Unreal Engine 5 Pro ArchViz Project in 3 Hours

1. Project Intro: Hey everybody super excited about this new projects. So long time ago I did this advanced project in Unreal Engine four. And things have changed a lot since then. And in fact, quite dramatically, Unreal Engine has gotten better with Unreal Engine five is a huge leap. And they've introduced some new tools that are really important to talk about. And it's kinda changed the workflow a lot. So although all the Unreal Engine for stuff, most of the Unreal Engine for stuff will still apply, especially like UI and things that UI hasn't changed dramatically. It looks a little different, but all the same things are still there. But this new project is going to be using YUI F5 and it's going to integrate all those new tools that make Unreal Engine much better for architectural visualization and various other things. Especially if you're looking for real-time global illumination. That's what the big, the big leap forward is. And I think it makes a huge difference. So some of the things we did with Unreal Engine four, we can just skip and avoid some of the things that I hate. Mostly like baking. We talked a lot about that before, but now we're looking at new techniques that are available with new technology to avoid that altogether and just do real-time global illumination. So there's a lot to discuss with that kind of thing and there's a lot of kind of pitfalls to avoid and a lot of tips and tricks that we need to go through to get everything to work right. But overall, Unreal Engine five is a huge advancement. And let me just show you what this project is going to look like. I think it's pretty cool and it's not that hard to create. Especially if you're already familiar with Unreal Engine four or Unreal Engine in general. But if you're not, this project will still work for you. I go through everything. The project you're seeing is going to be well, the project you're seeing is my version. And this was the finished results that I was able to generate as we go through this project together, I'm going to start again from scratch and we will create something together. But really, I'm just going to show you the tools so that you can create something exactly how you want it. So here's my end up looking a lot like my final animation. It might look more like what we do together in the course, or it might look different altogether. But the point is you'll know how to create and then that's what I like to do as your instructor, is giving you the tools and then allow you to go crazy with it. And that is the best way to learn these softwares, in my opinion. So let's get some good results together and let's learn those tools. And I think you'll really enjoy Unreal Engine five. 2. Model In 3dsMax: To get started, I wanted to just go over this model that I'm going to be providing for you. Mostly. Obviously, I can't just give away the V Ray assets. So those you should have if you have VJ, VJ five or above, or actually it came before that, but you basically need v Wade cosmos, cosmos browser. A lot of these are cosmos items. Some of them are my own items and those will be given to you. So the entire cabin shell is mine. It's just some of this furniture, the especially the stuff that's proxied in here, and the lights and some of the accessories. That would be very cosmos, Okay, and then some of the materials. So what I'll do is give you the shell of the model plus some other things like this couch is mine, this lamp is mine. You can just use those and I'll be giving you those. And what you can do is fill it out how you want and then make this project your own using Cosmos or other assets that you have, just fill it out with stuff. The dining room table is all mine, so that'll be given to you. The lights, a lot of the model. It's just some of these beds and chairs and things. I really filled it out with Cosmos and added a few extra materials. But that's what you get and this is what we're gonna be taking into Unreal Engine. Okay? So Cosmos, cosmos, cosmos, cosmos, all these beds and furnitures, cosmos in these pictures, everything I'm putting these bedrooms is Cosmos. And almost everything else is mine. Tip for these chairs, this thing here, lamps in this ground material. Okay, so you will get some furniture, not all of it. Alright, so I'll set up my layers. I can give you the max file. I can also give you the FBX and the data Smith file, hopefully, so that regardless of what software you're using, you can get this into Unreal Engine case. So that's the student model for this course. We're going to bring this into Unreal Engine. And that's very easy to do. Let's look at that in the next video. 3. Get Datasmith and Export: Okay, so to get this into Unreal Engine is actually very, very easy. We just have to have the data Smith exporter. And what I like to do is make sure all my materials are setup here in 3D S max plus V Ray already because these will translate perfectly as we've probably seen in other videos. I'm very comfortable doing VRA materials. Maybe if you are not comfortable with that, you'd want to do the materials in Unreal Engine and use all the mega scans or something. But here's all my materials, they're all assigned and everything is mapped properly already. Mapping is definitely something you want to do in 3ds Max, so that when it gets into Unreal Engine, you don't have to go into every material, make sure is fitting properly in k. So these things all have uvw maps on them and they're ready to go so everything looks mapped properly. If you don't know how to do all that, well, that's a whole different course. And I have 3ds Max plus V Ray courses galore, so you can check those out. But the point is, I feel comfortable in 3ds Max and V rays. So I've done all the materials here and these will translate perfectly using the data Smith exporter. And you'll be amazed at how easily this all comes into Unreal Engine in a way that looks ready to go. Basically, this will translate directly. So to get the data Smith exporter, we just have to go and look for it. Data Smith, three-five, data Smith, Unreal Engine. And honestly I'm using 3ds Max and V Ray, and that works beautifully, but there's 1 million other things that you can use to, okay? So regardless of what you're using, data, Smith can work for you. And what it does is just takes, it's an, it's an intermediate step that translates everything from your 3D program into something that Unreal Engine understands. So if we go to get the plugins, you just go down here and you, you install the one for you. So for use with Unreal Engine five, that's what we're gonna be using. And we're in the 3D S max x border. So you just have to download it and install it with 3ds Max. Close that. Then when you open 3ds Max, you will now have the ability to select all of this and say Export Selected. Or even if you want to export your whole scene, you should be able to just do export. Like so. The way you know if it's working is if you have unreal data Smith file right there. So I will put this as student cabin export and export that entire file as data Smith file and we'll say visible objects. Yes, you can actually make it the selection only here if you want. Current frame only, we don't have any animation in here, so that's fine. Let me just hit Okay, That's it. This will take a minute. What it's doing is gathering all the assets for your scene and turning them into Unreal Engine asset. So that when you import, everything will just work. And you'll see in the next video that it comes in quite nicely and probably saves you. I mean, if you're like me and you're really good at 3ds Max and V Ray, but not super good at making materials and Unreal Engine, then it's saving me enormous amounts of time, right? Because everything is just working already. Now that's not to say that you don't go in and enhance it with some of the stuff built directly into Unreal Engine. You can do that as well. And I, throughout this course, we'll use a ton of mega scans assets and enhance what we are bringing from 3ds Max. But 3ds Max plus V Ray gives us a huge jumping off point and a huge step ahead where our model just comes in basically ready to start using with materials all mapped properly and everything working well. We have some warnings here, nothing important. You guys know my philosophy if these warnings are coming up, but everything is looking just fine, then I don't worry about them too much. There's probably have to do with some of the mapping and things like that. If we get into Unreal Engine and there's a problem with some of the objects, then we will come back and look here. 4. Open Archviz Template Get Familiar With UE5: Okay, Now let's start up Unreal Engine. And of course to do that, you start the Epic Games launcher. And in here we can just launch our engine. My latest one is five dot dot t2. You might have something newer by the time you're watching this video, but I'm just going to launch it. When you launched the engine, you have the option to start new projects over here. And I'll show you the way that I did it. But really, you could do it a lot of different ways over here. Since we're doing architecture, we can go to architecture. And there's all these kind of templates, right? So some of these are really cool and worth exploring. But for this project we're just doing trying to generate renderings and animation. So we can just start with the blank architectural project and call it student cabin will create it, will use that template. All it has is basically a daylight system and a basic ground plane. We're not going to use the basic ground plane. And I'll show you how to use the daylights system or not use it if you don't want to. Actually, both ways are useful. I actually preferred to not use the daylight system, but other than that, it's basically a blank scene. I mean, your environment setup will look at how that's all done so that you know how to do it yourself. Instead of just having to use the template. In here you'll see there's basic camera, cinema camera actor. There's an exponential height fog. Okay, so that's our kind of our fog or atmosphere. There's a volumetric cloud that's creating these clouds in the sky. Sun sky has this compass mesh. It has a skylight and it has a direct light. So this is like what we've used before, skylight and direct light. The skylight is kind of capturing everything around and projecting it onto your scene like almost like telling you what to Racine and creating a certain amount of environment light based on this direct light as well. So they work in tandem with each other. And we'll look at this more. But that's, that's kind of a blueprint that comes in with this template. And you'll see that to adjust the sun and the sky, they adjust together like a V race and then sky. In fact, it's very akin to that. But you adjust the sun with this particular blueprint, you just the sun by telling it at the time of day and location you're at. Okay, So they figured that that's useful for architecture, and that's probably true. But if you want full creative freedom and you don't want to be tied to time zones and things like that. You can create it from scratch and have full control over it without using the southern sky. But we will look at both those things. This is the GameStart. This is just where when you play the game, you're going to start in that location. You can fly around. Okay? Now, there's one other thing here too, That's the post-processing volume. And if you type in bounds, insight or bound inside the or I guess you could type in extent inside the search for this particular tool or this particular actor, then you'll find the infinite extent unbound. So this is checked. That means that post-processing is affecting your entire scene. Even though the box is just right here. If you uncheck this than the post-processing would happen inside the box only, which is not what we want for an architectural scene. It's the basics of here. The only other thing to mention is that everything from Unreal Engine four is still here. It just might look a little bit different. So here you have all the actors in your scene and you have the Details panel showing the information about that actor. Down here is the content drawer. And you can dock this like it was before, so it's sitting right here. Or you can just use it as a drawer, which you just hit Control Space bar and it comes up. The thing I don't like about the drawers that it blocks over here. Instead of docking itself. When you're dragging textures, you often want to be looking right there, right? Like right in this area. So if this thing is open, it's hard to drag a texture right where you want it. Okay, that's what I found. So it is a nice to have a hotkey control spacebar here to open and close this, but sometimes I needed to dock it. Okay, and then up here, this is where you can add all the things, all the actors like you did in Unreal Engine four. So this is a little bit different look. Then there's different modes here. So select mode is what we're in most of the time when we start doing landscape and foliage will be in those modes. Okay, and there's other modes here too. And this is important as well. Project Settings and world settings are over here. And then your play button is right here. This is where you would find the sum of the blueprint stuff. So Game Mode and Level Blueprint is in here. So we've seen that with previous UE for projects, we're not going to get into any of that stuff. Right now with this new project, I'm going to assume some level of knowledge inside Unreal Engine. Unreal Engine five looks a little bit different, but if you are totally familiar with Unreal Engine four, it should take you very long to adjust to Unreal Engine five. This is our transforms and snaps up here. Basically, cameras speed might be important to you today. So that's the basics of our template. A few actors in here, Let's get started by trying to bring in our data Smith object. 5. Import Datasmith File And Look Around: Okay, I'm thinking we should just jump right in and import our data Smith objects. So we do that by going to Add Data Smith File Import. So all we have to do is go to our port or student Kevin Export. Now keep in mind that this is just a, Let's see what this says. This is properties 884 kb. So this is just like an informational file. The real work is being done in this folder that it creates a student cabin export assets. And in here, there's no file that can be imported there, but you can see if you look at the properties of it, it's holding 358 files, 983 mb. So it's not huge, but it's, that's where, that's where the heavy lifting is being done. That's where all our texture assets are and stuff like that. So we open it. No, not here. This one open. We tell it where to go. Okay, so we have the archivist default stuff in here and we have starter content in here. We just wanted to, I'm just going to put it in my content folder just straight up at the top level. Geometry, yes. Materials and textures? Yes. Lights. Okay. So if I had done lights and 3ds Max, I probably wouldn't bring them in here. In fact, as I was doing my version of the project, I imported it without lights. And that's because I like lighting in real time. Because you can see it in real time and you can get your lights just right when they come in from VRA, they might be way too bright or way too dim and then you have to go in and adjust them all. I find it easier to just put the lights in here and get the fall off right? The cone angles, right, so that everything just looks good. And then V Ray, obviously, I'm usually not having that exact feedback. And certainly I don't have exact feedback of what it's going to look like in here. So you're kind of winging it and hoping it works. In here, you're getting real-time feedback so you can make the light to look exactly how you want. I find that it's useful to do the lighting in here. Okay. And we don't have we don't need cameras that needs to be brought in. We don't have animations. Everything is fine. Static mesh options. So this will put light map UVs. What this does is it puts its like another uv channel. And when we're baking lights, you need these light maps, right? And you, we've seen this before in Unreal Engine four. And this can set the resolution of how small and how big the light map resolution can be. And you've seen before when you bake the lights that if you want to relighting to look good, you need those resolutions to be in the correct zone. But I've got great news for you. We don't have to light bake in this project. Light begging is a huge pain. You've seen it. You've messed with all the settings trying to get it to look right, and then you've waited while it bakes and banks, and banks. We don't have to do that for architecture anymore in this, in this version of Unreal Engine, which is the best improvement that could have possibly been made, right? So now we have lumen, which does all our GI. And that's why we were baking lights before. All the GI is done in real time. So we can actually add a ton of dynamic lights. And, and they will be generating GI in real-time. And the frame rate is good and everything looks pretty good. It is not as accurate as it could be, but it gives you very good. But lumen can give you very good results and GI in real-time and it's pretty amazing actually, and that's what we'll be using throughout this course. So long story short, we don't have to bake lights. We don't have to worry about this light map resolution very much. Thank goodness for that. Biggest, biggest leap forward for Unreal Engine five, in my opinion, especially when we're talking about artifice. Okay, So forget about all this stuff. Everything's fine. Import, boom. This might take a minute, okay, you can actually see it importing all the textures. I wish I could just give you all this stuff, but some of it doesn't belong to me. Fortunately, Chaos Group, the way they do give you all this stuff, everything I used is either my own things or be re cosmos. That's it. So if you take what I'm giving you and then go and fill it out with Cosmos stuff. You're good to go and you'll be at the same the same state that I am at that I'm showing in the video. Okay, here you go. Here's the cabin. Now to navigate, I'll hold down the right button and then use my navigation keys, WASD. And then you can use the mouse to look around. Okay, So things are coming in. If you hit G, it will turn it into, it'll toggle on and off game mode. As in you won't, you will see all these actor icon sitting in here or you will not get so things are looking pretty good. There's some issues obviously, but check it out. This is pretty good, right? Our glass material is basically working. This mapping is messed up so we can fix that. But basically there's no material on these doors back here. We can fix that. And I mean, in my opinion is pretty awesome being able to fly around my model like this. And it's basically like rendered as I'm flying around. That's pretty cool. And that's the power of Unreal Engine. There you go. That's how nicely it can come in and how quickly and easily to have you basically like 95% of the way there. Let's look just real quick at how this is organized. Into the content folder came the student cabin export. And then here is the Static Mesh. Know that's the data Smith's seen. Okay, so that's the whole thing. The geometries are here. These are all the different pieces of geometry. Okay? The materials. And this is awesome. Okay, so let's just look at a material real quick. So it takes, it brings in the material and it basically sets up like an apparent and an instance. So here's the parent material. If you go into this, you'll see that it's a huge web of confusion, right? And we're not gonna go into this and adjust it. But what it does is it creates an instance of it with all these parameters exposed, right? So in the parent folder, a lot of these things are parameters that can be exposed to instances of this material. And what that means is when we go into the actual material here we see all these parameters that we can adjust because that's set up in this parent blueprint. Okay. And we'll notice that what the parameters are, is what we would be used to in the array. Okay, so here's the, the final IOR. You can set that map weight 0.4. So you can set this to one that shows the, that's changing the reflection. It looks like a map weight is like the zero to 100 on the maps in the array, right? So all the parameters that we are used to will be exposed here, especially if we adjusted them in V Ray, they will be adjusted here and exposed. In this instance of the material. You can go in and change the diffuse material to something else if you want. But theoretically we've got everything right already in V ray. This is the sum of the tiling stuff. Scalar parameters. Yeah, so these are the adjustments I made in V Ray are now exposed to me here and I can, I can change them back here. So like, let's say reflection, glossiness, point to one. Okay, So all those things can be adjusted and you see it updating this data. Smith has this cool way of wrapping everything so that it looks familiar to us like it is in V Ray, Okay? And that's one of the really cool things about it. Let's look at one more material. Because this console would, all those settings that we would have adjusted in the array can now be adjusted here as well. We wanted to just say the flexion glossiness. And it even changes the language for us so that it's familiar to us like in V rays. So like in here, you go with 1.0 for glossiness, just like we would do in V ray. That's about it. They're very cool. How awesome data Smith is at bringing in materials and making them look right without much adjustment needed at all. Okay, There it is. Let's get started on building an environment around this. 6. Basic Landscaping Tools UE5: Okay, so we got rid of the floor. So what are we gonna do about the ground? Well, we're going to set up a whole environment here, as you guys have seen in the sample animation. What we do for that is just go to landscape mode. Actually, let me clarify. I'm gonna show you one way to do it. Then I'm going to show you another way to do it that I found to work better. But I want to show you these landscape tools. When you go into the landscape tools, you basically just set up a grid that you want and then hit Create or real-world. So let's just leave it as these settings right here and say Create. Okay, there it is. I want to move our cabin up. To do that, we need to be back in selection mode. And to select the whole cabin, we want to go to student cabin. Over here in the outliner. It's all grouped into one big objects. So we can just select that group and then move it up. Okay, so now it's in the right place for us and we have this huge grid. Okay? Now, back in landscape mode, this is where we have the ability to adjust our landscape using a brush. So you can see that over here we can have mountains. And the longer you sit there, the more it goes up, right? Pretty basic stuff. Also, you can use the bracket keys, just like in Photoshop to increase the size of your brush or decrease the size. You can change the tool strength. You can change the brush size and the falloff value of the brush. So obviously that's going to be more fall off will be nice and soft. Last fall off will be very pronounced, right? This is all basic brush stuff. If you've used, if you have used ZBrush before, then this will be super familiar to you. Yeah, I want it to fall off to be where it was. Control shift is making this stuff go negative. And holding no buttons while you're painting is making it go positive. So this is just basic brush tools. And you can, and then of course there's other tools too. So you can use hydro, e.g. this is like eroding your ground. We have a little kink in it right there so we can do a smooth, lots of different brushes to experiment with. There's noise where you just add noise to the overall landscape. What I was attempting to do in this scene is sculpt away some, some ground here to make this kind of a goalie or a depression in the ground out here in front of the cabin and then build up some edges around it. That's a little too much. Smooth that out or flatten that out if you want. Maybe do some hydro down in here for erosion. You can see that with a lot of things you'd want higher resolution on your landscape so that you can get finer details going on. That's all things you can experiment with. You can actually change the brush that you're using, the kind of fall off shape that you're having probably won't be noticeable here. But the basic, the basic thing I was trying to do is create a goalie out in front of the cabin so I can be in a goalie looking up at the cabin. And then you could, you could go crazy with this. You could go out here and just make a bunch of mountains, right? Make this in a little valley here, kind of terminate your view. That's a little strong because we have our fall off set to that. Okay. Okay, so we can make our landscape like this and you could, you could do this forever. Obviously. I'm not gonna go too much more into that. That's a basic landscape. Looks great. You can experiment with all those tools. I think they're mostly self-explanatory and we're not gonna go too much into, more into those. And like I said, the landscape, this is how you would create it. And we can now start placing actors onto here. But I'm actually going to use a different way to create our landscape. And I'll tell you why and show you how in upcoming videos. But those are the basic landscaping tools for you to create a nice landscape for your scene. And of course, you could model a landscape in 3ds Max to and bring that in with your data Smith, that is another option. If it's an architectural project with this specific site and typography that's needed. You can come in, David Smith. 7. Pause For Basic Project Settings: I should go over some basic project settings here that might be a little bit different for you than what you're used to in Unreal Engine four. For Project Settings, we would go to here project settings or Edit Project Settings. Okay, so there's a couple of things we want to ensure here. If we type indirect exit the top to search, we want to make sure that the default or HI is such direct decks 12 that will enable us to use ray tracing. If we go to ray trace, we can. This is under engine rendering. Let's just go there. Engine rendering. Lots of things in here that can help us. So one thing in this current version, or in the version that I'm using of Unreal Engine, the Quicksort mega scans bridge, which we're going to get into. And virtual textures are causing some issues, as in the materials are showing up very blurry and low resolution. Okay, So one thing we can do is just disable virtual texture support and disabled the virtual texture on texture imports so that when it comes to the bridge, it's not a virtual texture. It's a normal Albedo map, and then it will render correctly, okay, this will require an engine reset. Do that in a minute, okay, the other option is whenever a material comes in from quicksort Bridge, you can right-click on the Albedo map and say convert to normal texture. That is also an option, but there is some conflict between virtual texture and the current setup isn't working properly. So that's an FYI. And these are the things that there'll be worked out as everything goes along. And, you know, Unreal Engine releases, updates regularly, okay, Under global illumination we can set its lumen refraction method, lumen fraction capture resolution, not going to change that. Down here under lumen, we can change, use hardware ray tracing when available. Hardware ray tracing is gonna be using a video card that has the capability to do ray tracing. So the NVIDIA RTX stuff, I think I read somewhere. Nvidia or 2X2 thousand or higher. Okay, and that's what's required to do the hardware ray tracing. But the hardware ray tracing can give us some advantages. So we want to enable it when possible. So ray lighting mode can be hit lighting for reflections. And that the other option is surface cash, which I believe would be a software ray tracing type of thing that lumen can use. But if we want to hit lighting for reflections will be a higher-quality that we can use if we have a ray trace enabled Video card. Okay, and then down here at our hardware ray tracing support, hardware ray tracing, ray trace shadows, retro skylight. Okay, So with this just basically makes these things available if we want to use them. Okay. And so it can give us, when the availability is there, it can give us a higher-quality. And again, this project is going to be completely with lumen. And so this is kind of setting it up to use lumen but with the highest quality that's available. Okay, so luminous kind of faking a lot of GI using tricks within Unreal Engine that are software based and we're telling it we also want to use hardware-based ray tracing when possible. And that does some special things for us, including allowing us to do the path tracing, which we'll talk about later. But path tracing is an actual like ray traced to rendering like a V Ray style rendering that you can achieve inside. And that is making use of the retracing video card, the hardware ray tracing. But it will actually give us the most accurate, highest-quality renderings we can get out of here. Path tracing, although not everything is compatible with it. We're going to focus mostly lumen. Those are the settings that we want for lumen. We can control those things with other elements of our scene like the post-process volume. But we want to make sure they are enabled and ready to go if we want them. And now let's reset the engine for the virtual textures. Work around so that when we important things, when we get to important things from the Quicksilver, make a bridge, mega scans bridge. Everything is going to come in properly. You know what? Instead of just talking about the virtual texture thing, I feel like it might be something that a lot of people run into. And actually, by the time this is all released, we might have newer game engine versions that, that kinda take care of this problem. I don't know, but I want to demonstrate it in order to show what I'm talking about so that if you do run into the problem, you know exactly how to fix it. Okay. You saw that I just went to the Add To seen quicksilver bridge and then quicksort omega scans is added as a plugin to Unreal Engine. You can add it via the game launcher. And you have to set up an account and make sure that you agree that you're only going to be using this within Unreal Engine and then you can use it for free. And trust me, you're gonna wanna do that. Quicksort bridge is awesome. We're going to talk about it more in later lectures. But just to demonstrate, Let's go to something that I have downloaded already. And let's say we bring this in, add this to my scene. You can close this. Now when this comes in, let's see. Okay. I see I see some issues but the material looks okay. It actually ok. So you see this though is coming in as a virtual texture. Right now it's looking okay, but you might run into where it becomes very, very blurry and low resolution. So I disabled that. And when I reset the engine, they shouldn't be coming in as VT virtual textures anymore. But if you have this problem, This is rendering incorrectly. Then you can right-click on this right-click and say Convert to regular texture. Okay, that's a quick little work-around. And I'm also going to reset the engine so that when they import, they're not actually importing as virtual textures. And that way I don't have to convert them every time. And like I said, this might change in later releases, but for now, just be aware of this issue. You might run into it and that's how I've gotten around it. And hopefully you've seen some of the projects settings we want to be using so that you can get your projects looking correct. With Lumen moving forward. 8. Using Quixel To Create A Huge Landscape: Okay, So after I reset my Unreal Engine, everything is looking fantastic. Let's talk about Quicksort. Now. It's the best part. Okay, actually, what I'm gonna do is show another way to bring in landscape so I don't have to carve everything. This is something I thought, whoa, I wonder if I could do this and I tried it and it completely worked. So it was great. I mentioned that another thing we could do is just bring in landscape modeled in three. Yes, ma'am. Well, maybe scans actually provides us pretty cool landscape we can use I'm going to delete that if you have mega scans installed, which if you go to Plugins, see if it's in here. Quick. So yeah. So you can go to Plugins, look for bridge, and make sure it's checked here. And it's going to need to be installed via the Epic Games launcher should look like this. Hold on, gain Unreal Engine here you'll see 5.02 Installed plugins, quicksort bridge, boom. Okay. So it looks like it could use an update to hard to stay on top of all these updates because they come fast, but the Quicksilver bridge is running. And what I'm gonna do is go to this quickly Add to Project button and go to the Quicksilver ridge. And I typed in here landscape or terrain. I think it's terrain. And some of these terrains are actually enormous. I think it's this one, gigantic tundra, Okay, So I actually use this as the ground. I have it already, yeah, alright, here, this one is another one. It's circular. It's one square. But actually use this as my landscape. You'll see how big it is when it comes in. So I'm bringing in the nano one, which the neonate one. Let's talk about this a little bit on each of these assets you can bring in. So let's just look at massive stone cliff. So mega scans is really cool. It shows the size. I can't really read what that size means. Look at let's look at this one. It shows a little person next to it. I think this one might have a tiny, tiny person down there, meaning this is absolutely humongous, right? It's an assembly, meaning there might be multiple items that you can move around and assemble into one large object. It's open. That means one of the sides is not fully enclosed in the model, which is fine. But each one you can bring in an inequality you want. Okay, so in the settings you can auto populate foliage painter, you can apply it to the selection. The foliage painter we'll get into. Foliage painter is a brush that you can use to paint foliage onto it. But you have to have different objects in the, the kind of collection of things that you can paint. This can automatically be added when we import it, if we wanted it. The rest is these materials. We don't need to adjust or override any of the stuff. The biggest thing probably is the quality. This one has a low, medium and high quality that's basically polygon count, right? And possibly the size of the texture bitmap as well. Not sure about that, but some of these have different qualities like nano, right? Okay, so low quality, medium quality, high-quality, and then Nan high-quality. So nana is high-quality, but it comes in already enabled with nano. Okay, So we can also turn any of these other ones Internet night once we bring them in. But this is optimized, having a super, super high-quality but also coming in and not bugging down you're seeing that's the beauty of nano. Okay? Now remember that nano and lumen work very well together. So the lumen global illumination is gonna be figured out very well on nano objects. And in fact, some things won't work, like foliage don't work unless pneumonitis and I enabled on those meshes. Okay, so in general, you want to try and use neonate and lumen together to get the best results. So we'll look at that. Those are different qualities inside clicks omega scans, non-IT is something to consider that we're going to talk about more. Let's go back to my tundra and see how that's looking. So that's going to be under mega scans, 3D assets, gigantic tundra terrain. We can just drag it in like this. Lower it down. You can see an absolutely huge this thing is this must be PhotoScan by a drone or something, but it's awesome. Okay. So I can leave. You see we have a few issues going on here with the texture. I could leave this in here like this, which is actually pretty cool. Look at this humungous. I'm actually not going to leave the texture on them. I'm just going to use the terrain because we can do that too if we want. So what I'm gonna do is just use the speed here so we can get some serious movement going on. I'm gonna move the terrain itself to a place where I like, like the topography basically. So there's a little cliff right over there. Let's put the cabin up on that cliff. Right? It's not bad. We just want to find the right spot for it. Check this out though. This is so cool. So I can move the cabinet as well. But I'm also, I'm just trying to kinda like placed the landscape in a way that I like it in relationship to the cabin. Want to turn off some of these snaps up here so I can just get free. Remember Spacebar shuffles through the different transforms, scale, rotate and move. I think that's pretty cool. In my scene, I ended up with more of a gully that the cabin was overlooking. But this could work too. If it's just perched up on a hill like this and we can build more terrain around it. Now, I'm not going to use the texture here because there's no way it can be big enough resolution for, for what I want here. I want it, I needed to be super high res, even up-close. And it's just way too huge to be able to have that kind of resolution. So what I'm actually going to do is bring in Quicksort materials and apply that to this. Let's just do that real quick, real quick. Now this is just another way of creating terrain, Okay? I'm just leaning heavily on the quicksort stuff because we should all be able to get access to it for free. So you should be able to follow along with it. And it's just a really, really great resource. So again, I'm gonna go to local. You can search through here and find what you want. But I have some things downloaded already, which I've used in my version of the project, and I can just apply them now, this is the one I want. We're grabbing the high-quality one. And you can see the kind of assets that are used in lysine, lots of rocky stuff, and then lots of kind of wooded stuff. Now under content mega scans surfaces, this is going to be here and I should be able to just apply it. And you notice that we know we don't have the virtual texture thing going on here. You'll also notice that the mapping is way too big, right? It's like tiling it one or two times over that whole thing. You also see that some of that weird shadowing is still there. We're going to address that. We're going to figure out what's going on with that. This is going to work. We just have to go into it and adjust the mapping. And we have that setup in here very nicely. These Quicksort, likely V Ray textures that come in via data Smith. These Quicksort ones come in with very easily understandable parameters. So we don't actually even have to go into the parent. We just have these very nice parameters that we can mess with. Tiling. We can put this to 1,000, 1,000 and see what we get. It's almost too tightly now, right? If we go into here and say, let's say like 500, 200. Okay. I'm gonna go with 350 and we're just going to call it good. And you'll see there's a lot of tiling going on there. But we're going to cover this up with so much detail. So this is just like a base and we're going to build layers on top of it. Okay, one thing, a couple of things to note. Let's look at some of our visualizations here. If we look at the lumens scene, we'll see that lumen is looking good. It's basically figuring out the lighting properly. One thing that you'll notice is that there's these blotchy shadows down here. And that takes a little longer explanation of how to fix that and how to take care of that and what's going on. So we'll save that for another video. But one thing to note is that neonate is happening. If we go to nano visualizations and just say look at the triangles. This is Nana a triangles. So this giant tundra is using nano. You can see the solid black stuff, the stuff I imported via data Smith isn't using that night. Okay. So that's What's going on here, that's what we're looking at. So it's great that, that is using the finite. But that's also part of the reason, part of the issue that is going on with the shadows. Let's make a little separate video just about that to get that fixed up. 9. Fixing Common Issues with Nanite Lumen and Raytracing: Okay, so there is some weird shadows going on with our nano objects specifically. And I'll explain why. And oddly enough, a lot of this course, this update for Unreal Engine five, just happens to be trying to figure out these new features with Unreal Engine five, mostly luminance and night. How to make them work together, how to optimize them, how to leverage them to make better scenes. But they are not fully compatible with everything. A lot of weird things happen. So a lot of this course is just trying to figure out how to implement these properly without having all these different issues. So there are issues that arise. This shadow thing is one of them. What is happening here is that nano night and Ray Trace shadows, I believe are not fully compatible. And I already showed you where we enabled ray tracing when possible. This is the directional light in this scene. What is it, what is it called? The southern sky? The directional light is here. Now if I search in here, ray traced, cast shadows, it's using project. We set that up in the project settings. So it is using rates, shadows which are better. They're nice. If I disable them, you'll see the shadows basically get fixed. But I want to be able to use them. That's the problem. What's happening is that the nano mesh is not fully compatible with ray trace shadows. Therefore, it goes to a fallback mesh, a lesser resolution mesh to cast the shadows. And that doesn't match the actual geometry because it's more simplified. Okay, if we go into this Static Mesh Component, or if we go into this Static Mesh inside of our content browser. And we open it up. We can actually show the Nano a fallback mesh. You probably can't tell from this level, but it's different. That's that's the main point C. Okay. So that's without that neonate felt like mesh on the two meshes are different. So if we go to here and say fallback relative error, believe if we set that to zero, that means that the fallback meshes. No gun no longer can be used. So this the only problem with this, I mean, this will solve the problem. The only problem is that it's now making things heavy again, so it's not taking full advantage of the optimization. Okay, so you have to say yes, you want to save changes to the LOD. So essentially what it's doing is using a lower level of detail in order to cast the ray trace, retrace shadows. And the mismatch between those two things is causing D, weird jagged shadows. So we can basically turn that off. But it gets rid of the optimization. It gives us a performance hit for doing that. But now you can see the shadows are looking, correct again, you'll notice that lumen is only working so far away and then you're getting weird, weird stuff going on. We can adjust that or we may not need to because it's far enough away that it's not going to affect our scene. Are weird, shadows are gone again. There is another way to fix this problem that doesn't give us such a performance hit. Let's see if I can go back to in here. I can undo what I just did. Fall back. Set that to one, save. Okay, I set the fallback to be back on and now we've got our weird shadows back. There's one final way you can fix this, and that is basically by tricking the system. If we go into the console commands and type in our ray tracing shadows. And then this enabled two-sided geometry thing. If we set that to zero. Okay, it fixes the problem. And that is because the fallback mesh is it's almost like it's got reverse normals or something. Or it has two-sided geometry on it. So it only shows up if it's got two-sided geometry on. And if you turn it off, then it does not cause the shadow anymore. So now the ray trace shadows are working and we're not getting that weird fallback mesh cut casting shadows on top of our actual mesh. So those are the different ways that you can address that. This is the way I'm going to choose just using that console command. Because it doesn't hurt me in any way and it doesn't cause me any extra work. I just have to turn that stuff off and everything's working fine. Now I actually want to put this material back on here and see, see if it renders really nicely without those weird shadows on it. Let's see. These things so large. Now see this could make a really cool scene. It's not the look I'm going for. But it could I liked the water. I could fill this all out with trees, that'd be pretty cool. This could just as easily be Wyoming as it is a tundra. Tempting, tempting, tempting. Okay, it is. Okay, I'm not gonna go with it. I'm just going to leave it like this. And we're going to fill this all out with detail, foliage, all that kinda stuff. But that's the fixed for the shadow. I like. I like where my terrain is going. I like how this clicks will make a scan is basically created an entire terrain for me. And you can purchase that cabin wherever you want on this terrain. We'll leave it here for now. And then we're going to add in more. We're going to just start adding in rocks and foliage and trees and all that kinda stuff coming up in later videos. 10. Adding Megascan Assets: Okay, right now I'm just going to bring in a bunch of clicks, omega scan stuff, and start filling out my scene. It's all pretty easy. Just go to the quickly add to project. Go to quick, so bridge. Make sure it's enabled like we talked before. I'm going to use the stuff that I already have which will show up in the local. And of course, you will have different things. But the pixel mega scans library is huge and you can bring in all sorts of different things. She's got to download and import them. I like this one. This is the knight version. It's called massive tundra rock formation. Down Control Shift. Control, Shift Control. Alt. Copy it. Okay, I like kinda making this as a little perch appear as cool. And of course we can just bring in assets galore and make it look however we want to see what else we have that might be cool. Here's a really big rock formation. Seems huge. The awesome thing about these quick, so omega scans, I think I mentioned this before, but you can add so much photorealistic detail without very much work at all. And of course, that's what makes really good looking renderings, right? The more real details you have, the better it's gonna look. And it just makes it so easy to fill it out. Okay, cool. So I don't need to make you watch all the placing of geometry, but yeah, we can fill this out with a bunch of rocks and logs and all sorts of different things. Just adding detail to the z. 11. More Quixel Megascans: Okay, I'm gonna go to Quicksilver age and just add a few more things just so I can talk about how cool it is to design your rendering and compose your shots all in real time. So I realize you can use these mega scans in other software. That's not exclusive to here, although the payment for using it is. But the point is you can use this in max2 and I've done that in other courses. But laying it out in real time like this. This is unique to Unreal Engine. And just composing your shots and just kind of laying out how you want it to look and doing it in real time with real-time feedback. That is unique as far as Unreal Engine goes. That's what I love about Unreal Engine is that you can make very, very good results and you actually work in real time, place everything in real time. And there are like Viera has real-time rendering. It has chaos vantage, the feel, the frame rate, all that kinda stuff. The field of just manipulating things in placing them completely in a real-time experience. I still think is pretty unique to Unreal Engine or other game engines obviously. But That's cool. And let me just go to add a few more things and then we'll move on. And I'm mixing different kinds of assets here. I think that's OK. Import all these, as long as you can pull it off and make it work, right? So it's all up to you and you'll see it developing in real time. So that is a great way to create compositions and add the right assets to your scene. And the main thing is that it just looks good to you and accomplishes the look and feel that you're going for tiny this log is, I think that's putting into scale how absolutely huge those rock formations are. And that's okay. I'm going to use all those quicksort assets to really build my scene. No faster way to fill my scene and put that huge rock formation in here, right? That's kind of acting like a ground and also a termination of my view. Going back rocks and things like that, they'll make a lot more sense when we have trees in here. Now it still looks like a tundra and we're using tundra assets. And so, but the trees will change the look of it quite a bit. And we need to start thinking about where we're going to take our shots from. You guys. I've seen my examples that we're going to I was taking shots, kinda lentils or maybe on the other side like this, right? So we want detail up here in the foreground and then get nice depth of field going and then have the cabin kinda more in the background, in the mid ground. Detail up here will be good. We can keep adding more quicksort assets. To get that. I've actually imported them all already. So all the ones I want see what this one is. Yeah, big boulder. So I hope you're seeing how cool and how intuitive it is to actually just design things in 3D. Design your shot in 3D as you're going. And you can just bringing all your assets and just see how it's all going to be coming together in a scene because it's essentially already rendered, right? We're looking at the rendering and what it's gonna look like. It's so fast. And I think that really makes it intuitive to design a nice shy. Making a lot of use of the spacebar here too. Change how I'm changing. I'm working either between moves, scale, and rotate, the transform tools just toggles between them. Okay, but anyway, I'm going to keep filling up the scene and not make you sit through it all. So I'm just going to keep on designing a nice-looking shot by bringing in more details, trying to frame in the views. I want those kind of things. So start thinking about those as you're working and fill out you're seeing with details. We're going to talk about trees next. Those are gonna be a huge part of this. 12. Intro To Megascans Tress: Okay, now I'm going to talk about how to get some trees in here because that's going to really change the look and advance the look of our current project and make it scans, makes trees available to for free. They're in Beta, but they work. And I'll show you how to make them work. First of all, you've got to get them by going to the Epic Games launcher marketplace. If you type in mega scans, trees, should bring up this European black older, early access. And it's really just this black older tree, but there's a lot of trees available and look how cool they look. I mean, they're really, really good, high-quality. I'll show you, you get tons of control over them. And I can confirm that like I got similar results to this. And you get all these different sizes and ages of trees and two different kinds of wind being generated. You'll also get this controller that gives you control over the season, the age of the Health, and also the wind controls. Pretty cool stuff. You have to download this and once you have it, you can say Add to Project. You'll see that supported engines are versions for 2053 to 427. However, we will make it work. We will add to project, and we will show all projects. We will find our current project. It's this one. It says asset not compatible version 5.0. Please select closest alternative version. Okay, so I'm adding 2427. And I wonder if that will work. If you don't have four B27 added on your loaded on your computer? I don't know. I think I do have four dots, E7 and maybe that's why it gives me the option. I'm not sure, but it does allow me to add to project even though 5.0 isn't one of the options. Files from Megan scans trees early access already exist in the project. Do you want to replace them? Obviously, for me, I've already added it. But in this case, you wouldn't get this if you haven't already added it to the scene. Okay? So once you've added it to the scene, you will get it will go into the content folder and it'll just be under black, older. Daniel have all these different things here. And you will also get MS. Presets. In here is where you have the MS foliage material. You have the global foliage actor. And in here you have the blueprint global foliage actor. This is what you can drag into your scene. 01. Important note is that when I dragged, see what I'm doing here, content, black alder, geometry. We have two different kinds of winds, the pivot painter wind and the simple wind. Let's go simple win for right now. Another important thing is that that there is the field versions of trees and also the forest versions, meaning the field are getting more sunlight because they're out in the open. And so they grow in a different shape. And the forest ones are in a thick forest. So they grow tall and skinny and the leaves get towards the top because they are searching for sunlight. Okay, so let's take this one and just drag it in. Important thing that I was gonna mention is that for me to get this to work properly, I had to re-enable virtual textures in the project settings. Otherwise, my tree textures we're not building properly. Okay, and I showed that before. But again, if you go to Project Settings, virtual textures, able virtual texture support. If you're turning that on, if you're toggling that, it will require an engine reset before I had to turn it off because when I brought in mega scan stuff, I didn't want it enabled because they didn't want them automatically turn to virtual because I was causing problems with those. But if you want to leave it on, every time you bring in a mega scans thing, it, it may have a V VT here for virtual texture and you can right-click on it and say convert to virtual texture. And that essentially will do the same thing. Now that that's out of the way, let's talk again about this global foliage actor. If you bring it into your scene and put it out of the way, because it'll render already had one in here as a test, but we only want one. You'll see it has a wind sock on it. Change my camera speed here. We can change the wind speed. So when we select it, we can go into the details of it. We can change the wind speed to 20. Now we see the wind is really strong on our tree. Looks ridiculous, actually. Will turn that down. That was the wind strength. The wind speed can also be adjusted and we'll put that to something else. Let's try putting that up to 100. So that's telling you how fast to undulate or vibrate when tiling wind noise. So all of these are pretty self-explanatory. It's controlling the wind. I actually like the wind lakes, so so subtle or off entirely. Okay. No more wind. Okay. So we can adjust the season strength so we can tell it like start turning in color and all that stuff. You can go heavier so that it becomes completely fall colors, right? And then you can do the season brightness. Obviously. Pretty self-explanatory seasons saturation. You go into the heavy reds, right? I mean, this is starting to look fake, but if that's the look you want and you see how it kind of like starts on the outside and moves its way in. Super cool because it's, it's mimicking what real trees do, right? Yeah. So if we look in here close, we'll see what the health is doing to it. So look at the center of that leaf and you see how it changes. Okay, so that's to add variation and stuff like that. And as you go back and season, so like with the green leaf, you can see the health better. Okay, so super healthy leaf, not so healthy leaf season. Okay. So that's actually a pretty good-looking fall tree if you want to use that. I mean, you can do color variation to a lot of control you can have over these mega scans trees. And I think they render just really, really nice. Okay, So what I'm gonna do now that I have the major scans tree is going is I will place some of them individually and then it will also play some width, the foliage tool inside of you E5. And we will check that out in the next video. Kind of placing and building our entire forest. 13. Building A Forest: So what I do for this project is kind of art direct some of the more important trees and place them individually. And then use the foliage tool to build the massive forest around this cabin. So that's what I'm gonna do. Go into content black older geometry. Simple wind. Going to pixel pain or two, doesn't matter. Then I just start placing the trees I like the shape of. So I liked this one because it stays, stays out of the way, right? It's tall and skinny. Kinda contributing to the composition that I want. Maybe scale it up, sum. Let's copy it. Of course rotated so it doesn't look just like that other tree next to. It. Might be a good time to set up a camera. We're going to talk about that later, but at least have a good idea of what your view is going to be like. So you can, so you can be thinking about the composition as you place these trees. Don't wanna do it randomly. There's a nice tree. Okay, So you don't need to watch me do all this. I'll play some more trees later, but let's get into the painting of the trees. So what we do for that is we just go into foliage mode. Okay? And we would drag the foliage we want into here. And then we can start painting with it. So I'm actually going to start with the under growth and just select them and drag them into here. Now if I start painting right away, you'll see what happens. Very thick. But cool, that you can do that in real time. So actually, I don't know, maybe you want some thick. So I'm just changing between paint and erase up here. Maybe you want some thick growth parts. You can see that everything's too uniform though too. If you used any scattering tools before, this stuff will be familiar to you the way you control it in here. First of all, we have brush size, paint density, erase density. So if we set this to 0.05, snap painting, anything that's 0.1, We're on erase. Erase. So go back to paint, say 0.05. So aside from the density, my big concern here is that everything is looking too uniform and we want to make it more random. And we will look at how to do that. The only other settings up here in this section are the filters. And that determines what we can be painting our landscape on. We want to paint not on landscape because remember we replaced our landscape object with a static mesh from mega scans. Bsp. Bsp. In your scene, you want to consider whether you are going to be using that or not for things that you can paint on and landscape. So with static mesh check we have to be careful because that means we can paint on the rocks to write. Okay, so those are just filters of what you are able to paint on. These little numbers tell you how many of these instances are in your scene. Apparently, I've got few things in here. Still. Don't know where there's somewhere hiding in here. Okay, but you can also control which objects you're painting with. And you can do that by selecting and unchecking ones. So if I paint now they're all unchecked, so I've got nothing. If I check them all, now I'm painting with all of those things. Okay? And also that opens up controls for each of these things. Let's close this down and get some more space in here. With these selected. Now, you can see they're all highlighted green. You can change the scattering parameters, okay? So the density you can control per object. So if you want one to show up more than another, you can change these densities on them. And most importantly for me, is that I can change the scale. So scale is 0.5 to one. Okay, So that means for all of these, they can all adjust and scale from half size to full-size. And you can see they're being affected by the global foliage actor. Right now I'm just painting undergrowth. Okay, I just found another issue that you might encounter. So as I was painting here. Painting is undergrowth. My settings all how I want them. I was noticing my meshes. We're off the ground and not attaching to the ground properly. They're all floating. And why do you think that was? It was because of that fallback Michigan Fernand night. So just like with the shadowing issue, we looked at the fallback mesh and we noticed that it's not quite the same as our actual mesh. And so when the landscape or the foliage just painting onto it, it's pending onto the fallback instead of the actual met. So it doesn't always line up. But there's way to fix this just like we were fixing it with the lighting. We do that by going into Select doing our mesh. Going into our mesh. Going to fall back mesh or fallback. Yeah, fallback relative error is the one we want. And I set that to zero. It's probably by default it's set to one and I hit Save. What that means is it's no longer using a fallback mesh in order to cast the shadows or for when we're painting foliage onto the mesh. So it's something worth keeping in mind that those fallback meshes can mess you up in a couple of different ways, but we know how to fix it. Okay. But back to the foliage, can paint some more of this undergrowth. And remember, I can paint onto the rocks too, so be careful, make sure that's something you want to do. And if I want to art direct this more later and go in and have full control over each individual object, then I can do that by doing this. So if I come down in here and say, I don't like the placement of this tree because it feels too big. You can select a single tree and move it, scale it, whatever you wanna do. Delete it, even as long as it's one of the ones you have selected. If I didn't have that kind of tree selected in my foliage, it would not allow me to control it. Okay. So all the undergrowth is these, make sure they're all checked when you want to be editing them. Now let's take a look at adding some full-size trees. Let's go to our content drawer than our content folder and go to the black older folder. So instead of Sapling, we're now getting the forest one's. Drag those in. Now. You have to go and manually select all the saplings, uncheck them, so you're no longer controlling those. And now we want to control the forest ones. You can type, you can take forest here, and it will give you only the forest ones. That's why naming is important. Fortunately made it scans, does that all for us? But with these all selected, we can again change the minimum scaling will say to point B like them a little bigger than they come in. So 1.3. Okay, and then we can start painting with those. They're gonna be too dense. Let's undo that. Let's change the density down here. Actually. Let's just do it overall. It's still too dense. One interesting thing you see happening is we'll paint on some weird angles, sometimes, like under those rocks right there. You can tell it specifically whether, you know what angle you want it to paint onto and which ones you don't want it to paint onto. Using things like a line to normal and align max angle. I'm going to just paint wildly in here with trees everywhere. And then go back and delete the ones I don t want later. Out here we can just do huge swaths of trees, right? You in turn up the density, some like that. Back here, we can be a little more careful. I'm gonna go in on all those rocks and delete trees that actually come out of the rocks like right there. But this is a basic forest. He's got some cleanup to do. But that's the basics of how to do it. Those are the controls. Now I just need to go in and do the work of getting it all to look right. Like I want it. Okay, so that's the foliage tools within UE for that is how we can quickly create and really just paint an entire forest into our scene. Let's turn off the season stuff. I don't get lost in the forest. Now. Actually pretty cool looking. We've got work to do, but we'll go with this for the moment. 14. Setting Up Basic Environment Lighting: Okay, once my forest is more detailed and I'm still going to add more detail to this. But I want to talk now about lighting. So far we've just been using the template lighting, which comes in as a blueprint, a sun sky blueprint that has everything contained in it and it has special controls that they think Arc these artists might want to use. And that is probably true. But let's dig a little more into it and see what else we can do as well. If you'd go into your Outliner, type in southern sky, you can get your son's guy blueprint. Let's talk about the different elements here we have the compass mesh, but we also have a skylight, a directional light and sky atmosphere. The skylight is like our environment light. And it can be setup to gather everything around the scene and projected back onto the scene kind of mess the SLS capture. You can see this happening in real-time capture. Anything we change will be updating. You can also put a cube map in there, your own cute map and HGRI by changing from SLS captured two cube map and then specifying the cube map that you want. Also be turning off that real-time capture. For instance. You can load any key map you want in here and use that as your environment light. If you have the real-time capture on. This is with a cube map on, but with the real-time capture on, it's acting a lot like a V Ray sky. That's how I think of it. So it adjusts with the directional light inside the blueprint. You also have a directional light here, this guy hemisphere. But really you don't want to do the controls inside of here. This whole thing is packaged and controlled using Blueprint. Controls inside the overall sun and sky. It's all dependent on what we do here. If we go into, now, into the settings here, then we're just controlling the position of the sun. You can see everything else is going to adjust with it. So your skylight will adjust with it. And everything will just look right again like a V Rey Sky. We change things by changing the solar time, e.g. the longitude, the time zone, the North offset, and the month and day of the year. So if you want something that is accurate to an actual time zone, then you can use this. And then you can cheat it by just doing the North offset and that just rotate everything all at once. Like so. The whole point of this sun Skies that if you buy just suggesting time settings and location settings, you're getting an overall comprehensive environment lighting for your scene. And that comes with the template. But I want to look at what it means if we don't use this template. I like to have a little more control sometimes and not be limited to time and location settings. So let's see what that looks like. If we go into our sun and sky blueprint over here, search for it in the outliner, and then turn it off. You see our lighting look super weird, but that turns off all our lighting. So you can see everything is looking kind of black now the only thing that we see is something going on with the atmosphere and that's the exponential fog and the Volumetric Clouds. So we can turn that off. Now we have the Cloud was creating clouds in the sky. The fog was creating the atmospheric depth. All that is off now. And instead, we're going to go up to Window, environment light mixer. This is an awesome tool inside of Unreal Engine. And this is almost like a wizard for creating environment lighting. So it gives you a list of all the different things that an environment lighting setup needs. I need to pause here for a second and talk about all these different elements. So there's that creates skylight, that is the actual light coming from your environment. In combination with the sky atmosphere which actually draws your sky. Those two things will adjust with your directional light and create your environment light just like a V rays son would. The atmospheric light, it's referring to a directional light, your son. So the cool thing is when you adjust that sun, it's actually adjusting the sky atmosphere and skylight as well. Then there's the volumetric Cloud which ads, which draws clouds onto your atmospheric sky, onto your sky. And then there's the height fog, which creates the, the depth, the actual fog that creates atmospheric perspective in your scene. So those are the different elements. So Sky, atmosphere and skylight work together and they are affected by the directional light or atmospheric light here. You just click on them to envy you're seeing. So create skylight, atmospheric light, volumetric cloud, height, fog. So the fog, the Cloud is what's clouding your sky and then the fog is the atmospheric fog. If we maximize it, we can see all of them here together and all the controls for them as well. So it puts everything into one place. So this is like almost creating our own system. It's not blueprint ID, so it's not controlled by the settings we had before. Now, each one is controlled individually. And you can see my scene is lit with the basic environmental lighting setup. It's easy as that just kind of click. Got to turn off my ray trace shadows again. On my nan I objects. Okay, so all the light elements that are there, if I hit Control L and then drag the mouse around, he's actually completely changing the direction of my son and everything adjusts with it because that's how it works in here. So you can see how cool that is. You can get all different kinds of looks. And that's why I actually really like setting it up this way because with the blueprint, with the blueprint there, that shortcut, that light controller doesn't work because the controls are all overwritten by the blueprints settings. And you have to control it using time of day and location. But if everything's set up individually like this and we have control over everything, we can just quickly change the direction of the sun and see what kinda look we're gonna get and if we like it, we keep it. So I kinda like this. If I adjust more, you can get some sunlight coming through. So to me, this gives you more control over tweaking things. And I like this. It's personal preference, I guess. But I want you to understand how to do it both ways so you know what's going on. I keep accidentally putting lights into my scene when I'm trying to use the Control L hockey. If I turn off the fog, you can see the difference that it makes. I'd like to isolate things so I can see what effect they are having on the scene. Really kinda sucks without the fog, right? If I go back into my environment light mixture, I have the settings for everything all in one place. So if I turn up the skylight, now, my scene is more lit. Probably too much. So this is where you can just go in and tweak the different settings and get him right where you want them. Right now, I'm tweaking without any of the environment, the exponential height far gone because I want to see what the scene is looking like without that effect going on. I want you guys to understand all the different elements going on here. So there's the directional light, which is the sun, the skylight, which is the environment light. The sky atmosphere is actually drawing the sky, so that's what the sky is going to look like. And then there's volumetric clouds that can make the sky cloudy. Okay? And then the last element is the volumetric fog, which is creating the atmospheric perspective and that's controlled by exponential height. Father. I'm setting it to volumetric fog, so that's sunlight and other lights will glow through it. That's what that looks like. If you turned it on and off, you can see the difference. One is just kinda faking in layers as it gets farther away from the camera. One is volumetric, truly volumetric, meaning the sunlight is shining through it and scattering and lighting up your whole scene with the color of that sun, right? Of course, you can change the density of the fog. You can also change the volumetric scattering of the sun so that it's scattering more as it goes through the fog. These things are closely connected. Because however much light is scattered in through the fog, it kinda makes it look more dense to those two things in conjunction with each other. Setup how dense that fog is going to look. Each light controls the volume metric. You can control the volumetric scattering of each different light. How much it affects the volumetric effect. Now the skylight, you can actually change the color of that. All the light being cast onto your scene with the environment is tinted a certain color. There's better ways to do that though. We'll get into this more and tweak it more in upcoming videos. But that's the basics of how to set up a lighting system. And the different elements within a lighting system. 15. Setup Cinema Camera Actor: Okay, I think it's time that we start thinking about shots that we want to get in our scene. So we've got really basic lighting setup that needs to be tweaked. We have a basic environment built which we can continue to build upon. But let's think about what our final composition is going to be. In perspective mode. I just navigate it to a place that I thought was cool. And I usually like having like maybe something in the foreground, like those branches coming in to create depth. Maybe I have some leaves over here and I have this rock over here. It's kinda frames in my scene. I really wanna be where it was, okay, and maybe something like that. But this is the general area I want to be in. And I can just go to these three lines up here and say Create camera here and do cinema. Cinema camera actor. Now we're actually looking through cinema camera actor there with that because it was selected. But we would want to actually go to here. And in perspective mode we go to cinema camera actor one. And now we're actually looking through it here. And now it's selected in our outliner and we can start adjusting. So when working with camera, It's important to know that post-process volume is also having an effect on how your scene is going to look. And it gets a bit confusing about what is overriding. What if right now I just turned it off. Post-process is important for if you're navigating around your scene. But the cinema camera actor is important if you want to generate an animation or a still shot. I tried to kind of let this one determine how my final look is going to be because that's what my final product is going to be at the cinema camera actor, It's pretty easy. We can do a lot of things here using, and this is very similar to what you would do in Vireo with a theory camera or in real life with a regular camera. Okay, it's all pretty familiar stuff. So the things I use a lot are usually up here at the top. So max focal link and mid focal length is 4 mm to 1,000 mm. It's pretty nice lens and the minimum f-stop 1.2% to 22. Okay, sometimes I make this even lower to exaggerate depth of field. It's kinda like pushing it to a level you would never have in real life, but current focal length is 11.8. We want that bigger. Kinda cool to have it so zoomed in. Okay, Let's say right there then current aperture 1.2, 0.8. So you can see it's already doing the depth of field automatically. If we put it down all the way to the lowest aperture, it goes even heavier, probably a little too heavy. The thing that's definitely too heavy here is the bloom. We'll get to that lens settings, focus settings. Now, it's important to see I always have a hard time finding my way around in here. Under focus settings though, you can go to focus method manual, which I like. That means I'm telling you exactly where to focus and you can actually sample the scene and tell it to focus directly there. If I change this to focus here on this leaf, if I get it to work, it missed it. Okay, Let's just manually go down. Now I'm focused on the leaves and the cabin is out-of-focus. Can also use this plane to show what's being in-focus. The pink plane is what's in-focus. Okay, so those are the regular cameras settings up there. Now under post-process lens, get a bunch of other things that we're used to having. So this is where you can control the bloom. Let's say method standard. No, we want Method convolution. That puts little stars around our lights instead of just just a bloom. In this case, we don't have any lights showing directly in our scene, so we won't see anything. Can actually just turn this off for right now. Well, I guess the sky is blooming, so we can turn that up and down like this. And you can see the lens flares or the lens dirt and not sure which ones going on here, but those images are affected by the balloon. Right now, all we're really seeing is the bloom of the light. And you might notice too that fog can also have, the fog settings can also have an effect on how much that's blooming, how bright that is and everything. So it's kind of one of those things where everything affects everything. So if we go to lens flares, we can turn down the intensity and you'll see now these glares here go away. This stuff has to be so subtle. Okay? So you can see that the bloom and the glare both effecting those. Spots right there, which to me are super distracting. So if this stuff is used at all, the balloon should be used, especially when we start putting lights in the Cabinet. We have like a night scene. You'll want to see that story looking bloom around the lights. But in general, all this stuff should be used very subtly, in my opinion, unless you're going for some crazy cinematic sci-fi effect with crazy lens flares. Image effects is basically just a vignette, which I do like because that always, in my still shots I always use vignettes. Not always, but a lot of times and that's just to focus the eye properly, right? Put the focus where you want it to be. And it's also mimicking something in the real-world. So depth of field right now, we don't need to do it. And you've this because it's being figured out using physical cameras settings. That's the way I prefer it. Okay, and in here you have very similar settings to the post-processing which we haven't looked at yet. We've looked at in previous projects. But in here you have reflection settings, you have global illumination settings. We're not gonna get too deep into this right now. It's basically being, is basically using what our project settings are. But you can go into here and change the lumen to ray tracing. For global illumination. Of course, you have to have a ray tracing video card to be able to do that. And this course is about lumens, so we're going to keep it on lumen. Now, you can also say lumen lighting quality, we can go up with it if we want. We can change the final gather quality to go higher up on the lumen. So if our global illumination is looking too splotchy and not good, maybe if we're inside the cabin, then we can adjust those settings to make it higher-quality. And then the reflections we can specifically tell it. We want lumen screen space ray traced again. Okay, in this case, we're going to use Illumina reflections too, which are not the most accurate. They're not as accurate as ray tracing. But the whole point of this project is to show how with you E5 we can use lumen for everything and get really good results. Okay, you can turn up the quality reflections on lumen. Lumen reflections. You can also turn this to ray trace reflections and then go down here and adjust settings to make it look right. In my case, like I said, I'm going to use all lumen reflections. These give you different results and you would need to tweak settings to get to look right in the various different methods. But since we're just staying with lumen, we can just like up the quality of it. And by the way, you, with Lumina reflections, you can still do hit lighting for reflections, this method gives the highest reflection quality, but greatly increases GPU cost. Okay, so I think this probably give you the highest quality lumen reflections that you can get with these particular settings. So still use lumen, but use HIT lighting for reflections. Okay, so like I said, there's a lot of settings for Global Illumination reflections. And you can also do all your color grading in here, okay, So temperature. And then you can go into global settings. So like contrast, e.g. I. Try not to play with these too much because they can really mess you up if you're not careful. There's other settings inside of miscellaneous. There's where have I seen? Let's see. Oh yeah, I've seen color tint right here. You can just tend to your overall scene, something. If you wanna get a totally different field. You can also add an LUT, as I've demonstrated in other lectures on other projects. In that case, you have to get kind of a blank LUT file. I blink, Let's file and adjusted in Photoshop and then save a new Let's file. And it will basically be able to tell the difference between an unadjusted let's file and an adjusted one and then apply that same change and difference you're seeing here. You'd have to save that into here and then load it into this slot right here. I actually read in the documentation that that's kind of an outdated way to do it. They recommend that you use all the tools within you E5 here for your color grading, okay, One last part of the camera part is going to be exposure. And that's pretty obvious that exposure is gonna be an important part of this. I like to set it to manual. Now, apply physical camera exposure. That means that the, the, the exposure will be completely tied to your lens settings. Like it is in real life, but it's 3D, so I like to be able to override that. So I just turned that off. And I basically just use this exposure compensation to go brighter or less bright with my exposure. This is kind of a more dark nighttime scene. Of course, we're going to light up the cabin. So this might look kind of nice in the end. Anyway, that's the basic camera setup. We'll talk more about cameras later. Wouldn't be want to animate them and things like that. But this is how I set up a still shot seen using the cinema camera actors. And now I can kinda see my composition. I can see like, I don't wanna, I don't want this tree here. And you can start making adjustments to your overall scene. Because now we have a basic composition that we're, that we're aiming to use as a final view and make it look nice. And we're starting to get the feel for the lighting and exposure and things like that using the camera as well. So we're getting closer. 16. Tweaking Environment Lights To Set Mood: Okay, Now comes the fun part in my opinion, where it just involves a lot of tweaking, trying to get the feel that you want under the art direction part. Again, if we go to our environment light mixer, here, we can do all sorts of things to control what we wanna do. And a lot of it just has to do with balance between the different things going on in our scene to make it look how we want. So obviously the skylight is going to be giving more of the kind of environment light. And the direct light is going to be more, well, the direct light. Turn it way up, you can see. And part of it is the bloom that you're seeing. Part of it is the volumetric fog that you're seeing. Fog density. You can see that makes it go way up and down. The color of the fog can be changed. Also, the start distance can be changed. The distance cutoff, the height, the height fall off. All these things can be adjusted. Not only that, but up here, you can tell it how much the volumetric scattering is going to be happening due to the direct light. So again, it's going up because a bunch of that light is being scattered throughout the fog. So this is another thing that is totally typical of Unreal Engine and that is everything affects everything. And there's different ways to control things that feel like they're the same thing, right? Like that fog scattering of the direct light versus the density of the fog is kinda giving the same effect, but controlled in two totally different ways. So that's why Unreal Engine can be super confusing, but it's also why you have very much control over what your final look is going to be. So interesting. So again, I mean, I've talked about this before, but if you had, say you have 50 for this and 50 for the direct light, so they're both equal. You get more of an overcast look, right? If you turn this down, now you have something weird going on where it's all skylight. This is more of a nighttime scene, right? Where there's no direct light going on and it's all skylight, this deep blue skylight. Kind of interesting. You can also affect the color of the light as it comes and fills your scene. Can you can see how the balances changes. I'm doing that. And of course, the exposure also comes into play. The camera post-processing settings also come into play. Let's eject from the camera so that there's no pulse processing going on. And look how much difference it looks. There's no post-processing or exposure going on, so we turned on the post-process volume. Okay, so the post-process volume could get us to the same point the camera is getting us too. But right now it's not. I guess my point is that to dial this in, you have to look at everything holistically. Everything is affecting everything else. And we need to keep that in mind. The volumetric cloud, that's one that's just putting the clouds in the sky is not a lot of controls on that. The fog density is definitely having some control over our scene and the fog, the volumetric fog in general. I'm gonna leave this how it is for right now and go back into my camera. We'll just make sure our exposure is exactly how we want. This is kinda how my sample scene when I, I think maybe if we try to adjust the light here, the direct light and which direction it's coming from. Pretty cool, right? Like that. So that's kind of a sunset Seeing or dawn or dusk diapason. Okay, That's interesting. Obviously now we need to light the cabin to make it look right. So we will continue to tweak and get the look we want. I think this is looking pretty cool right now. Definitely need some interests coming out of the cabinet. And we'll create that using lights. Again, I'm doing a few other adjustments and I don't wanna do it off screen so you don't see what I'm doing with my environment light mixer. I changed the color of the direct light to get a different kind of feel. I mean, that's actually really cool. Can't see that ever being a reality. But hey, it's 3D. We can do what we want. I kinda like this. A lot of different things we can do here. So I'm just putting it more as this warm light. I turn up the fog a little bit to 0.02 stripe, 0.03, 0.0 to the fog is still at this color, which could change to make it more of a sunset type of thing. So many different things you can do, so many different looks you can get. But these are the kind of things I'm tweaking in order to get the look and feel that I want height fall off. I want I want that more, to want this lower so that it covers more of the sky. Want it to be a little more hazy so I don't see too much of the Cloud back there. See if you make the fog kind of go way up high, then you will see those clouds more. And I don't want that. I want something like that looks good to me. Where it was originally. Okay, there we go. Alright, cool. Now I think now I think if we add lights to the inside of the cabinet will have something that looks pretty nice. Obviously, I can adjust some of the landscape quite a bit more. And really fine tune this thing. But we're doing kind of broad strokes here. We'll move on to the lighting of the interior of the scene. We've got our shot composed with the camera. We've got a lighting scenario that I mostly like so far will have to will have to dial it in once we have interior lights in the cabin. But we continue to get closer to something that looks like we can render it. 17. Working out Interior Lighting: Okay, so let's light up this indoor things so we can finally dial in our final look that we want. Okay, and you can see when we get out of the camera than our exposure that's in the camera no longer applies. So let's do something similar in the post-process just so when we're walking around we can have a similar look, right? And I don't like auto exposure on because it's too hard to control. That looks nice, looks real nice. So inside the cabin you can see it looks good in here, but it needs some light. So what I'm gonna do in here is just set up basic lights. Okay, So we do that by just adding lights. I'm going to make it a spotlight. Spotlight and see how cool it looks already with lumen. And the nice thing is here that we don't need to bake these lights. And when I say nice, I mean, it's awesome. I'm going to just set them to a mobile. We want to be, I'm not in game mode right now our game view, so I need to hit G to go into game view. Now I can see on my actors. And then it's just about placing them. I'm going to give it a light right into that light. I can do it. Let me turn my camera speed down. Where's that light? Okay, So it's placed in the light. Now, there's a couple of things we wanna do here. We can change the inner cone angle, right? Kinda do it like that, like push out the outer E1 and then bringing the inner one, something like that. The source radius can be bigger. This will both. You can see now it's changing the look of it as, as in it's making the edges softer because the source is bigger. We can use temperature. I like to set this to 3,000 because that's a warm interior light. See it looks really yellow right now. However, when we get our white balance all worked out with our camera. It should look about right? Daylight outside sunlight is going to be more like 6,000, 6,500. Interior, warm, soft, soft white lights, which are really common, would be more like a 3,000. So they're really warm compared to outdoor light. And that's the balance we're looking for. K, this slide, it looks pretty good. We can just start copying it around. Now. One thing you'll notice is that I need to get the light bulbs to actually glow. So we will work on that as well. Let's go back to our camera and look at how this looks. Okay. You can see that the relationship between the outdoor lights and the indoor lights is not looking correct so far. So what we can do is go to lights, spotlight, and we can turn all these up. Right now there are eight cd let's put them at 200. Okay, so now the cabins starting to light up a little bit super bright, but it's great in relationship to the outdoors. A little too hot in there. Okay, So these are all balances we're going to try and work out. Let's just real quick take a look at turning that light to the light bulbs to be self illuminated. Looks like there's no material on the light bulb itself. These ones have glass on them, which looks quite good. Really good, but we need them to be self illuminated actually. Let's just make a material real quick that's self illuminated. Let's go to the content drawer and add material. We didn't want it here. Let's go into, let's go into our overall content and add a material and call it Self illuminated. My naming conventions are not good at, sorry, not organized at all. Okay, This is easy. We just need a hold down three to get a three vector. And that will give us the color. Link that to the base color. And we'll just call it something really warm to mimic that 3,000 Kelvin temperature and then emissive color. Let's do, let's do a multiplier here, goes to this and put a constant here to multiply it by. So we'll say multiply by one to something like that. So we're just multiplying. We're taking the diffuse color. And then for the emissive color, we're multiplying it by a constant here that makes it more or less self illuminated. Then we just have to select this static messier and drag our self eliminated material onto it. There we go. That looks good. I'm not sure why this didn't work coming through maybe in V read and how it's set up properly. Either way, easier to fix in here. We'll do it for these lights to then we can continue adding lights throughout our scene. Okay. So there's some lighting place. Let's try and dial it in with our exposure and camera and all that stuff and go for a final look that we want. 18. Final Tweaks: Okay, As you can see, I've just been tweaking more and more now that I've got these interior lights in, might even go higher with those. And I'm just going to let you watch me mess with things and there's no right or wrong here. This is me just trying to tweak things and get them right. But I've been doing is making the fog density goes up. It was somewhere around here. But I put it up higher. And what that's doing is really creating the depths. So these trees upfront are still really dark, which I like because it frames my scene, but then it lights up and gets more atmosphere as it goes away. I've really turned down the, turn down the intensity of the direct light, the Sun. If I turn it all the way down, it looks like this, which is also kinda cool. But I turned it off. I turned it to 20 and I made it this color, this lavender. And this intensity remains at five. If I put it to ten, it looks like that. Which is pretty cool. Man. So many possibilities. And now you're seeing why real-time is awesome. I hope this instant feedback stuff is where it's at. And then maybe seven. Okay. I like like what I'm seeing here, My only issue is that the whole scene is a little too purple, so I guess I could go into the camera and do some little bit of color grading in there, right? Oh, speaking of which now we can look at the balloon. There's that little hotspot right there at Bloom. Again, we don't want to go crazy with it, but you can see there's a nice little bloom coming out. And it's not just the bloom, It's the lens flares too. As you can see, those are too heavy. Those got to be really subtle. Image effects have been yet even heavier on the vignette. I want to get more depth of field going on here with the camera. So that would of course be up here in current cameras settings. It's gonna be controlled by the aperture. 1.2 is as low as we can go. That looks perfect. You can actually go lower than 1.2 if you go into lens settings and say minimum f-stop 1.2. If you put this 2.2, then you can set the aperture to point to. That's really exaggerated. I've never seen a lens with an aperture that low. But I like the subtle depth of field going on here with the leaves. Great. Everything's being framed nicely to focus on the cabin. I liked that. I wish I had more background, more trees in the background here I'm seeing a little too much sky for my liking. These are all things that could be adjusted. Anyway, I'm liking the overall scene. I do want to go into color grading here. Maybe just change the temperature. It's not a temperature thing. Same color tint. Just wanted a little less purple, like maybe in there. Okay, Now what I really wanna do is make that interior glow more. One thing I did in my version of this, which we will look at is I put in rectangular lights here and here to glow outwards to light up the edges of these trees. So let's do that real quick. And we can just design this thing however we want because we're in real-time. It's instant feedback. Why not? Let's just, let's just art directed appropriately to make it look exactly how we want it. And I'm okay with faking things because this isn't about accuracy. This is about a very nice finished result. Let's just go in and add some lights. And we'll do rectangular lights, these two areas shadows and can cast nice soft light. It's exactly what we want. Let's undo that and let's make sure this angle snap is on and snap it to 90. And then we'll get the size of the of the rectangle. Correct. Make sure that's placed in there properly. Don't see it putting off our light yet. Again, temperature should be at 3,000 ish for what I'm trying to do here. It's not placed correctly at all. There we go. So you don't want it to hit right on any of the edges because that'll look too obvious. But I think right there is good now it looks like there's a glowing interior coming out. And that's great. Now I did another one over here, the skylight coming out and you can see how it's putting this nice lighting on the tree right there. That's what I really like. It's just creating depth and creating three-dimensional looking objects in our scene so that it doesn't read as just a flat 2D illustration. Write this from the front view that's severely unhelpful, could go in and take the time to turn off my foliage so I can actually see something. But now this just needs to adjust in size like that. Now let's look through our camera and see. Okay, these can be, go brighter, I think. Rectilinear like one, let's say. Okay, the colors are looking terrible. Although that's kinda cool. Another thing is that you can see that there's a lot of Bloom going on. And with these rectangular lights and with the interior lights, we don't want that so much. So what I did for those interior lights is turn off the scattering of the volume metrics for those. And we can do the same thing here to type in volume, volumetric scattering intensity. Put that down to zero. And for this one too, you see it no longer is scattering. Actually, I kinda like it a little bit right there. I get 2.2 kb up. My colors are all out of whack. I'd want that really warm orange light coming out of here and everything else to be blue. So I assumed that that overall, overall scene tinting is what's messing me up here. So I should use a different way to kind of get the colors I want. Yeah, that's really warm now. And the rest is a little too purple. So I think with the environment light, instead of using post-processing in the camera, I'll use the actual lights to get the colors. I want. One thing we haven't messed with is the sky atmosphere. These settings. You can see it actually it changes the color, but also it changes the brightness of the atmosphere. So when you get the rally, scattering, scattering, whatever this is, scale to where you want it. Now, we're talking about colors that are a little more correct. We got this deep blue in this bright orange in here. If that's what you're going for and it is, I love this color scheme. You might have noticed from my work, I would still like some more on those rectangular lights. It's making that really, that's not what I wanted. Attenuation radius, although that did help. Totally helped need the attenuation radius to be big enough there. I was trying to turn up the intensity to that looks dumb now, I didn't know attenuation rate is what I needed, but it is got to turn down that volumetric scattering, their 0.05. I really wish that we could get some light on the inside of that tree. I'm not seeing it. I like that. If I turn up the attenuation radius really high, then that light is coming all the way out to here. It's kinda cool. This tree must be in the wrong place to get any of that light. Yeah, now it gets a little bit of it. Okay. The only other thing I've done here, which is important actually, is the glass. Okay, I wanted to talk about the glass a little bit. With the glass coming out of the array. It does work, especially on the light bulbs. I don't know if you saw them earlier in my scene, but the light bulbs looked great actually. But on thin, plain glass, it doesn't, it doesn't act as you'd want it to. The refraction probably works accurately for if it was on like a light bulb or something. But when you have a window with thickness that's just a plane, it does funny things and makes your refraction kinda jump around. And Vireo honestly has the same problem. You have to usually fake my index of refraction on a thin-walled piece of glass window in V Ray. Now they have a setting for to tell it if it's a thin-walled refraction or if it's a solid refraction. Okay, So I don't know exactly how to deal with that. And Unreal Engine five, other than to do the same thing I used to do in V Ray. And that is to open up my material here and go to the refraction index of refraction, and I turned it down to 1.01. Okay. I can show you what I mean. So if this is like this, you're looking through that window and it doesn't distort as you go through that window. Great. If I put it back on 1.6, which is more physically accurate for glass, right? You will see that now things, maybe you can see if I get up closely, you'll see that things distort through that glass. When you're looking through a window, things don't actually distort that much, right? However in here they do. And they will jump around when you're animating, you look at that door right there, how off that looks. Okay. So the results aren't what I would expect in real life. So I just kind of mitigate that by turning the index of refraction way down. So that's just a side note to make things work. Let's go back into my camera. Honestly, I'm liking the look of being out of the camera a little better in the camera. I can mess with the color grading here, not liking as much. So another thing I can mess with and tweak, okay? But this is basically the point where you can start really fine tuning it and animating your cameras and generating your final, final images and animations. And of course you can tweet this forever. I can treat the light levels, try to get everything balanced perfectly, everything colored graded perfectly. And I can, by changing the environment lighting and the direct lighting. I can also create any kind of look or time of day that I want all in real time. Amazing. I could generate so many different renderings of this same scene. But from here on out, I'm going to go into my fully finished scene. And we're going to use it to generate some cameras and look at a few other techniques that are important in you. E5. 19. Setup A Final Camera: Before I move on from this project, I want to do a few things here. First, we got turned off the ray tracing double shadows again. Okay, but I want to demonstrate because you're here, you've built a project that's similar to this. Let's just show where to go from here and then I'll jump to the other project and we'll look at a few more things. But I liked this perspective right here. Let's set it up as a camera. So of course you just go to here and create camera here. Cinematic camera actor. Cinematic camera actor to selected. We need to look through it like that. Okay, Now, with the camera, few other settings we should look at current camera settings. The focal length is way too far out here. If you want to change the aspect ratio of the camera, you can do that as well. That would be under the film back. So if you do this, you'll notice that that's changing the sensor size of your camera in the sensory aspect ratio. Okay. So if we wanted to make this an Instagram video, it would be more like this, right? You could figure out the exact aspect ratio that you want. Okay? And then this thing needs a couple of other things with the post-processing to make it look better with a depth of field. So let's make the depth of field look good. Current aperture 1.2. And you saw that the exposure change there. That's because the exposure is being adjusted like a physical camera where if you make the aperture open up wider like this, then the exposure actually goes up to, you can turn that off. And I prefer to do that because I want to control the depth of field independent of the exposure. Under lens we can go to exposure. Apply physical camera exposure, uncheck. Now let's make metering mode go to manual. And then we can, all we need to worry about is our exposure compensation. In here, you can also do a vignette. We type it in. We can say vignette intensity, which I like. I think our lights inside are a little too bright right now. Those are our spotlights, right? Select them all. Set of 2000, 1,000. Maybe even less, or putting very bright hotspots on the walls. Now, the rectangular light appears to be what's putting off the most. Yeah. Okay. Certainly the rectangular light doing all that work. And I like its effect, but it's a little too much. So this one will put the 100, 200, 200 will go right in the middle. 150. Okay, we'll leave it there and this other one out front. So obviously too high in a volumetric scattering intensity about it at the right place. I think. These are all things you can tweak forever trying to get it just right. I wonder if let's see. So I wonder if this could be brighter so that it lights up the whole scene. But the volumetric intensity can be lower. I don't know, kinda personal preference. Okay. So I do like that that light is coming out there. Okay. I'm going to leave it right there. The camera, I still want more depth of field going on. Maybe it's just a matter of, let's go back to our camera actor and that's to make sure that our focus is in the right place. Okay, underfocus settings. Let's focus right about there. Could turn on the debug plane and make sure yeah. Right on the front of the cabin. Perfect. To get this to blur like I want, we might have to really exaggerate that F, F stop, which is totally fake. But let's put it down to 0.4. Actually judge it off of this here. I'm looking at that closer here and then zoom out a little bit. Yeah, let's do that. And that's, this is basically what I wanna do for my camera. Frame it in with these two trees. Come down in here. Do something like this. Okay, actually, I like this. I think we've got a good camera set up here. And I'm kinda previewing what it would look like to do a little animation. Let's actually run that animation in this file and see what we can get. 20. Render Final Animation With Movie Render Queue: Okay, so how do we render this? That's the next big thing. And I was going to change over to the finished file for this, but actually I'm just going to stay right here. I think we can look at the finished file for other purposes and a little bit. But right now I want to keep a continuous and it will just render something straight out of here. Because we set up this camera that I kinda like. The scene could be more finished and things, but that's gonna be up to each individual student how they want to finish out the scene. I'm going to show you the techniques to render it once you have it all finished. So to do that, we need to add a level of sequence to our scene. And we can do that right here. We'll just call it finished camera save. This is a sequencer, so this is where we can set keyframes for our overall scene. Okay, to do that, we need to add a track and we'll add a track of the camera. So if you go actor to sequencer, you can find sin, the cinema camera actor too. That brings it in. There's no animation yet. You can change the overall length here. So 165, we'll run it at 29 frames a second. So maybe we want it a little longer. Can actually stretch this out here too. But still there's nothing going on here. However, we can set keyframes for everything about our camera, as you can see right here on our track. And this is not new stuff probably in this has been around forever. And we've seen how to do it before in previous projects with animating. But this is a review. There's a few things different now and we'll look at those. So the main things I wanna do here is transforms and location the z-axis. So first, over here, when the sliders here, we're going to set it to z-axis and we'll add a keyframe right there. Then as we go over to here, we will change this to about right there. We'll say now we have an animation. We hit play. We will see the speed and everything. It's pretty cool. The only thing I don't like is how wide angle it is, but I do like how it's framed by these trees. So what I could do is zoom in and then movies, trees, and salt real-time. I can move this in real time, right? Well, that one is part of the foliage, so I'd have to go and foliage and do it. But you can move it in real time and really compose your shot exactly how you want. That is what is awesome about Unreal Engine. The fact that you can compose a shot and real-time like that is wheat, but there's our shot and the only other thing we might do is play with the depth of field. So maybe starting right about here, we could go to the depth of field current aperture, manual focus distance. So if we set the focus distance here, and then over here we set the focus distance onto the trees. You're not gonna get enough aperture. The difference between focusing here and on the trees is almost unnoticeable. Yeah, actually let's try this. Let's delete those and set the focal distance. When we get to here, we want it to be on the cabin, right? But over here, we could set it on the shrubs. The cabin comes into focus as we're going. It's very subtle, obviously. Maybe we could move that a little further so you notice a okay, The only other thing I might do, It's changed the easing on these things. So you can right-click on it and say you want it to be a linear interpretation mode or interpolation mode. Right now it's cubic. Okay, so if you've done any animating in After Effects or three days max, you know that this is kind of easing in and easing out, right? It starts slowly and then speeds up a little bit and then slowly ease out as it gets to this. That's the default. And that's good because that's how cameras would typically move if you're filming a movie or something. And that's kinda what we're wanting to go for. You could also make it linear so that the speed is constant throughout. There you go. That's the basic. And now the only other thing we need to do is set up a movie sequencer. We can go here and say rendered this movie to a video or image frame sequence that will bring up the movie render queue. We can go into unsaved config. And in here, we can set up the configuration for what we wanna do. And basically that's setting up our output. So output resolutions 1920 by 1080, that's not gonna be right because we can go to custom frame rate, set it to 29.97 or whatever you want. But I've seen people say like, Oh, don't set it to 60 or whatever, because that looks fake ish, that looks video game ish. If you want it to look like a movie, then you set it more to what they use to the frame rate they're used for movies. And you will be able to see the difference between those two things. One, it looks a little too smooth and is not used to, is not what we're used to seeing in a movie. Here we would say, we would change our resolution to match our resolution here, which we would have to look up. I said it kind of arbitrarily deny the film Back Settings. We'll say 14 by 20. So here we could say output resolution is 2000s by 1,400. Hopefully if my math is right, everything is working. I hope know it's gonna be 1,400 wide by 2000 high. I think that's right. We're going to frame to 800 to 285 here. So we'll say to A25. Great, everything looks good here, and I always forget something. Now I can also go to anti-aliasing and add, you can add any settings you want here. I can add a anti-aliasing. I can override the anti-aliasing that's there and put something higher here. These multiply times each other. So this is, this is 30. Let's look at the documentation real quick to see what settings you want for anti-aliasing. Okay? You can see that like anti-aliasing is going to take, is gonna be important for making our scenes look good, especially on stuff that is, I'd say it's probably like opacity map stuff close to the camera that you wanna do depth of field on. And that's where anti-aliasing really come in handy. But it just in general smooths out jaggedy edges, right? That's not very much documentation. Movie sequencer, anti-aliasing. Okay. In the movie, in the movie sequencer documentation then we have anti-aliasing. Anti-aliasing controls the number of samples used to produce a final frame. So like I was saying, spatial and temporal multiplied times each other. So if you put 2.15, then it'll do 30 samples. Temporal sampling takes the time the camera shutter is open based on motion blur amount setting and slices the framing the corresponding time slices. So if you have motion blur, this is gonna be important because the engine is ticked and by extension, time passes in the world. These are called temporal samples for things to blur nicely as you move across the camera. You need a lot of temporal samples. Spacial sample takes each sample that is going to be rendered and renders it multiple times, each time jittering the camera a little bit. This is useful for renders where you have a very short Motion Blur duration and still need more samples to increase anti-aliasing, reduce noise. Okay, so spatial sampling is probably what we want more of here because motion blur isn't going to be the most important thing about this rendering, right? And of course, this will up your render times quite a bit. So temporal count will say, yeah, it's like this. So this is like anti-aliasing. That doesn't have to do with time passing. And this is anti-aliasing that does have to do a time passing. So basically motion blur. So we'll set this to like 8.2. So we're getting 16 samples per frame. So each frame is going to take way longer now, but it'll look way more smooth and clear and, and well anti-elitist. You can render warm-up frames so that the engine is fully ready when it starts to rendering the first frame. Okay, in general, and then you can also save your presets here. Save this preset will say cinema camera to render preset. That just saves a preset in your content browser down there. And then you can hit Accept. Make sure everything is right. We need to look on our JPEG Sequence, know an output, and we need to make sure that our sequence is going in the right place, right? I think everything's right. This will, this will default to your project folder under saved and movie renders filename format. So this is going to want it to go to JPEG. It's going to JPEG sequence apec already. That's, that's how it's gonna be spit out. I think everything's good or locations good. We want a JPEG sequence. The resolution, I think is correct. Let's hit accept. Our anti-aliasing is good. Render. Okay, It'll bring this up and it'll say total frames is on negative one out of 285 non-zero sub-samples 016. So that's our anti-aliasing, right? And we're on frame four of 285 right now. And it should be generating these and putting them into our project folder under saved movie sequences. And in there you will see a JPEG sequence. Saved movie renders. Boom, here's our frame is being generated. My computer screaming at me because of all the things it's doing right now, it's rendering that real-time thing which takes up a lot of juice. And now I'm trying to open Photoshop. Great. Okay, There's the first frame. You can see that our depth of field is working. Everything looks smooth, nothing jagged edges because of the anti-aliasing. So that's really great and that will, that will pay dividends when we go to actually watch the movie, you'll, you won't see those, those jagged edges and it won't catch your eye in a bad way. Okay, so if I open it here, you can see, you can see the slight movement going on if I scroll through all these. So that's the animation working. I think everything looks pretty smooth and nice. You could refine this a lot and you could add a lot of detail to your scene and mess around a lot more. I think the cabin needs some more detail that you could do a lot of things here. But the point is the animation is working. Okay, so that's how you generate an animation. I think that's pretty cool. In a minute, we'll look at what the finished results look like. So there you go. That's how you can generate a final scene after you've built out your whole environment. And Kevin. 21. Use After Effects To Polish Your Animation: Okay, This is a little bit outside the scope of the project or the course, but I'm going to show you anyway. I'm going to show you how to take that JPEG sequence we just generated and turned it into a movie. Obviously it's a JPEG sequence. If you don't have some way to process that J pigs sequence and turn it into a MP4 or whatever, then you need to find one, or you need to spit out something other than a JPEG sequence from After Effects are from Unreal Engine five. What I'm gonna do is show you how in After Effects you can take the JPEG sequence and edit it. Do further color grading if you want. And then you can generate a movie, post it to Instagram, whatever you wanna do. So again, it's under saved movie renders, and I'm just going to bring in the sequence, import JPEG sequence. Drag it down here into my composition. Here it is. I hit Spacebar. It will kind of preview everything for me. Okay, there we go. Now that it's put the preview in cash, we can see it in real time here. And it's looking pretty good. I mean, there it is, You can see the depth of field thing that we, that we key framed going on at the very beginning. There's little animation. And of course, we could tell a much better story about this project by generating several different camera frames and doing, and then comping them all together or separate camera cuts, camera shots. But there it is. There's the demonstration of how it works. Now in here we can just do something like add new adjustment layer. And any adjustment layer we can, let's say we'll go to Color Correction and we can do a curves, let's say curves. And we'll say on the red curve, we can do something like that. Right? On the green curve. You can bring up the greens or we can bring up the purples. On the overall RGB will just add some contrast. A little bit of contrast. Here we could do whatever, but this is what it looks like up close. You can even add a new OUT in here are lots file. On this adjustment layer. We could say, well, go over here and search for Lutz or just LUT, apply color. Let's actually, let's see, I want to apply that to a different layer. Let's cut that one out. Let's do a new adjustment layer and apply it here. That way I can turn it down in opacity. That's an interesting look, right? Maybe we can turn this one down and opacity to see how that looks. I think that just generally increases the mood. Changes the mood to be a little bit different. But you can see the render quality is pretty good on these leaves and stuff, which means our anti-aliasing is working pretty well. Okay, so I mean, you can do whatever you want with the color grading here. Just said however you want. And then you can even change this to a different Let's file. These are all ones I've kinda made myself. Let's turn it up. Yeah, that's not good. That's pretty cool though. I like the dark trees framing it in. You guys probably know by now that I like a certain color scheme because all my stuff comes out that way, unless I intentionally tried to do it another way. But if I just start tweaking things and find something I like, I usually end up in a similar place. So it's kind of my signature, I guess, but of course I can do other ways if I want. But this is definitely ended up with the atom colour scheme going on. Which is okay, I like it. Alright, so however you want this to be, you want to color, grade it, whatever mood you want to create, Go for it. Then. For me I can just say add two. I like to send this to the Adobe Media Encoder, which is part of the Adobe Creative Suite. And that will convert it to a movie for me. Just with this composition open, I send it to Adobe Media Encoder and put it in the render queue and hit render. That will give me an MP4, I believe. Once it's ready, you will see your your composition imported into here, right here. And we can tell it where to save. Don't really want to save it in the same place here. Okay, we'll save it and tell it where to save under what name dot mp4. Just hit boom start. This will take no time at all to render. And then we'll have our movie. For the format mine defaults to H.264, which is great. And you'll see that it renders pretty quickly down here. Well, I'm not computer does I don't know about yours. Depends on your hardware. So this is one way that we can finish the processing of the video. You might have another way and that's fine. Just have some way to get the JPEG sequence. Do any font or color grading we would wanna do or any other editing. And then generate an MP4 or other kind of video format. That's all we're showing here. This is not a full After Effects course obviously, but that is a demonstration of how you can do it. Now, once that's done, we will have a full video. Here it is. Okay for video coming up. Okay, here it goes. Okay, not too bad, right? Everything looks smooth, everything looks nice. We could tweak the final look more if we wanted. But I think we're definitely generally generating animations that are high enough quality to show to a client, right? And this can be developed however far you want. And the cool thing is that you can generate as many animation passes as you want really quickly, like we just saw. And that is a pretty powerful tool. So that's cool. And as a side note, you would generate a still shot the exact same way. You would just generate one frame instead of multiple frames. And you can put it to whatever resolution you want, whatever anti-aliasing you need, and just render it out like that. I'm pretty satisfied with the results. Of course, like I said, I would develop the scene further to get to get all the details just right. If I were doing this as a final project. So let's jump to the project where I have done all that. And we'll just look around and check it out. We'll also look at a few other things besides just rendering out an animation. And we'll use that finished, that totally flushed out scene in order to do that. 22. Path Tracing: Alright, I want to talk about now the path tracer, which I think is an important element of Unreal Engine. Now, it's not completely new to Unreal Engine five, although it came in some of the later versions of Unreal Engine four, but now it's fully integrated and it's going to continue to be developed as it moves forward with new versions of Unreal Engine five. And it definitely is integrating ray tracing, which is a newer feature and kind of along the lines of what we're talking about in this course. To look at the path racer, I'm going to be in my version of the model. It's true exposure here a little bit. Okay, So this is my version of the project, a little bit different, but not too much, all the same principles and everything. So I'm gonna go inside here instead of some cameras and take some close-up shots of things. And we can get really good results with the path trace or the path tracer is similar to what you'd expect with getting a V Ray rendering. It takes it in fully ray traces your scene or pathways is you're seeing and gives you realistic and accurate results. It's not real time as in 60 frames per second or anything like that. It takes a little bit of time to generate, but it's not exactly slow either. I'd say it's really similar to using like chaos vantage or even the interactive V reframed buffer, something like that. So it's not, it's not 60 frames a second or 90 frames a second, but it is still interactive and fast. And we'll look at some of the settings to optimize it too. But it's really cool that, that exists in Unreal Engine because you can have this whole real-time walked through experience and everything like that. But at the same time, you can still, you can still generate really accurate renderings out of here to using the path racer. So the path tracer does require hardware ray tracing, which means that you need a video card that is capable hardware ray tracing. So this is a ray tracing function. It takes a ray tracing capable video card. So let's take a look in project settings and see what kind of settings we need to adjust to make the path tracer work properly and set it up so that it's enabled in our project. So the only thing you need to do in here is really makes sure that direct x2 is your, is your default or HI. So if you type in RHIO up here and go down to default or IHI direct X2 and then in ray tracing, okay, and once we find the ray tracing settings than we need to make sure that support hardware ray tracing is on. And that just enables ray tracing within this project. These are my settings. Lumen of course is using retracing when possible. We talked about that earlier, but if you've been following along and you've been doing the ray tracing, then your settings should be right. These are the settings that I have that enables the path tracer. And once everything is right and you're set to direct X12, you should be able to go here. And instead of looking at the lit version of this, we can look at the path traced version of this. Okay, So as soon as you click that you see that things change and it looks more like a rendering. Things are looking more accurate as far as the lighting, shadows and reflections go. One important thing to keep in mind with Packet Tracer is that there are some compatibility issues. Not all functions of Unreal Engine are compatible with the Packet Tracer. So things will look a little bit different. If you note, when I go between pathways, you're a non packet tracer might environment fog, my volumetric fog turned off. That's kind of a big deal. And it in It's a compatibility issue. They say that in their documentation. But I'm hoping that that is something that is integrated really soon to be compatible with the eraser because that's pretty important. I would say. I believe they even say in their documentation that they are working on integrating this for a later version. Another thing that I've noticed when using the path racer is that if I'm immediate mode versus some work around it, obviously not in the brainstem pathways. In Game Mode, different results. There is no way to control that I didn't see on the exposure just stays. Okay. And I'm not sure why that is. But what I'm experiencing is that if you're in Game Mode, There's no way to control the exposure of your scene. It just stays the same. The post-processing exposure in the camera exposures do not have an effect, but if you're not in Game Mode, then they work like normal. So that's the way you can work around it. And it turns out when we go to render this, the proper exposure is what's going to actually work. So just keep that in mind. You can see that as you move around it is not real time, but it will it will quickly resolve itself, Polish itself off. As you sit and wait for a second. The settings for this are all controlled in the post-process volume. If you go to if we just type in path trace, path, tracing path, then it gives you the path tracing section of the post-processing volume here. Okay. Max path exposure. The important thing to keep in mind here is to not set your exposure, your math pass path exposure higher than your actual scene exposure. Because then you will get a bunch of fireflies here. So if I set this higher, then you start getting a lot of fireflies, right? Okay, so that's the important thing there. There's other things here that are important. Samples per pixel is an important part of this that controls how much quality you're going to get. And you can see by default it's at 63, 84. If we enable it, Put it down to 20 or something, we'll see that it resolves really quickly, but then it's also jumping to this kind of blurry resolved, de-noised thing because the denoise or is also important here. So with it enabled, you'd only do 20 samples and then went straight to the de-noise, which gives you a kind of blurred effect and you lose a lot of your detail, but it looks smooth, right? I'm not a huge fan of the denoise or I like to get a lot more of my quality using just more samples. So if we disabled didn't noisier and just set our samples a lot higher. You can set it to ten and you see that it barely resolved at all. Something nice. But if I put the denoise or back on, it could smooth that out. It just you won't have a lot of detail. So I prefer to put it like higher like the default 63, 84, leave the denoise or off and get a lot of quality just from doing a lot of samples. But do you have to find the balance between how much you want to de-noise and how much you want to actually sample. It takes longer to sample, but it's going to give you a higher-quality overall. I choose to just leave the denoise or off and wait a little longer with some more samples. So again, this is with 20 samples and the noise are on like that. Denoise her off 20 samples looks crappy, but if you set the sample is higher. Now I can get some good results again. And you just don't lose that detail that you would if you just allow the denoise or to kick in after just 20 samples. Obviously, I'm going to create a camera inside here. Actually, I've already got a camera and it's cinema camera, camera 15. And I'm going to, we're going to work on this path tracer and get the settings just right for this particular chair. So if we go to the camera cinema accurate, after 15, we go into the settings and make sure the exposures right. And remember only when it's not in Gamow does this exposure work properly? I want the exposure about right there. This is, this is the mode, the regular Lit mode. You can see that the shadows aren't super accurate. Lumens doing a pretty good job here. But it's not super accurate. If we look at the pathways here, we'll see how it's a little more accurate. If we go back up here and switch it to path tracing instead, you see the shadows under the chair look a lot better and just overall things look more accurate, more like a V Ray rendering because this is actual ray tracing going on. But it's really as simple as that. You just have to have everything enabled and you can just switch to the eraser and get a much more advanced looking view. Of course, I can adjust the depth of field on the camera and all of those kinds of things, just like I would be able to do in any other 3D software. Adjust the exposure. This is the game mode versus non-GMO difference here that I was talking about. But just keep in mind when we export the final, it's going to look like it does here with the exposure properly being affected by the camera and by the post-processing volume. So just know that if you're experiencing the same thing I am, or maybe they fixed it by the time you're doing this. I don't know, but just know that if you're not in Game Mode and you're adjusting the exposure like this, it's going to work just fine for the final result, so you don't have to worry about. And I was worried about the light bulb icons and other icon showing up in the final rendering. That's not going to happen even if they're there and you're not in Game Mode and you're adjusting the exposure, everything will work out in the end when you do the final results. And we're going to look at how to do that for the next video. We're going to see how to export this as a rendering or an animation if you want to get that exposure just right. Okay, see you in the next video. 23. Path Tracing Export: Okay, Let's just look at how to export this as a rendering if we want 0. First, let's look at depth of field for the camera. I have it set up already how I want, but let's just look so we know. Of course we've looked at camera's settings already. But one thing I've done here is set the sensor width and height to both be 20 mm so that I'm getting this square view, this square aspect ratio. I have my minimum f-stop to 1.2. Again, I'm exaggerating it really low. Setting the manual focus too. Let's set it right there, just so we can see. We can set it on the windows back here are outside. And you can see how exaggerated my f-stop is. Let's see where the actual setting is. It's probably at one point too. Yeah. Current aperture 1.2. Okay. I'm focusing like right there on these buttons, which blurs out this front arm a little bit and blurs out the background. Maybe, maybe we focus right there. Maybe we set this higher, like three. Now our exposure has gone down because we're actually using the camera settings to determine it, which I guess we will continue to do. But we need to adjust it up a little bit. Now you can see we're kinda getting the whole chair in focus, but not the background. So a lot of things you could do here. Now those buttons aren't in focus, but the background is C. That's why I had it to 1.2 because I want the background faded. But you really have to exaggerate that if you want to do that properly. And that's why I had it at 1.2. Okay. We'll just go with that. I'll quit fidgeting with it. And we'll just focus on exporting it. Okay, I'm going to leave it just like this. And of course you need a level sequencer in here. So you can go to Add animation level sequence and name it whatever you want. I already have one in here. And this is just like doing the animation that we did before. So in the level of sequence or you add, you add actor and you add your camera to this. All right, so here's our, here's our camera in level sequencer and we're not going to need to animate anything in here. So none of this really matters. We just need that camera added to our level sequencer. And we're just going to take that first frame and render it as an animation. A quote unquote animation is really just a rendering. Okay, so we go to the movie sequencer. Of course, you can add ad level sequence up here too. But then we need to go to Window cinematics, movie render queue. Now when we go to render, this is where we tell it we want to render a level sequence. So actually named my level sequence that I want pathways or two. But all it is is just adding this camera to that level sequence, that was it. And in here you can, you can set it up to render the packet tracer. So you go to, let's see, we want to delete. Now, let's go to this and say Packet Tracer will add that. Then we can delete. Once the packet tracer is added, we can delete deferred rendering, and we want to again add our own anti-aliasing in our settings. Okay, so in here we want to override anti-aliasing, say none. And then we remember we just want to use these anti-aliasing settings manually. So this will, you need to keep in mind here that we're no longer going to be controlling the quality of our path Tracer using the post-processing volume with the maximum samples. It's going to be controlled using this basically. Here we're telling it how many samples. And this is going to, like we've talked about with the animations. These multiplied by each other. Temporal is more having to do with time. So that's more about motion blur. For rendering. We don't need to really worry about that too much. So we can just set this one really high, the spacial sample count. So we'll say like 36. So it'll do 36 samples for that. And maybe we could go even higher if we want. This is not actually really high. Remember the default for the post-processing volume was 1,600 something and we're setting it to 60. But for demonstration purposes, it's fine, but keep in mind those two numbers are equal to each other. Instead of using the post-process, you're using this, but that's the same number. So 60 samples will work fine in this case and it will render pretty fast for us. This is something you should experiment with, but that's going to take, that's going to take much longer time than it would without all this extra anti-aliasing we're setting up. Let's go 60 and see what we get. Now if I put two here, that means 120 overall because these will multiply it by each other. So in the packet tracer settings, we can just leave this as it is. What we wanna do is go to the output. And we can say, we'll say use custom playback range and we'll just do 0-1. Because we just want that one frame. We can set our output resolution to 2,500 to 2,500. That matches our aspect ratio of one-to-one. Then we tell it where to save. And we say except render local. Okay, So you could do this with a full animation or, or you can just do it with one frame like we're doing here. There. It says subsample 060, and then it's done. Okay, this is the shot I got. Let's close this down. So there you go. That is the path tracer generated. This is the rendering. And that's what we saw in Unreal Engine. So it's basically like an exact screenshot of this, right? And there you have it. So now I've generated or rendering straight out of Unreal Engine that is quite accurate and realistic. We can export this to Photoshop and post-process it if we want. And there you go. So if you want a higher, higher-quality and more accurate animation or rendering, That's how you do it. I think path tracer is a great tool. It gives you, it gives you a lot of versatility to Unreal Engine as far as what you'd want your outputs to be.