is great, but later on, pay attention that this could happen. So I'll put the texters in the texts. A is good. So to summer up everything. If I want to import from another project, I import the entire main folder that I'm interested in, even though it was one asset, and from our project, I delete everything else that I'm not using. So I make sure that unreal does not crash. So I go to automotive, I go to utilities, and I delete these, for example. I go to maps and delete them. I can go to any level assets and delete them. So all of these we can do, and we don't get any error because I've got the entire folder migrated. So now we want to fast forward the video and continue the rest of the materials in the scene and finish all of them. Okay. Let's start. 15. All Materials Pt.2: Hello, everyone. Welcome to our new lecture. In this lecture, guys, we will continue forward with the materials. We fixed most of the materials we've got in the scene, and we've recorded almost half an hour, but the computer crashed and we lost it. But it's okay. We're gonna cover in this lecture, what exactly we lost. So basically, number one, this material. So we continued the same material from the same pack that we downloaded and we migrated to unreal engine, the automotive pack. And we made the little arrangements for little of things. And for example, these living room elements here, we shifted to the right a bit. So, you know, it's a trial and error, and we keep on going forward with what we have. We also gave material to the light posts. Everything here is okay. So the new idea here is about this table Kitchen Island. So basically what we've done is we've done a combination between MgScans textures and the material we've done. So we go to the MgScans. That's the textures we want. It's the black galaxy garnet. And we took the same material that we've done in Unreal, the advanced material, and we replaced the texture for the albedo. In normal, I downloaded from website that is very nice. It's called pen game Art open game rt.org. Exactly. So this website has interesting props and interesting textures that I can get creative and apply them to get a certain feel for my material. So I wanted to achieve the wood look. So that's why I downloaded these textures, and I will put them for you to download. So the concept is to combine a couple of textures in the same time with materials we've done. So we did textures that is ice textures, and we put it where the normal is. And we brought the roughness maps from the roughness maps that we've downloaded earlier and we put them here, and we started to play with them till we got this effect. This is the first concept. Second concept is that we went to these objects and these objects were very white. For example, let's talk about these books. For example, we've got what is this piece. Let's see. Selection. Sorry. So I want to do modeling, and I'll go to Pivot Center or bottom or, so I'll do bottom and I will fix it. So for example, these books, I've got a little bit more white bright white than I want. So I double click on the texture. I don't change the material. And from the texture here, I can just lower down the brightness of the books that I have. So it lowered the brightness of some books, but not the whiter ones. So here I'll do double click and exactly. I can minimize the brightness. So it doesn't give me a big visual impact. Same for here, I'll take this texture, double click, and I'll do 0.5, as you see, it's still white, but it's not, you know, very bright white. We can do any other result. We can do 0.75 if we want. For example, it shouldn't be almost all of the time 0.50 0.75 gives me a pale white which is actually nice visually. Here I'll do double click and I'll do 0.75. It's minimized it and I'll do the third one here and the last one. I'll double click here, and I will do here 0.75. This way, I've got white but not so bright books. So that's the second idea in the video. Third idea in the video, guys, is that this model, we had a problem with the U V. So when I gave material, it still was not being corrected from the parameters of the material. So basically, we had to click on it and try to fix the UV from Unreal itself. So I went to UV and I went to the first ways project and we do box and then we do one by one by one here. That's one way and I do accept. But it was not fixed in the first way. So we did auto U V, and as we see, we've got the checker that is kind of messed up. And there's another thing that we can control from here is UV Atlas or xls or patch builder, and I can control the patches that I have, and I can change everything. If I have patients, I can fix any model from here. So I can fix all the UVs from Unreal engine. So it got fixed in R, not in auto UV and I used poly groups. It was poly groups or existing UVs. I changed between them, existing map or conformal or special conformal, or I do island merging. So what I picked is spectral conformal. And as you see, the checker box looks very nice and I did accept. I already did that. So when I did accept, texter was 100% corrected. And it was the same as the one inside. So the texture had no problem. The problem was from the model. And I applied the same material here, and everything is great for now. I want to assign material to this white. I forgot to assign here. All good. And this way, we fixed all the materials or almost most of the materials that we've got in the scene. And now we want to continue the rest of the materials in our scene. A couple of other concepts. Here, I just want to place the material and see how it looks. Most probably we'll give this another material, but just to assign a material for it and see how it looks with the sunlight. This carpet here, we've we want to give the same material as the one in the living room here let's see what can we give this model. So, guys, in the video, we lost in the post process, we went to exposure and from the exposure, Minimum brightness ten and maximum brightness ten, and speed up and speed down is eight by eight. Why this will help us the transition between interior and exterior. The change in lighting is almost instant. It's in real time. You know, it's not taking a lot of time to change the light. And here I want to do zero exposure. So you see, we increase the sun brightness for ten, and we decrease the exposure that we've got. 16. All Materials Pt.03: Okay, guys, this way, we finished our entire scene, interior and exterior with materials with all the different types and the different approaches. I hope you guys managed to fix your scene. If you've got any questions, don't hesitate to ask us. We'll see you in the next video. Okay. 17. Light Materials : Hello, everyone. Okay, guys. So we've got the last fundamental of the materials, and this way, we can wrap up the material chapter. And that is the emissive material. Let's look here. We've got spot lights, but they're not lit. In the normal scene, we don't want to light them up in the interactivity. We might want to light them up, so we want to learn how to fix all of these. So let's go somewhere dark and understand the lighting materials. Let's see somewhere that is a bit dark. I think here is good. I will take from create, I'll do sphere, and I'll scale it down a little bit and put it up. Great. Now I want to fix the material. I will go to where I put the materials. I will go to materials and from materials, I'll go to our materials and right click new material and do M because it's master underscore Light. Double click. From here, what I want to do guys is I'll do a constant three vector. Write a click, convert to parameter, and I'll call it color, and I'll take another scalar parameter from here, and I will say intensity, and I'll do multiply node, and I will connect color with A and intensity with B. And I will put white color here, and intensity Let's put it in the emissive color, and there is nothing because nothing we've got a little bit. Okay, so here, As you guys can see. It has lit the area. Very great, actually, excellent. It's like we have a light, and the scale of scale of the object, it varies on how the light is exerted. The object, the bigger the light, of course. I can increase or decrease the light the way I want it. If I decrease it so much, then I almost can't see any light. Let's come from intensity here. Why are we fixing from here? Let's fix from the instance I do an instance for this material, and I'll hide here. I'll delete the instance and do MI. Sorry, I'll do F two, and I will delete this part and I'll do an here. That's MI light. And I'll do drag drop. And I'll double click and I can control the intensity from here. As you guys can see, it increases the light. That is exerted. Although we've got some, you know, wavy looking normal. This is because the object is very small. So when we increase the scale of the object, then it becomes better, the quality, and also we get more light. So I decrease the intensity here. It's not like 5,000, for example. We've got a lot of light. You see here, it's like actual light. So if I delete the object, see how it looks, if I put it back, it's like I've got a light turned on, and it's very bright. Okay, great. Let's change the color. Let's bring it back to a standard like more realistic value, and I'll do five, for example, and I'll put it red, for example. Okay. Nice Nice. So you guys can see how the GI is affecting the environment. We can change it to purple, for example, the effect is amazing. We can take another copy from the object as an instance from here. And here I can put the color purple. Nice. Maybe a little bit brighter, maybe a little bit more dark. Now I've got both of them purple because it's an intense material. So I've got to do another material and duplicate it from here, give it another color blue, for example, and assign it to the other object. Now we've got two different colors. I love the effect. So that's an amazing technology guy. It's very interesting. And tip for game developers, when we create games in most of the games, we try to avoid the actual light. We try to do light material because it's way less calculation on the GPU than the light source. So I can somehow light my scene with the materials without putting actual light. And this is very performance friendly and can benefit me in my design process. Because the quality of light and the calculation has parameters, and we've given unreal the best parameters, it can read much lighter than the directional light or the point light or the spotlight that is provided by unreal. This is much lighter on the performance. This is the best way to light the scene in games when we have large scale scenes. You see how the light mix looks very nice, very nice, excellent guys. So you guys have to apply this to all your projects and experiment with it and see how it goes. So how can we light our scene from here, the actual spot. So I'll take the texture from here, the material, and I'll put it in our materials move here, and I will go to our materials, and from our materials, I'll do double click from here, and I will alt and disconnect and scalar parameter from here, I'll do intensity. Same concept, either I've got a texture or I've got a color? I can do both, and I'll do multiply now. Okay. Ten for intensity and I'll do this in the emissive color. So it has lit now. I can do five or one, and I'll do one, save. Now we can see the effect, we can see that it has lit. We can see that it shows as it's turned on. Did it affect my scene? It affects my scene, but micro nano effect, you know, because the source is small, and the distance is far away. So therefore, it will be just a look. It won't be an effect because it's small. So now I'll do an instance from it, MI, and I'll drag and drop to this object. And I'll do double click and try to increase the intensity. You see from here, You see how beautiful it looks. So this is alone is lit here. There is no light in the origin, origin, I'll do zero. Okay, so I do zero the texors gone. So I'll do 0.1 or 00.05. You guys experiment until you see how it looks fine as it turned off. And the second one that I have lit is the instance. So I've got two different materials. One shows the light is on and one shows the light is off. So now I can select all spots that I have. Okay. So I'll take the first one and the last one I'll do shift between. This way, I can make things go well. Okay. Sounds good. So now, I'll drag this up, and I'll go to the details of the material, and I will assign the lit material into everything that is not lit. And I will try to put it in the white as well and see if it's correct. Let's see. I think this way, all the materials has all the spot lights has lit material. Let's see here, guys. These were the objects that basically we have cut the roof with. It's like the probleon in max. So now we've got a mistake here all the lights. I'll take the metal material and I'll assign it to the. Okay, so this is the first frame and the second one. So elements zero and element one is going to take the black metal. I'll do control and select the three of them because they're the same, and I will assign to elements zero and element one, and this way we fix them. And we can also this one is the spots M underscore light spot. We can replace it with the material that we have. So these came with the models. So we'll delete these regardless. So Unreal has crashed. Okay. So let's check if our edit is there or it's gone. I think it's gone. That's why it's very important guys to always save our project. So now what we want to do is we'll apply the same concept, but with this light material. So we've got the light material from here. Let's see where it is. It's there. I haven't delete the material. So now we can drag drop the material and see how it looks, but we're not going to light our scene for now. We just want to see how the light material is done on it. Again, in interactivity, that's a different story and how it looks, and the light that we want to add usually is going to be directional with the material of the light. We do a balance of both. Here, we want to fix same materials and give it here. Search for the metal. Let's take all of these and assign the metal to element zero and element one. Now it's applied. Great. Looks nice. Let's check if we want to fix anything, No, it's the same thing relatively. So here, we've got a white color light. We want to assign it to the We want to replace it with a yellow. And we can change the color of it where it's almost yellow. I'll try to take something from the scene or from the viewport content browser, and I'll do okay and save intensity. So it will be lit with white, but the effect of it will be yellow. So I can keep them this way, or I can make something more of yellow. I'll do maybe 0.1, maybe 0.5 and change the color a little bit to beige, maybe yellow. This way looks fine. I've done a blend color where it doesn't show a lot of yellow. This way, it's better than how it looked. This we can fix as well. We want to take all of them. As we said, select the last one and then the first one and then shift. Shift, select the first one, and we'll hover over the details. And from the details here, we want to replace the yellow with this material. Exactly. Let's see here as well, 100%. Now it looks even better. So this guys for the light materials. I hope you guys benefit from this lecture, practice on it and try to, you know, take a scene that has only four walls and put some spherical lights so you guys can grasp the fundamental of this concept. If you've got any questions, don't hesitate to ask us, see you in the next video.