Unreal Engine 5 The Game Artists Bootcamp

1. UE5 Bootcamp Introduction Video: Hello, and welcome, Evon. My name is Luke, and I'm a free Die artist with Passion for creating stylized scenes within On real Engine. I currently work with the amazing team at Free Di Tutor, where our focus is on crafting online courses and tutorials to share our knowledge with phisiass like you. We also create free Die virtual miniature scenes, free Die assets, material packs and a whole range of free d related items. Today, I'm frilled to introduce you our latest and greatest unreal engine course that we've been working on so diligently. So get ready to level up your skills and join us on this incredible journey. Are you ready to dive into the world of game development and level design? Embark on a spectacular journey into the world of game development with our groundbreaking on real engine course. This is all inclusive immersive program that will offer you the perfect opportunity to elevate your game development prowess and engineer visually captivating virtual realms. The course's ten modula levels meticulously cover the entire spectrum of game development design from the intricacies of Acid setup and blending to the nuances of lighting and cinematic mer techniques. This comprehensive guide leaves no Stern turn in its quest to impart the most cutting edge skills in a real engine five environment creation. Season game artists and budding enthusiasts alike will find this course to be a gold mine of information. The meticulously crafted curriculum is tailored to accommodate various skill levels and expertise, ensuring a smooth and effortless learning experience for all. Detailed step by step instructions, and expert mentorship guide students through every aspect of real engine five. Empowering them with the confidence and knowledge to excel in their craft. We'll start by teaching you fundamentals of acid setup where you will learn how to import and set up FBX meshes, create materials using FBX texture and set up your own seamless textures for a variety of controls for the surfaces. Next, we'll dive into the world of acid blending, discover how to create vertex pain materials, set up physics based object scattering, and blend materials using distance fields. Moving on, we'll guide you through the rain sculpting and texturing, where you'll learn how to sculpt landscapes, create and apply landscape materials, and blend textures for realistic terrain. After that, you'll learn the art of large terrain fog setup, learning how to use hide fog, create folk plane materials, and set up volemetric folk for added depth in your scene. Our course also covers the essential techniques for mastering foliage creation, including setting up grass and shrubs, placing large foliage assets such as trees, and planting large areas using the foliage tool. Add excitement to your environment with our module on creating visual effects. Learn how to create realistic smoke and fire using the powerful Niagara system. And on top of it, we'll learn how to add water animations onto the material as well. Lighting is crucial for setting up the mood in any scene. We'll teach you how to create studio lighting, night scenes, and even dynamic day night cycles using unreal ged pipe, built in tools. Enhance the storytelling with cinematic camera techniques where you'll learn how to create camera turntables, handheld close up shots, and camera transitions. In our breathing life into the scene module, we'll show you how to animate foliage, create swarms of bees using Niagara, and have animated bird meshes fly across our virtual skies. Finally, we'll introduce it to the blueprint fundamentals in Unreal Engine five. Learn how to create acid prefabs, allowing it to adjust levels in a non destructive manner. We'll also cover settings of interactable door blueprint for a more immersive experience. And to top it all off, you'll create a blueprint of an animated floating trophy that displays a congratulations message when picked up. So what are you waiting for? Join us in this comprehensive guide on creating studying environments in unrelagedFive, a game artist boot camp, and take your game development skills to the next level. Join us on a course and start creating a very own breathtaking virtual worlds. 2. Resource Pack and UI Introduction: Oh, welcome everyone to creating studding environments and Unreal Engine five to boot camp for artists. And now, we're going to start off by simply getting ourselves a resource pack in which you're going to find a couple of items. You're going to find a couple of resources for some of the lessons, which we're going to come back through the lessons themselves. But the one that we're looking for is going to be Unreal engine five bootcp PTA file. So this is the one that we're looking for. Make sure to have this extracted, just extract it all, and you're going to have yourself an unreal engine five project. And once you open it up, you're going to see yourself this sort of a folder layout. Because it's a Zipp file, it's going to have less of these items just to make sure to save up some of the space. Since I already opened my one up. I already have everything generated, but you'll only have a config and content folder, and you'll have this file over here, which is the project file itself. Let's go ahead and double click on it to open it up. This process itself for loading up the project might take quite a bit longer for you. Since since the first time it wants to load up, it'll need to compile all the shade is necessary for the project. But then the next time you open it up, you'll be much faster in regards to loading up the project. But while we wait, we can go over the basics of unreal engines. So right now, I'm going to play over a video for Unreal engine basics for the UY, which if you find the overall project a bit overwhelming in regards to the software, you're going to be able to follow along the course much easier after watching it. Yeah, without further ado. I'm just going to go ahead and play the video. Hello, and welcome everyone to Unreal Engine five basic tutorial video in which we're going to introduce cells to the Unreal engine five software. So Unreal Engine five is an engine, which was firstly developed as a game engine. Over these days, it's been widely used within other creative fields as well, such as architecture and film industries. But even with all the versatility and design changes to appeal to a industries, a lot of the co design photo layout has been kept as the game engines. And right now, we're going to go through the set layout. So it would be easier to follow along the future lessons. So first things first, we're going to start off with the upper left corner. And within it, we'll find a safe button, which we can use control and S to save our project. This, however, will only save the current level. And if we're making changes outside of the level itself, let's say we're having a material or an asset edited, we'd have a different window that we're working on, and we'd have to save this independently. So it would have a safe button or we can click Control and S, and that would save the window that we're working on only. Basically, if we're working with different window, we need to make sure that we save that out, and then afterwards, if we're making changes for the level itself, we need to save this out afterwards. So if we were to change this, we can only have it saved by clicking Control in S and saving it out. You have made a new level, you'd be prompted up with naming it and selecting for where your location is going to be for the level. And after which we have select mode. By default, you're going to be within a select mode, which you'll be able to use to make selections within your asset. You can also go ahead and use it to change it into landscape, folage, mesh paint, and other types of modes, just to change up your workflow depending on what you're working on. But by default, most of the time, I'd say 80% of the time, you'd be working on a select mode. Moving on, we have quickly add the project. This button will allow you to add more assets into your project, the simple default ones. That you normally get in within any type of rendering software. So basic lights, shapes, and such can be found here. If you want to search within it, you can click on it. And search for light, for example. This way we'd be able to see all the assets with light within its name. What you need to keep in mind, though, is that when you click on it, you need to make sure that your mouse stays the same within this icon over here. Otherwise, if I were to, for example, drag my mouse to shapes and then search for lights, you'd notice that it only searches it within the shapes location. Whenever you're searching for an asset from within this bar, just make sure you keep the mouse table within this icon like so. Then next up, we have an icon that if we were to click on it, we'd be able to have some options for creating blueprint classes. Blueprints work similarly to a sort of a prefab. However, for the sake of introduction to real engine five layout, we don't need to get into it too much. So the next one, we have a level sequence and massive sequence that we can add from this buttom over here. This is used when we're going to be needing to set up our project to be rendered out. But again, let's move on with the rest of the layout. We have a play button. This will just start off the project, and if you have a third person template, for example, like I do, it'll just set off your character to be played out. It'll also set up all the simulations and whatnot. So this makes it really nice to just check out your project. And when we click Play, we get to be loaded in within our level, and now we get to walk around it and actually experience what's it like to be within or build it level. We can jump around, we can run around the way we want it to be, and it's actually quite nice to see what we're like within our own built level. We also have this free dots over here, which, if we were to click on it, we have some additional settings like simulating the entire project. This will just allow you to hit play button, but without actually needing to lose control over the edit mode. Again, we don't really need to go too much into it. But basically, this section over here will play and stop your project. Then after which we have platforms, but this is only for when we're breaking out our entire package as a game, and we don't really need to worry about this. So let's go ahead and move on. After which, we have a settings button. This will include a sort of settings like project settings and plug ins, which can also be found within this upper left corner over here. So basically, this just make sure that everything is in one place. We don't really need to go through it as they're usually not needed for when we're creating or scene. Anyway, moving on the outliner. Outliner will have everything that contains within your level, so it'll have all the assets within it. And right now, if I were to select any type of an asset from within this level, like this one over here, it'll right away, make a selection within our outliner as well. After which we have detailed step. Detail style will give you all types of options for your selected asset. So I'll include all the type of information that it requires to be placed within the world. For example, firstly, we have transforms, and this will include the scale, the rotation, and location on this specific asset. We also have the type of static mess uses, as well as the materials. Each type of asset would have its unique type of information set within it, which can be found from detailed step. After which, if we go down to the bottom left corner, we get ourselves content drawer, cluck log, and CMD. Content drawer is by default hidden, but if we were to click on it, we get it opened up. Now, if we click on anything else outside of the content drawer, by default B hiding it away. We can also open up the content drawer by clicking control and space to give us an easy access to where our files are located. The content drawer is basically a file manager. You keep all your folders, all your assets for not only the level, but for the entire project of the real ng five. We can also dock the content drawer by clicking on this button over here by selecting it. We simply make sure that they're always going to be within this location, and even though we click off the content drawer, it is still going to be within it. Can easily do this step by simply clicking on a disclosed minor tab and we can open up the contra and draw we just like we used to, by clicking control in space. The output logs are pretty useful for whenever we want to find out some information if something is giving us errors. If our work is not focused on coding, we don't exactly often use this. Let's go ahead and close this down. MD is useful every once in a while for whenever we want to make a command. Right now, I'm not going to go too much into it, but we can make use out of it and do things like taking high quality screenshots or getting a different type of view within our viewpoard. Okay. So now we walked all the way around our window. Now we're finally going to go ahead and talk about what's in the middle of it. By default, we're got to get ourselves a preview. Going back to the content drawer, within it, we need to enable certain settings. By click on this button over here. We'd be able to view the type of different folders that we have. Usually, I recommend you to enable the show engine content and show plug in content. Ever get you get more out of our unreal engine pipe. So after you enable it, you get yourself a folder, other than a content folder, which has engine. So this will have all types of presets and plug ins which we can make use out of and speed up our creative process. Something to keep in mind, though, is that this is not part of our content. So basically, this is already within the engines folder. And if we were to change any one of these folders, we'd basically be changing it for entire on real engine five, meaning that even if you create a new project, the things that we change within this section are going to be changed throughout the entire all the other projects as well. That is why by the fault it is set hidden to make sure that none of the content that is set by oral engine five itself is changed in any way and messed up throughout all the projects. But we can avoid this by simply knowing that we can't change anything within the engine folder itself, and it's better to whenever we make use of this content folder is by simply making a copy out of whatever is inside and then dragging it out onto your content drawer just to make sure that all that we use is only set for the project itself. This way, we can make as many changes that we want without ruining the entire unreal engine five content files. And that is going to be it for Unreal Engine, the UI Introduction guide. Hope you got a lot out of it, and we'll be quite useful to you going forward in the future for your Unreal engine projects. And now let's get back to the course. Welcome back, Everyone. I hope that the video was informative, and you were able to pick a couple of things along the way. And now in the next lesson, we're actually going to continue on with the introductions, and I'm going to talk about intercar controls for the viewport. But again, that's going to be left over for the next lesson. So thank you so much for watching. And I'll see you in a bit. 3. Introduction to UE5 Viewport: Welcome back every on to creating standing environments in UnreginFive to boot camp for artist. In the last lesson, we left ourselves off with picking up the project, loading it up, and introducing ourselves with the EUI for the whole software. And now we're going to continue on with Integra introduction just to be able to follow along the lessons a bit easier. So I'm going to quickly play the viewport introduction video, so I'll see in a bit. Hello and welcome everyone to Unreal Engine five basic guide for the camera motion, and we're going to start off by introducing you to the camera type of motions with an unreal engine five. In order to help you and follow along the lessons easier. So to start off, within the metal section of the software, we have a perspective camera view by default. And using this, we can move our camera around. The main thing that you need to remember for when you're moving your camera around is that by holding Alt and e one of the mouse buttons, you'd be able to make a certain motion. So, for example, by holding lt and left mouse button, you'd be able to rotate your camera around, like so. By holding old and middle mouse button, you're able to pan your camera around just like that. Finally, by holding old and right mouse button, if you were to scroll up and down using this motion, you'd be able to zoom in and out of your view. Alternatively, you can simply just scroll your mouse wheel and zoom in or out of the project like that. Now, if we want to zoom in towards a selected object, what we can do is if I were to select this box over here, for example, I can click the letter F, and it would zoom in right onto the object. Now we can use this to rotate our camera around and simply see a level with the object selected as a center. If we were to select a different one and click F, we zoom in onto our asset. And if the asset is larger, like this ground plane over here, for example, if we were to click F, it would zoom out and make sure that the camera view has the entire selection within our view. So this is pretty good for whenever we want to zoom in onto our selection. However, you do need to be careful since if, for example, were to select a sky and click F, it would zoom out all the way, and we don't really want this to happen. So make sure that before clicking F though, your selection is not something like a sky sphere. Now, if you want to have more control over camera, and let's say you want it to be similar to a first person game, what you can do is by holding right click, you'd be able to enter a sort of a camera movement mode within your editor. Right now, if I were to hold Right click, I can simply rotate my camera as if this was a first person of a game. Now, what's nice about it is if we were to hold Rylick and use WASD, we'd be able to move around our Ack so. So by holding Right click and W would be able to go forwards by holding right click. We can go backwards, A to go left and d to go right. Also, if you want to go up directly or down directly, you can use the combination of Q and. By holding right mouse button and holding Q, I can directly dissend outter level. Similarly, by holding right click and holding, we can go up the level just like that. Now, if the camera is a little bit too fast or too slow, we can make use of this icon in the upper right corner, which says the camera speed. If we were to click on it, we can use the slider over here to set the speed off our camera. So for example, if I were to set it to one, I'd have a really slow motion and we'd be able to have a really fine control over where our camera with an editor mode is. We were to set it up to eight, be able to go really fast up and down, just like that. But by default, it should be set to something like four. There is a value underneath it, which is set to one. If we were to set it to two, for example, this would multiply four speed to be all the way to eight. Right now, if we were to go up and down, you'd notice that it is way faster. This is quite useful for when we're working with different scales. I personally only recommend you to use this value or when you're going up and down in scales. So for example, if you're working with planetary sky of scaling, we'd want this to be increased to, for example, like 14, and then this way, we'd be able to go all the way out real fast out of a level. But by default keeping it at one and simply scaling this up and down will do just fine. Now, within the perspective view, we also have a couple of over perception modes, and those would be seen on the upper left corner off the window for our perspective camera. Right now, we have set it two perspective. We can change those to be top bottom left and right. What these would do is basically it would help you get different types of used for our level. Right now, because I'm set to bottom, if I were to set it to left, and if you don't see anything, we can always make use of the letter F and go back onto the level just like that. This is quite useful for whenever we're creating environments and assets, and we just want to make sure they look good and proportional to rest of our level and from all sides of angles. Again, by default, this will be a perspective. If you do want to change it to be into multiple cameras, though and you want to see multiple of them at one, we can click on the upper right within our view mode. Button over here, you click Maximize or restore viewpoint. This way, we get three different viewpoints, all from which are different types of perspectives. Now, other than the perspective, all the other ones will by default be set to wire frame. If you don't want this to happen, we can always set them to be lit. So especially when designing a level, this sort of a view might be quite handy. To go back onto one view, what we have to do is locate our perspective camera and click on this button over here. Within this perspective view, we can also change the way our camera perceives the entire level. And right now it is said to be default of lit, which means that all the shading would be seen with proper shadows and whatnot. So in order to change that, we'd have to click on it, and if we were to, for example, select on lit, which would show you all the level without any types of shadows. We can go ahead and do that. We get the sort of result. It's also something like a wire frame which you'd see in o cameras. If we were to click on it, we'd see the types of geometry that we'd have. So it's quite nice to know, especially if you by accident sometimes lick on one of them and you don't know how to get out of, can always go on this button over here and select lit. After which, we also have show icon over here. This one we'll get you different types of visualizations for your respective camera. But what you need to know though is if you have something that's a little bit off, like, for example, I have my grid right now, which is barely visible, but is often quite useful for when we're creating our level. But if this is not visible, for example, if I have this turned off with this button over here, and I want it on, but I don't know which one exactly it is. We can always go ahead and click Use defaults. And this will bring back all the selected defaults that is usually set up by the default template. And that's pretty much all there is to the camera controls. I hope you enjoyed the video. And now let's get back to the course. Welcome back, veron. I hope that the video was informative, and you were able to pick a couple of things along the way. And now we're going to start actually going within the course itself. So I'm going to end the video here and pick up the course integra space itself in the next lesson. Thank you so much for watching. And I'll see it a bit. 4. Importing Assets: Welcome back here on creating standing environments and unrenged the bootcamp for artist course. In the last lesson, we left ourselves off by introducing ourselves with the program. And now, once we have the program itself, the project opened up, we're going to be introduced to this sort of level. By the way, a quick tip. If you don't like the overlay for the icons to be seen, we can click G to go into the game view type of a mode. That will hide the icons away. So as you can see, by clicking G, I can uncover them up, and it's easy to select them and move them away. For example, if you wish to, I'm going to click troll Z to undo that. And I'm going to make sure to just click G two hide them away, so we wouldn't be able to them for the moment. Now, for the project itself, we got ourselves a content folder. If we were to click on the content folder itself over here, we can see that we have multiple folders. But I wonder if we're going to be using is going to be just called Boot Cm folder. That's the one that has most of our items. We do have a couple of extra items, but that's stuff from some examples from MgScans for example. And that's going to be added up as we go along the way in regards to the scenes themselves. So once we open up the boot camp folder, we have all the folders laid out over here. We're going to start with the first one called Ad set up in a real engine. Let's go ahead and open that up. It should be already opened up, but I'm just going to double click on it just in case to make sure that this is the one that actually is opened up. And as you can see, the first one is actually quite empty. So we need to make sure we populate it first. I'm just going to go back onto the resource pack folder real quick, like so, and we have a couple of folders in here. The one that we're going to be able to make use of is the first one as a set up in real engine. Let's go ahead and open it up. We see we have a lot of items. But now though. Which is going to drag everything in, and we have a couple of assets parel bucket chair and table as APX files. So these are the three D models that we have. We also have a couple of textures that are already set up. They are simple PNG images, and we'll be able to make use out of them shortly. But Pardo, I'd like us to get all of the assets, all of the meshes into a real engine. The easiest way to do that is simply to get ourselves a folder set to the side of our project. Have ourselves a content browser already in the scene. Dogged onto our viewport. And then what we can do is just simply select all of the meshes. So click and hold and then drag it and drop it into contra browser that's within this fold over here. We're going to prompt up an FBX import options. So let's go ahead and go over them in regards to what they do. Starts first things first, the option that we have is going to be called skeletal mesh. This is for animations. We're not going to have any animations within the assets themselves for now. So let's make sure to keep this off. Otherwise, you're not going to have the same type of options. Then afterwards, we have built init. Nanite would allow us to give up some performance in regards to large scale meshes and some more dense type of meshes, but we're not going to use that at the moment, since this can always be enabled from within the project quite easily itself. I'll show you in a second how to do that. So it's not really important in regards to this. It's easy to disable and re enable it whenever we wish so. So we're going to usually leave this open as is. Otherwise, when importing multiple assets at once, it slows down the overall import process. So yeah, we're going to leave this off. As for the collisions, I prefer to always generate them since it's easier to do them all at once in regards to just going through the objects themselves, which we're going to learn through in our future lessons. So yeah, we're going to actually keep this on as usually having some collision is better than having no collision at all. And then we have some other options. The options that we're going to go through are going to be with an advanced tab. So let's go ahead and open the tab up. Usually, Unreal engine tends to hide a lot of options behind some of the tabs. So make sure to have some of them opened up and whatnot, whenever you're thinking of exploring through the parameters itself through certain options. So, yeah, for most of the part, it's going to be a right to keep it as default static mesh LD group, we don't have any LDs. We at this point, mainly use nit. So with unreal engine five, I tend to avoid LDs altogether. We also have vertex color, which we're going to ignore. It has no vertex information, vertex color information. We have vertex overt color, which is, again, just going to be the same kind of in regards to the Vertex color itself. Usually, I tend to leave it default white, so just make sure that we are consistent for the information for the vertex color itself. And most of the time, it's not going to be visible if you're applying the textures, especially, so we're going to leave it off. Then we have removed degenerates, build reverse index buffer. Generally, light Map UVs, one convex whole per UC x. All of these are better to be left off. They are parameters that go more towards the technical side, but it usually is better to leave them off to get better visual results, especially with the light Map UVs. Even though the new unreal engine is using looming technology, light maps become less needed, but they're still useful to have around. Then we also have something called combined meshes. If one asset, if one FBX file one mesh of a file has multiple assets within it by having this ticked off, you'd be able to have all of them split up. But because in this particular case, if were to go back to the folder, each one of these FBX files are actually set up as their own separate meshes. At this particular case, it's best to keep it on. And yeah, when I'm doing FPX type of work importing all the assets, I usually change this button of most often since it allows me to have more control in regards to in regards to when I want to have them combined and whatnot. And in regards to this, it's usually kept as one if you have the right type of scaling set up for the assets. And speaking of asset itself in regards to the scale in the transform stab, we're going to have import uniform scale. This is going to be the one that you'd want to change. I, for example, we're working with centimeters, 4 meters, and you want to scale it up or down the assets. So it will help you to just re import asset in the right kind of scale. As otherwise, if you were to just simply scale it up within the engine itself within the scene, you'd be able to keep the same physics, and it would mess up with some of the lighting, sometimes as well as it would give you some artifacts. Throughout the scene. And as for the import normals, when importing normals, it's quite a hassle sometimes to get the edges to be smoothed out. To make sure we don't get any of the sharp edges. And that's usually done within modeling program. So for example, within blender, you're able to select soft edges and then have them exported as phase normals. So in this particular case, it's not needed, but sometimes if you're getting error in regards to the edges, all of them being hard whenever you're importing the mesh, you'd want to change this to be import normals and agents that would usually help out for you. And As for the normal generator method, we're going to have it as KKT space. It gives you the best result. Then if we were to scroll down, we have some miscellaneous. So we have convert scene. We have force front X axis, convert scene unit. Usually, all of them are going to be all right and most of the modeling programs these days, especially if you're using the updated ones. They tend to use the same standard type of setup, whether it's blender, M and touch. So yeah, we're going to leave it as is. And as for the material, I tend to create new materials and then replace them afterwards. I find it to be working the best in regards to creating assets when working with PBR materials. So yeah, we're going to keep it as is. Once we're done with it all, we're going to simply click Import A. Remember, we have all of the four assets selected. So we need to make sure we import them all within the same type of space. And we can just click Import and that'll make use of the same options that we just set up. And give us this sort of a result. So yeah, there is that in regards to the meshes, we can drag all of them and e the barrel bucket chair and table, we're just going to drag each one of them separately, like so into the scene. Just dragging and dropping it like so, that's all we need to do when we're setting up our scene in this particular case, especially. Everything is pretty much nicely snapped up to the bottom of the floor, so everything is quite nice. We, of course, don't have any of the settings in regards to textures yet or anything of the sort. So before we move on, I'm just going to straight up just grab all of the folders that we had with all the textures, click and hold and then drag it into our folder links. So, and that should import everything as you can see, it's starting importing. It says that some of them are normal maps, and they've been imported as normal maps. They've be detected automatically, so that's nice for us. Exactly as we want it to be. We're going to have a bunch of this type of a setup, and you can see that everything disappears from our folder, and the reason for it is because it just wants to show all the textures that have been imported. So to go back, we're going to click on this area over here zero one as it setup in unreal engine. And by going back onto it, we can see that we have now multiple folders, and each one of the folders has its own texture. And we're going to continue on with this in the next lesson. So thank you so much for watching, and I'll see in a bit. 5. Introduction to Material Graph: Hello, and welcome back ever on to creating standing environments in nngofi the boot camp for artists course. And the last lesson, we left ourselves off by setting ourselves up with basic meshes, importing it into the project. And now we're going to need to make sure we have some textures applied onto them. Because as you can see right now they're just pure white, of course, we don't want this to be the case. We're going to make sure we have some nicer detail coming out of them. And for us to do that, we're going to need to create ourselves our own unique material. So, yeah, for us to do that, we're just going to right click on a content browser, lick on the material over here, and that's going to create this sort of new material. It allows us to switch up the naming. So we're going to just simply call this 101 mat we can just call it as is. And that's going to change it up to that. If we ever want to change it or rename the material, we can always select it and click F two. That allows us to change it up again. So yeah, once we're happy with the name, Go ahead and double click on it and open ourselves up with a material graph. Not a material graph has its own type of setup in regards to the real engines. So before we continue on, I'd like us to go over an introduction video for the material graph basics, which will then help you to follow along the course a bit easier. You can skip it or play it at double the speed. I'll recommend you watching over him regardless since his act full of good information on how to set up materials and what material graph in itself is essentially. So yeah, I'm going to go ahead and play the video now. Evon, welcome to the basics video for Unreal Engine in which we're going to cover the basics of materials. So for stars, in order to create a cells A basic material, I'm going to right click within the content browser, and I'm going to select material like so. By doing that, we're able to create a cells material, and we can at the same time rename the material. So I'm just going to call this material like so. I'm going to click Enter. And then I'm just going to double click on it in order to open ourselves up with a material graph. So this is the thing that we're going to spend most of the time tweaking and adjusting the material, which will be then applied onto our assets. Maximize the window itself. I'm going to go ahead and click on this button over here, like so, which will expand this entire window and make it a little bit more clear on what a content it has. Most of the screen is covered with a material graph, which will allow us to add nodes onto it. If we were to click and hold right click, we're able to pan or view around within it. If we were to use our mouse wheel, we can zoom in and out. And finally, we can make use of it to click and tap on a node using our left mouse button. Currently, we only have one node. This is the one where we connect basically all of the information for a material. It will contain all the necessary inputs for a material. If I were to zoom in, we can see that we have base color, metallic, specular roughness, and so on. Some of the material inputs are not highlighted in the same way as ever. The reason being is that based on the type of material setting that we're using, we're going to be able to have different options for it. By default, for example, we're not able to use opacity. We can change that through its property stab. Speaking of properties, if we look at the bottom left hand corner of the window, we can see that we have detailed stab. The detailed stab will show us all the options of a node based on the selection that we have. Currently, we have the material result node elected, and this will allow us to see all of its properties. So, for example, I'm not going to go too much into it as it has quite a lot of advanced options. But for example, if we were to scroll down using this power over here, we can see a lot more options. And I'm just looking right now for something called blend mode. If we were to change from opaque to mask, for example, we can see that opacity mask gets enabled, allowing us to make use out of it along the other material inputs. So I'm just going to real quick go back from mask to opaque, like so. And continue on with the overview of the material graph. On the top left hand corner, what we have is we have a preview of the material itself. Right now, it's currently set as a ball. And if we were to hold left mouse button and move around, we can see it rotating. So by using our left mouse button, we can just rotate it around. We can use our mouse wheel to zoom in and out, like so, and we can use our middle mouse button to pan around this type of camera as well. So it's a little bit different in comparison to material graph controls where the right mouse button is the one that pans around in this one, Using middle most button allows you to pan around like so. Then we also have a couple of useful options on the bottom right hand corner, which allows us to change between assets like so. We have a cylinder, we have a sphere. We have a symbol plane, cube as well as we can also set ourselves up with a custom type of a mesh, which we currently don't have, so I'm just going to click continue, as is, and move on. I'm going to go back onto the sphere. And also, we have options for the type similar that we could see within our game view port, which is we can change the lime to be lit, for example, to see only the base color. We can also change the show to allow us to see grid, for example, or to disable the background completely to not get as distracted while working on no material. And we also have perspective which will allow us to change the camera view, and we also have viewport options, which again, is similar to what you would see within the viewport itself. It allows us to keep it real time, to change the field of view, and options like this. Again, I'm going to leave them as is 99% of the time, you're not going to be touching them as the default viewport will allow us to see the material we're working on just fine. And we also have a toolbar unique to the material graph, which are located at the top section, we have apply which will allow us to apply all the settings directly onto the material and update our mesh that we have applied that material onto. We also have search which would allow us to search the node for the specific type of an item. Licking home will allow us to get back onto our result node. We didn't have a hierarchy, which would allow us to work with more complex type of shaders. We also have live update, which would allow us to get real time update for our game view. And the one that we'd like to remember the most probably out of this entire bar is going to be clean graph. If we have a big mess in our material, and some of them aren't, some of the nodes wouldn't be even used. By clicking on clean graph, you'd be deleting them, but just make sure to make use of that when you know that the material that you created doesn't have the nodes unused nodes that you're planning to use later on. Previous state height unrelated stats and platform stats all help with a more in depth information for when you're creating material, but we're not going to be using them much often. So let's not get into that too much. And speaking of stats, we do have stats at the bottom bar by default. It will show you all the necessary information, such as them out of shader samples that is being used and the shaded accounts. So we'd be able to tell how heavy it is on performance. All right. So going back to the material input node. Based on the type of input we're placing into these values, we'll get different type of results. And the ones that we can have options. The basic ones is if we were to right click, we can search for all of the nodes that we can add onto our material graph. And I'm just going to search for constant. We can see that we have constant constant two vector, constant free vector, and constant four vector. We're going to talk about that in a second. But now though, I'm just going to select constant, and we can see that we get this sort of option. Which essentially will allow us to change the value of our nodes. If we were to directly plug this into the base color, we can see the direct results of the material. It takes a bit to load up, but we can see that by default, the value zero, zero will give us a black type of a color. Over, if we were to change this value to a one by clicking on this type of a value over here, or alternatively, if we were to select this node, we can see that the detail stab has now changed. We can change the value over here. If I were to click on this one and change this to a value of one, like so, We can see that the base color has now changed to be a completely white material. One thing to worth knowing is that everything on a node when it's going to be on the right hand side, it's always going to be an output, and when it's on the left hand side, it's going to be an input. So right now, this is an output. I'm able to click and hold left most button and connect it to a base color, or for example, I can connect it to a roughness value, which will make this completely rough and no glossiness would be applied onto this material. Making the material look quite flat in this occasion. Whilst working with these nodes, you need to consider that also in order to move them out of the way, you can click and hold control, and holding left mouse button, you can just tap and drag it out like tap on a screen and then release it that way. We're able to remove the flow value completely from the node graph. And one more thing to also consider you can make use of it in order to switch up the values. So for example, if I were to connect both of these to the roughness value and the base color, and I want them to be onto another value. What I can do is I K and hold one, tap on a screen, get myself a new value, and now while holding control, I can tap on this, and now both of these connectors are going to be reconnected when I release my left mouse button. So now you can see that they go 1-0 and it turns my base color, the value of zero, and roughness to value of zero, which, in turn, makes this quite a shiny type of an object. Now, going back to the vectors, if I were to delete this one, for example, if you want to get ourselves a different type of color, what we can do is when we hold one and tap onto graph, we can create ourselves a constant one. And when we hold two onto graph and tap on the screen, we can create our elves onstan vector two. Then finally, we can click and hold three tap on the graph and cratosells a constant vector free. What this will mean is that it'll touch two values at once onto constant vector two, and three values at once onto constant vector free. However, if we look at the output that it gives it's giving us three different outputs within this graph. What this will mean basically is that one output will combine them both, while the one is going to give us a value for x, and the third one is going to give us a value for y. The same applies to a constant free, whereas the first one is going to be a combination of those free. The second one is going to be red, which is going to be a value of x. Then the third one is going to be green, a value of y. And finally, Z is going to be a last one, the value of the blue output over here. By the way, in order to move the graphs, if we were to click and hold on a top section, we can just simply move them around like so. Now what's interesting about X Y and Z is that each one of them have the color value assigned to them. So as I said before, x is going to be red. It's always going to be red in a unreal engine software. And what this will do is, it's also based on a three D space. So, for example, if we look at this bottom left hand corner of our preview sphere, we can see that the z is going to be going up, and x y is going to be going forwards and sideways, like so. These values not only help you to get more additional information, and also represents a free dimensional space. And not only that, if I were to change the x value, for example, 0-1, we can see that the entire color changes to red. We can see this within the preview bar over here. And if I were to connect all of these values like so onto our base color, we can see that it changes the entire material to be red. So what's nice about it is that by just simply combining these values, we can simply get ourselves complete different value, to our material. So by changing this to 0.5, and for example, changing the y value to a 0.5 as well, we can see that we get this sort of a result. I will change these two to one, for example, you get a brighter and yeah, by changing them to a higher value, we can see that it gives us a brighter type of color as well. And yeah, by having these x and y values present both of them at once, we can see that It combines them and changes the color completely. So we can make use of these float values to actually get a custom color out of our material. We can also make changes out of this using a color picker by clicking on this constant option over year. First of all, let's go ahead and make sure we select the float the node value, and now we can click on this box over year. We can see that we get ourselves a color picker. Essentially, yeah, we can change the color to any one we want. For example, I want a blue color or a pink one. We can click Okay, and we're going to get ourselves a pink type of a material. Tonight that we're done with it, I'm going to click clean graph, so to clean up my unused nodes. I'm going to click on a top left hand corner, click Apply to make sure that my material shader is being applied. And if I were to close this graph, we can see that material has been made, basically. We can create ourselves a shape. Let's go ahead and create a sphere within our world. I'm going to just simply click and hold and then drag it onto this object like so and get this sort of a result. So, yeah, that's pretty much it in regards to the material set up. That's all it takes in order to set ourselves up with a material. I hope that the video has been helpful, and thank you for watching. Alright. Welcome back, Everyone. I hope that the video was informative and you were able to pick up a couple of things along the way. And we're going to start setting up the material itself in the next lesson. So thank you so much for watching. And I'll see in a bit. 6. PBR Material Setup UE5: A and welcome back every on to creating standing environments in unrelentdFp the boot camp for artists course. In the last lesson, we'll let ourselves off with introducing the material graph and what it is. Now we're going to make sure we make use out of it in order to set ourselves up with a PBR material. So for us to do that, we'll firstly need to grab a couple of textures. That we have already imported. And I'm actually just going to make this window smaller. So going to squish it down, and I'm going to grab it up, and we'll be able to see our content browser like. So this way, we're able to make use out of what we have. We're going to start off with texture barrel bucket. Let's go ahead and double click on it. We have a bunch of options for the textures. We're going to simply click and hold shift and select all of them like so we're going to drag and drop it into graph, and now we can simply flit them off a little bit, like. So I'm just going to manually click and hold and then drag it out to the side legs. So that'll give us some nicer type of a setup in regards to everything. And we can check which ones are which in regards to the textures themselves by simply clicking on them and seeing at the bottom left hand corner, there is detail stab. If you're not seeing this tab, you might be on parameter tab, so make sure to just go onto the detail tab itself, and you should be able to see that the texture that we have selected is currently, for example, roughness, and there's ambit occlusion. We have base color and metallic. And finally, normal map. So yeah, let's go ahead and make sure we connect all of them properly. We're going to connect everything from the RGB node. On the right hand side, we have every node output, and on left hand side, we have input. So for example, right now, we're not using anything for the input for the texture samples, so we're going to leave them off as is. But for the right hand side, for RGB, we're going to connect each one of them accordingly. So Once we start clicking and holding and dragging it, we can drag it to the appropriate type of locations, like so, and we can simply connect all of them to the way we want it. And if we are to Zoom in, for example, we can click and hold and then drag it, and this way, we're able to move it across the graph as well. If we were to let go, it's going to give us a search part, but if we were to click off of it, it's nothing's going to happen basically. And for example, if I have something connected not to the right type of channel, we can simply click and hold control and then drag it out from the normal map and reattach it to the base color, like so, and that'll fix up the issue. Anyways, going back to this, we have metallic and normal left. So let's go ahead and continue on with this. I'm going to connect this metallic, and I'm going to connect a normal map. And once we're done with that, we should get ourselves a really nice type of a set up click. So to make sure that it's actually being applied, what we need to do is on the top left hand corner, we need to click Apply. Like, so it's going to apply it to the material. I'm also going to click Control and S to save it up onto the material itself. Now, once we minimize this window and put it off to the side, I'm just going to stretch it down and put it on the corner since we don't need it at the moment. I'm going to go back onto the folder for unreal engine setup, and we have ourselves a simple material. Once we were to drag this and drop it onto the barrel, currently only on the barrel. We're going to get this sort of result. So we can see the wood and the metal already looks pretty nice for this type of a setup. So that's pretty good. Everything works in order. We're going to go back onto our graph. I'm actually just going to maximize the viewpoint. So. So yeah, we're pretty much done with in regards to that. We applied color information. We applied ambit inclusion and whatnot. And we could probably make it a bit more orderly. So I'm going to just grab the color to be at the very top. So, so it wouldn't intertwined. And I'm going to find myself the metallic. Going to put it off to the side link. So just going to basically arrange it so it wouldn't be out too much in regards to overall order. So now have we connected them all and have everything in order, we can talk a little bit in regards to the VL material setup and how it works within a real engine. So first things first, we have ourselves the base color that we have connected. This is the color information, the main channel for all of the material bases and how it's visible within the render. So if I were to go onto the top left hand corner for the preview, if I were to switch this to lit mode, We can see just the base color. This is exactly how it's going to look like for you as well, only if you had the base color selected, and we can see just a pure color information out of this basically. Then afterwards, once we start adding the lighting and whatnot, it starts mixing up with in regards to metallic roughness, normal, and even ambient occlusion. So let's go ahead and talk over them in regards to what they are. The metallic is basically whether an item is either a metal or non metal. I see often people mistake it that you can either be zero or one in regards to the value, and if it's a simple material, that might be true. But when it becomes sort of a texture for where there's mud and whatnot, you can see the metallic itself, if you were to double click on it. It actually has sort of a way of blending in with the channel itself. It's not just a pure white. White would represent the value of one while black would represent a value of zero. So, yeah, in that regard, if it's a zero, a metallic basically the material would not be metal. But if it's one, it would be considered metal type of glossiness, which is a bit different in regards to the roughness value. The roughness value itself, is basically going to be how non shiny the object is. If it's a value of zero, it's going to be pure black, and that's going to be super shiny type of an object. And if you're working with somewhat of realistic textures, going in between a value of 0.1 and 0.9. So not completely black, not completely white in regards to the texture itself is usually the way to go. So you can see right here, We have a texture that has all the color information in regards to how glossy, how shiny an object is. Some parts would be darker, where they would be shinier and some parts where it is wider, they would be less shiny. So that's the principle of the roughness. And once it mixes up with the metallic, it usually creates a different type of result. So for example, within this area, we can see where the metal is. It gives a bit of an extra type of shininess. So it's quite distinguishable to when there is a metal. And once we start combining with the normal map itself, we're going to get some extra bump values out of it. So we're going to make use out of them to sort of fake additional details, so we won't have to reuse more topology to generate some of them. So for example, these bumps over here next to this next to the middle section of my mouse, next to where I'm pointing, we have some bumps and some crevices and whatnot on these areas, and these aren't actually part of the mesh. They're just being faked. If we were to look at it from a bit of a side view, like, so we can see that they're no actually there just super flat as we get closer to the edge. So yeah, it's able to fake it based on the direction of the light, and you're able to tell where the slopes would be and how it would bounce in regards to the light. So based on those reflections of the light, you're able to get those additional fake details out of your information for the texture. Finally, ambit occlusion, it's not always going to be set up, but most of the cases, a occlusion is necessary, especially for the props in order to fake out the crevice detail. I don't think it's quite going to be easy to understand just from seeing this. But if we were to look into if we were to go back out of this and check within the scene, we can see within the barrel itself. There is a bit of a darker areas over here. It's actually mixed up with some dirt, but actually is going to be really helpful in regards to giving some depth to the prop itself. We were to click on a top left hand corner where it says lit. We can actually visualize everything from within this folder itself. But for visualizations will allow to see something like base color and areas like roughness as well. It just needs some time to load it up, and you can see the type of difference it makes. So for example, this bit over here where it's lighter. If we were to go back onto lit mode, we can see it as it being a bit lighter in regards to the bouncess of the color. So if we position it, my lighting to be on the opposite side, we can see these patches to be less glossy. So that's what it does basically in regards to the roughness. And yeah, we can see all of them even at once by clicking buffer vitilization overview, which is super useful for what we want to indentify the problem caused in some areas, whether it be intensity too much on something or Some of the values just not looking right. I recommend you checking this a little bit in regards to what it is. And once you're done with seeing it, you can go back onto the lit mode and just make sure that everything is properly set up. So yeah, that's pretty much it in regards to the PBR values. Thank you so much for watching, and I'll see you in a bit. 7. Material Instance Basics: Hello, and welcome back in on to creating studying environments in Unreal engined five, the Bootcamp for Artist course. In the last lesson, we left ourselves off with familiarizing how the PBR system works within Unreal engine itself. And now we're going to actually make use of of it in order to set ourselves up with material instance. So before we do that, we actually are going to play an introductiory video to the material instance itself, which will help you to follow along this type of setup a bit easier. So yeah, I'll see in a bit. If we were to right click on our material, we can create ourselves a material instance by just simply clicking on this button over here. And essentially what it'll do is it'll create a material that gets this information based on the material itself. So if I were to click off of it to get material instance, like so, we can simply apply this onto our object. I'm just going to click on this one, the control D to make a duplicate, put it to the side and simply drag and drop this material onto this object like so. And essentially, we'll see that they are identical. And we can click on the material instance to see what it is, which will show us the preview of the material within this review window. It'll also show us that this is that the parent of this material instance is going to be this one over here. It allows us to make use of one material to create multiple material variations. Right now, we don't have anything, so I'm going to go and double tap on this material. To openness up. And essentially, what we'll need to do is we just simply need to convert some of those options that we have applied onto our material and make them as parameters. So, for example, by right clicking on the roughness value, we can select convert to parameter, and it'll allow us to make a choice on the name. So if I were to call this one roughness, like so, we can just simply have a parameter name as roughness. Now if we were to clear control on S to save this out and apply our material, like so, we can go back onto material instance. Now, we see that we have a value for roughness. By default, it's going to be ticked off. And if we want to make adjustments to the value of this material, we need to make sure that this is ticked on, and this will allow us to make changes to the material instance parameters, essentially. So if we were to change this to a value of one and make this completely rough like so we can now close this down and see that this material is now a different roughness value. So one is shiny and although the upper one is using exactly the same material, it's going to give us a different type of result. And if I were to go onto the material and take it a step further, I can right click on this base color. I can change this to a parameter and call this color like so. I can now close this down, and let's make sure we save this out like so. I can go back on to material instance, and I can see that we have a color option over year. If we were to tick this on, change this to a different value like so and close this down, we can see that we have a different type of result completely. But if we have a look at the material instance, the parent is still the same. So it's still being used in the same kind of way. This allows us to make quick changes to a material itself. It also allows us to save up on the performance of our game engine. One thing that I'd like to say as a quick tip is if we were to go back on the material. So for example, we change this up to a value for a parameter. But there are certain shortcuts that allows us to create parameters right off the bat. So by clicking and holding S on our keyboard and then tapping on our screen on our graph, we're able to share up Crato cells a constant one node, which then automatically gets changed to a parameter. So I'm just going to change up the name to something like metallic, for example, I can set this up to a metal, like so. And also, if we want to change the naming, for example, afterwards, what we can do is we can change it within a detailed stab. So by simply selecting this and changing this over here, we can have any name that we want, so metallic, I can call it value. So then I'm going to click Control and S to save this out, which, if we have a look at it, close this down. The original material is not going to be changed because by default, the metal value is set at zero. But if we were to go on to material instance, we can change the metallic value. Finally, one thing that I'd like to say, I'd like to mention is that if we were to make this window a little bit smaller. What's nice about material instances is it doesn't require us to compile anything to save out material, and we can just simply see the changes within the material instance right off the bat. So if I were to enable this metallic value, And change this into a value of one, like so, and maybe I'll change the roughness to a value of 0.3. We can see that we automatically straight off the bat, change the values, and we can even click and hold on these parameters like so and change them up like so. And it gives us direct type of a result onto our Vport which is quite nice. So, yeah, that's pretty much it in regards to the material set up. That's all it takes in order for us to set ourselves up with a nice material instance. Yeah, we can create multiple materials, material instances out of a single material, and it'll give us a completely different type of results. So right now, I'm just applying this on to this type of sphere and changing the color to any type of a color that I want, basically. So yeah, thank you so much for watching. Now, let's get back to the video. All right. Welcome back, everyone. I hope that the video was informative, and now we're going to continue on by setting up the material instance itself. We actually have some times of think we're going to continue on within this lesson itself. We're going to click on each one of them and rename them. Right click, convert it to parameter, call this one base color. So make sure that the naming for each one of them are set up properly in close to it as possible as the texture has itself. So for example, this one is called base color, so I call it base color, this one would be underscore metallic, and this one would be underscore roughness. The reason I'm doing it is because at the very start, each one of the namings is set up as barrel bucket underscore. Okay. Or in other areas, it would be something similar. And then the only difference in between those textures is underscore and the naming of the channel. So metallic, whether it be roughness and whatnot. And yeah, we want to match them because the unreal engine is basing the naming system on alphabetical order. So in feature, it's going to be way helpful for us, way more useful for us if we have it set up in the same order. So we're going to learn that about it in a bit. But now though, let's go ahead and continue on with the process. We're going to set this one up as metallic. So. This next one is going to be set up as roughness. I'm just looking at the texture name bottle on the left hand corner, underscore roughness. I'm just going to set that up as well. Like so. And it's quite tedious sometimes, but this is only going to be just one type of a deal, and then afterwards, we're going to be able to rename them easily and switch up the parameters and whatnot. And this one is ambient occlusion. To again, in this particular case, for example, I could set it up as a ambient ccusion, but I'd prefer to call it ambient occlusion fully, just to again match up the naming a little bit more. Now I'm going to go ahead and click Control and S to save it out, like so, and start saving everything out. We can close this down. And once we click rate material, and we can just leave it as is actually, or actually, I'm going to rename this one as viral. It so underscores. For instance, I'm going to go ahead and then drag and drop it into material for the barrel. And you can see that this is identical, actually, nothing is change. Everything is the same. It is exactly as we want it to be. We're going to go into the options and settings for it in the next lesson though. So thank you so much for watching. And I'll see in a bit. 8. Reusing Material Instances: Hello, and welcome back. Ever on to creating standing environments in Unreal engine five, the boot camp for Artist horse. In the last lesson, we left ourselves off with setting up a material instance, which we just applied it directly onto the barrel by dragging and dropping it like so. And now we're going to double click on it to open ourselves up, and we see that we have some parameters within it. By default, it should be kept as the same because that's the original texture samples that we use. And we can't change it because we need to enable them. And actually, for the barrel itself, we don't need to do anything. We can just leave it as is because that's how it is set up, and it's going to work quite well. And I think it's also set up for the bucket itself. If I were to click and drop and drag it onto the side of the bucket, we can see that it is being working quite nicely as well. It's not going to work anywhere else. For example, if we were to drag it on the sheare, it's going to mess it up. So the reason being is that this entire texture set is set up for the bucket and the barrel. And it's not set up for the water itself, we're going to come back to that in a bit. Now though, we're going to set ourselves up with this chair because if we have a look at the folder and the next folder, we have something called texture chair. Of course, we need to set ourselves up with a chair texture. And if you were to double click and open it up, we can see the textures are pretty much identical. When using material instances, it's important to keep consistent in regards to the texture channels as we are not able to exactly use anything else in regards to that. So for example, if we have if we don't have a color and we'd want to just use a sample type of a color for the material. We wouldn't be able to just use nothing. We'd need to put something in upwise. It's going to give us quite a bit of a mess, and it would give us similar results basically. So we want to make sure that the textures match up so you can see that we have five textures for preclusion, base color and whatnot, for the barrel. And it's pretty much the same five textures for the chair, except, of course, for the different type of textures that are going to be set up. So For us to do that, we're going to just right click on the material zero one material that we created. We're going to create material instance. And I'm just going to rename this one as a. There you go. Care. I actually renamed it wrong, so I'm going to click F two, and I'm going to call this one there. There you go. Now the next step is if we were to double click and open it up, I'm going to minimize this window a little bit and put it off to the side. I usually don't use this type of a preview as much. So what I tend to do is if we have to look at it, we can by the way, click and hold and drag corners like s to make them larger and smaller and whatnot. And I prefer to just lick a hold the details tab itself and just drag it out, so we'll get the preview much smaller or we can even squish it out completely, but I personally just like it to do it like so. Then we can just squish it to the side and we have these parameters next to it. So once we apply the chair incense onto our object, we can see how it looks like, and of course, it's going to give us the same type of result because we have not changed anything. So order to start changing up the parameters, we need to enable these ticks over here. We're going to tick everything on and now we're able to change them up, so we can see that these are being highlighted, so that's pretty good. We are going to go back onto the texture chair folder, which has everything set up for us. And you can see now because we renamed everything as amb occlusion, based color, metallic, normal roughness, in the same way as underscores named up here, they're actually aligning perfectly to the same order. So first one is going to be med occlusion, color, and so forth, and so forth. So, yeah, we're going to start off by clicking and holding and then dragging it into this area over here, and we can do it, like so, and then clicking and holding and dragging and you can see it's starting to change. Of course, it's not completely there just yet because we have messed up normals and whatnot, a lot of things are still needed to be fixed. And yeah, one way is to just simply click and hold it and drag it. Another way would be to just click on these boxes over here, and then buy detectus from within here itself. And finally, one more way that we can do it is we can select the metallic, for example, over here. And we can use this button like so, to use selected asset from the content browser. So with the selection, we can just click on this one over here. It'll change the texture automatically. And I honestly, when working with a lot of assets, I prefer this way instead. So this is probably the fastest way that I personally use. And yeah, we can just replace it all of them just like, so we can see that. We have ourselves a nice setup for a chair. So that's really good for us. As we have everything already set up. And now, as one more final tip in regards to just basic setup for material instances, when we have already set ourselves up with the material instance, for example, for this chair. And if you have a lot of assets within the scene, and we want to keep reusing the same material instance and just reapply the textures. The easiest way instead of just to creating a new material instance from material itself, I to close down this window. So by recreating material instance every time from material instances, you can see if I were to double Every time we create a new one, it's going to require us to enable each one of these individually. However, if I were to just delete this one, we are deleting, by the way. We can delete all of them, and if it just says delete instead of force delete, we know that none of the material is being used within the thing. I'm going to come back to it in a second. For now, let me just go back and Go back to my point on what I mean in regards to creating duplicates. So now, once I have this chair, because we have everything tikton all of the parameters set up pretty much as we want it to be. We're going to select the chair. We're going to hit Control C, Control V to make a duplicate. We can select it, and we can just call it whichever way we want, whichever object to match it. Once we're done with that, we can double click on it and we can see that everything is already tikton and the parameters are pre set. So we'd be able to easily change up the textures as we go along. And in my opinion, that's a bit faster when we're creating multiple material instances for multiple assets, So yeah, keep that in mind whenever you're creating this. Now, going back to the materials. If I were to click and hold and then drag it onto this chair to assign it, like so, and if I were to select this, click delete, you can see now it's asking me to forcefully delete it. The reason being is that this material is being used being referenced within the scene within the project, one time by another object. So yeah, for that, we can either check which ones are being used. And once we check it, we can, for example, be okay with deleting it. Or we could try to link it. But anyway, if we were to click force delete, it starts just deleting it and unlinking it from the chest. So now you can see the chair went back to the original because it doesn't have that type of a setup anymore. And I'm going to click and hold and then drop the chair instance back onto this, and now it's going to be fine. So, for example, in this particular case, if I start to want to delete all of these materials all in one go, it's going to ask the forceful delete. We can see all the referenced materials over here. Now, though, I'm not going to touch it. We're going to come back to this in a bit. I'm going to show you how to link all the materials. Yeah, I think we're going to continue on with the texture set up. First, we're going to make sure that we have seamless textures set up for the table, and we have some customization for within them using the material instances. So yeah, that's going to be it from this lesson. Thank you so much for watching, and I'll see in a bit. 9. Seamless Textures and Parameters: Hello, and welcome back everyone to creating standing environments in unrelinged pipe, the boot camp for Artis course. And last lesson, we less ourselves off with setting up a material instance for a chair. And now we're going to continue on with the in regards to materials. This time, however, we're going to make use out of seamless sectes. So in regards to setting up additional color information materials and whatnot, for assets. You can either A have already preset type of materials for your assets that just basically has coll information purely for the UV based type of coordinates. And that's helpful for when you want to get some additional, for example, detail on your area. So for example, this grain over here would be a little bit different and you'd be able to control the edges to be set up differently as well, for example, we have some edgeware and whatnot on this edge, for example, here. But let's say you want to have some control from within the asset from within the project itself, you're totally able to do that with seamless ra. So we have three seamless tras over here. We have one for metal, one for water, which we're going to come back in the future and one for wood. And this will allow you to create some really nice type of setups for your basic seamless material. So for that, we're going to grab our material or our initial material that we created zero one material. We're going to hit control C control V to make a duplicate out of it. So this way, we don't have to redo this entire setup over here. That's going to be pretty nice. I'm just going to rate a material Sam out of it. But before doing that, I'd probably want to set up a different name for this. So actually, I'm just going to call this one underscore seamless. And that's going to give us a better result. Now, if we were to double click on it, and it's going to be simple and still the same, and we can make use out of it by right clicking, creating material instance, and that's going to give us this sort of result. So yeah, we're going to create ourselves a first setup for the wood. And yeah, for us to do that, we're going to have it name differently. We're just going to call it woods and there you go. Now we can double click on it and make sure we change this up. And if we were to click and drag and drop it onto the table, we can see that we're going to get this sort of a result, which obviously is not what we want because the textures are still not set up. So right away, we're going to go onto the material instance. We're going to make sure that everything is enable just like we had previously. We're going to go onto the wood. We're going to start getting ourselves up with a nice type of a set up for wood. Amber occlusion, then wood, metallic, and the rest, like so. So just by changing all of them, like so we can see, we are getting a real nice type of setup for the wood. So this is already looking pretty nice. Of course, we want to have some control over the grain itself. The main selling point of the seamless textures is that you can upscale the UVs in regards to the grain itself, and you can have as much detail as you want in regards to the texture itself. So first to make use out of it, what we're going to do is actually, we're going to set ourselves up with a nice seamless type of settings. For the material. So we're going to go back onto the seamless material over here, and we're going to expand this entire thing, and we're going to start setting ourselves up with texture coordinate settings. So as you talked about it before, we have on the right hand side all the outputs for base color and on the left hand side, we have the input information for which you can make use of. So we're just going to make use of the UV type of information, but we need to set ourselves up with a couple of notes first, and that's going to be actually quite easy to do. We're going to right click. We're going to search for coordinate. We're going to find ourselves texture coordinates. So this will need to be used in order to control the U V coordinates. And if we were to select it on the left hand side, we have UV tying, so we could change these from here, and that would give us good options. But if we wanted to make use of our material instance and have more control out of our type of a set. What we need to do is we need to set ourselves up with a parameter. So we're going to hold S. We're going to tap on a material graph, and that's going to give us a float parameter, simple float parameter. We're just going to call this one scale, like so. And now we're going to hold M. We're going to tap on a screen. We're going to connect both of these up. To a multiplier node just like Tat. So it's going to by default B set up with default value of zero. So once you multiply with zero, obviously, you're going to get a zero, nothing. So we want to make sure we get a default type of a look, a value of one will do the trick. We're going to then attach this to all the UV coordinates like so, and as you can see, nothing is going to change within our preview for the textures. The reason being is because we are multiplying it by one, and that's not going to change anything at the moment. So once we're doing, we're done with that, we can go ahead and apply this material, save it out. I'm going to click Control S. Actually, to save out this material, I'm going to minimize this and Actually, I'm going to close this down, and now we're going to go back onto our wood instance. This time, because we created a float parameter, we can see that there are parameter values over here. We can click on it, and now we can make use out of it. We can either tap on it once and change the value manually ourselves to something like two. We can see that it changes the amount it has. Or alternatively, if I were to deselect it first, just tapping it off from it. Then I can click and hold and use it as sort of a slider and then increase or decrease the value manually myself. So I can change it to whichever way I want and adjust the values to the way I'd want it. So for now, I think I'm going to keep it as 1.2, just a bit more in regards to the grain. I think that looks really nice, actually. I might lower just a little bit, so I could have more variation there go. So some of the grain would go on edge. I think that's going to look quite nicely like so. And that's pretty much it in regards to the scale itself. We can now go ahead and set ourselves up with metal as well. So for us to do that, we got ourselves a simple iron to make use of it. I'm actually just going to click Control C Control B to make a duplicate out of the wood. I'm going to click F two to rename it. Going to call this one iron so. And I'm going to just simply call it iron underscore instance. Double click on it to open ourselves up with its parameters. And now we're going to go into the iron and simply just reselect every single one of them, like so. And we're going to get ourselves a real nice type of a result for the values. So just like that, we got ourselves the result. I'm going to go back onto the folder itself. Going to scroll all the way down until we get to the iron, which iron intense. Now we can drag and drop this onto our area, and we can see that we're getting ourselves some real nice results already. We can play around with the scale a little bit, maybe increase it. So value of 2.5. I think that's going to look quite alright. So yeah, it's already looking quite fine, but we only have one on material, and if we were to apply it on to the bolt itself, it's not going to be quite as distinguishable for the overall setup. So we obviously need to fix it. And the way we're going to fix it is actually we're going to add some minor adjustments in regards to the parameters of the material itself. And yeah, the way we're going to do it is actually we're going to go back on to material seamless, the material itself to this one over here. We're going to open it up, and now we're going to make some additional parameters for this. Okay. So the very basic that we can do is if we were to hold, we're going to tap on a screen. We can just set ourselves up with a multiplier parameter. So by holding S and tapping on the screen, we can call this color multiplier like so, and add this up to the multiply default value. Make sure it's set up as one to get to default type of setup, and we're going to attach it to the base color. Click Control and S to save it out. Now we can see how it looks like, and if we were to actually lose this down, or I'm going to instead just close this down like so. Can make use out of color multiply to make the metal even brighter or darker, like so. So we have a lot of control over this metal now. We can make it darker or brighter, like so. But of course, we need to make sure that we set it up for the bolt itself. So for that, I'm going to find the iron instance like so, going to hit Control C control V, make a duplicate out of it, and now I'm going to open it up, and that the tone to multiply it to something like 0.7, and drop this into the hinges, and maybe lower it down even more, something like so. And that's a little bit too much actually. Yeah, 0.7 0.65 value. So it's going to the trick is going to be looking much, much better in regards to that. So, yeah, it's already looking pretty good. But for example, what about wood? We also have table legs. And if we were to just apply this wood onto here, it's going to just look too generic in regards to the table itself. We can work with in the same way with the darkness of the material itself. Or alternatively, we can set up with a color multiplier. So for us to do that, we're going to go back onto the seamless material. We're going to open this up. So the other way which we can have control over material is if we were to set ourselves up with a vector free value. By simply holding free and tapping on a material, we're going to get this sort of result, which allows us to control X, Y, and Z, and these actually are set up with color linked values. So x would be red, y would be green and would be blue, and these can also be used as colors. So if we were to select this node and tap on this constant box over here, we can increase the value to like so and then change the color picker and then it'll click Once we click Okay, we can see that this value has been changed to this. So by making use out of it and holding and using multiply it just like we did before, we can combine these with what we had before and making use out of it in a similar matter that we had color multiplier value. The downside of this, though, instead of using the color multiply is that we cannot make it brighter. The maximum color of this is going to be set as a one. So if I were to just set the saturation all the way down, and value all the way up, we're going to get pure white, and the value itself is going to be presented with this value itself. So you can see if I were to click two, for example, and click Okay, it's going to give us this sort of result, but often, what I find it is that it doesn't quite like to work with in regards to how I wanted it to be. So Yeah, I personally prefer to just not use this at all, and just have this value set as a maximum one, and as you can see, it's going to only go 0-1, and that's probably the best way of making use out of it, honestly. I find that otherwise through the parameters of material instance, especially, not going to give you the right type of control. So yeah, just make sure to set this up so. And yeah, by multiplying it by a value of 111, we're going to get exactly the same type of result. We're going to click control S to save it out, and this should also apply the material, which it did. I'm going to close it down. And now, if we were to go back on to the wood instance, I'm actually going to make a duplicate out of it, hitting control C control V, drag this out on the table, double clicking on it, and there we go at the very bottom. Now if we were to scroll down, we should have ourselves nothing because I actually forgot to change this to a material parameter. So I'm going to go back on the material, going to open this up, going to right click on this, so, change this to a parameter. And now we're going to call this color, like so. Control and S to save it out. And once it's saved out, we can go back and actually go back onto the wood instance that we made a duplicate, make sure we apply it, put it up to the side. And now if we were to scroll down, we have a global vector parameter. If we were to change this up a little bit, we can change it to be a little bit more brown, purple, blue, whichever color we want. I'm going to make it a little bit type of a yellowish tint. So you can already see the difference in regards to the variation between the legs and the top of the table. So Yeah, that's going to be it in regards to the variations of material instances. We still have more and more material to go, which is going to be water. That's going to be left off for the next lesson. So thank you so much for watching, and I'll see you in a bit. 10. PBR Water Opacity Setup: Welcome back here from to creating studying environments in Unreal engine five to boot camp for artists course. In the last lesson. We left ourselves off with setting up some seamless textures for the wood, and it looks pretty good for the table. So we're going to continue all now with the bucket itself. It's still missing in regards to the water itself. Let's go ahead and fix that. We're going to simply make sure that we find ourselves to water. So we're going to make use of these textures over here. We have pretty much everything the same except that we need to set up an opacity channel. So we're going to do that in a second. We're going to first of all, make a duplicate out of a seamless material like so click in Control C, Control V. We're going to rename this one as a water. I think we can just call this water seamless. That's going to be all right. Let's go ahead and double click on it to open it up. We should have all the same parameters as we did previously with the color with color multiply, and whatnot, and everything should be already pretty good to set. But if we were to make use of it, I'm actually going to set up with the water textures right away so we could see how it looks like. I'm going to click create material intense out of it, like so or alternatively. I think instead of doing that, I'll show you another way of doing it. What we can do is also we can close down this graph real quick. We have everything enabled in this area over here, for example. If we want to make use out of it, we can just click Control C, Control V to make a duplicate. Obviously, it's going to have everything set up. But once we start setting up the water, it's going to have a different material. So this is not going to be used within this material instance. If we were to scroll down, we can see that the parent, of this material instance is actually this material over here. So material seamless. We want to make sure that we are using water seamless sture. So we're going to click and hold and drag it onto the parent area like so, because it's identical currently, nothing else is going to change, but we still have those tick marks on. So that's sometimes useful tip in regards to when we want to make use out of all the parameters that we already have, but we want to have a variation out of our material. So, yeah, going back to this, we're going to quickly add everything up for the textures of the water. We're going to quickly add everything. You notice that the metallic or the water is set to a value of 0.7 0.8. I don't quite remember the exact value, but it's usually between those values for whenever you want to set up a nice water material. The reason being is that water, if it's not set in regards to metallic value, it's not going to have a liquidis form looking. It's not going to have the right type of a reflection for them. But now, once we have some metallic, if we're to click and hold and drag it onto our bucket, we can see that it actually looks quite nice. It looks quite balanced. So actually, I'm going to take off the metallic value to show you what I mean. So by default, it's actually just going to give a really bizarre type of look. I'm going to make it black. So it has no metallic value at the moment. And you see it looks a little bit plasticy. So that's why the reason for adding a bit of metallic value, if I were to click control is to go back on its went back a little bit too far. It's not getting me back the same material. I'm going to real quick drag it back on. So yeah, as you can see, right here, we have more bit of reflection in regards to the water, it looks liquid. Looks like it actually is a body of water. But of course, we don't have the set up for the translucency, we don't have any opacity value. So we need to make sure we set that up and for us to do that, we're going to go onto our water seamless material. We're going to open this up completely, and the first things first. What we need to do is we need to select the material itself. We have blending modes within a material area. So based on the selection of a node, we have different selections of noticed. So by selecting the material node itself, we have options for the material. And yeah, the ones that we need to change is going to be blend mode. If we were to change this from opaque to translucent, it'll give us a nice way to transition the material itself. But once we selected, we'll notice that a lot of the material notes end up disappearing. The reason being is that it's set up by default as somewhat of a performance saving type of a material, and it's usually pretty good for the basic type of translucency when we want partial translucency for something like class, for example, or whatnot. But if you want a bit more, we'll want to make use automatolic roughness values like we did previously. So for us to do that, we're going to select back onto the material itself. We're going to scroll all the way down until we get to the lighting mode. If we were to change the lighting mode from volumetric non directional it's underneath translucency type, just make sure you have this opened up. If you were to change this to a surface translucency volume, you'll get these PBR values back. So now we can go ahead and make use out of a pacity channel. And this way, we'll be able to make use out of our partial type of pacity again. So before we didn't have this, now that we have a translucency turned on for this and for this blend mode, and the lighting mode changed up, we'll be able to make use out of it. We're going to set ourselves up with a simple parameter holding S happening on the screen and calling this opacity. Like so. We're going to set the default value to something like one. We're going to drag this onopacity control S to save it out. Once it start saving out, we're going to take some time, obviously, to compile all the shaders. Now go ahead and close this down, make this window smaller. Get it back, and now we can see that we have opacity option. If we were to select it, we can start dragging it down and you can see the entire thing disappearing. So yeah, that's pretty much it when it comes to the water itself. If we were to set the value to something like between 0.5 and a value of 0.9, we'll be able to get nice type of a set up for a water. So I think at this point, I might use value 0.8. The closer we get to a value of one, the less transparency we're going to get. Usually, we just want to make use of it to get some nice volume for the water itself. And that looks quite nice. We also have the scale itself. We can make it larger, we can make it smaller, depending on the type of water we want. So yeah, that's pretty much in regards to the water itself. We're pretty much done to that. The only thing that we're left to do is actually cleaning up the project because right now it's a bit mess in regards to the materials. And as you can see the materials themselves, if we were to drag out the static table, it's still not going to be applied. It's only going to be applied onto the one that's been within the scene itself. So we're going to work on how to set that up properly in the next lesson. And yeah, thank you so much for watching. And I'll see in a bit. 11. PBR Material Cleanup: Hello, and welcome back. I were on to creating standing environments in Unreal Engine five, the boot camp for artist course. In the last lesson, we left ourselves off with creating some water material to be used within the scene. Now we're going to make use of all of the materials that we created basically to set it up within meshes. So we're going to be basically cleaning up this entire project that we created. So yeah, for that, We can just double click on the static mesh itself, so by double clicking on it, we go into the parameters into the settings of a static mesh itself. And on the top right hand side, we can see that there are material slots. Currently, for the barrel, there's only one material slot. That makes it quite easy for us to set it up. So we can make this quite a bit smaller just like we did previously with the material graph for the material instance, all the parameters were on the right hand side. We're going to make use of the same type of setup. So we're going to locate ourselves the barrel bucket instance. We can hold and drag it onto the barrel bucket like so, and that pretty much solves it in regards to the setup or this barrel. So now, once we drag this barrel onto the scene, it's going to be already preset with the material itself. So that's rather simple thing to do. If it's only one material, it's quite nice and easy, and we can do the same thing for the chair as well. That's going to be a chair instance. We can drag it and it's going to give us a nice preview as well. Already looking pretty good. As for something that has more type of material. If you double click on it, we can see that it has two material slots. So in this particular case, it's quite easy, et cetera, because it's already saying the barrel bucket and water already named, so it's quite nice and simple to have the materials dragged across. And actually, we're going to do just that. We're going to barrel bucket, add this onto the first material slot. And as for the water, we're going to drag this out as well. I'm just in just in case, going to drag it out onto the scene to check out it looks like, which looks all right. Going to go ahead and delete it. And yeah, that's pretty much it in regards to the multiple slots. So what happens when we have more slots. So I'm going to double click on the table itself, we can see that we have four different slots. So what happens then. And yeah, basically, the best way to approach this, especially if we don't have the naming for the materials themselves, if we were to, for example, have worked on the mesh and couldn't be bothered to rename all the materials before exporting them out. We'd have a bit of a mess in here. So, luckily, it's quite easy to see which of the materials are being used where. For example, wood planks. We can click on the left hand side, those tick boxes to help us out with that. We have either highlight, which will allow us to highlight it within a mesh or alternatively, we have isolate. The isolation is really useful for whenever we want to see which pieces exactly use these materials. So right now, we can see it's only the top section of the wood and the bottom pieces over here. So that's quite easy to set it up. We can also go into the material tab itself over here and just search for wood. And we can find the wood variance that we had. So this one over here, I believe, or actually, I think it was the upper one. Yeah, it was the second wood like so. So that's pretty good. Then we have iron as well. We can just change this to iron that's dark. The second one was dark, I think that's the one. Actually, that's the light one, so I'm going to change it to this and change up the iron instance to the second one over here. Yeah, there you go. That looks pretty good. And yeah, again, by just clicking isolated, we can see which ones are being used, where, I should have probably done that, but I went with the guessing in this particular case, and it turned out quite all right. Well, the wood itself, the final piece, we can see that these are the legs, the supports, and whatnot. We can go ahead and use wood. And we are going to search for wood legs. So find ourselves the material instance that we created is going to be this one over here. Go ahead and select it, and now it should be nicely set up. So there you go. We have ourselves, the table nicely set up. Everything's in order. And yeah, what happens now with the leftover materials, the ones that we were generated. Basically, we can go ahead and select all of them using control. We can go ahead and click delete. And it's still asking for the reference. So what's going on here? I'm going to real quick, check the bucket, for example. See that it's not being used over here, so I'm not sure what it is. And whatever the over one was, I think it were two ones. I'm going to go ahead and click the lit again. So there's one for a chair. We can open it up and see which one that is. Again, there's nothing is being used over here. So finally, the table itself, we already replaced it all so In this particular case, I'm just going to go ahead and click force delete, and that should give me a nice type of a result barrel bucket. Let's not forget to delete that as well. We probably go over them as well just to make sure nothing is being used. And also, one more thing that we can do in order to see the references as well, real quick. We can right click on the material itself, and there is something called a reference viewer. If we were to click on it, we can see which references which items using this reference, so we can see that barrel and a bucket both of them are being using it. But I think we just pretty much replaced for both of them, so I'm just going to go ahead and click Delete. Click force Delete, and there we go. We don't need to go into too much stuff into that. We just need to know that there is a way for checking the references and seeing if it works or not. But again, now we can just drag them out like so and see how it looks like, and everything should work quite fine. And Just like that, we can go ahead and set ourselves up with the first scene, and I'm just going to click to change my gizmo, rotate the stable around, like so, put it up to the side, just like that, have a couple of chairs, like so at the back. And that's going to be pretty good. By the way. During this whole process, I'm using snapping for grid angle and scaling. So at the top right end corner, you can see all three of these options are turned on, like so. We can turn them off and on, we want to have more or less control, but usually, if it's within a larger type of scene, it tends to help out in regards to getting a nice symmetry, for example, and whatnot. And yeah, I'm just going to set up a nice type of a scene, like so, getting maybe a bucket to be a bit smaller. Like so and something like this. And quick thing when we want to have multiple assets be real quick duplicated, we can hold old while dragging and that way, we'll be able to duplicate out assets. So that's quite useful for whatever we want to just move them out of the way. So It's rather simple and easy to set up a basic type of prop scene by just clicking W and we're able to go between the gizmos to help us rotate to help us move out of the way and inwards like so. And just using the arrows, we're able to just kind of bring them out and inwards, and using the cubes in between the arrows, we're able to affect the Mo only for those two arrows. For example, the x is the blue arrow for affecting it up and down type of an elevation. For this object, so it wouldn't be going inwards to the flooring. So we wouldn't be able to move it if we were to just have it using this cube over here next to the center of the gizmo. So by using this, we're able to move it left, right, forwards and backwards without it affecting it the height of a chair. So that's pretty nice. And yeah, that's pretty much it in regards to this lesson. Thank you so much for watching, and I'll see in a bit. 12. Vertex Color Material Setup: Hello, and welcome back on to creating standing environments in UnregFive to Bootcamp for artist course. In the last lesson, we pretty much left off the first ten setup, and we got everything that we needed to do in regards to bringing our assets onto Unreal Engine scene. Now, we're going to continue on moving with the next level. So let's go ahead and go out of this folder back to the bootcamp folder. We're going to start doing the asset blending section. Let's go ahead and open this folder up. We're going to load up the scene like so. Make sure that we click Save selected. Otherwise, this scene that we just created, is not going to be saved up. Let's go ahead and click Save selected, like so. And it's going to load us in with a new level. If by moving this scene, you have some sort of frame issues and whatnot, I recommend you changing up the scalability for the engine itself. Within the top left hand corner, we'll find ourselves this button over here that says cinematic. If you don't have this button by the way, you can always go to the top right hand corner that says settings, and you'll have engine scalability settings over here. It's going to give you the same options in here. Once you start changing them up, you should be able to see them on the top left hand corner. So anyways, by changing this from cinematic to lower quality options, you'll be able to get yourself more performance out of your engine. So if you're working with a computer that has less performance, you might want to change these options over here. Alternatively, we can also get even more performance in regards to this setting if we were to change the top left corner, if we were to change it from lit mode to unlit, We can take off all the lighting, and we should be able to work with the entire engine itself just as well, but it might be a bit harder to distinguish what type of settings are being used within the scene. So yeah, that's also an option over here as well. And yeah, going back to the scene, we're now going to make use out of some of the unreal engine setup in order to get more variation within the scene. So vertex paint to set up the moss. For us to do that, we're going to go onto our textures, and right now we have a nice scene set up, but as you can see, the textures might not quite match up with the overall scene aesthetics. We might want to make some of the rooms, for example, to be overgrown with moss and whatnot, and we're going to learn how to do that. So first things first, we're going to need to locate ourselves up with a material or which the castle is being used, and best way to do that is if we were to select the castle at link. So we can click on the material elements over here and search it within the content browser. By clicking this parent over here, we'll be able to find it where it is. And there's a lot of materials right now because there needed to be a lot of asset parts to be set up separately. We're going to come back to it in a bit. Although right now, we just need to find the material instance. If we were to open it up, we're going to then find ourselves a parent for the material, so this one is going to be it. And just like we had in our previous level, we're going to have ourselves basic set up for a PBR setup. But now we need to get ourselves a nice type of a variation that will allow us to paint over the moss. The way we're going to set it up is actually going to be rather simple. We'll need to first of all go on to textures folder and find ourselves moss folder within the acid blending folder, acid blending folder. Let's go ahead and double click on it. We have a lot of variations over here. We're going to start setting them up. We're just going to select all of them, drag and drop it into this material over here. Open this up. We're going to now make some settings to it. And yeah, I'm just going to put it off to the side. This I don't know. Yeah. It doesn't have the height map, this one. It has five texture differences. We're going to make sure we make use of it all. We're going to simply just make sure we reposition everything. So I'm going to have color at the very top. Then the next one is going to be metallic. So that's actually ambentclusion that I have. I'm going to put it all the way down the blue one. The purpish blue one is going to be normal, so I'm going to be putting it next to the upper normal legs. And finally, this is the roughness value, and the roughness is actually, this is the roughness value. So, we're going to set that up as well. We're going to put it up next to the roughness and ambient occlusion, we're going to pick it off to the side. So in this particular case, we have a little less in regards to the textures that we're using for this castle. It does not have ambent occlusion. And it might look like a bit of an issue in this particular case, but it's not much of an issue because ambit occlusion, by default, it's going to be a white color. So it's actually rather easy to fix that up. And we're going to do that in a second for now though, let's go ahead and get ourselves in regards to adding up something called vertex painting. So how can we do that? Actually, I also have height channel. I'm going to put it off to the side L. So yeah, we have color. We have only one metallic, which is fine. We have two normals and we have two roughness, just like that. Of course, at the very bottom, we have ambit declusion. That's what we need. The way we're going to make use of out of them all is simply by making use out of something cold, if we were to right click and search for vertex color. If we were to just click on it, we're going to get ourselves vertex color. This node will allow us to make use of or mesh vertex color and each one of the vertice, if I were to go out of it real quick, out of the material graph and put the review from lit to be wire frame. Each one of these vertices, as you can see, each one of those points that the lights intersect within. It might be a bit harder to see, but I hope it's quite visible enough within a video. There are points, basically, and each one of these points has its own color information. By default, when we were importing it, usually we keep it off as white color, as we talked about it before when importing meshes and that's usually enough that we don't really need to use them within texturing. But when we want to use it within a vertex painting, we need to make use out of them by painting it in custom values. And I will show you how to make use of it properly by setting up material first. So going back onto the material, we have a couple of options. We have the top channel, which is RGB, both all three of these values combined basically. We then have red, green, and blue. And then finally, is the Alpha channel. And usually, what I tend to do is just simply make use out of one of the channels, instead of just having this first one, I use the red one to simply allow me in case I wanted to come back in the future to allow me to make use out of them later on if I want to. And yeah, it's best to just use as little information as possible as we can make use out of this channel later on. So Yeah. Going back to this, in order to actually make use of it, it's going to be quite simple. You combine these two, for example, right now. I'm also not going to change them to be a parameters for a moss ever, I'm going to be using the same moss sample the entire parameters. So I'm going to keep it is. And yeah, for us to make use of them and combine both of these textures, both these color textures right now. We're going to search for something called. If we were within a graph search for p, we should be able to find linear interpolate. And I think if we were to We can hold Alt and tap on material graph, we'll also be able to get the same node, which is pretty good. Now, with this node, if I were to put it on the side, and we can now combine all of them into one texture. So the way we're going to do it is we're going to combine the first one to A and the second one to B like so. And now, if the Alpha is set to zero. Sorry, if it set to zero, and if we were to right click and we can preview the node, by the way, we can click Start Previe mode. We can see how it would look like. So because it's set to zero, it's going to give us the first one, the first texture. But if we were to set this to one, it's going to give us the second texture. So that's pretty good. Zero, again, is going to represent black and white is going to be one. So if we go back onto the vertex color, we remember how by default, we import the vertex color to all of them to be replaced to white color. Usually, that's so it is within meshes, so we're also going to make use of that. Of course, we're going to only use the channel for the red. So if we were to just simply combine this into the Alpha for the lub, we can see that it by default is going to give us the one value. And that's exactly what we need to get the default color as is. We're now going to be able to connect this to the base color, and we should get ourselves some nice results. Although we now need to set ourselves up with the metallic, the normal and roughness and also ambent occlusion, we're going to come back to this though in the next lesson. But in essence, that's Pretty much it in regards to the vertex color setup. We use alert value to control the blending between those two textures, and then we use vertex color to control where we want it to be applied. And yeah, that's pretty much it in regards to that. Yeah, we're going to continue on with this in the next lesson. Thank you so much for watching, and I'll see it in a bit. 13. Understanding Vertex Painting: Hello, and welcome back. I've run to creating standing environments in Unreal engined five, the boot camp for artists course. In the last lesson, we left ourselves off with a nice vertex color node and b setup for the material. And now we're going to continue on with the process, and actually, we'll need to set everything up in regards to the rest of the material. So for Sutters, We're going to continue on with the b setup, and we actually have a really nice type of a setup for it, but we'll need to, of course, make it suitable for PBR texture. So for us to do that, we're simply going to copy and paste this b on next to the rest of the area. So whenever we hit Control C, and then if we were to hover our mouse over the area where we want to paste it in, then we can click Control B. And it'll paste within the area where we have our mouse covered. So we're going to just past it next to the metallic, next to normal, next to roughness and file next to med occlusion. We're going to leave out the metallic for now, we're just going to do the same thing as we did for the color for the normal. So we're going to simply connect them all up together. And I'm just looking how it looks like we want to make sure that these setups are placed in the same area, so the most would be at the top and the base would be at the very bottom. And I'm just making sure that this is the case. So in this particular area, we want to be switching them around. So I know that they are different ones because the one that's connected currently is the one that's being affecting the castle. And that's the one that we want it to be at the bottom. So we're going to make sure that they are actually placed like that, and there we go. I'm just going to switch them around, like so. So we'd have it more consistent. And now that we have it more consistent, we can go ahead and just simply do the same step that we did previously so and that's going to give us the right type of a choice. And actually. Instead of just doing it like this all the time, for us to simplify this because right now you can see that these nodes will be going all over the place. It's very hard to keep track of, and it'll look more like a spider web. So yeah, we're going to make use of a named reroute declaration node. So for sta we're going to simply drag out from the vertex color. So we're going to search for name, and we're going to add named reroute declaration node. It's a bit more advanced in regards to when we're making the materials, but this is very good for when we want to keep it order, more orderly type of a setup. So now we have this attached, and we can click F two to rename it, and that will give us a nice type of a setup, so we can call this vertex info or vertex alpha, something like that. So. Then the next time, we're going to just right click. We're going to search for vertex Alpha. Like so we can see that it's underneath named reroutes. We can click on it, and it's going to give us the output. The first one that we create always going to take input and output notes. The second one we create is going to only take the output. So We create this is the orgonal basically, and the one alternative, the ones that we create afterwards are going to be the outputs always. So that way, when we connect this through here, it essentially creates sort of a portal, a gateway through this entire thing. And this helps us keep it a bit more organized. At the same time, we can now probably just copy these entire sections and just replace it for the alpha. And that's exactly what we're going to do. We're going to copy this vertex alpha. We're going to paste it in, and we're going to apply it onto all of these Lp values slips. So this will give us nice results. Just like that. Final, this is the final piece, we're just going to make sure that we combine the roughness now values, so once we have them combined, we're going to basically get them into the areas for the material. This goes into the normal material value like so. This is the normal alert value. This is going to be the roughness value. Let's go ahead and connect this to roughness, just like that. So. And finally, we have a dclusion as well as metallic. And because this is metallic for the castle alternative that we want it to be is going to be moss. Moss is, of course, going to be non metallic. I'm just going to click one, click and hold one and tap on a screen to get a simple float value that'll give us zero value. And then I'm just going to connect them to metallic for B, and the mass value which is zero, going to connect it to the A. And this way, I'm can connect them to metallic, so and it's going to give us the right result. Opposite on the opposite end we have ambit occlusion. Ambit occlusion, by default, when it's set as a color one, complete white color. It's going to give us just a normal type of an outcome. When it's starting to darken up, then going to get more depth information in regards to when the light is being shining onto an object. So in a way, it helps us with depth. But for this case, the castle does not have any depth, but we are also just happy to have a moss information, which we're going to make use. We're going to connect this to the Alpha, A, sorry to A for the lb, And then as for the B, since we don't have anything, we're going to hold one, we're going to tapo screen, and we're going to change this value to one, since it's going this way, going to give us a nice neutral white color for amber occlusion. That's not going to mess up our information, and it's going to nicely help us with the most itself. So, we're going to combine this to the ambentclusion, like so. And yeah, once we're done with this, we can go ahead and test it out. We're going to clear control and S to save it out. I'm also looking at top left corner to make sure it applies it, which it does. So that's pretty nice. And this way, we should have ourselves a nice setup of going to close this down, actually, going to make sure that we are within lit mode like so, so we could see the castle itself. Now we can talk a little bit more about in goertic painting. Oh, yeah, vertex painting. In order to make use of it, top left hand corner, if we were to change the selection mode to be changed to mesh paint. Like, so, we're going to have ourselves a bunch of options, and we're not going to have much of a difference right now because in order to see what color vertices it's using, what sort of items we can paint or not. We can click on Color V mode and change this to be for SATs RGB channels. By changing it to RGB channels on this castle part, we can see that the entire asset is set up as y. And Yeah, by default, it's going to be set as white, which is going to be using default type of material. We'll want to make use out of red channel only since that's what we set up basically for the material. And yeah, we're going to set it up to red. If we want to, we can set it up in the same way for green, blue for other materials as well. I recommend you to just stick in it with red for now. And yeah, we're going to select this castle piece. We're going to start clicking paint. And we can see that all of these vertices now can be painted on. We're going to come back to the painting itself in a second. For now though, I'm just going to make sure that my paint color is set as black, which, as you can see, secondary color, the race color is set as black. And to switch them around, we can just click on this button over here or alternatively, we can click on X. By clicking X, we switch them around, and you can see them switching around like so. By default, it should be white and black, and we can make sure that we have the first color set as black this way. When we start painting it, we are going to get this sort of a result. And actually, we're painting all of the colors at the moment. I just realize that we're going to scroll down and we're just going to make sure that only channels that arctic ton is going to be red. This is a way we don't affect any other channels, even though we don't have any information in regards to connecting them, we still want to see how it looks like only for this red channel. In case, we want to in the future, like, for example, add additional best practice to not add any information in regards to the rest of the channels. So yeah, Keeping it as red is going to be doing well. Once we paint out this sort of information, we can go back to the normal color view mode by just switching over color view, like so, and we can see that it starts painting in detail just like that. So right, we're getting something, but it's still not quite there. And first things first, we need to talk about how this paint is being applied. So the way the paint is being applied onto the castle itself is actually kind of interesting. If we were to go onto wireframe mode from lit to wire frame, you can see that these, although the walls are somewhat plain, they still have a lot of vertices. So whenever we are doing texture painting, we need to make sure that we have enough vertices for the detail because each one of these vertices are going to help us with in regards to texturing color information. So you can see these over here are highlighted, each one of those dots, if I were to go back onto the lit mode, we can still see those dots being highlighted. And each one of those dots, if I were to make my brush super small, So we can change up the brush size, by the way over in this corner over here. We're going to come back to it in a bit. But once I start painting this in, you can see, I'm not painting anywhere except for this dot over here. The moment I start going to the upper dot. You can see I start painting it in as well, but I cannot go, for example, in between these dots, I can I can click x to go back to the white paint, and I can just remove it like so, but there's nothing in between these values over here. So if I were to make my brush super small like so, I cannot paint anything out in between those values. I can only do color information in those areas where the vertices are, and then they're going to have a nice transition in between. So for example, if I were to make this just a little bit type of additional alpha, if I were to look at a red channel like so. So it's only barely highlighted. You can see the type of mask is being applied. It gives us a nice transition, but essentially, this is what it is. This is the type of a mask that it's using to portray our texture information from the moss. Yeah, that's how it works in regards to the vertex painting. We're going to actually set ourselves up with some nice painted results in the next lesson. So yeah thank you so much for watching, and I'm just going to go back out of the red channel like so. And yeah, I'll see in a bit. 14. Moss Height Blend Controls: Welcome back on to creating studying environments in real ng pipe the boot camp for artists course. In the last lesson, we left ourselves off by getting some basic vertex painting and introducing ourselves to the concept itself. Now we're going to continue on and make sure that we have it set up properly. So for cars, we need to make sure that the scale of the moss is a bit better in this particular case. We're actually going to go back and find locate the texture that we were working on. This is going to be this one of year, Castle Parts Mt. We're going to go ahead and open it up, go back onto the LPs and everything that we created before. And yeah, we're going to set ourselves up with some simple scale in regards to the overall setup. So I'm going to move everything back. Go to then add texture coordinates. Let's go ahead and click, search for coordinates. Texture coordinates. There you go. Let's go ahead and add this up. We're going to hold tap screen to get multiply. We're going to hold S, tap on the screen. We're going to call this one most scale, so. We're going to now combine both of them just like that. And we're going to start combining it onto the UVs itself. So let's go ahead and do that. And I'm thinking whether or not we want to set up this type of note, we might make use of it. And actually, sorry about that. Let me just click control. I just realized that was combining it into the castle itself, which obviously we don't want to do. We just want to make sure we keep it onto the mots only. And yeah, we might as well create similar to this named re route. So let's go ahead and right click, search for name rear route. This time, we're going to add new name rear route declaration node. We're going to call this one moss scale. So we're going to add it up onto here and give us the right result. And for this particular case, I actually just want to move it off to the side. So this time, we're going to search for most scale and add it on top. I'm also going to change up the most scale, default value to one, so we can change it back later. Actually, I'm going to change it to two since I know it's going to be too large by default. Might as well fix that right away. Go to control C Control V next to the metallic. Actually I realized that metallic does not have a mass value. Let's move downwards. We're going to change this up to a normal map lex. So we're going to change this up to a I think it was a roughness value. Yep, it was okay. Then finally, ambit declusion let's change that up as well. Go to clear control and S, see how that looks like. Let's wait it out for it to compile. Like so. I'm going to go back and see how it looks like it's still a little bit too large. So I'm actually going to sorry, I'm going to put it up to the side, like so. I'm going to go back onto the most scale and change the default value to something like five, even eight. Something like that. I think that's going to be much much better in regards to the overall set up. So there we go. We've got to sell a nice way of working with the most itself. Now, what about the overall it information, for example. By default, this type of setup looks quite nice. But as you can see, the way it links up with the rest of the texture just blends in kind of a soft type of a blend way. So we want to be able to have more control overall in regards to that? So for us to do that, we're actually going to make use of the hight information and we're going to locate the vertex color over here. So this is the vertex color. We're going to click and we're going to search for overlay blend overlay. So this is what we're looking for, to be able to make use out of it. And then we're just going to simply combine them links and add it onto the vertex Alpha. So this way, we're going to get to sell some really nice result. So yeah, vertex color goes into the base, and the height value is going to go into the blend value like this. We're going to connect everything onto the vertex Alpha. We're going to save it out, and then we're going to see how it looks like. And actually, I just realized I made a bit of a mistake, which I'm going to talk about it in a bit. But you can see this is how it's going to look like right now. And actually, I just realize that we might need to have more strength in gas height information or actually. I think it's quite right. I was thinking that maybe we can have a multiply regaortexure sample for the height value, which, in some cases it's needed. So it would be pretty much similar to what we have over here. But for this particular case, I don't think it's needed. I think we're going to leave it as is. The only thing that we need though is to make sure that most scale matches up. So let's go ahead and add mo scale. I'm going to hit control C. To go down all the way down, like so. Go to hit Control V. Face this into the UVs. So and it control and S to save it out. Now we can go ahead and close it down, and this is what we should get ourselves with. So as you can see here, some of the areas, some of the bits are seen being seen through, which is looking quite nice. Although now they to look at it, we might need to fix that up a little bit. Yeah, I think we're going to go ahead and go back onto the height map. We need to make sure that this has more contrast, basically, which is actually quite easy to do. We're going to right click, we're going to search for contrast. There are a couple of versions, but we want a cheap contrast because it's only black and white image. We're going to apply this into. As for the contrast itself, we're going to just click and hold S, tap on a screen. We're going to tap in Ms contrast. So and add this onto the value. I think we can just set it up at default value of one, so, add this onto the blend. It control an S, save it out, and see how it looks like. It should by default, give us the same result. But now we can go into the material for this castle. So I'm going to select the tower itself, going to go into the materials bottom right hand corner. Happens, we have a couple of options to work with. So for cards scale. We can change up the scale, however we want it to be. Actually, we're going to go into seven for value, and I think that looks quite nice. Now, what we also need to do is the contrast. So by increasing this, we are able to blend it in in regards to it being sharper. By lowering it, we're able to have it, as you can see, blend it in so. So we can make use of it in order to have a nicer type of transition. Of course, the most control is going to be with the paint itself. So we're going to work on in regards to that. Yeah, I think we'll need to spend one more lesson in gosites because we also need to make use out of the vertex colors and make sure that they match more in regards to the color of the grass that's on the ground and terrain. So yeah, we're going to continue on with Inergosites in the next lesson. Thank you so much for watching, and I'll see in a bit. 15. Vertex Painting Castle Ruins: Welcome back ever into creating studying environments in Unreal G five, the boot camp for artists course. In the last lesson, we left ourselves off with setting up the moss material that we're able to make use out of it and set ourselves up with vertex painting. So now we can actually go into the vertex painting itself and make use of it too, get ourselves some nice. Overgrowing moss. Actually, before doing that, what I'd like us to do is go into the moss itself by double click on it. We have a moss. And you can see that it doesn't quite look right in regards to the color next to the rocks. We need to make sure that it looks a bit better in regards to that. So for us to fix that, we're going to double click on a base color, and we're going to open up the texture itself, and then within the bottom right hand corner. Whenever we want to fix up the texture for, let's say, a moss or for just texture in general, we have adjustment tab over here. So make sure we have this opened up. We have brightness, we have saturation. We have all sorts of things to make use of, and I'm actually just going to set it up so I could see the texture next to it. So we can, for example, make it a bit darker. And yeah, by just making use of of these by playing around, we have a lot of control in how we want it to set up. And I'm actually just going to darken it up a little bit. So I think that's going to look quite nice. Maybe lower down saturation, perhaps. Yeah, saturation seems to do the trick. So yeah, a lower down the brightness to a value of 0.9 and saturation to point in as well, and that seems to look much nicer. Although now, I can see that the scale of the material is a bit a bit different. I'm actually going to go into moss the material itself. Going to actually get into the material instance, like so and increase the scale. I increase it. I'm still looking making sure that it looks quite nice. If we're actually going to go increase it to something like 42, this would look like. Maybe something like that actually might look a bit better in regards to the scale. Honestly, more or less down to a personal preference, how you wanted to set it up. Maybe I even try 64 64 is way too much. So yeah, 32 seems to do the trick, and it's looking quite nice, actually. I quite like that. Okay. So going back to this, we're going to go ahead and make sure that we are within the mesh paint mode. We're going to go ahead and click on select, select this material, only this mesh itself right now. We're going to click on Paint. And then we're going to start painting it around. Starts, we have controls for the brush. We have size strength fall off. So the size is self explanatory. It controls the size of a brush. The brush size, it always depends on the scale of a mesh. So for example, if I were to try to paint out this is going to have this brush. But if I were to select this mesh and click on this, you can see it slightly changes the scale. If it was a bit larger in regards to the overall setup, it would be a bit different as well. So that slightly changes up in regards to the scale of a mesh. Okay. Then strength. This is how fast it basically changes up the mask itself. I'm going to go ahead and go to a red channel or actually, I'm going to leave it as it is with only the red channel ticked on. I'm going to go ahead and leave it as is because it's easier to see. So we have strength set to something like super low. We're able to click and hold, and then see it gradually coming up like so. So we're able to blend in some masks quite nicely like this. Alternatively, we can set it to one and click x to invert this paint color and just kind of cut off this mass completely or click X. We will start adding black mask and just kind of straight up add all this type of mask. Fall off is quite nice as well. I'm actually going to change this strength back to 0.5. Fall off helps us with in regards to transition. I'm going to just delete some of this. So with zero fall off, what I'll do is basically it'll give us as sharp as edges as possible, like you can see over here. Although it looks like there's some bits growing now over here with some interesting transitions, you can see that there's not much of a mass transition in regards to that. With follo off setting set to one, we have much nicer type of edges when we're brushing it off. So really depends on the preference in regards to what kind of mask you're trying to get. But I recommend you for most to set it up some to value of 0.4. It usually gives us a nice type of result also. It is being affected by the size of the brush. So for a smaller brush, you might want to have a larger fall off. There is that. Okay. So now that we have the bases covered for the vertex painting, we can go ahead and start painting them up. So we're going to have some bottom pieces painted off, like so. We're going to have some pieces over here, for example, on a castle, and it looks really bizarre to the way we're painting. So for example, if we're not starting painting on the edges of this mesh, we're going to start moving the camera weights. So make sure that you start brushing it off on the side and I might even to help me with the shadows go on to unlit mode. And that's quite useful as well, sometimes when painting with such areas. We want some areas in here. Also, in regards to the mesh itself, I mentioned it before a little bit. We have a lot of vertices. When you're painting when you're using vertex painting, just make sure you have enough vertices on your mesh. Doing that, don't be afraid to add a bit more in regards to that. And you should be fine overall. So I'm just adding some bits over here, maybe make the size of a brush a bit smaller, as well, add some bits on the edge, like so maybe some of a year. Just by doing that, small detail in corners and whatnot, for the legs, we are able to break off the shape completely and get some really, really nice results in my opinion, so there is that. And yeah, I think that looks quite right. We can add also next to the line, for example, as well. If we want to texture multiple objects at once, we can totally do so. We can go back onto the selection mode, have this selected while holding shift. I'm going to select this line head, for example, this piece, and this over here, and now we can go back on to paint, and this will allow us to paint it all at once. So in some cases, when we want to do it all at once, we can totally do so just like that. And for example, if we want to the texture not to go all the way to just a complete mass, we also have options to change paint colors. So right now, it's set to white and black. As you can see if we open it up, we have value over here and we have the value number over here. So if we were to change something like 0.3, It's always just going to go down to this value if you were to click. So it's always going to be, as you can see, semi transparent type, and some of the bricks are a little bit more seen through. So that's an option you might want to consider when working with vertex painting. Most of the time, though, I just set it up to white and black and then just kind of blending in regards to using just the strength value. And that seems to be doing quite well. And yeah, we're just going to make use out of it and just break off the shapes, get some nice results over on the side, like so. And sometimes don't be afraid to be tapping out a little bit as well, multiple clicks, instead of just clicking on a holding, that sometimes gives some nice control over the overall setup clicks. So I think that's going to look quite right? Just like that, I want to have some bits over here, perhaps. Maybe some over here. A little bit over here. And some perhaps over here. I'm not going to spend too much time, take as much time as you'd like to be honest. Personally, I quite like this process, but I don't want to spend too much time in regards to this particular task at the moment, since we still have a lot of to cover. It's still our second level that we're setting up. But yeah, as you can see, looking from a distance, it looks way better in regards to the overall set up. So, yeah, that's going to be it in regards to the vertex painting. That's how you get some nice transitions, for example, from the grass, you match up the color with the texture of the moss, for example, and you get really nice type of setup. And I hope you enjoyed the video. I hope you enjoyed a lesson. And then the next one, we're going to continue on with other techniques. So yeah, thank you so much for watching, and I'll see you in a bit. 16. Physics Based Object Scattering in Unreal Engine 5: Hello, and welcome back everyone to creating studying environments in Unreal engine five, the boot camp for artist course. In the last lesson, we left it off by setting ourselves up with a vertex painting or our castle. And now we're going to continue on with this. And this time, it's going to be a rather short comparatively shorter type of setup. We're going to get ourselves a physics based type of scattering for the rocks. You can see that some of the rocks already been scattered around. They actually been placed by hand and I just duplicated them around just to kind of get a nice type of a setup for terrain. Okay. But we want to make it a little bit nicer in regards to the overall setup. So we're going to make use of physics based type of scattering. And the way we're going to do it is actually we're going to enable physics fold the rock. And I think if we were to go back onto our assets blending folder, we're going to go onto assets folder. We have a couple of assets to work with. So the rock, for example, let's go ahead and grab this and drop it into the sceal links. So, If we were to simply make use out of it, nothing will happen because we need to well, if we were to hit play, we can see that nothing happens. It still floats in the air. We need to set it up as a physics object, but we cannot set it up as a physics object right away. If we were to search within the detailed stab per rock with the rock selected, We can see that we cannot simulate physics. The reason being is that this firstly needs to have a sort of a collision that will help us create physics. And for us to do that, we're going to go into the static mesh itself. We're going to double click. We can see that if we were to maximize this, we can preview the collision. So I'm going to click on show. Go to click on simple collision, we see that there's no collision. We only have complex collision. Complex collision is basically the mesh itself. So it's not going to be used within the physics type of a set up. We need to make sure we set up simple collision. For us to do that. We're going to actually I'm going to click on simple collision, going to keep it on so we could see what it looks like. Go to then go onto collision itself, and we have options to create a simplified collision. If we were to just select the largest one, I think in this case, is going to be okay. We can make some variables with smaller ones, but I'm going to just add 26 D OP simplified collision, and it's going to give me this result, which in some cases, it might be right. But in other cases, we might want to grab a bit of a better type of collider. So the alternative version to this is to actually generate it using autocvex collision. Were to click on it. We're going to get ourselves a menu at the bottom right hand corner as a lot of options. Well, not a lot. It has free options, I count for when we want to add more for example, detail within our mesh. So if we have an arc wave, for example, we'd want to generate a sort of an arc within the mesh. I'm going to explain it a little bit more in detail in a bit. For now, though, we can just simply click Apply and see how it looks like, and you can see that it generates this sort of a collision. It might be a bit. Harder to see in this particular case because it's so close to the mesh, but we can see the green box being applied all over the rock. And in this particular case, that's exactly what we need. That's all we need to make use of it. We can go ahead and exit this, and now we can simulate physics by clicking on this button over here. And now if we were to hit y, we can see that the rock actually goes down and falls off lakes. So and it's raver easy and simple set, but we, of course, need to fix up some things. First things, first, we got to check how it behaves in regards to collisions. And yeah, when we're simulating physics, we've got to make sure that the other objects that we're trying to collide it with also has collision colliders. So we can see within the level, if we were to click Show, we can go ahead and click on collision. We can see that this mesh in particular has already a collision setup. So it's already nicely placed for the terrain. It has a collision on this area over here. Although you can see that this collision does not have an area over here that would allow us to place objects within it. So if I were to, for example, hit play, we can see that it's actually just going to sit or actually float at the top, like so. Actually having a collisions visualized like this is super useful whenever we're playing around with them. And whenever we're finished, we can simply go back on to show and just use default ones. If we were to click on it, we're going to just simply get a nice setup. So like the usual type of setup where we don't see the collisions. And yeah, going back to the collisions, generated collision itself, I'm actually just going to go ahead and generate one wagon. I'm going to turn off this and go back onto the static mesh. And yeah, going back to this generator, if, for example, we have a lot of holes like in this over year, if we were to hit apply, we can see that it does not generate the nices of the mesh. So for example, this hole over year, we probably want to have it a bit more flatter. So this is going to be affected by the hole vertices and hole count. And whole precision is actually just how close the vertices that are generated with the collision, how close they are going to be next to the mesh itself. So, for example, you see some of the vertices are too close to the mesh itself. Some of the vertices are floating outside a little bit. Usually, I keep the whole precision as is because increasing this will increase the computation speed. But for now though, we're going to just increase whole count, which we're going to increase the amount of holes it perceives it detects within a mesh, if we were to change it to something like 30 and hit Apply. It starts a bit longer process in this case, but you can see that it fixes up this area over here. It tries to pick up some of those holes in this section as well. So in this case, I prefer to actually keep it to a bit of a lower value, maybe 15 is going to do the trick. I'm just worried that this needs a bit more in regards to the setup in regards to this hole over here. So maybe something like 22, And that looks quite alright. And then in regards to the maxol vertices, we can see that sometimes we want to increase them and sometimes we want to lower them, but increasing them would give you essentially more complex type of a collider. And I think in this particular case, we're going to lower this down to 14. And yeah, I think that's going to be right. It looks a bit messy, but when we're using it, it's actually more than enough, We're not going to have any holes here or next to, for example, the wheels. But we just want to make sure that the overall shape is going to be quite right. And once we're happy with that, we can, for example, have a couple of rocks and apply it onto this area. So if I were to make them smaller, like so, we can set them all up. If we were to hold old, we can have them duplicated a couple of times, like so. Just like that. So we have some of them right above this wagon over here, and I might even duplicate it one more time, actually. I think that's going to be quite okay? Yeah, I think that's going to be quite okay. I'm going to hold duplicated a couple more times there you go. We're going to have a bunch of rocks. I'm going to make sure that all of them are being selected. So I'm going to hold shift and just simply re select them all after the duplication. Just like that. Like so. And now, once we hit play, we're going to see that these rocks fall into the wagon really nicely, and they look quite nice within the scene. But the thing is that once we hit escape, it's going to disappear. So what do we do about that? Well, first of all, we're going to switch the play mode to be simulated. We're going to click on these free dots over here. We're going to simulate this entire setting, like so. So we're still within our editor, but it's going to be simulated. Even now, if we were to click stop simulation, it's still going to go back to the usual, like so. But what we can do is once we click simulate, like so. We can now go ahead and have the selection as is. So we still have our selection, as you can see over here. We can now click K, which will save the state of all the actors. So by clicking K, it saves the actors as they are. And once we stop simulating it, we can see that they're actually stayed within the same position. So that is how you save out your assets basically after the simulation after they're being fallen down by physics. This is pretty nice. And yeah, one thing that I'd like to the final thing that I'd like to mention is once we have a lot of rocks, for example, and you want them to, for example, fall down nicely. So I'm just going to duplicate them like this, make some of them smaller, some of them larger, like so. To have them fall over like this. Okay, so that looks reasonable. I'm going to grab all six of them like so. And now, if you want to have a bit of a nicer simulation, if I were to simulate it, because the last time we selected simulate, we can just use this this pattern over here. This is the last type of a played setup. And actually, right now, I need to I just copied the rock that has no simulation, so I need to go on to simulate Again, Simulate physics and click on this. Going to hit play, and it's going to give us this result. So you can see, they don't behave like heavy objects. They need to be a bit heavier. I'm actually going to put them a bit closer to the edge. But they don't look like they're all that heavy. We need to fix that. We're going to search for physics. Again, we're going to go back on to simulate physics. This time, we're going to manually tell what kind of mass it has. By default, it should have it based on the scale of an object. That really is hard to say depending on time of object you have. So obviously, a stone would be heavier than a bag of feathers, for example, right? So if I were to change this 100-1 thousand, now, if I were to simulate, we can see them instead of just bouncing around, they're actually falling down more behaving like rocks. So that's much, much better in regards to that. We can see them acting out a little bit better. We can now hit K and save out their state. We can go stop simulation, and where you got ourselves the entire set up done. And if for example, we don't want them to move ever again from these positions, with all of them selected, I'm still having them selection off the rocks. I can click off simulate physics now I'm going to hit play and they're still going to be within the same position, and they're not going to be changed out. And also, after we're done with simulation, we, of course, can move them around, for example, in any shape way of form, or for example, I don't really like this rock. I'm going to just simply delete it, and we're going to get this sort of a result. So that's pretty much it in regards to physics based scattering for objects to blend in the a little bit better with the props. In the next lesson, we're going to continue on with material set. We're going to blend in some of those rocks to be better in regards to how they look like. We see some really hard edges over here, for example, we're going to go ahead and fix those. Yeah, that's going to be it in regards to that. Thank you so much for watching, and I'll see you in a bit. 17. Setting up Object to Nearest Surface Masking: Hello, and welcome back everyone to creating standing environments and re langonFive the boot camp for Artist course. In the last lesson, we left ourselves off by creating some of the collision based type of way to scatter our props. Now we're going to continue on in regards to blending in some of those assets and making sure that they blend in a little bit more with ing to the environment itself. So for us to do that, we're going to actually just grab one of the dones. I think we can just grab the darker ones. We're going to make use out of them this time. We're going to first of all, make sure that it's not within the simulation mode, so let's make sure that we stop the simulation. We're also going to close down the detail tab or physics. I'm going to click on this x over here. And then I'm going to scroll down until we get to the material tab, we're going to just click on content browser. We're going to find the instance. So this is the Forest boulder instance. Let's go ahead and open it up. We'll want to open up its parent. And by default, this was originally a Quixil type of material, which, if you check the Quizil materials, they actually are very complex to give you more freedom for control and whatnot. But I've broken this down a little bit to make it a bit easier to control. Although the next step that I'm going to show would pretty much work within Quisil itself. So yeah, Going back to this, we're going to be setting ourselves up with a sort of divering effect. So for us to do that, we're going to make use out of our pasity mask. But before doing that, I'd like us to go over the basics on what we're going to use a type of mask, which will affect that divering effect. So for us to do that, we're going to basically right click, and we're going to search for absolute world position. Actually, we're just going to search for world position, so we're going to open this up and you go absolute world position. Then we're going to drag this out. The next one we're going to search for is going to be distance to nearest Sorry distance, nearest surface. There you go. That's the one we're looking for. This is going to help us get a really nice and basic type of mass depending on where or how close the object is in regards to the other objects. So now I'm going as an example, going to add this onto a missive color like so. And if I were to make use of it, we'll see what it does. I'm going to click Control on S to show how it looks like at the moment. We can see that this is what we're going to get. And the reason being is because multiple objects are actually making use out of this. So it might be actually better for me to make a copy out of this and just work with the stone for the moment. I'm going to undo the step, going to hit control at S. I'm going to weigh it out a little bit. Go to find cliff material that we have over here. So that's going to be cliff material. There you go, going to make a copy out of this Control C, Control V. Going to go back onto the forest boulder instance, like so. And for the Cliff material O two, I'm going to just drag it into the parent just like that. This time, it'll be a bit more isolated and controlled type of workspace. We're going to open up Cliff material zero two. And now we should have the same position for the nodes that we had. This time, we're just going to add it onto a missive color, like so, going to hit controlling S. And yeah, this is the type of mass that we're going to have. It's going to be like this. If we get it closer to the edge of our the rain, we can see it being affected. But although you can see that the mesh itself is currently white as well. The reason for it is because the mesh also creates that sort of a distance to near surface field. So we need to make sure we disable that within the area itself within the object itself. So, for us to do that, we're actually going to make this window a bit smaller again. I might as well close this down for now. And yeah, let's go ahead and select the rock. We're going to search for light. So we should give us a lighting tab. There you go, lighting, And we should be able to find distance lighting, which I think it might be better if we were to just search for distance field lighting. Distance field. There you go. So we've got an option that says effect distance field lighting. That's the one we want to turn off. Once we turn it off, we're going to get this sort of a result, which is going to make it glow because we set it up with emission. But once we get closer to another objects, and whatnot, we can see that the objects themselves are getting sort of a line next to it next to the objects that were Touching basically. But that's exactly what we need to use in order to get a nice type of way to blend it in. Of course, this is only a mass that's being applied onto emission. So we need to make sure that we change it up basically. We're going to go back onto the cliff material, the one that we set it up, and now we're going to start working on this type of a setup. Yeah, first things first, we're going to make sure that we have a nice set up out of a mass for regards to the controls. We're going to move this out of the way. Tip this off, so we only have absolute world position and distiners surface. The first control that we want to make use of is going to be setting ourselves up with a nice control for an offset. We're going to clip, we're going to get ourselves a subtract type of a node. Add this to A, and we're going to hold as tap on the screen, create ourselves an offset, L and add this to value of B. Now, the offset itself, by controlling this, we'll be able to control the edge overall. We'll come back to that in a bit. But now though we'll want to clamp down the value, that will allow us to control well it eases off in regards to the mask itself. We're going to drag this from subtract, we're going to search clamp. We're going to grab or elves clamp. What clam does is basically going to clam down our entire value of a mask to a value 0-1 by default. The entire imagine entire information of a mass zero being black and one being white. This clamps it down to these values exactly. And if there is a value that goes over the whiteness, for example, when you saw the glowinss out of our emissive color, this lamp would just make it so it would just be white, but it wouldn't make it so it would glow because whenever it was going over the value, it was causing the glowinss itself. In this particular qusethough we don't want it to be just clamped down to a value of one. We want to allow us to control the distance itself. We're going to hold S. We're going to tap on a screen for a parameter, we're going to just create a distance parameter like so. We're going to attach it to a clamp value like so, and there we go. We've got to sell a basic type of a setup for a nice mass control. The only thing that we are missing perhaps would be in a way to control the strength of the transition itself. And I think the best way for us to do that is going to be if we click social power. We're going to make use out of a power, and that's going to just help us to amplify the mask, transition and whatnot and give us a nice type of contract. So yeah, we're going to hold S. We're going to tip in contrast. So we're going to just add it onto the exponent, and there we go. We got to sell a nice mask. Next thing that we want to do is make sure that we are able to make use opacity mask. We're going to select the material itself. And this case, instead of changing it to be translucent, which would allow us to get semi transparency arm material. We want to make sure that we still contain the quality of a PBR material itself. All the light bounds, all the shininess, we still want to contain that. And the best way to do that is if we were to use mast type of opacity, we're able to make use it. Get good results out of our material. But the downside of opacity mask is that it only allows us to either have material or item of material. So either make it visible or invisible. The way to work around this is actually by making use of a div temporal and a leasing. So if we were to scroll, drag this out from power and set up div diver temporal AA. There you go. Okay. We can make use of it and set it up with a opacity mask. Now, once we have set so, we should get ourselves a nice setup. I'm actually just going to change the contrast value to one as a default. And I think that's going to be quite okay. Let's go ahead and click control on S and see how this looks like. Oh, actually, I forgot to set up the parameters for distance and one. Let me just go ahead and change this up offset. Let's keep it as zero distance and keep it as one. There you go. Okay. Contrast, we can change it to two, and we can see it starting to dissolve on itself, the type of result that we're getting. If we were to change it to five, you can see the type of result that we're getting. You can see the type of delivering that's creating. It basically allows us to create a sort of a transition, even though we're using opacity mask. So that's pretty useful in regards to that. And sometimes it's a bad type of an effect because it looks like a sort of a noise. In other cases where we want to blend in the values, it actually works really well. So I'm going to go ahead and save out this material, going to close it down, going to select this stone over here. Yeah, I'm not sure why it's not selecting the stone itself. But we can already see the effects of it being on stones. Some of them are blending in or trying to blend in, but not in the right kind of way. We need to make sure that we fix them all up, which I think we're going to do in the next lesson. So yeah, I think that's going to be it from this lesson. Thank you so much for watching. And I'll see in a bit. 18. Blending Objects Using Masking Techniques: Well, and welcome back everyone to creating studying environments in engine five, the bootcamp for artist course. In the last lesson, we lost ourselves off with almost set up material that allows us to blend in some of those rocks a little bit better. And we're getting these kind of results. So obviously, we need to fix it first. And yeah, first things first, we'll notice that we can't exactly touch them at the moment. The reason being is that because of the delivering effect. Rocks now are way harder to touch. So we can ever try to, for example, switch up a lighting mode, so maybe changing it to lit, it wouldn't work, but changing it to wireframe, for example, would allow us to touch it back and select back onto an object. So that's one of the ways to do it. Another way to just use the top right hand corner outliner and just select the rocks themselves as well. That will also work. And Yeah, by just doing that, we're able to set everything up. And I think yeah, the first thing that we're going to do is firstly, we're just going to grab all the mossy forest boulders. So within the search part, I'm just going to search for boulder, like so, and we should get all the boulders just like so. Going to grab every single one of them, like so. And this way, we can just simply turn off the distance surface. So let's go ahead and search for distance light. There you go. We're just going to make sure that everything is disabled for all of these, like so. So now you can see that rocks are back to normal, the ones that we apply the mesh onto still. Find it difficult to select them, though. Tough that's going to be an issue. But now, if we look at it, next to the base of the mesh, we can see that it has started doing the delivering effect. So now we can go ahead and actually make es out of this to grab ourselves a nice type of setup out of a material. We have all the controls already set up. So let's go ahead and do that. I'm just going to quickly navigate onto the forest boulder instance material instance, like so. I' going to put it up to the side. I'm going to go back onto the lit mode, like so. And we can play around with the setting. So contrast, distance, and offset. We're going to start off with the offset first and see what it does. And yeah, the offset, what it'll essentially do is it'll increase it all over this type of align as you can see over here. So this is working pretty well, like so. And we only want it to be going off from the ground just a little bit. So it almost looks like an invisible. We need to play around with distance and contrast first before continuing on with the step. So yeah, next step is the the contrast will allow us to right now not do much because we need to play around with the distance value, and there we go. We're going to have some control in regards to the distance itself. It starts making the whole rock disappear, actually, which is not what we want to do. Instead, we want to make sure that the contrast maybe is a bit lower. I'm just going to lower down the contrast quite a bit, how that would behave. Yeah, delivering effect works quite nice, but we have an issue in regards to the distance, no working out properly, it doesn't allow us to have a control over the blending. So I'm just going to check what it is about the material. I'm going to go real quick into material itself, see what it is. And I actually I made a quick mistake in regards to that. Let me just go ahead and fix that up. We basically need to make sure that we use the same distance material, the same value for it to divide the overall value afterwards. So let me just go ahead and do that real quick, going to right click, search for divide, add it up onto our materials like that. And what will basically do is not only will it clamp down the value, it will also divide the overall type of a mask, which, in turn, should give us a nice type of transition in between. So let me just go ahead and save this out. Let's see how this would look like now. Okay. Now that's saved out, let's go ahead and check how it looks like. Now we can go. You can see how once you start increasing the value, it gives us a nice type of transition in between. The gradient in between the values is going to be much much better. We also have a contrast as well. The contrast will raise it to the top in regards to the mask and you can see it basically cutting off the type of texture. By just using these values, we're able to have a really nice type of control. We're going to first of all, reset the values, we're going to fix up the offset, so it would be just off the ground a little bit like so. For the distance, we're going to want to increase it to the point where from a distance, it looks a bit more blended in. So in this particular case, it really depends on a type of a distance, you're planning to have your camera, for example, set up and whatnot, you're planning to view the environment. So for example, all the way from here, you might want to increase it a little bit more like so, so it looks like really nicely blending in to the grass itself, as you can see here. But once you start going a bit closer, you can see it just looks invisible, doesn't look quite nice. If you're planning to have closer upshots, just make sure to not increase this value too much. But I think having a value something like 15 will give us a really nice kind of result. Again, it's really dependent on the type of scene you're doing. As for the contrast itself, we usually want to keep it somewhat low, but also increasing it to a value two, I think keeping the default is going to be good enough for us because we obviously want to have a more organic type of a look within this particular case. Upside of this type of a setup is that we can blend in our material of terrain, for example, with assets in a much more organic kind of way. The downside of it though is that it actually makes it invisible. We can see through the objects like so, and this might not be something that should expect or want, but surprisingly enough, when you're making games and whatnot, when you're making environments and scenes, It's all about tricking the eye. So it's all about making sure we're making use out of all the tricks, all the bills we have at our disposal in order to make the environment more believable. And in some cases, that's what you've got to do in order to make use of your assets to the full extent. And yeah, We could probably set up the same type of material for the other rocks as well. I think we can actually do that right away. We might as well do so. I'm just going to go ahead and select the rock like so. I'm going to simply double click on the material instance for it, so we can just replace the parent material. I'm actually going to go ahead and go back on to this. Um, material instance that has differing effect already. We're going to right click, hit copy, go back onto the rock material. We're going to make sure we change this material to be the one that has delivering effect. So we're going to paste in all the values, and this should give us the same type of a result. And we probably want to take it off from the card as well, but maybe not. Maybe it might look right. No. I reckon we need to take off the light mask as well. So let me just go ahead and search for it and distance Feel lighting. There you go. Let me just go ahead and take that off so rocks aren't going to be blending in with the cart, as well. And yeah, that's going to be it from this lesson. Thank you so much for watching. And then in the next lesson, we're going to be able to start off. 19. Creating Terrain Using Height Map Data: Welcome back and go on to creating studying environments in Unreal Engine five, the Bootcamp for artist course. In the last lesson, we've pretty much finished off with this scene. So now let's continue on and move on to the next one. We're going to go back onto the bootcamp folder, going to open up the third level, which is going to be landscape setup. Let's go ahead and open this up. And the purpose of this is going to be to create a large terrain or a scene. Before we actually get into it, I'd like to firstly mention in regards to the camera movement. Because the scene is so large, if you were to move around, you can see how slow it's going to be. So I'd like us to change that up and it will help us to just move around the entire environment. For Cyte, we're going to go onto the top right hand corner. We're going to click on this camera button over here, and we're going to change the camera multiplier to something like six. This way, you're able to move around a little bit better. But now, the next step that I'd like us to do is going to be make sure that we have control over the camera. So by simply moving around, when we're moving around, we can use our mouse wheel to, for example, scroll up and speed up the camera like so. So you'll notice that whilst I'm moving, I'm scrolling up my mouse wheel and that increases the speed. Alternatively, it's going to slow down the speed if we are scrolling or mouse down like so. So by just using this type of method, we're able to have a really nice control over this entire viewpoint type of a movement, and it works in unison with the camera speed multiplier. So this way, it just gives us a really nice type of control over this large type of scenery. So anyway, moving on, in order to create now a new scene, what we're going to do is we're going to go to the top left hand corner. We're going to change the selection mode, change it from selection mode, onto the landscape mode. By changing this, we're going to get ourselves a preset landscape mode. And it should look something like this. This is going to give us a real nice type of a diagram, how big our terrain is going to look like, how it's going to look like generated and whatnot. And before doing that, we're going to go over the settings that we're going to need. And yeah, we have firstly, new landscape setup. So if we were to want to create a fresh landscape, we could use create new landscape tab, and this will allow us to firstly make a couple of options. We're going to make sure that enable edit layers is died on. Within a langer five, it helps us to overlay multiple terrain information with this setting on, and we're able to basically have more control over the terrain building itself. The afterwards, we have material. We can assign a material later on, so we can leave this as is. Location, rotation, and scale will allow you to basically control the initial starting point of your setup. I wouldn't touch the scale itself because the best way to do it is actually by using number of components. By changing number components, for example, four by four, we can see that we made it in half, and this way, we're able to get the right kind of dimensions. This also works in unison with the section size. Section size, however, if we were to change to let's say seven by seven, you can see it getting it smaller. But the way it actually works is actually when we want to have less density within our environment, this is being used to get less basically of the squares. You can see within those larger squares, there are smaller squares. And because now it's set by seven x seven, we can see that we get this type of a grid. So we get less dense of a mesh this way. And if I were to set it back to 63 by 63, we can see that each one of those large component terrain squares has 63 by 63 squares, and that's pretty much how it works in regards to that. We can also set up the amount of sections per component a large square. But I recommend you leaving it as this, yeah, that's pretty much it in regards to creating a terrain. But in this particular case, instead of just creating one from scratch, I have some textures for the height map prepared, and we're going to go all the way to the top to import from file. We're going to make sure we use height map file for this, which right now it's set up within texture folder. However, if we look at the height maps over here, we see that they are set up within the unreal engine itself. So if we were to right click and click on Show in Explorer, we're going to be opened up with a explorer view of the project. So you can see that this mountain height map is set up as dot U asset. So all the unreal engine items that get imported into the scene get automatically converted into this type of a file. So if we want to make use out of something that's within the setup itself, we can see that to actually make use out of it, it has to be either Rw or PNG format. So basically, to make use out of it, we'll need to export this out first, and I'll show you how to do that. So in the future, it's easy to go back and forth from the project, for example, and make use of the assets from within. Yeah, let's go ahead and make use of the hype Map one. We're going to right click. We're going to go ahead and use asset actions and click Export. This way we can then select where we want this to be. I'm just going to set it up within the prep folder over here. I'm going to go ahead and save this out. Now, once we have a look at it, we're going to see that it's going to be saved out within a folder. We can go ahead and access it now with this button over here and click making sure that we select this image. You can see that it's been saved out as PNG. Format of an image is really reliant on the type of a format, it's been imported into the project as. If it was imported as a different type of a format, it would be a different image. So yeah, we're going to go ahead and click open to make sure that we have this imported into the scene. We can see there is a bit of a exclamation mark that it's not a gray scale because we've been exported out from the Unreal engine. However, what we're looking for is that it's set up within the same bit rate. With the height maps, what it is is basically in order to get the right kind of values, in order to get accurate data, we need to make sure that it's not been compressed in any sort of way otherwise. We're not going to get this kind of detail out of our terrain. And if you were to just use a simple image, they're going to be quite blocky when you're importing terrain into it. It's easy to get the terrain values, the height maps online. And usually when you're finding one, you need to or generating one for that matter. You need to make sure that you have a 16 bit rate type of an image saved out as that'll give you the best result. So yeah, once we have it, so we can see that this is the type of a hologram that we're going to get. It's only giving us small bumps, so let's go ahead and fix that up first. And it's a little bit too big for us. So let's go ahead and go all the way down to make sure we have the right type of settings. Yeah, for Ss, we're going to flip around switch up the number of components or actually, looking at the quote size, it's set up to the maximum amount, which would give us a really nice resolution. But for the sake autorial I recommend you keeping this down to a lower amount. As otherwise, it might be quite a bit performance v. Let's go ahead and take it as 63 by 63 as that is a default nice type of a setup. And for the component amount, I think we can make use out of eight by eight type of a setup, but even though this is still too large, so I'm just thinking if it be better to make use of something like four by four maybe. Okay. Go ahead and see how this would look like. It looks like something like this. I'm going to just drag it out from the bottom section, so be nicely placed within the world. And then the next thing that we need to do is just check the overall resolution. So right now, it's also relied in regards to the quartz or the size of the setup. This is a four k image, actually. So actually, this first one is eight k even. So we could totally set that up, but that would be, again, quite performance heavy. I'm just going to set it up as 2047 by 2047. I'm just going to increase those values. But just by looking at this terrain, normally, what I tend to do is the terrain itself would be just big enough for the entire setup. So I would tend to just keep it as is in regards to the scale. And as you can see, by increasing number of components, we're going to get ourselves higher value. But to increase the resolution afterwards, what I tend to do is just increase the amount of components, so we can see the type of value that we want to get. And if you worked with textures before you'd notice that it works in a bit of a different way as in with the textures, you'd have 10204, 2048 type of resolutions. But with this high data, you can see that it goes in a bit of an odd type of a way. And in order to offset that, what I'm going to do is firstly, I'm just going to remember the values of 16 by 16 component, and this is going to be 2017 by 2017. I'm going to go back on to the four by four components, and I'm going to change this to 2017 by 2017, like going to change these two eight by eight type of resolution or actually four by four even, and this is going to give us this type of a value, going to make sure that it sits nicely on the side. And actually, for this particular case, I think it might be best to just ail this entire project down, so it would fit nicely within our platform. I usually tend to just work with the components itself. But as you can see, by changing the components, we also get lower overall resolution. So we got to make sure we consider that when we're setting ourselves up with the hide MAP data. And by increasing the resolution, for example, 16 by 16, you see that the resolution is going to be way higher. And actually, I'm going to go ahead and make use of this. Going to make sure that this is set 16 by 16 with 63 by 63 quarts. And in this particular case, again, I don't recommend you to do this in your usual projects, but right now, I'm just going to go ahead and lower it down to something like 20 by 20, like so, and that's going to give us the nice results. And one thing before we move on is that the Z value is actually going to allow us to create some nice high data. So you can see over here that we're getting some really nice results already because this is different proportions in regards to the self in regards to the width and length. So I also personally like to make use of of this in order to, for example, expand this to something like 200, something like that. You can see how much it gets affected. You can see that the values of the mountains get way higher up. And that's actually really good for us when we're working with our settings because we're able to expand the mountains themselves. We don't need to worry about it being, for example, too flat, because we can control the flattens later on. Just make sure it's going to be high enough, and I recommend you to even extend this a little bit even if you wanted to. And yeah, once you're done with that, all we got to do is just click import. And that way, once it starts importing, you're going to get yourself a really nice type of a result. So give it a second to load it up, and there we go. Also, just for the sake of it, I'm going to go back onto selection mode, select this entire landscape and bring it upwards. So just so we could see how it looks like. This is set up with Pit extended or exaggerated the height value. I'm going to go back to landscape mode, and we're going to go into this a little bit further in the next lesson. But for now though, you should know that by going back to the managed tab on the top left hand corner, We have layer stab now. So layer stab will allow us to make use of the overall sculpting. If I were to actually go onto the sculpt mode, you can see that we are able to make use out of it over here and change this value to something like 0.8 0.5, something of the sort. And this way we'll get a much nicer type of transition. So maybe 0.8 will be quite nice. I think that looks quite nice. I'm going to go ahead and keep it as this. But yeah, that's pretty much it in regards to how to generate yourself really nice type of rain. So that's going to be it from this lesson. Thank you so much for watching. And I'll see in a bit. Oh. 20. Sculpting Out Terrain: Hello, and welcome back. Ever on to creating standing environments in Unreal ngedFive the boot camp or artist course. It last lesson, we left ourselves off by creating a nice high detailed rain, and now we're going to make use out of it in order to continue building up on it and actually setting it up nicely within the scene. So first things, if you're having some performance issues, just make sure to change up your scalability. Again, if you're not seeing the scalability button over here, just go to settings and change the scalability from this menu over here. I'm going to change it to Epic back to Epic by default. It's epic, so it's not going to be shown up again. I think that's going to be much better. Now, to continue on, we're going to make use of the scope tab itself. We're going to make sure we selected. And now, instead of just heading additional value over here, we're going to make a new layer. So we're going to right click on a layer, we're going to create ourselves a new layer on top of it. Make sure that goes on top of it because that's the way they go, they stack one with another. We're going to actually double click on the previous one, and we're going to rename this one as height data, like so. And we can just keep it Layer one as the original one, the one that we just created. I'm going to go ahead and lock the height data like so, going to go on to Layer one, and I'm going to start explaining in regards to the rain sculpting brushes that we have. And in regards to the brushes, the main ones that you're going to need is going to be scalp, smooth, arrays, and flattened. These are actually all four in line. These are the best ones to be used out of whenever we want to just sculpt out the terrain. So first of all, sculpt, what it is, is basically, it allows you to heighten up the value data if I were to go all the way to the back. It allows you to heighten up the value data. If you click and hold, you can see it going upwards, like so. It also allows you to lower down by holding shift. You can do the invert effect type of a setup and you can see it going down and we can create a sort of a grader, like so. Of course, it doesn't look quite nice. So I'm just going to click Control and Z to undo it. But we have some options in regards to its detailed tab. So once we have the tool selected, we have some options underneath it. And we have brush type, for example, we can change the Alpha. Usually, I just keep the same circle of brush and make use out of that. The brush follo off will allow us to control the fall off itself, which is going to be linked up with the brush settings tab brush fall off setting. This is what allows us to create a nicely favored effect. So for example, now, if we start creating sort of a bump with a brush follow set like that, it's going to be really smooth. And we can also have different follows as well as for example, this tip will allow us to create some interesting shapes itself, like so as you can see over here. And this brush fall off setting is going to be a simple some of a multiplier for these settings. I usually keep it again as the default one as I prefer to work with this. Then moving on in regards to the size, we can control the size itself, but I also like to use shortcuts of brackets. The square brackets that we have on our keyboard next to enter button allows us to make it larger, make it smaller like so. It's really useful to know that because when you're working with a scale, and general, you don't want to just go back in and out of the settings. And what's neat about it is that once we create some sort of sculpting, we can use this lier data to just lower this down, for example, to a value of 0.1, and you can see it pretty much disappearing. If you set it to zero, it's going to be disappearing, and if we set it to a negative value, it's actually going to invert the data of the thing. So the way the sculpting works in the terrain setting is that it makes use out of the height map data. What this means is basically it just is a sort of up and down push. So what you'll notice with the rains, you kind of have sort of caves going inwards and whatnot. What you would need to do in that particular case is actually, I will show you right away, what you need to do in order to create a cave. You'd need to go back to the managed section. You need to select the go on to select tool. You'd need to just select the areas that you don't want to or you'd want the cave to be For example, this part of the year, you'd want to select it, and then you just click Delete and just delete it like so. This way, you're able to grab make yourself a hole and you'd be able to create some mesh, some rocks around it and just have sort of additional mesh, either using an external program or just using some Quixel, for example, assets to create. But as you create basically a nice cave going inwards, and I'm going to actually click Control Z in regards to that. So we could go back onto the sculpting mode, and I could continue on with explanation itself. So let's say you're working on this layer. I'm going to make sure that we see what we're doing by making sure that capacity is set to one for this layer. And let's say we just have too much detail in regards to this. So race brush will basically erase the entire hide map data information from the area itself. But, of course, it's only deleting it from this layer over here. It's not going to touch of layers. So what we can do is basically we can nicely blend in with the original data over here and kind of just take out this information. And this way, we can create some nice and interesting shapes. So, and that's pretty much it in regards to that. But the sculting brush, we don't mainly use this brush to create any of the additional data. Instead, what we do is we determine the height value of a certain position. So for example, we want to have a sort of a platform over here. And we just want to have an ideal height of that's actually a little bit too high. We have to hold shift and lower it is down. And yeah, this is going to be the type of height that we want, and we just wanted to make sure that it connects nicely with the rest. So the next step is going to be flattened tool. The flattened tool will basically be like 80% of the time you're going to be using that because this is the one that allows you to nicely blend in the values. Once you start clicking and holding, you can see that it starts flattening this area. Going to take the center point off your cursor and it's just going to apply it to the rest of the section. This way, by clicking a holding starting from this center point, I can just drag it out and build myself a really nice type of a setup. And yeah, by just doing that, we're able to get ourselves a really nice type of a look. And then alternatively, we can just remove some of that from here, for example. We can just flatten this bit out as well. We can see how nice it works or alternatively, we can use a race brush like we did before and just kind of get this nice detail inwards just like that, just to kind of blend in the values. So, yeah, this is pretty much it in regards to the flattened brush. We also have flattened mode, by the way, which allows us to, for example, only make sure that we raise the parts in here. So, for example, if I were to click and hold with the race flattened mode selected, it's not going to go into the mountain. It's not going to lower this mountain itself, it's just going to raise specific parts. And I think that's what I'm going to use, and the thing that I actually forgot to mention is going to be tool strength. This tool strength controls how fast your brush is being applied. So by setting it to a value of 0.5, you'll see that it's much much faster in regards to the overall setting. And yeah, I'm going to make use of it in order to create a really nice type of a ridge, sort of a platform overall in this area. And then I'm going to use a race and just kind of erase this area. And if we were to have usually with in regards to the brush fall off, mix them up, depending on a brush scale, if we were to have it like so we can just make ourselves a real nice type of a ridge just like that. The one thing in regards to this moving brush, think of it more as in regards to just blurring out the detail or taking it off. So for example, on here, if I want to just kind of take off this height map and removing, let's say some additional detail, I can click and hold and just kind of lead in this value, and you can see it kind of takes off all the detail, and it sort of it works in a way that's like an eraser, but in a much softer kind of way while keeping the overall shape. So it's sometimes nice, but in this particular case, I don't see much of a use, but usually it's also something that I use as well. At this point, I'm going to go ahead and make use out of these brushes to just create a sort of a platform all the way around, like so. And in regards to the ridge itself, we've got to make sure that we don't make it complete vertical kind of cliffs. With the height type of a terrain, we don't make completely vertical cliffs. We always keep a bit of a slope. The main reason for it is, as you can see those squares over here, they're going to be affecting the texture, let's say the oral texture when we're applying them. And if it's a complete type of a drop, let's say I make use of a flatten tool with a brush fall off set to zero. And if I were to make it like so you can see this entire thing get stretched out this is, it's going to look like with the texture stem cells as well. So just make sure to avoid that. If you want to completely stiff steep type of hills, I recommend you to just using some rock overlay assets and whatnot to just add it on the side as well. Is going to be it in regards to that. Now, in order to add some additional noise, some additional type of functions or detail for the terrain, you'll need to make use of either erosion or hydro or even noise brushes. I'm going to show you the erosion because this is the one that I use mainly for the set up. But basically, if you click on hold, you can see what it does, and it kind of brushes everything off. And actually, I'm just going to click Control t because I forgot to take off the brush follow or increase the brush follow up. I'm just going to set it to 2.8 leg. So yeah, by clicking a holding, we're able to add some really nice type of noise data onto our settings. Like so. And I usually just go around the edges and crevices, and you can see how it creates a really, really nice type of a setup. And yeah, that's pretty much it in regards to how we set ourselves up with the data. We're going to continue on with more advanced tools in the next lesson. So thank you so much for watching. And I'll see in a bit. 21. Advanced Sculpting Tools: Hello, and welcome back. I go on to creating setting environments and Unreal engine pipe the BootmF art discourse. In the last lesson, we learn how to make use out of the sculpting brushes in order to further add detail onto our terrain. And this is not quite there just yet in regards to the terrain itself. We need to make sure it looks a little bit better in regards to that. So we're going to make use of a couple of other options. First of all, we're going to go back onto the sculpt brush, and we're going to make use out of a brush type. We talked a little bit in regards to the brush type, but we kept ourselves mainly to the simpler circular brush. We can make use of it to just create a simple stamp brushes, for example, or we can make use out of it in order to add noise, for example, to our setup. So we're going to talk about it, how to make use out of it in a bit. Now, let's go into the brush type and set ourselves up with a simple stamp. So yeah, basically, Alpha brush stamp is going to work similarly to the brush texture, the brush tile, in which it's going to make use a Alpha, and you'll be able to add it onto your terrain. The only difference is that the Alpha brush, it starts orientating yourself with a brush itself in the same area, whereas for the tile mask, it will basically create a sort of a tile based out of the high texture itself. And that's really good for when we're using a noise, but for this particular case, we're going to use low resolution folder to stamp out some detail. So let's go back onto the Alpha brush and we're going to just simply drag and drop one of the brushes set up over here onto the texture. They're basically the same ones that we're using in regards to the detail itself. The difference being is that the low resolution is a smaller resolution overall because using eight k resolution four k resolution, you know, It's a little bit too much in regards to the alpha stamps themselves. So just make sure to use less resolution in regards to that. I'm using 10204. If I hover over, you can see the dimensions in the list itself. So yeah, I'm just going to click and hold and drag it on to the asset itself. And now the way we make use out of it is first of all, we make brush a bit larger, then we click and hold and we start making use out of it. And it might be a bit easier to find out how it works in regards to that. If I were to actually click off the high data, it'll turn everything back to the way it was. So now if we were to click and hold, we can see that the mountain is being emerging from itself. So it's a really nice type of a setup for whenever we want to add some extra detail. If I were to click and hold, you can see that the mountain itself is being reapplied multiple times. And that's pretty much it in regards to how to make use out of it. We're going to also make sure that we have a direction properly set up. So for example, if I were to move it diagonally across, you can see that mountain is actually facing sideways. If I move it up and down, you can see that the mountain is going to be set up in a different direction. That's it in regards to that. And yeah, that's going to be what we're going to use now, we're going to go back onto applying high data. I'm actually going to go back onto the layer one. We're not going to create additional layers for this creating too many layers can also be problematic in regards to the overall setup. The reason being is that when we create too many layers, it's going to give us on performance issues. So over using layers is also not good. I'm going to make this brush just a bit larger, like so brush size. I think to make it even larger. For example, right now, it's maximum, to make it even larger. We can manually type in the value. So, for example, one of 10,000. I can do so. And I'm just going to click and hold. Sorry, one thing that I forgot to mention. The brush size is also going to cause performance issues in regard to that. The larger brush is going to affect a lot more vertices overall. So just keep in mind while working with that. So yeah, just make sure to not make the brush size too large and only do it when necessary. For example, this is a nice setup, and maybe I want a bit of a mountain over here. I'm actually going to make the brush smaller. Something like this. And that's how we break it up. Now, obviously, this is way too high up, and we probably don't want this to be the case. We're going to go onto a race brush, and we're going to take off the tool strength of something very small 0.1, I'd say, we can now make use of it in order to just casually take down this overall setup and just bring down the value and yeah just having it like so, it's going to look quite nice overall. And maybe going to go back onto the sculpt brush and make it even smaller and just kind of want a bit of a bump over here, actually. And that doesn't seem to go. The tool strength, by the way, is being applied throughout all the tools. Just make sure to keep going back and forth with them. Something like this. Perhaps we do the trick. Also going to use race brush a little bit in regards to making it smaller and just kind of blending in the values a little bit better in regards to the overall stage in regards to the overall area. And I think Yeah, that's going to be quite right. For example, this actually is a bit too much. I'm going to take down the tool strength 20.1. Us kind of start blending in the values a little bit better. So it doesn't look like it's just, you know, straight up flat from the get go. And yeah, that's pretty much it in regards to that. The other thing that we can do is actually make use out of the terrain values itself. It's actually probably my most fun tool to make use out of. There's something called copy tool. If we were to click on it and select it, we're going to get this sort of a box on our screen or our terrain. I'm going to click W. It works as just any object in a real engine where you can click, WE and r to move between the Gizmos and make use out of it in order to position it accordingly. We're going to get a simple frames. I'm now going to click R and just expand this entire box leg going to set it up with a partial amount of a terrain. Make sure not to set it up with too much of terrain. Otherwise, it's going to be a bit more performance by. But we can make use of it in order to copy, for example, this part over here. And we just got to make sure that the section that we want to copy is inside of the box. Once we're done with that, we're just going to click on the button that says copy data to Gizmo. Let's go ahead and click on it, and we'll see that we get this sort of result. So I'm just wondering why that is the case. Maybe we just need to lower it down copy data, and that still seems to be giving me this. And I'm just wondering why that is the case. You can see there's a grad top. It's completely flat. This should not be the case. I'm going to make it a bit higher. There you go. So yeah, I think, yeah the reason being for that we need to go back onto the hight data like so. Going to lower this down now. And now, when we copy the data to Gizmo, we're going to get this sort of result. This is exactly what we want when we're setting it up. We're now going to go back onto layer one. Move it accordingly. You can see there's a hologram of this entire data set up for us. So we can actually make use out of it in order to get a really nice type of a setup. I'm just wondering how we can make use of it in this particular case. For example, if I wanted to be attaching it to sideways, and just have it split off, we can do so by rotating it around. That's exactly what we're going to do. I'm just going to move it off to the side position this angle a little bit just like that. That's going to be really nice for us. We can now make use out of it. So in a similar way to the scalp brush, we are going to have ourselves a small brush that we can make use out of. And I is going to start applying this data on top of it. But once we click and hold and drag it around, Letm just going to check the tool strength is a little bit too small. I'm going to set it up to a bit of a higher value. 0.8. Once we click and hold and drag it around, we should get ourselves a nice type of value, but I actually forgot to change it back to Layer one. Make sure that we are within layer one and now, once we click on it, we should get ourselves a nice setup, but it's not giving us that. Probab probably because the high data is, as you can see, over here at the top, we need to make sure we reattach it. So it's a bit finicky when we are exaggerating the high value data, for example, but that's the way it is. And I'm just going to make this a little bit higher in regards to this area over here, going to enable back to high data like so. And I'm going to go back on to height layer one. Then we're just going to start clicking on holding and dragging it, and we should we should be getting some really nice type of mountains. This is a little bit too high, so I'm going to go ahead and lower this down. Usually, when you're not overly extending this, you'd get a real nice type of a setup, so we could overlay this, but this is a sort of work around in regards to that. And, but just clicking on holding, you can see that this value for a ridge gets applied nicely, and we can just move it out a little bit upwards. Again, and just kind of get ourselves a really nice type of way to work with the setup. So for example, this maybe is a little bit too high up. I'm going to click Control Z. And another thing that we can do is we can scale it down, basically. We can scale out this entire box, we can get a total different value. We can even squish this around so or actually, it's going to be squished based on a local data, so we can squish it and get ourselves a nice type of a thinner line. So Again, this is a little bit too high. I'm going to go ahead and click W, move this a little bit down like so. Now, I'm just going to try to There you go. Now I'm going to start adding it up nicely onto the side, like so. And just like that, we're able to get ourselves some really nice type of values over here. And yeah, that's pretty much it in regards to that. I might get a bit of additional type of detail by just moving up, so having a bit of extra control. Just like that, so we're able to blend in some real nice height values and get ourselves some interesting shapes out of this entire environment. So that's going to be in regards to that. Maybe I just want to make it a le bit more in regards to this area over here. Like, so. Maybe I'll want to lower down the brush strength as well to something like 0.2. And then we're able to nicely blend in the values a little bit better just like that. And Yeah, that's going to be it in regards to that. It's a really nice type of a tool. Really fun to make use of, and you're able to get a really interesting results so you can see how it blends in with the entire terrain. This perhaps area is a little bit too much. I'm going to go ahead and make use of the eraser tool with a small tool strength to kind of lower this down a little bit, to make it less thick, let's say. He goes something like this. And this is going to look really nice overall. And, that's going to be it from this lesson. Thank you so much for watching. And I'll see in a bit. 22. Setting Up Landscape Material Attribut: Okay. Hello, and welcome back everyone to creating standing environments in Unreal engine five. The boot camp for artist course. We crafted a little bit of a platform for terrain, and we're pretty much finished in regards to setting ourselves up with a nice system. Although in this particular case, I'd like to just slightly erase this bit over here, just kind of latten it down a little bit. There you go. All right. So going back to what I was saying in regards to rain, we're pretty much done in regards to this sculpting it out. Now we need to go ahead and create ourselves an actual type of material for this to be used on. So, let's go ahead and go onto our landscape setup. There is a textures folder. We're going to have grass and rock textures. So these are the ones that we're going to make use of in regards to setting ourselves up with a material. But before setting ourselves up with a material textures, we need to make sure we create the material itself. We've been a landscape folder itself. We're going to right click. We're going to create a simple material. We can call this one landscape. Matt, like so. Out of it, right away, we're going to click, create a material instance, like so. And now we're just going to apply this on to our terrain. I'm just going to make sure that we go back on the selection mode. We're going to select the material, the landscape itself that is. We're going to go all the way down until we find ourselves landscape material to bottom right hand corner. We're going to click and hold and drag it onto the setup, so to get this sort of result. Of course, because there's nothing there yet, we're going to get a complete black type of an outcome. But now, we're going to start setting ourselves up with the material. We're going to go onto the material tab, just like that, make this to maximize the window. And first things first that we need to do is going to create a layer blend for landscape. We're going to just simply right click, we're going to search for landscape, and there's something called landscape layer blend. That's the one that we're going to make use out of. But as you can see, the output for it is just one type of a node. To make use out of it and set it up for PBL materials with all the roughness, normal maps, and whatnot. We need to make sure we set this up as a material attribute because this is what a landscape material uses. We're going to click on this material type of settings, and we're going to make sure that we take on this something called material attributes. Let's go ahead within the detail steps and enable this like so. This is going to transfer all the information into a single type of an input, and we can right away connect this, but you can see that this is going to give us an error right now because we don't have anything within this layer. So, of course, we need to set ourselves up with the textures and everything and whatnot. So I'm actually just going to minimize this window for now, make this a little bit smaller, like so, track it upwards, not all the way up, so make it full screen. So, so I could just see the content browser. Actually, instead of doing that, I'll show you another way of doing it. We can click within the window itself. We can click control and space. You get ourselves the window itself, and that might be a little bit easier in regards to that. I prefer to often use just a dot one contra browser myself since I'm quite used to it, but you might find it a bit easier in regards to setting this up. I'm going to go onto the grass, going to hold shift, select all of them, drag and drop. Into world, select one section, put it off to the side. So. Now, the second one, control space, go back onto the rocks. Select all of them, drag it out like so. And for now, I'm not going to worry about the order or anything of the sort. I'm just going to make sure that everything is just in line, like so wouldn't be overlapping. And this will help us to just move on with the progression a little bit easier. We're going to continue on with this. Sure we are setting it up nicely. Again, we're not worried about the order itself too much. But we just need to make sure that it is set up nicely in regards to the textures. Also, just real quick. I'm going to double click and open ourselves up with the material itself. I'm just going to make sure that they are set up both to normal maps. Sometimes going to cancel that, going to just close down the stab. Sometimes normal maps don't get compressed to the normal map. You can see this one over here. So I just have a tendency to check them even though I know that they are set up as normal maps. Otherwise, they don't get properly blended in and we sometimes get errors out of that. Okay. So now that we have it set up like this. We need to first of all, convert this entire material information into material attribute. The way we're going to do it is by right clicking, we're going to search for material attribute layers, and we're going to get ourselves make material attributes. Let's go ahead and do that. We're then afterwards going to connect everything into this. Ambit declusion goes into here, base color goes into here, the height value. We're going to leave it as this. We're actually going to sc put it all the way to the bottom so it wouldn't get in our way. This is going to be set up separately. The normal map is going to be connected like so, and we're just attaching everything. This is the final one is roughness. Yes, it is. Just a quick reminder, bottom left hand corner is where I'm looking when I'm checking for their names. So you can see here, it says roughness. That's exactly what I'm looking at. And there we go. We have everything connected. We'll be able to attach that, and I'm just going to select this click Control C, Control B, however over my mouse, bit lower and just paste that in. This height information is going to be at the very bottom, and I'm just going to set up the order like so. So again, height information at the very bottom, everything else does not really matter. Okay. So now I'm in inclusion. Let's go ahead and connect it all base color. Let's go ahead and add this in a normal map to normal map. And finally, roughness value. Let's go ahead and connect it up as well. So now, how do we make sure we blend it in? Well, going back to the layer blend, we'll see that once we selected, there is a layer element array elements that we can add manually. By clicking at element, we're going to create our cells new layer. And it's going to give us a new index to work with. By expanding this index, we can change up the name. So for example, first of all, we're going to change it to a rock. And then we have blend type. Blend type will allow us to blend in the weight type of information with one another, basically, we'll have more natural type of a set up out of textures. We're going to change this one to hide blending. There you go. So this is where the hide blending value will go. But for now, we can make use of the material attribute that we created for the rock. And we're going to attach it to the layer rock. Then the height value is going to be attached to the second one. And we're going to do the same thing for a second array, we're going to add element. So we have this layer blend selected. Adding a new element and opening up this index. This one we can call this so we're going to make sure that it's blended in with height. So we're going to get ourselves more natural type of a way to blend these two materials in. We can have as many materials as we want basically in regards to that. It works really nicely when we're setting it up. But one thing that you should know when creating this, you can have up to, say, if I remember correctly 12 materials, so it's a really high number. But once you get past four textures, what you need to do is you might get yourself an error in regards to adding new materials over here. So in case you're planning on having a lot more materials onto your terrain. Just make sure to go select your texture and change the sampler source from just a texture asset to shared warp. And we'd need to change shared warp to every single texture we'd have. This way, we'd be able to blend in more of these values. But because we don't have a lot of materials that we're using at the moment. We're just setting ourselves up with a basic one. It's going to be fine to just leave it as this. Once we're done with this, we're going to now go ahead and click Control and S to save it out, make sure that it's applied. So I'm going to wait for it to prepare all the shaders, like so, and we should get ourselves a nice type of alley. For now, I'm going to close this down to get back onto the terrain, going to end up going back to the landscape mode. And this time, we're going to make sure we are within the pain tab. We're going to also make use out of the same layer that we had previously, Layer one. That's going to be quite right. I recommend you just again, keeping the layer amount down to a minimum, and you can reuse the same ones that we use for sculpting to do the texturing work. Though, right now, we don't have anything. The layers, as you can see over here is empty. The reason being is that it needs to be refreshed. So for us to do that, I'm just going to real quick reattach this layer instance, and it doesn't seem to work. I'm going to attach the landscape material first and then attach the landscape material instance, and that should refresh the layers. Now you can see the rock and grass layer over here. So it's just a way of quickly updating it onto the terrain. And now, what we need to do is you can see none. We need to make sure that we actually give in weight properties first to the materials. So it's actually quite easy to do. We just click on this plus symbol over here. We're going to select weight blended layer normal. And then afterwards, it's going to automatically select the folder, a new folder next to the level scene, in which case, it's going to be a landscape set up folder. So it's going to create a new folder over here. And as we just leave it as is. We're going to click Save. And we're going to make sure we do the same for the second one as well, normal over here. Click Save, you can see it creates a layer landscape information. We still need to work on this because it's all over the place still. But it's a good starting point, and we can continue on with this in the next lesson. So that's going to be it for now. Thank you so much for watching, and I'll see in a bit. 23. Texturing Terrain: Welcome back everyone to creating standing environments in real engine five. The boot camp for art discourse. It allows lesson, we created ourselves up with a material attribute that we're able to make use of it within the landscape itself. But it's not actually quite done just yet. As you can see if we were to zoom in. The entire terrain has a very small type of material on it, and we need to make sure that it's being applied properly on a terrain. We're going to go ahead and fix that first. We're going to locate ourselves the material that we created. So, we're going to go back onto it. And yeah, first things first, we're going to set ourselves up with a proper scale. For, we're going to just right click. We're going to search for landscape. And it should give us one that says a landscape layer coordinates. Let's go ahead and make use out of it. This is the one that we use when we try to create different landscape sizes. So now we're going to hold, create a multiplier, multiply this by one another, hold Shap on the thing, call this one rock e, like so, and attach it to the multiply. And this way, we're able to get ourselves a real nice type of setup. By default, I prefer to have this value somewhat of a low value, so 0.001, and this will give you a real nice type of setup usually going to go ahead and attach it to every single rock piece, just like that. And this will give us nicer type of scaling results. And finally, we need to do the same thing for the bottom piece. I'm going to copy this entire selection, like so, going to go all the way down, hit Control V, and make sure that we reattach it. And actually, one thing I forgot to mention is the parameter itself. The parameter itself right now has a rock scale. We need to make sure we rename it. Otherwise, if we, for example, change it back to 0.1, We can go all the way up and see that this is changed to 0.1 as well. The reason being is when the parameter has matching name, it's actually going to be one and the same type of parameter. Although they look like two different nodes, they're going to be identical. They're going to be the same. So the moment you start changing one, the one is going to be changed. We can avoid this by changing the name off it. So grass scale. Now we can go ahead and change it 001. You can see the other one is not going to be affected, and I should have had it changed beforehand. 001, like so. So now we can go ahead and continue on with applying this to the UV scales, which is a rather simple project process that is. So let's not forget the high maps as well. So we're going to have ourselves a consistent value. Now if we were to click, I'm actually going to put it down like if we were to click Control and save it out, we're going to see a bit of an update in regards to the scale itself, so there you go. And it's looking much better for the rocks. Now, as for the steepness of the texture, as I said before, we need to make sure we avoid the steep kind of slope. As you can see over here, it starts stretching out over here. There are ways to avoid it with setting up like train plain projections and whatnot, but often it's best to try to make use out of the terrain in regards to just having an overall type of some hill areas and whatnot in regards to that. Basically not making two step of hills or if you are making steep hills, just cover it up with some additional cliffs and whatnot on the sides, and that would fix the issue. But in this particular case, it's going to be quite well enough. We're still not done with that. We have grass to consider. I'm actually just going to close this down for now. Going to add some grass, for example, at the very base over here. So the way we add the texture is if we were to go all the way down, we can select between layers. So it's going to work in a similar way to what we had with vertex coloring in regards to that, it's going to apply as sort of a mask for the vertex painting. But instead of just using the RGB just to four channels, it can use 12 channels for different types of setup, and it uses each one uses unique. Type of a weight paint information. So that means that we could have more layers with its own unique. You see, we have grass layer info. We have rock layer info, we can have lots of layer information for the weight painting, and that makes use of it too, just add in texture like so. We can hold shift to just kind of remove it as well, and right away, I can see that the grass itself is way too large. So because we set ourselves up with parameters, we can go into material instance. We can enable grass scale and rock scale, and I'm just going to change to grass scale since I don't like it, going to make it a bit smaller, maybe 0.4 or 0.6 even. Go ahead and see that. I'm going to keep it as 0.4. I'm just whenever I'm working with the term frame texture itself, my primary concern is how it's going to look like from a distance from the furthest point available of my initial idea. So for example, if I have, from a spaceship kind of setup, you know, we want to make sure that it looks quite nice by the texture having it repeat itself, or if were to real close. We can see that it might be a little bit too large. So there are ways to, for example, use distance blending in in regards to blend in multiple textures based on a distance. When we get close, you change up the scale. We're not going to go too much into detail in regards to that. We're just making sure that it looks quite nice from one type of area. Yes, I forgot to mention one more thing is that while painting, you can hold a shift to invert the process and just take it out. If we want to if we had multiple layers, we'd go select the double layer, for example, we can also we can select the rock. We can also add the information like this. Yeah, we're just going to make use of it to start painting it over real nice and easy to make use of it. We can change up to brush size, fall off and tool strength and just by combining all of these together, we're going to get ourselves some really nice and simple type of results. Let's say we want to have more control in regards to how it's blended in. We simply just don't want it to be tapping out, we want to blend it in nicely. We can make use of a target value, which enables you to get a very specific type of amount that you wanted to set it up to. So for example, this, if I were to set it 2.2, we can go ahead and just make use of it click and hold, and actually that needs to be a bit higher. I'll try with 0.5. You can see if I click and hold, it's only going to give us to this amount. It's not going to be completely covering up the rock. So that's quite nice for whenever we want to make use out of it. And we just need to have a perfect spot. So this looks like some grass is coming out and whatnot, and it's actually really nice when we need to have more control. So for example, closer to the bottom piece, we want the grass to be a bit more visible, like so next to this cliff areas as well, perhaps, not in this area, so I'm just going to go ahead and hold shift, remove it completely. And to remove it, we actually need to take this off and just go ahead and remove it like so. And yeah, that's the basics of the terrain in essence, that is how we can set ourselves up with some real nice type of setup for the terrain. I'm just going to go ahead and move around. And when we are working with terrains, we just go to make sure that we consider in regards to the height of a terrain, for example, in regards to how high the area is. So for example, closer to the peaks, we wouldn't want to have as much grass, we want to have a more rocky terrain. But in regards to the lower areas, we'd want to have plenty of grass, so we can just go ahead and just cover this up in patches of grass, like so, and that's going to give us some really nice results. So yeah, that's all there is to it in regards to the basic setup for the terrain. We can make use of it to grab ourselves a terrain setup. That's actually a little bit too high. Going to lower down the tool strength actually and just play around with values a little bit more. To make sure that we have maybe some extra patches over here. Maybe we can just break off the surface a little bit of these sections, photographs, and not going to spend too much time, but we're going to move on with the next lesson in which we're going to learn how to set ourselves up with the landscape and whatnot and make sure that we have some depth out of our terrain. So yeah, thank you so much for watching, and I'll see in a bit. 24. Height Fog Setup: Hello, welcome back. You've go on to creating studying environments in LNG five. The bootcamp for Artis course. In the last lesson, we'll so elves off by texturing over a terrain. And now we're going to continue moving on in regards to that, we're going to learn how to set ourselves up some height folks general fog and some of ways to basically make more depth out of a terrain. We're going to go back onto the boot camp type of a folder. We're going to move on to the number four. And actually, before doing that, I'm going to go ahead and go back to the selection mode, going to open this up, this map, going to make sure that this map is saved out. And now the next step that we're going to do is going to be once everything loads up. Let's just give it a second for it to load up. And this is what we're going to get. We're going to get ourselves a large scale type. And again, we're going to set up make use of this setup to add more death. So by default, you see that it looks nice bot flat at the same time. If we were to look at overall setup, it's not quite there just yet. So let's go ahead and fix that. So yeah, first things first hide fog and its use. To create a hide fog within a scene, we need to click on this button over here, search for hide fog. Exponential height folk. There you go. We're going to click and hold and drag it into the scene. So to create or selves a new fog system. By default, this scene does not have any hide folk, we can see the edge of the border. So usually within our levels, we had a nice transition with the background. The reason being is that the hide fog was already set up, and this type of scene has not got any hide folk. So let's go ahead and talk about it first. And, the hide folk, the way it works is, firstly, it is dependent on the height of the gizmo. So you can see it being going up and down within the scene. We also have control a bunch of controls on the bottom right hand corner. When we have the exponential height, folks elected, there is a lot of settings to that. So let's go over them first. Think by default, the color should be on most of the project should be something like this. It's going to be giving you an scattering color. But honestly, we're going to set it up as just pure black. The reason being is that we're going to make use of volumetric fog. By volumetric fog. What I mean is that usually the color is just being applied in regards to the depth of the scene, and the further you go away with the distance, the more of the color is going to be applied. So it's going to look quite okay in regards to that, but it's still not going to be quite there. We're going to set it up with the allometric fog, which will allow you to inherit the color of the sun, inherit the color of the sky itself to get more of a nicer type of a look. So for us to do that, we're going to go all the way down right off the bat. We're going to make sure that we have volumetric fog ticked on. After applying the volumetric fog, we need to make sure that it's set up within a project itself. We're going to go onto the top left hand corner onto edit tab. We're going to go onto project settings, and within the project settings, we're just going to look for fog. This should give us support sky atmosphere affecting height fog tick in other projects, this might be ticked off. So make sure to have this ticked on. If we're using a volumetric high fog, it's honestly best to keep the scattering color as black, as well as the scroll all the way down, the albedo value within a volumetric fog as white. So basically, we're just making sure that, also, let's not forget the directional scattering color to be black as well. This way, it's going to inherit the original colors within the scene itself. And now it's still quite a bit heavy in regards fog itself. So a few ways to control it. Other than just going it up and down is if we were to scroll all the way up, there is a fog height fall off. I really like the setup as we're able to have a really nice type of transition within our scene. So, for example, if we were to just scroll a bit to the left while holding it, clicking on holding, we're able to get ourselves a real nice type of setup. And just for the sake of this type of environment, because it's more of a cold type of environment, we're going to make it a bit more of a bluish tint. And actually, I'm going to increase the fog density. So if we want to increase the fog density to be going over the fog density threshold, we can just manually click in the values, and that's going to give us nicer results. Although this is not quite as this is a little bit too much in regards to that. I'm going to set it up to a value of 0.1. And then another thing that I want to do is actually make use of a start distance. Start distance functionality is really useful for whatever you don't want the fog to be quite as visible next to us. So let's go ahead and change that up. And if we were to change this to this is basically units, if we were to change it to something like 1,000, for example, that might give us a nicer result or actually instead of 1,000, let's go ahead and into two 10,000 or I'm just going to keep on adding zeros until I get this sort of a result. That's exactly what we want. So from a distance, it's going to have a bit of a fog. But as we get closer, it's going to look something like this. So it's already looking pretty nice. We just need to make sure that we have a bit of a control over the fog color itself. Fog and scattering color is going to be helpful in that regard, which is going to make it with a bit of a bluish tint. Something like this, perhaps even brighter. And that's going to give us some really nice type of results, although in this particular case, I think that the fog density is too much. So I'm actually going to lower this down that's a little bit too much. So something to this amount is going to be quite nice. Saturation perhaps. There you go. And I'm going to click G to get out from all of these type of icons, so we could see how it looks like within this type of a setup. So yeah, but just playing around, we're able to get a real nice type of a scene setup, which is pretty nice. Maybe I'm just make it a bit more stylized, a bit thicker at the bottom, like so. Then one thing that we need to do is we need to make sure that maximum fog opacity is perhaps a little bit lower to a value of 0.5. So it wouldn't just completely cover up this area in the front. And maybe I'll just make this even brighter like comping to this type of a value. There we go. So just by clicking on the landscape fog, we can go ahead and make it high and high, and you can see before and after, and just straightaway, it's going to look so much better in regards to that. It's going to give us more depth to the mountains as well, so that's quite nice. Let me just go ahead and purch the fog. And that's pretty much it in regards to that. It's a basic type of functionality, we're able to make use out of it to get some real nice depth in regards to the terrain. I recommend you using it, especially when working with larger scale type of projects to get more type of control in regards to the visual For example, when I'm closer to this mountain, you can see it being closer up, but as we go further down, it turns into bluish kind of a tint with the atmosphere. That's really, really nice in regards to that. And, yeah, in the next lesson, we're going to learn in regards to the fog in regards to the plane material. So that's going to be pretty fun. Thank you so much for watching, and I'll see in a bit. 25. Creating Fog Plane for UE5 Scenes: Welcome back everyone to creating studying environments in rengedFive the boot camp for artist course. In the last lesson, we left ourselves off by creating some extra death out of our environment by making use out of a height fog, and now we're going to continue on adding additional detail onto this setup and making sure that we use dumping called fog planes to make sure we set it up within the scene. We need to create a new material. Let's go ahead and do that. We're going to right click, create a material within a fog setup folder. We're going to call this one fog plane Mt So. And right off the bat, I'm just going to right click create material incense out of it, and I'm going to create a simple plane for this. So we're going to click on this pattern over here, go to shapes, create a plane, and just going to put it on the ground leg. So it's really tiny, so we got to make sure we make it larger. I'm going to go onto the detailed tab, bottom right hand corner. Going to make sure that this is locked in for the proportion. So we wouldn't have to change it across all of them. We can do it all at once. I'm going to change it to thousand and see if it's big enough, and I'm going to add another zero that's a little bit too big, so I'm just going to make it to a $5,000. I think that's going to be good enough for us. Actually, let's go ahead and make it to something like 3,000 perhaps or 4,000. There you go. 4,000 is just the right amount. Okay, so to make use out of it, we're going to first of all, just apply this onto our material instance onto the plane, like so, and this is going to be the result right now, we're just going to cut off the entire section for us. We're going to go onto the material itself. Now to make use out of it, we'll need to set ourselves up with a couple of settings first. And for that, we're going to make sure we go onto the material tab. We're going to change the material domain. If we were to make this a bit larger. We're going to change the blend mode from opaque. We're going to make sure it's set to translucent. So we'd have partial transparency within our plane. Then the next step that we need to do is we'll need to be able to control the color of the fog. We're going to hold free, and we're going to tap on the screen. We're actually going to attach this instead of the base color. We're going to attach this to the emissive color. The reason we're doing this is because we want to make sure we have control over how bright the fog is, for example, we're going to in a way, fake the lighting results onto this fog instead. Since this type of a material does not get affected by the lighting from the sun and whatnot, from the environment. So this allows us to quickly have more control over the entire fog setup. We're going to change this to be default kind of white. And actually, instead of white, we're going to set it up to a value of 0.5. So yeah, we're going to go onto the constant by clicking on the square over here. We're going to go onto the value, and we're going to set it up to 0.5. We can see it to be right in the middle over here, so it's going to be a real nice, good starting point. And just to make sure that we can use it within our material instance. We're going to right click and we're going to set this to a parameter, and we're going to call this color. So Then the next thing that we need to do is we need to set ourselves up with opacity. Capacity will allow us to basically control how transparent an object is. The thing that we need to do is we need to right click. We need to search for fade, and we're going to get ourselves depth fade. Depp will allow us to get a really nice type of control out of our setup. So I'm just going to make this connection onto opacity like so, and I'm going to click Control and S just to show you what it does. Go to just wait it out until we get to this setup. So Right away, we're going to get this sort of a look. It might not be quite as clear, but you can see there is a bit of a transition in our plane right now instead of it just being cutting off the terrain itself. It's a bit small at the moment, so we need to set up the controls. And for that, we're going to hold S, and we're going to tap on a screen. We're going to call this one opacity. So this will basically allow us to control the maximum opacity of the fog plane. So for example, if we were to have this set as one, the opacity is just going to end up being completely maximized type of opacity is going to be just this color. If we were to set it up to something like 0.5, let's say, and click Control S. Maximum that it's going to get onto, as you can see, is going to be just half of the capacity. So we're still going to somewhat see this kind of area, but it's going to start getting a bit better. We're going to control this later on, so we're just going to leave it as one. The next thing, the main thing that we need to control is the fade distance. This is going to allow us to get more clear transition in between here. So let's go ahead and fix that up. We're going to create a parameter for it, so we can control it from a material instance. Let's go ahead and create parameter by holding S like we did with apacity. This time, we can call this fade distance like so. We're going to attach this to the fade distance, and let's set up the base be like 1,000, like so. We're going to click Control and S, and we can see that it right away is going to help us out to get a nicer transition. So, This is the main thing for depth fade to create a nice fog plane. It's already looking much, much better, and we can have so much control with this, you create some real nice stylized environments within our theme in regards to the depth itself, but it's still not quite done just yet. If we have a look at it, once we start getting closer, we're going to get this sort of a bizarre result when we're passing through this plane. So it's although it's looking quite nice, if we want to just cross over this type of a setup, We need to make sure that it works really nice in regards to the camera itself. When it gets closer to the camera, it's going to fade out nicely. We're going to set ourselves up with another functionality with this opacity. We're going to right click. We're going to search for camera depth camera depth fade there you go. That's the one we're looking for. This is going to help us in regards to making sure that it fades out as close as we get to this plane. To apply the camera depth on to our opacity. We're just going to make use of a multiplier node. Let's hold M to grab our cells multiply node, and we're going to attach both of these together, like so, and we're going to then combine it onto rapacity. Of course, we need a couple of options to be able to control the camera that fade. We're going to hold S to create fade length for C. So actually, I'm just going to put in fade length. Like, so we're going to attach it to the fade length. We're going to then create a new parameter to call it fade offset. So, and reason I started off with the title with camera naming is that because they're going to be alphabetically ordered the parameters, they're going to be one next to achover. So that's going to be paps. We're going to now clear control and S and see how this works. Okay. Actually, I should have changed it up in regards to the parameters, but I think that's going to be quite right for now. And yeah, once we get closer, it should start disappearing, as you can see over here. Not quite working quite as well because we need to go onto our parameters. We're going to start playing around with the values for the length and offset. All the length, if we start increasing it, you can see that it starts disappearing as you can see over here. So it's quite nice to have it close to this kind of a value. 2000 for value is going to be quite nice. And the offset should give us a real nice ability to control how close and how far it is actually. So, but just using these two values together, we're able to get ourselves a real nice type of a setup. And actually, I'm just playing around with the values, making sure that it looks quite nice. And we just want to make sure that this transition is not quite as visible. I'm just going to increase this to a larger value actually and then start making this a little bit smaller perhaps. And yeah, there you go. That's perfect. The reason The thing that I'm trying to do with this particular thing is that I'm trying to make sure that as we get closer, it starts disappearing, and that's exactly what we want. So that's already looking pretty nice. And thing that we can do is we can go back onto the material itself. We can select it, and we can make sure that we enable it two sided, and we can click control and S to save it out. Final thing that we need to do is just make sure that we have some variation within this type of a fog. And the way we're going to do it is by adding texture onto the color. So let's go ahead and hold T and click on our material graph. We're going to change this texture sample to be a parolin noise. Go ahead and search for paroling mask lick. So with this, we'll be able to have a really nice type of a control. Let's go ahead and multiply this with a noise value. We're going to hold S tap on a screen, hold this noise. Multiplier. And by default, we can just leave it as one. We're going to attach this to the multiplier to the noise like so, and now we're going to hold and attach this with the color itself, like so. This where we're going to get ourselves a really nice type of a setup. The noise itself, we can control its scale with the UV coordinate. So let's go ahead and do that. We're going to create a texture coordinate like so. And attach it with a multiplier or a parameter for a scale. Just like that, we're going to leave it default of one. Although keeping it a zero is also an option, as you'll see in the bit, and there we go. We're going to click control and S to save it out. And we are pretty much ready in regards to setup for the fog itself. We're going to continue on with this though in the next lesson. So thank you so much for watching, and I'll see in a bit. 26. Fog Plane Setup for Mountains: Hello, and welcome back everyone to creating studying environments in Unreld Pi. The bootcamp for artist course. In the last lesson, we pretty much set ourselves up with a nice folk panel that we're now able to make use out of, and now we're going to continue on and actually set it up within the scene. So right away, we're just going to go on to the material instance. We're going to play around with the settings. We're going to enable everything that we have over here, and we're going to, of course, enable the color as well. I'm going to change the color a little bit to a bluish tint and that will give us a really nice type of cold look within the scene. I'm going to perhaps increase the lightness for it, like so. And that looks pretty good already. We might as well play around with the fade multiplier and a noise scale. And yeah, I think using a noise scale would be better. I actually just forgot to rename this to be a noise scale instead of just scale. So let me just go ahead and go back to the material real quick. Going to find a noise multiplier noise scale. There you go, going to change this name to noise scale instead. So it would be more readable and a bit more orderly. So let me just go ahead and save this out. Right now, it's going to give us the same type of a setup. Except right now as you can see noise scale and noise multiplier is going to be within the same area. I'm going to increase this noise scale to be around the value two. I think that's going to be quite right for this particular setup, as in for the noise scale noise multiplier, that is, we are basically going to be working with values 0-1 in order to get a setup. Otherwise, it's going to start glowing for the scene, and we don't want this to happen. So just make sure that you're working with noise multiplier 0-1 values. And yeah, by this, we can just grab ourselves a nice type of contrast that looks pretty nice. So yeah, we're going to use this. Then we can finally go ahead and make use of the fade distance. And It's opacity. And for the phase distance, we can increase this value to a much higher amount. So we'd be able to see quite a bit more in regards to the setup. Something like this, perhaps. Is looking pretty nice. Going to play around with the height for the fog itself first. So something to this amount. I think that's going to be quite okay. I'm going to put it up like this. It's going to give us this a look. And once we get closer to it, it should start fading out because of the camera setup. So it's looking pretty nice. The campad length can be a bit higher up. I'm just going to take off the pad offset for this around 200. This is looking much better right now. Still a bit off in regards to when we have some of the fog going under. So that's going to make it look quite empty. So one way to fix it would be to firstly add another fog plane underneath that would allow us to have control. But as you can see, from a distance, it's looking quite nice for this setup. It looks like there's some clouds and whatnot over here. I actually am going to change up opacity as well. I don't want this to be completely just a filled with color. And for that, I'm just going to limit the opacity. I'm going to change it to a value, something like 0.5. So this way, it's just going to give us that bit of an extra control in regards to the opacity of the scene. And it's looking really nice apparently. But what I personally like to do also is just make another duplicate, so I'm going to hold old going to create another duplicate for the plane, as you can see over here. So now we have a second plane under it. I'm going to make a copy out of our material instance, hit Control C, Control B with a selection that applied this fog copy over here. You can see that this is being applied onto the second plane. We can see we have two planes over here like so, and it's a bit hard to see maybe it'll be easier from a distance. You can see that this is over here. Anyway, going back to this. We're now going to have more control in gods that, and I'm going to go ahead and change this maximum opacity to be something like a value of 0.1. Then the phase distance, I'm going to increase this, sorry, not the noise, I'm going to increase or lower the phase distance. It'd be something like 200 perhaps. Let me just go ahead and have a look at this. I'm actually going to change this opacity back to one, so we could have a better look on what we're doing. And then we're going to change pad distance to just play around with it. I'm going to change it to somewhere like 3,000. We're going to get another layer basically underneath, that's going to look something like this. The texture then is not going to be needed to be quite as contrasty. What I'd like to do in regards to noise scale is, I like to change it to a zero, that's going to take off the noise completely. But that's going to look quite nice. Going to take off the saturation, going to make it quite a bit brighter as well. And this is how it's going to look like, and I think we can also change up the noise multiplier, so it would be something like A one, like so. Now we can finally go ahead and change the capacities to be 0.1, like so. So you can see before and after it adds just a bit of an extra depth to the height itself. It gives us a real nice type of control, and we can see sort of clouds forming up in this area. So it's looking really, really nice in regards to that. Of course, when we go too low, it's going to start disappearing, and we still have that height fog left over. But the planes themselves are not going to be there. I'm so I also tried to keep this project quite orderly. So I'm going to go ahead and change these plane fogs to just call it fog plane like so, and the second one as well. Fog plane this should be renamed the Fog plane underscore one. I'm going to go ahead and just select the go for plane and Fok plane one. So we have two different fog planes. One is going to be quite a bit more for the cloud type of a setup, and another one is going to be more for just a depth type of a setup. And that's not going to affect the area outside. We also have these lines over here. So in order to fix those lines, what we can do. One way we can fix it is if we were to go onto this. Back onto the material. We're going to create ourselves a radial control. So to create radian control, we're going to right click. We're going to search for radial grade in exponential. This is going to give us this. And with this, we're going to be able to create ourselves a sort of a bubble for a multiplier of the opacity. So let's go ahead and just put it up to the side. We're going to straight up just use multiplier to attach this that already created opacity channel onto A and B with the radial exponential, like so. And if we were to look at it with right click star previe mode is going to be a little bit hard with the sphere to see what it is. But by just clicking on the square, we can see that it is basically just a circle. We can control the circle radius, we can control the density, but honestly, just keeping it as a default one for this particular case is going to be more than enough. Let's go ahead and connect it back to opacity. We're going to just apply as a simple type of a setup. Now if we were to close it, we can see that these areas at the side have completely disappeared, and we're going to get ourselves a real nice type of transition for the middle section. So I'd say we could make it even bit more in regards to the first plane. So it's going to go ahead and that up more of a capacity, perhaps. Tough 0.8, since now we have some bits underneath controlled, but we can see it looks like we have some partial clouds and once we get closer, should start disappearing and whatnot, and it's going to look really, really nice in that regard. So And that's pretty much it in regards to the setup for the planes. We can also make use out of them in regards to it being horizontally. So what I mean by that is if we were to select this plane and just make a duplicate by holding Alt and dragging it out to make a duplicate, and put it sideways like this. And you can see it's going to give us this sort of a look. Which is not going to look quite nice at the moment because we need to make sure that we set up a different scale. We're going to set it up to something like 500, for example. And at this point, the ratio can be slightly different. So let's go ahead and untick the lock. And now we're going to change this to something like 1,000. So 1,000 by 500 is going to give us this sort of a shape. You can see like so. We can put it next to some of the mountains, and I'm actually going to make a duplicate out of this like so and apply it onto this plane. Can play around a little bit with in regards to that. Right now, it doesn't look quite as nice. I'm going to go into it. Going to make sure that we have a real nice setup for this. Going to make sure that capacity is set to one and fade distance is also changed up a little bit. We can have a we can see a little bit more of what's going on. The multiplier, we can increase this a little bit in this particular case, and you can see that we're getting some really nice cloud type of setups. Now we can play around with the fade a little bit like so, and you can see that it's looking pretty nice in regards to that. Okay. So just by doing a couple of options, by fixing them up, we get real nice results, opacity. I tend to keep this value between 0.7 and 0.9. I never go to a value of one, so we could have some partial transparency. And now because we set it up with a camera type of a phase. So whenever we get close and past it, it's just going to start disappearing, basically. So like us getting it close, you can see that we can see a bit more partially through it. This is pretty good. And just with those planes, we can populate this world with them and get some really nice kind of results over the entire environment. So yeah, that's pretty much it in regards to that. The way I tend to create those clouds is I prefer to just have some variation in regards to that height a little bit, and I try to give them a bit of a way to break off the mountain heights and elevations. For example, this one over here, I'm going to put it up a bit closer so we can even put it partially in the mountain as well, so to be broken up this entire fog plain by the terrain itself. And yeah, that's all there is to it in regards to that. We can just place it around and have a really nice type of a setup. The downside of it, though, is that AL doesn't quite work quite as nice in regards to the overall setup. So I got to make sure I type in the values manually myself. Something like This, for example, over here in the corner, is going to look pretty good. And it's pretty simple. It's pretty basic, but it works really nice when you have it all set up. It's going to do it on the upper end as well, and to be quite nice. And I'm just wondering in regards to the planes themselves. So, for example, maybe we don't want it for a person to see them when they get too close to them. So what I'm going to do is real quick, I'm just going to go onto the material instance, going to change up the material camera length self. Something length. And I think that'll work much better. There you go. When we get close, it starts disappearing. That's perfect. That's exactly what we want. So, that's going to be in regards to that. I'm going to maybe place another one on our end as well, so. And, yeah, that's all there is to it in regards to adding some additional detail, adding additional death to our setup. A little bit brighter, perhaps, maybe more bluish. No. That's the color like. And yeah. We can spend a lot longer in regards to time itself by tweaking the values, making sure that they're set up properly and whatnot. But in essence, that's all there is to it in regards to the whole setup. There's nothing much to the planes of the fog. We're going to continue on with this set ourselves up with volumetric fog in the next lesson. So thank you so much for watching. And I'll see you in a bit. 27. Volumetric Fog Material in UE5: Welcome back everyone to creating setting environments in real engine five. The boot camp for artist course. In the last lesson, we ended up creating ourselves some fog planes to place it the next in the mountains. And now we're going to continue on working with this setup and make sure that we have set ourselves up with volumetric fog within the scene as well. So for us to do that, we're going to start off by creating a new material. So we're going to call this one volumetric. Matt. So we're going to right click on it and create a material instance right off the bat. Then we're going to create a simple shape for a cube, just a simple one leg. So we're actually just going to start in a smaller scale and then work our way upwards. So I'm just going to place this small cube over here. I'm going to click F dg just to zoom into it, and maybe we can just make it just a bit bigger. So I'm going to go ahead and make it to a size of ten by ten by ten. And we're going to apply the volumetric material instance, like so right off the bat, and we're going to start off by going into the material to start creating the material that we want. So right. You start off, we'll need to go ahead and change up the settings. We'll need to make sure that we go onto the settings, change up the material domain to be volume since we're creating a volumetric fog. Then as you can see, it can only be additive type of a blend setup. So let's go ahead and change the blend mode to be additive. Let's go ahead and do that. Right out of the bat, we're going to get ourselves to sort of a setup. Then we're going to straight up want to be able to control the color of this lemtric fog. We're going to hold free. We're going to tap on the screen. We're going to click and change it to a parameter, calling it color, like that. We're going to apply this to albedo and the starting color can be a value that's close to white, like so. It have to be completely accurate. It just has to be white color, just like that. And the next thing that we need to do is going to be we need to start ourselves by setting up a volumetric parameters. So for us to do that, we're going to create a quick preset that's really good for volumetric setup. We're going to click. We're going to search for absolute world position, which is going to be just the world position this one over a year. Then we're going to drag this out and we're going to search for transform. Position, like so, and we need to make sure that we change the settings by. So let's go ahead and select this. We want to change this from absolute world position to a local space. There you go. Make sure you change this otherwise, it's not going to work properly. So that's quite important. Then we're going to make sure that we have this from subtract, and we're going to just drag this out, search for subtract the thing that we're going to substract is going to be object local bounds. Like so. We're going to make sure that we get minimum we subtracted from, and then we'll also want to connect subtract to a divide. Like so, we'll want to make sure we are dividing this with the local bound size. So that's going to give us the right type of a setup for a nice volumetric base. And of course, we'll need to go ahead and continue on with this. We'll need to drag this out this time to get ourselves distance. Make sure we scroll down. We're going to find ourselves distance node. Let's go ahead and add this on. For the distance, we're just going to half it. So let's go ahead and hold one, tap on the screen. Put the value of 0.5, add it to the B. And we're going to multiply it overall value two. So we're going to hold, tap on a screen, add it in, and just multiply this over here. So instead of just adding a float value, we can just type in the value over here if we need to. Going to be quite all right. And actually, we'll need to invert this entire value. So I'm going to drag this out. Set up one minus so. And there we go. We got to sell a nice space, which if we were to plug in, we can see what it does. We can and click Control and S. And wait it out. We're just going to check it once, how it looks like, and then we're going to continue on with the setup. But you can see it creates a real nice type of a cloud setup. So it's looking like a nice type of a shape. So yeah, let's go back onto it now and continue on with the work. Next thing that we need to do is set ourselves up with a simple noise texture. We're going to hold t. We're going to tap on a screen, and we're going to grab ourselves a parli noise out of this Sample. Let's go ahead and do that. Noise is really useful for when we want to create a sort of a noise for fog or anything of that sort. And I'm now going to go ahead and attach this to a free point type of a node. So free point, if we type it in, we're going to get ourselves three point levels, which is really useful for when we're working with volumetric fog. There are ways to set ourselves up with three dimensional type of noise if we type in three D. We should get ourselves volumetric noise erosion. It's really good, but it's very costly in regards to the performance for our environments. So we're going to make sure that we use three point levels. It's a really nice kind of work around for that kind of an issue. We're going to then get controls for the black, middle, and white. We're going to just click Hold S. Actually. We're going to create a simple parameter. So we're going to just call it free 0.3 point black I'm actually just going to copy the name and place it in here. Then we're going to hold S, pace this in and instead of black, we're going to call it middle. Set up with the middle, and finally, we're going to do it one more time to set it up for the white. The values don't really matter as much, so we can keep it as is. These are the main ones to control parameters. This white, we can just start off as one and middle part can be set up as one half point 0.5. So, so basically, it'll give us the same kind of exact results as we had. I'm going to now hold M and connect them with a multiplier. So the settings that we created before and the noise that we have right now. We're now going to be able to connect this to extension. We're now going to collect control on S. And actually, I totally forgot we need to make sure we have controls over the settings. So just give it a second to load up. We need to have additional controls over the entire setup. But since we're running out of time, I reckon we can continue on with this in the next lesson. So thank you so much watching and I'll see in a bit. 28. Placing Volumetric Fog in Mountain Terrain: Well, I welcome back on to creating stunning environments in real engine pipe. The boot camp for artist course. In the last lesson, we left it off by setting ourselves up with volumetric material, but we need to continue on and add a bit of an extra parameter, so we're going to continue on with that. We're going to create ourselves a texture scale. But instead of using texture coordinates, we're going to make use out of world position, so we'll have a greater control over this entire parameter. Go to right click, we're going to search for world position, like so. But then going to make sure that it is being able to be used within our simple two d texture because by default world position is set up as a free deordan. If we're trying to set it up like this, it's going to give us an error. So what we need to do is we'll firstly need to drag it out and search for component mask. And this by default will just mask out the red and gray channels, the blue channel, which is responsible for Z value, which you can see at the bottom left hand corner within the preview. It will not be affected basically by our scaling, so we can keep it as is. And then we're just going to start off by getting ourselves a nice type of a multiply. We're going to hold. We're going to grab a simple multiplier value. But then going to hold S and type on a screen to get ourselves a scale. We're going to just attach this and set the default value to 0.001 because the world position is actually quite big. So we need to make sure we have that accounted on in regards to that. Then we can just simply attach this to the texture itself and it's going to give us nice results. And finally, we also need to make sure we have control over this entire opacity off the fog. We're going to hold M on the screen, we're going to attach this to B. We're going to hold S and create an opacity panel like. In this way, we have the final controls basically for this entire setup. We're going to attach this and clear control and S to save it out, and now it's going to start compiling everything. So just give it a second. And I just realized I forgot to change up the scale for this final multiply, which is okay because we can do so in the parameters themselves. I'm not going to do it anymore because I'm not going to touch it here because it just takes a bit of an extra time. So I'm going to go onto the parameters within it, and I'm going to make sure that everything is ticked on. Then for the pace, we're going to start with a value of one, and we're going to see how it looks like. So this is what we're going to get at the moment. It's going to look like this. We can make use out of middle and wide points to have a greater control in regards to how the noise is being affected. So that will allow us to get a bit of an extra type of way to control the curvature of the noise. And if we were to play around with the scale, actually, it was set up 001. There you go. That's what we should be getting. And if we were to now make this a little bit larger, just something like 100, like so, we should get ourselves something like this. And right now, it's still not quite there in regards to the setup. So first things first, we need to think about in regards to the visibility. The way the volumetric material works is that the volumetrics are actually making use out of the exponential height volumetric setup. We need to go back onto the volumetric height fog. We need to go all the way down, make sure that the volumetric fog tick is ticked on. And then the view distance, we're just going to increase it by a couple of zero, and that's going to give us this sort of a result. So it's already looking a bit better. Although we need to make sure we go back onto the material instance and have some control over the entire section. Four this fog. So scale, we can make it 0.001. Something like this. That's already looking a bit better. Going to change this parameter for the point wide as well. And we're going to just by playing around, going to get ourselves some nice type of values. Really depends on the type of a fog we're trying to get on in regards to the scale. I'd like to get a bit of a larger type of a fog. So that's what I'll do. First of all, I'll change the name of this fog cube to just the fog volumetric. Then the next thing that I need to do is make sure that we have the right scale. So I'm actually just going to change it to 100050005000. Like so. Oh, actually, mess it up a little bit. There you go. Now this is what we're going to get. We're going to get ourselves a really large cloud that we can make use of, and we are going to be setting ourselves up with a nice scale for it first. And for that, we're going to change up the scale to this area. I'm going to add a couple of zero, see how that looks. It's not going to be quite as visible. There you go. That's going to be helping us out in regards to the visibility itself or the scale. So we want it to be a little bit smaller in regards to the scale itself. And that looks quite right. So what I did, basically, I changed up the third point it sections to be a negative. That helps us to get a nice kind of a setup. And now I'm just going to play around with the values that are going to be a bit closer to zero. So something like this. Middle Point is also going to be helpful in that regard. And we just playing around with these values, we're able to get ourselves a real nice type of a cloud, something like this, perhaps. You can see it has some lymetric shape, but now we can see that. We probably want to make it a little bit more noisy. So I'm just going to play around with the value itself. When working with this type of setup, it's best to just play around with the values and see how it looks, see what the extreme parts do. So for example, this black would be most often kept the same actually. I tend to leave it as zero. The middle part is on the other end just going to help us get a nicer type of transition. And finally, the white point is going to make sure that the overall opacity for the mask is going to be basically changed up. So that's the way to think about it. And that looks quite right, maybe a little bit less in regards to the setup. A little bit more. Something like that we're able to make use of. And once we're happy with this, we can also change up the color a little bit, for example, to be a bit bluish. So we're going to save this out. We're going to change up now the scale of this to be like $3,000 I think that's a nice value. And by just using this type of vlometric fog, we can add these areas where we have more clusters of volumetric fog. The difference between this is that although it doesn't have that kind of a texture, cloudy texture as the two d planes, it doesn't have as much of a control over the noise. The nice thing about volumetric is that when we get into it, we can see that it actually looks really nice. It looks like there's fog proper fog fog within it. We just need to go and actually adjust a pass a little bit as well, perhaps. Okay. So, so when we actually get into it, it's just not going to look like a total mess in regards to the fog itself. This is looking quite nice. I just want to make sure that the middle points now and the top points are set up properly as well. It is not negative. We try to avoid negative values, by the way, with these three points, and it's going to give us a nice kind of result. And yeah, that's pretty much it in regards to the setting up of volumetric fogs. We can just apply it in the areas that we want them to be in thing like here here and here, for example, And, yeah, that's all it takes to set ourselves up with a nice volumetric fog. I hope that the video was informative and productive. And now in the next lesson, we're going to continue on with the next scene. So yeah, thank you so much for watching, and I'll see in a bit. 29. Foliage Asset Setup: Hello, and welcome back ever on to creating studying environments in unreal j Pi, the boot camp for artist course. In the last lesson, we've pretty much finished off all the techniques for the fog set up and to just get better depth out of our terrain. It looks quite nice. And actually, we can see how it looks like before and after in regards to the fog itself, if I were to select it all. So this is how it looked like before. And this is how it looks after. So you can see it looks way nicer overall with this whole setup. Maybe the only thing that I would say, maybe I would just lower this a little bit down like so, and that looks so much nicer. So going now with the next level, we're going to go ahead and go onto the foliage creation. Let's go ahead and open up with that scene. We're going to save this out and move on with the next level. Within this level, we have a basic set up for the terrain. We've got a simple mesh. We need to make sure that we have a camera speed slow down all the way back to the multiplier of four. So now we'll have better control over the scene. And now we'll be able to make sure that we have some nicer organic shapes within the scene. This is more of an organic realism type of a setup. We have some quicksil acids that are blended in together with one another, kind of mashed together. We need to make sure we populate it with some nice foliage. And for that, we're actually going to make use out of our Quixel bridge. So top left hand corner, if we were to click on it, we're going to over ourselves up with Quixel bridge. So it's a free acid kind of a place that unreal engine owns. That allows you to grab any type of assets from within it. We're going to make use out of it within the top left hand corner off the window. We got ourselves home button. Let's make sure to click on it, and there is a section that says three D plants. Within a three D plants, there is a whole bunch of different plans that we can make use out of. And I'm just looking for something called European spindle. This is a very nice type of bush and grass combination. We're going to learn how to set ourselves up with some trees later on. But just make sure to grab it and we're going to use medium quality for it, so we don't need to go in regards to high quality. We're going to make sure that we have it downloaded, and after we download it, we can add it onto the project. And that's pretty much it. It'll just straight up attach everything onto your assets. I'll create new materials and material instances for you to use, and you'll be able to just simply grab and drop it into your scene. So just to check it out, we can go ahead and just grab one of the assets and drop it into the area, like. So we can see how it looks like. It's a very nice type of bush, although we will need to adjust the color for it. But before getting ahead of ourselves, let's go ahead and work with a nice tool, something called foliage tool. Let's go ahead and open that up. So top left hand corner where we had a landscape tool. We're also going to find foliage tool as well. Let's go ahead and open this up and see what's that all about. And because we already have quick sill bridge, it's going to straight up assert all the free Die foliage free plants onto the foliage tool. And it'll give us everything set up. But if we did not have everything in here, we would have to basically grab everything that is static mesh. If we have over, we can see in a brackets next to the name. It says static mesh. We would need to basically grab everything and drag and drop it like this into the foliage type, and that would automatically assign something called foliage acid. So if we were to go into this folder, we can see that it is now static mesh foliage in a brightens next to the name. So that's what it basically creates. This allows us to set up some settings for the folage that we can make use of and create some nice type of foliage. So yeah, right away, we're going to make use out of that. We're going to simply make sure that everything is selected first, and we're going to click on this tick mark over here. And if this does not have a tick mark, it won't be able to be placed within the scene. So let's just make sure that as a tick mark on. We're just going to tap on the grass, and we're going to see how it looks like, and this is what we're going to get ourselves with. We're going to wait for the shades to load up. So I'm just waiting making sure that we have all the shades loaded up. Once it's done preparing the shades, I'm just going to click control Z and go back onto this setup. And then the next thing that we're going to do is we're going to go back onto folder. We're going to hold shift, select all the static meshes and the quick tip for static meshes. If you see the blue kind of underline next to their icons. You see, just above the text, there's something blue. Those mean that they are static meshes. So that's nicely color coded. We're going to select them all. We're going to click, and we're going to enable Nite for selected. This will make sure that it is enabled for them because by default, the ninit is not enabled, so we've got to make sure that they are stat properly. Like so. And once it's done, setting it all up, we're going to be able to drag it out and it should give us a nice type of a setting. I'm going to also make this window. You'll notice rough this entire setup that I'm dragging the window up and down for the content browser just by clicking this bar over here at the top when my arrow gets to this kind of a symbol, I'm able to do that. And the reason for it is because it's really hard to see the bar at the left hand corner for the foliage if it's not done like that. So yeah, otherwise, we can also just take off the content browser from the content tab. We can click control and space. And that would also open ourselves up with a content browser. So that's another way of doing it. But anyways, now that we have it set up for the folliage and all the shaders are pretty much done, we can see that a huge performance boost in our setup. And before we actually start setting everything up, I'm just going to place them all. I'm going to go and dock my content browser actually. And I'm going to find the previous leage creation over here, going to go onto its assets, which I just realized because we got ourselves the quick sales setup. I created ourselves a new folder called Mega Scans. It is going to have all the assets within here that's needed. I use some of the Quixel assets from here, so the ones that are within it are going to be used within the scene. But anyways, the Freed plant folder is going to have just this folder over here. We're going to go back onto it, and we're going to start off by changing the color the overall color of these assets. So right now it looks way too bright for this kind of a scene, although when you zoom out, it looks quite a nice. But when you zoom in, yes, it's a little bit too dark. The way to fix it is going to be by going into the material instance. We're going to locate this one over here. We're going to go onto the albedo, and there are options that we can make use of in order to change the color. So by just clicking on color overlay, we should be able to open ourselves up with this. And just by clicking on this box over here, we'll be able to change the color. I'm actually just dragging the window to the side. I'm going to click on this box over here, and I'm going to lower this down as you can see it changed the color straight off the bat, and that's going to look much better in regards to this overall setup. So, yeah, I think that's going to work out pretty nicely for us. We can now go ahead and talk a little bit in regards to the foliage mode itself. I'm going to hold shift real quick and delete everything like this. And yeah, let's go ahead and talk about the foliage mode. We're going to close down the contra browsers and we can see it all. We got a lot of tools on the top tab. We got select, which will allow you to select the assets, the foliage within the scene by itself. We're also going to select all foliage, but we will allow you to select all the foliage based on the tikton folage. We got the select. We got the select invalid foliage, instances, lasso for selection as well. All of these are for selection, basically. Then we have ourselves the paint tool, which will allow you to populate the scene with the painted foliage. We got reapply, which will allow you to reapply the settings for the folage as well. We've got some settings which we're going to go into it in a second. We've got single, which would allow you to place all the single areas, all the single type of foliage, just one by one. And right off the bat, I'm going to let you know that this single is going to be best used with a different mode. So single instance mode will be best to be used with a single cycle through selected. Instead of placing all of the assets at once, it's just going to start cycling through them. I'm just letting you know for that. I'm not sure why by default it's to all selected. And then we got ourselves fill tool. The fill will allow us to just fill an entire acid area with foliage as you can see over here. It looks quite insane. Luckily, for us, the nit allows us to have a lot of folage oil at once. But yeah, moving on, razor razor is never used as is. We always just use paint brush, and then while holding shift, we always as you can see, changes to a razor right off the bat while holding shift. So that's the best way of using a razor. Tool. Remove is just going to be just removing a selected folage. And finally, move is going to be in regards to just moving the folage most of the time, you won't be using this anyway. So that's pretty much it in regards to the tools themselves. We've got some options that we'll need to set up, but we got the foliage into the foolage tab, and that's what matters. We're going to continue on with this in the next lesson. So thank you so much for watching, and I'll see you in a bit. 30. Painting in Cliff 3D Plants: All right, welcome back everyone to creating stunning environments in unrelented pipe. The bootcamp for Artist course. In this lesson, we're going to continue on talking about the foliage and how to lay it out on the scene. And now we're going to go a bit more in depth in regards to the options for the foliage itself. Since it's quite necessary to know about it. It's useful for when you want to populate your scene with the foliage. So yeah, the brush size. Brush size is going to control the scale of a brush. It's going to be better to just use open brackets, the square brackets. I'm not sure what you're called exactly, but as you can see in the symbol over here, that they make it larger and smaller, and that's what you're going to control. Most of the time your brush. Paint density. So paint density, the way it works is it takes the value at the bottom, as you can see, with all the meshes selected still. You can see the density over here. Underneath the painting tab, it says density. This is going to be multiplied with the paint density, and it'll allow you to paint in more or less amount of foliage, basically. So if I were to change this to a value of 00.01, we can put it and you can see that it's going to be much better spread out. So yeah, the way this works is going to be in regards to the density itself. Usually, if I want to have density, I'll change up the paint density. And if I want to have more variation, I'll select specific folage, for example, we can select multiple folage by the way to change the settings or the parameters of them, and then I'll change this up to for example 50. So everything will be in 100, but these are going to be in 50. That means they'll spawn less. So that's pretty useful to know. As for the eraser density, what this will do is once you start spawning in the stuff, if you have this set up as 0.5, for example, it'll only just delete half of them, or actually, in this particular case, because the pain density is set at 0.1, we need to be just lower than 0.1. If we set it to 0.1 with the eraser density as well, I'll start deleting it, but it'll try to keep it to the pain density that we have over here. So usually we need to think of a raised density in the context to the pain density as well. So there is that. And usually by just keeping it at zero to just delete some of the parts and using the erased density to just trim some bits out is quite useful. But anyways, enough of all of that, we're going to start changing up this because also when we have all of this selected, I just selected one, click Control A to make everything selected. I'm going to change the density, even though now it says multiple values, we can change it to 100 and it'll change everything back to 100. And Another thing that we need to do is make sure that we only use specific parts. So for example, right now, we have bushes and we have some spindles selected the smaller type of grass. I'm going to delect everything, and I'm only going to select a smaller grass. I don't know if it's as visible. So I'm going to make this a little bit bigger, and I'm going to increase the scale for the thumbnails and make it a little bit more visible, like so. And just by selecting them and making sure that the tick is on, we're going to be able to paint all of the foliage that's only selected with a tick mark. And The one thing that we need to talk about is filters. We got to make sure that the static mesh is ticked on. Otherwise, it's not going to work because these meshes that we're going to be painting on are actually just static meshes. So without this, we're not going to do anything on it, but with this on, we'll be able to paint it on, and we're going to start doing just that. And actually, I'm going to click Control Z to undo my foliage real quick. Going to make this actually quite a bit smaller now. Now that we don't need it, we're going to put it off to the side. And yeah, going back to the options. The dean density, we have radius. We usually don't touch radius. There's no need for that. We have a lot of other options. But the main ones that we need to know is going to be scale. Scale is going to control how large the object is. If we were to put it a value between two and let's say four, we're going to have various of scale in 2-4 up to the scale. Actually, I'm going to put it up to something like five and ten for this particular setup. Um, might be right, although, I think it's all right. We're going to go all the way up and change up the paint density to something like 0.2, start painting it and see how this looks like, and you can see that this looks pretty nice. Okay. Then the next main thing that we need to know of is going to be when we scroll down. The align to normal. A Lign to normal photograph works very well, there you go next to replacement, align to normal. But if we tick this off and start painting this over here, If we start painting this over here, we'll notice that this is just always going to be facing upwards where these ones over here when they're facing a bit more of a corner. If I were to find something like this, you can see it tries to align to the angle of the slope and goes a little bit sideways. It might be a little bit easier to understand if I were to have this aligned to normal ticked on. And if I were to go all the way down, there is something called ground slope. So with ground slope, if we were to set the maximum value for a bit larger of a value to something like 80, we'll notice that it starts placing them in regards to the edges of the slopes. And this is quite useful for when we want to have more on the slopes themselves. But as you can see, once I start building it here, it looks like it's growing out of the edges now, and that obviously is not what we want for this moment. What I tend to do for the slope is just keeping it 45-80. And for example, 60. If we start clicking on it, we'll notice that it doesn't go on super steep type of slopes, but it does go into crevices and whatnot, and that might look quite nice sometimes. So I tend to do that when I'm setting this up. And it looks really, really nice, actually. So I'm just going to make use out of it and set it up. And actually, one thing that I forgot to mention is going to be a random pitch angle. By default, random yaw means that it will rotate the plant randomly, and that's actually what we want in regards to making it look more organic. Make it to go even further in regards to making it look more organic. Random pitch angle will allow you to angle your plant in the direction based on randomss. For example, if I were to change it to a few hundred, for example, we'll start seeing that some of the plants are actually facing sideways and whatnot, they're going into the setup itself, and you can see some of them are even going all the way around. So the reason for it is because it just tilts them in an angle based on randomness. And I recommend you having this two something quite low between a value of two to ten is quite nice. So maybe something like four at this point is going to give us more randomization in regards to an angle itself. So that's quite nice. We're going to make use of it to just paint it over these rocks over here. And in regards to when we're painting it, we just don't want to hold and just paint it all in like this at random. We want to make sure we have a certain amount of flow to it. So what I recommend you doing is spend some time and just add some bits in and make sure that some bits would, for example, be clustered up whilst go in upwards. So it would look like there, for example, might be some roots that we're not seeing that go underneath the rock and that are connecting these type of lands. So for example, this is a bit of a cluster over here. This is going to be a bit of a cluster, but I don't like the shape over here. I'm going to make the brush way smaller, just going to delete it like so. And just maybe add a bit of a cluster over here and a bit of cluster over here. And just like that, we're able to make some small clusters of plans in regards to setting it up photo cliffs, and they look real nice and helps us to break off this entire terrain. So yeah, that's pretty much it in regards to that. I'm going to spend some time now to just add some bits on the top as well, perhaps. We're not going to add it on the supers cata slopes because we don't want it to be looking odd. But I'm just tapping real quick, and if I, for example, don't like this, I'm going to hold shift and delete it. And a quick thing about eraser as well, This eraser, the way it works is roll all the way up and change the scale of the fab nails a bit smaller. The way it works is the eraser only erases the ones that have the blue tick on. So, for example, if I were to select everything and take everything off, and let's say, I take only one thing on, So I have the selected, I'm going to take this one thing on. I'm going to hold shift. Try to erase these all. You'll see that none of them just get erased or actually only one type of species get erased. In order to start erasing everything, I prefer to just keep everything on for the erasing part, and then while holding shift, I start erasing them like this. Oh, yeah, that's a useful information to know. And that's pretty much it in regards to just setting up some smaller foliage. We can make use out of it and actually set ourselves up with foliage in here as well, for example. But we just got to make sure that we painted in nicely in regards to. It doesn't seem to be working. So I'm trying to figure out why that is the case. And I just realized that it is working, but the scale is actually set to the default one and we don't want this to happen. We're going to make sure that the scale is set to five to ten, just like we did before. And yeah, this is a bit of a larger scale in regards to comparison to the human reference, for example. But I think all in all, we just need to make sure that the references are set up properly, and it's going to look quite all right for us. And yeah, five to ten. Making sure that it's set up properly. Now, it should be all right. There you go. Maybe density. Again, one more thing before we move on. In regards to paint density, the more plants you're going to have selected, the more foliage, you're going to have it selected, the less of a pain density you'll need. So for example, right now, I have only free selected, but the paint density is still the same, and you'll see that the density in comparison to the left side is going to be much thinner. So if we go to compensate that, we got to increase the pain density and now it's going to be a bit better in that regard. But it's all about playing around with the values and making sure that We get the right kind of results. So I'm just going to make sure that we have a bit of a bushes over here, like so, and maybe change up the ray density to 0.1, something like that. This whole shift, start just leading some bits like so around the folliage. But that way, it has a nice transition from less dense to higher density areas. And yeah, we're going to leave it as is, thank you so much for watching, and I'll see in a bit. 31. Growing Trees in Unreal Engine 5: Hello, and welcome back everyone to creating standing environments in Unrelnged pipe. The boot camp for artists course. In the last lesson, we set ourselves up with some nice shrubs within the scene. And now we're going to continue on with a larger type of foliage. But right now if we were to look into the Quicksal bridge, you'll see that there's only in regards to the foliage that we have options from. We have a look at the free D plants. There's only like shrubs and plants and bushes, and we need to go grab some trees. So for us to do that, we're actually going to need to go onto real engine market store. By going into the real engine picams launcher, we're going to go onto the top section, the tab for marketplace, and we're going to get ourselves this window. If we were to search for Quiksil, which is the Quiksil bridge that the same company has, we're going to be able to go onto the Quiksil mega scans. So we can click on any one of those, and we should be able to get onto the product. And we'll see that they have Quiksil megascan publishing profile. So if we were to go onto that, we'll see that we have some megascan trees. So these are set up individually outside of the Quiksil bridge. And I'm not sure why they hide it like that, but it's a really useful type of an area. One that we're going to grab is going to be the European type of a tree. This one is really nice pack. It has some real nice summer and autumn type of variances that we can make use of. So once we have downloaded, which is going to click Add to Project, it's totally free, set up by Quicksil bridge. So permanently free type of a collection, and we're going to go ahead and add it onto our project on real engine five, boot camp. Let's go ahead and click Add to Project, like so going to start loading everything up. So let's go ahead and wait it out a little bit. Okay. And once it's done, it should be within the project. So let's go back and clear control space to dock the content browser onto your area. We're going to go onto the content, and that's the folder that we're going to get black Alder. This is going to have a geometry, foliage and whatnot. So there is a foliage folder like this. We have a pivot painter and simple wind. It's best to use simple wind honestly, so let's go ahead and open that up. And we're just going to grab all of these and drop it into the foliage typelik. So actually, before making use out of them, we need to set them up to be nit. So for us to do that, we're going to go back onto Black older. We're going to go onto geometry, simple win, and we're going to select all of them right click. And then once we're done with the loading for the foliage import, you go. And now, again, by right clicking on everything selected, we're going to go onto Nanite and enable Nite for selected. So this will make sure that every mesh that we have over here is going to be with Nite enabled. And again, because we have everything important, we can go ahead and close down the browser window for this. And this should give us a nice setup for the trees. Let me just go ahead and have a look at them all. So we have a lot of them. And keep in mind that although it might look like it's a bit underly in that regard, keep in mind that everything is set up in regards to the alphabetical order. So I'm just going to first of all, select everything, make sure that I have everything ticked on and off, make sure that everything is ticked off. And now just by hovering it, we can see that some of them are called black older sapling. Some of them are going to be forest and whatnot. I'm just going to select a couple of trees, maybe the first line of trees, like so and just have it ticked on. And now if I were to click We're going to have a very luscious type of a forest. So we'll first of all, need to paint out the trees with a smaller amount of density. We have five trees in total. Selected, we're going to have a paint density at 2.1. Let's see how this would look like. This is still too much. Let's go ahead and go even lower to 0.01. Something like that, perhaps. That's still too much I reckon. So let's go ahead and go 005. Something like that. I like that much better in that regard. Let's go ahead and make use out of that. And then another thing that we need to do is set up the scaling. So the minimum of one is fine. Maximum can be quite a bit higher, one, two, five, and that's actually too much. Let's go ahead and lower this down to one perhaps. That's too little. So 2.5, I think, just a bit of an extra day ago. We're going to get ourselves a nice variation in regards to the height for the forest. So The way we're going to paint it out, actually, I'm going to hold shift and just take everything out. And that doesn't seem to work. I'm trying to figure out why that is the case. I'm going to click Control Z, do it, and now try to remove it. And I'm actually going to go all the way up. I'm trying to figure out why it's not working with their eraser. And I just realized that the race entity is still set 20.1. I'm going to set it up to zero now holding Shift, I'm going to take it off. And when I'm working with foliage in regards to just setting up foliage, Area, an environment of sorts. We always need to think on the composition. We also need to consider how the larger folage is going to affect the ones around it. Usually, when I'm working with the foliage, I prefer to start off with the largest folage which in this case, is going to be trees, and then afterwards, is going to be shrubs and whatnot, and afterwards, it's just going to be some grass. And yeah, by just doing that, we're able to set ourselves up with some nice tree variations. So from trees over here, for example, maybe, I can even try setting up some over here as well. Corner in between just like that. I'm going to check how they go. That's perfect. That's perfect placement. Actually, it looks like more of a bush shrub. That's a really nice. I'm going to place some over here as well. And I don't want to take off a lot of various variation out of this. Just making sure that we have some clusters. And yeah, instead of just placing the trees individually, I prefer to have some clusters like this. This makes it look like there is, for example, more fertile solar something of the sort, especially, we also need to consider the overall environment in regards to the static measures. So for example, right now, these areas over here, it wouldn't look quite as nice if we had a lot of trees that up in the rocky surfaces because obviously the trees wouldn't be growing quite as well in the area. So I'm just going to go ahead and real quick just set it up like. So you can see how how clustered the trees are, and I'm just looking at this area over here. Maybe it's a little bit too much in regards to that. Maybe I'm just going to take it off a little bit, something like that, perhaps. So a couple of smaller trees. I think that looks way better in that regard. I just wanted to have some variation. And if we want to actually have some variation within trees, we can do manual selection. We talked about tools a little bit. So let's go ahead and make use out of them. So for example, by just clicking select, we can go ahead and select the indi individual tree, and then we can just move it around like so, and it will help us to move the tree around, and we can click, for example, even to make some rotation and grab much nicer type of a shot. So just like that, we're able to make use out of it. And for example, I quite like the rest actually the way it's set up, so I'm going to leave it as is. Maybe this one over here, for example, tree or to select it. I think it's just behind another section. So I'm just going to get a bit close, sir. I don't want to seem to be selected. I'm trying to figure out why that is the case. Oh, sometimes when it looks like you're not able to select anything, just click G to make sure you see the highlighters again, and that way, you can go ahead and just switch up some selection, and that should give us some nice type of setup. And there's also a bug in regards to foliage. I should mention that. So for example, right now, if I were to select this tree. And so even though this is highlighted, it's still going to affect the different tree. So it is a bit of a bug in regards to that. So my suggestion is just to go to paint and remove the tree, for example, and then go on to single mode and then paint in the tree manually and just kind of get the right type of a form. And, yeah, that's pretty much it in regards to the tree. So we still are going to continue on in regards to setting up the folage in the next lesson, and we're going to learn how to blend in the values a little bit better for the overall foliage type of a scene. So that's going to be left for another esson. Thank you so much for watching, and I'll be seeing you in a bit. 32. Foliage Controls and Nature Scene Setup: Welcome back and into creating standing environments in reged pipe. The boot camp for artists course. In the last lesson, we left ourselves off by creating some nice foolage trees and making use of them to populate the terrain. And now we're going to continue on with this. I'm going to show you a neat little trick before we continue on with the setup for the foliage. I'm going to go onto the content browser and within it, within the trees that we created, we're going to find ourselves controls for the trees. It's going to be within mega scan. Presets. I think it's going to be MS presets. Let me just go ahead and have a look at it real quick. There you go. That's the one we're looking for MS foliage material. We're going to access it, and there's something called global foliage actor. That's the one we're looking for. This is the blueprint that will allow us to have some nice control over the trees. We're going to paste it in and just drag and drop it into the scene. You get this nice type of a gizmo. We're now going to actually go back onto the selection. Make sure we have the selected, drag it out a little bit and have it in front of the scene. And with this, we can control some settings. So, for example, we can control the wind speed and get ourselves more of a windy type of turbulence, more windy type of a scene. So that's quite nice and actually just keeping it as a low value of 0.3 if I it to work much better in regards to the whole setup. We could also control wind noise, strength of it and whatnot, but I prefer to just switch up the wind speed a little bit, and that seems to do well enough in regards to that, in regards to the setup of our noise for the wind Then the next thing that we have is going to be season and health. Season is going to be allowing us to just switch up the overall color of the leaves. So for example, once they change up the health, we can see it lowering down the tree colors, lowering down the tree leaves, or the colors, and we can make use of it to grab to make it basically either kind of an autumn look or we can make it look super green. So that's quite nice. Then we have afterwards season saturation, for example, so we can make it a bit bright and whatnot. We can increase the brightness or decent strength. That's the one we're looking for. That's going to allow us to basically make it a bit more kind of colorful, let's say, currently experimental too much. I'm going to go ahead and just reset everything to defold first. I'm going to lower the health by a little bit, like so the value of 6.5 that I'm going to increase the seasonal strength a little bit as well. And that's a little bit too much. And as for the brightness and saturation, we can also slightly adjust them just to get a nicer type of a setup, although these little strength is a little bit too much right now, I'm just going to continue on lowering. I still want to keep it somewhat green. So I'm just going to lower it to a reasonable amount. Something like this and then a brightness, I want to increase the brightness by quite a bit. You get this sort of result, although Looking at it, I just realized that it might be better to just increase the health, a little bit of this. Basically, these are going to allow you to control the color of your leaves the way it behaves within your setup. So yeah, having a health setup for 7.5 will allow you to just have a bit of a darkened up leaf look instead of just completely green and fully saturated. I think that's going to be much better in regards to the overall setup. So that's a neat little trick to make use of in order to have more control out of your trees to make use out of a global foliage actor. So going back to the foliage in regards to the folage set up within larger type of scenes, for example. If you want to set up larger environments, I recommend you to just kind of bring your camera all the way to the back, like so grab yourself a paint brush and just do it from a distance, basically in regards to the trees and everything themselves. Make sure you set up such clusters like these. And only after you set up yourself with clusters, then just take everything off like I'm doing right now, elect a couple of shrubs and then start building in regards to the medium kind of detail as well. In regards to medium detail, if I were to just select a couple of bushes over here. I'm using the variation 16, 15, and 14 at the moment. Going to tap real quick on the screen, see how they look like, and I think, yeah, they're super small, I'm just going to make it much bigger in that regard, going to go all the way down minimum, maximum five and eight, something like that, perhaps. But I'm looking much better. They look like nice bushes, going to go ahead and start building them up. And when we start building these, we want to basically build it in similar areas to what the trees are in areas that are close to it. So Look like for example, they have more nutritious areas in the trees around the areas or where the trees can actually grow quite large. But then in areas that are next to it, it's still pretty good for the bushes to grow. So that also allows us to have some nice shaped transitions in regards to this organic type of a setup. And for example, in regards to this area, we can grab a couple of bushes as well and just set it up like so And I think that looks already pretty good. In regards to that, I'm not changing the random max alignment for this particular one because they're still quite big. They're going to look very unnaturally, if I were to change it too much in regards to the setup for that. So I'm just making sure I'm adding in the areas that are next to the trees mainly. Maybe I'm adding some bits next to the cliffs themselves just to help us break that down. And maybe I'll add just a couple over here as well, just going to see how it looks like. Now, from a distance, as you can see, it looks way out of position. I'm just going to try adding a couple more in different kind of positions, like so. And I don't like the way they look. So what I'm going to do for this particular slope is I'm actually just going to turn off a line to normal. So this way it's just going to be always facing upwards as you can see over here. I think that's going to help us get a nicer type of an angle from this setup. I think that looks much better in regards to that. I'm also going to just go on to single mode and just manually add in the shape a little bit though that's looking much better in regards to that a bit over here as well. That doesn't look quite nice. I'm going to click Control Z. And, yeah, it's all about just fine tuning the overall shape, making sure that we always go back and forth in regards to the overall setup, so we could check how the overall in looks like. And then once we're done with that, we don't have to worry about too much in regards to the foliage and not matching the colors because we can always go back onto the color setup itself. We're going to go onto content. We're going to go onto mega scans folder, freed plants, European spindle. And we are going to go back onto material instance. There you go. And we're going to play again with the color, overlay. Let's go ahead and try darkening this down a little bit. Thinking if this would look nice. I'm also going to make it a bit of a browner tint. So for example, if I were to change this up to have a bit of an overlay like this. I'm not sure if it's quite a sin there you go, that's more obvious. So it changes the color as well. So we don't only change how it's dark or bright. We also can change the color as well. So I'm going to make use s in order to get ourselves a bit of a brownish type of a tone. Not too much. I'm going to still want to keep it more green, and then I'm going to lower this down. You get this sort of result. Again, I'm mainly looking at it from a distance if it blends in with the environment itself, and this looks quite nice, so I quite like the overall result. And yeah, that's pretty much it in regards to how to set up the environments with the folage With the nonide with the help of a ninit, it's really, really simple. You get nice performance out of your foliage. All you got to do just make sure that your static mesh is enabled, and you'll be able to just create large type of terrain with the foliage mode. So, yeah, that's pretty much it in regards to that. We're going to leave this scene as is. And then in the next one, we're going to continue on with our boot camp. We're going to continue on with the visual effects this time. We're going to learn how to animate it through the visual effects and Niagara particles. Thank you so much for watching, and I'll be seeing in a bit. 33. Material for Niagara Particle Smoke: Hello and welcome back to creating studying environments in real j Pi. The bootcamp for Artist course. In the last lesson, we left ourselves off by creating a nice foliage setup within the scene. And now we're going to continue on moving with the next level. So let's go ahead and go onto our bootcamp folder, and we're going to go onto creating visual effects. And let's go onto the folder, open up the level and wait for it to load up. So we have ourselves a very nice type of a hot set up, but it lacks a bit of animation for this. So we're going to make sure we have some animation within it using the visual effects. And within real engine, if you'll have a look at it within a board, even, it says that we're going to be creating a Niagara smoke particle effects. So let's go ahead and get started. Unreal engine itself, before, used to have a very clunky type of a set up for particles. But now with the Niagara particle effect, type of a system. It's actually really easy and simple to do that. So yeah, we're going to go ahead and look into that. But before actually starting it, we need to make sure we set ourselves up with our own unique type of a particle setup. So what I mean by that is that in order for the particles to actually have a nice texture, we'll need to set ourselves up with a material for it. We're going to click and create ourselves a material for the particles. We're going to call this one smoke, like so. And we're going to go ahead and double click on it to open it up. We're going to make sure that we have the material selected, like so, and we're going to change the blend mode from opaque to additive. Usually, most of the time is, this is what you're going to use. Additive is really nice and very light in regards to performance when setting it up for particles. The downside of it is that it actually just adds color value on top of it. So if we have a black type of a texture, it's not going to work within this type of a scene. For the color for stars in order to control the color, what we're going to do is We're going to click. We're going to search for something called particle color, like so. This is the node that will allow us to do most of the heavy lifting for the Niagara. So all we've got to do is just firstly put it up to RGB seta for the base color so. And then it will allow you to see what it is. By default, you can see it's nothing here because the system, the Niagara system is going to allow you to make use out of this to help you just control the particle. And of course, this is going to be by default. It's not going to be just a splan color. We're going to need to add a texture onto this. Let's go ahead and do that. I'm going to minimize the window real quick, make this a bit smaller. So we're going to go onto the VFX folder, and we have ourselves something called a cloud texture. Cloud texture is very useful. Just have this sort of a texture for when we want to have extra detail out of our particles. We're going to just simply click and hold and drag it into the system, like so. We're going to make sure that it is expanded. And then the next thing that we need to do is just simply we need to multiply those two together. So we're going to hold. We're going to tap on a screen. We're going to connect both of these up together, and now we're going to connect it to the base color. So this way, we're going to get ourselves this sort of result. I'm going to change the preview to just a simple square, so we could see it a bit better, like so. And, yeah, that's all there is in regards to the basic material set up. We're now going to just simply attach this particle color, A, the one that says A onto the channel as an opacity. This will allow you to control its alpha levels, its opacity as is for the particle system. That's as basic as it gets for the particle system set up. We're going to now close it down. I, and we're going to move on with the next step. So now we are going to have ourselves a simple material, but of course, we're going to need to create ourselves a Niagara particle. So for us to do that, we're going to right click, and there is Niagara system. We're going to go ahead and open this up. It's going to ask what type of a particle we want to create. We're going to start off by creating new system from selected emitter. It's usually the easiest way to go for. We're going to click next. And then there are a bunch of presets that we can make use of, which we're going to start off with a simple or to look for it. There you go. Simple fountain looping fountain spray. We're going to select it and click Add button. You can see that it gets added onto this bar over here, and just make sure to just have fountain and nothing else for the moment. We're going to now click Finish, and it's going to create ourselves a particle system. We're going to call this one smoke like so Particle that is like that. And if we were to drag it onto our rolled, just like that, we're going to see that it starts spraying out particles so obviously, we don't want this from the smoke from the chimney. We're going to need to fix that up real quick. So for us to actually make use of of the particle system, we're going to go onto the nigra system itself. We're going to double click on this, and we're going to be opened up with a particle system graph. So it's Add similar to the material graph where we have ourselves in the middle of the screen system graph over here, we have a preview window on the left hand side. At the bottom dough, we have a timeline that shows the constant playing off the particle setup. And it's going to be constantly looping, so that's quite fine. We have particle, properties that would allow you to make some custom variations and whatnot, through some blueprints, through some coding, and we're not going to touch that. We're just going to focus on this graph over here that is basically in charge of the entire particle. And the way we got to look at this entire list is basically it's going to start from the top and move itself all the way down in regards to the priorities on how the particles work and how they behave. So of sars is going to get itself and emit state. Then it's going to decide the spawn rate of the particles. And then afterwards, you can see there are multiple tabs, by the way. So this was only for the emit itself. Afterwards, we're going to have ourselves particle spawn. It's going to basically tell the particle what kind of settings it needs to have when it spawns, and afterwards, it's going to tell the particle how it needs to behave. Once it pawns every frame if it needs any changes or anything of the sort. And we're going to come back to that later. Finally, we have ourselves renderer. The renderer will allow you to basically tell what sort of particles we wanted to look like exactly at the very end. This is where we attach ourselves the particle that we created. We're going to make this a bit smaller, like so, and we're just going to with the render render selected. We're going to have ourselves the detailed step on the right hand side. You can see there is a material set up over here. We're just going to drag or smoke into the material like this. And just by doing that, you can see the particle starting to update its shades and whatnot. And once it updates, we're going to get ourselves this sort of result. So, of course, it's not quite done. It looks more like a cotton candy and whatnot, for sits. We'll need to work on it a little bit. But yeah, in regards to the sprite render, the main settings that you need to know is how to change the material and the facing mode. The facing mode would allow you to switch in between whether or not the particles are always going to be facing the camera. For example, if I were to rotate it around, in the preview mode, you can see that these particles are always going to be just facing towards the camera. And most of the time, that's what you're going to use at the moment. We're not going to switch it even because for the smoke, it's actually really good for you because you want to make sure that all of these textures are facing you. So yeah, that's pretty much it in Regards to sprite renderer. We're going to go ahead and go back to the start. We're going to start off with a spawn rate. This spawn rate is going to be way too big, although right now it looks quite okay, not even filling up the entire chimney. At the moment, though it's quite small, so we're not going to have the right type of particles. Anyways, we're going to go ahead and change the spawn rate. We're going to keep them state to be constantly spotting our particles, basically, so we're not going to touch this or the spawn rate, though, we need to go ahead and change up. We're going to change it to something like 20 for the moment, so we're going to get a very sparse type of a look out of this particle, as you can see over here, and that's going to be quite okay for us for now. And we still have particle spawns and particle updates to cover. So we're going to come back to this in the next lesson. Thank you so much for watching, and I'll see in a bit. 34. Working with Velocity Particle Velocity: Well, welcome back on to creating studying environments in RlngedFive The bootcamp for artist course. In the last lesson, we let ourselves off by creating a very basic type of a fountain looking particle, which allows us to spawn some of particles coming out of the chimney. Of course, we still need to do some work in regards to that. It's firstly too small, and we'll need to work on in regards to the speed for them. But for now, let's go back onto this. We're going to start off by actually making them quite a bit larger. And for us to do that, we're going to go move on onto the particle spawn. There are a couple of options. We're going to start with initial particle. This is the one that controls the main particle functionality within this entire setup. We have a way to change the color, the initial color for it. We have the amount it takes for the particles to disappear with the lifetime minimum and maximum. We have the mass, for example, for them, if you want to be more accurate in regards to the gravity. And now, we're going to just change the uniform sprite size. So minimum and maximum, that's the ones that we're going to be changing. We're going to make sure that the first one, the minimum is going to represent how it looks like. So I'm actually just going to change both of them all at once. Going to see how they look like. And right now, it's not looking quite as well. I'm going to go ahead and change it to 100 by 100. Let's see how this would look like. And yeah, this is looking quite nice. But of course, to make sure that we have that bit of an extra type of variation out of smoke, we're going to make sure that the minimum and maximum has some variations. So 100-150. What this will basically do is it'll make a random size based off a range 100-150. And you can see that it's going to give you a much different type of an effect. If I were to, for example, make this 1,000, for example, you can see that some smoke would be super small, some would be super big. So that's what it basically does. And actually, just looking at this, we can probably make it up to 200. So it could have a more fluffy type of a look. When we have more variation, it's easier to distinguish some of the detail within a texture. So that's why we're doing this. And then the next thing that we need to do is instead of just changing the mass, what I prefer to do is change the velocity overall. I'm actually going to turn off all the particle updates for now and everything except for solve forces and velocity. I'm going to change all of them and make them turn off, so we can see what the add velocity does. And actually, before doing that, we skipped out on the shaped location. This is quite a crucial one it allows us to control how well it spawns, right now, it's almost perfect in regards to the chimney, but we can control, for example, the radius of this. If we were to change it to 100, you'll see that spawning the overall spawn is going to be much, much wider. We also have a way to change the shape, for example. So in this particular case, even though the chimney, as you can see over here is square, I am going to leave it as a sphere as most of the time, it's going to be quite fine. I'm going to go ahead and change it to a value of 15, going to see how this looks like. Actually that's too much. So let me change it to a five. And this is looking much better, but we need to probably change it down to a value of two. Like so, and I just realized that the size now is going to be much too big in regards to the chimney or maybe sorry, yeah, from a distance, it's going to be quite right. Although particles, you can see them overlapping from a distance is actually going to work out for us. We're going to continue on in regards to the scale itself also though it's not too much of a problem. As we can control the scale as we go along with the particle update as well, which I'm going to show you in a bit. The next thing though that we need to do is go on to add velocity. Add velocity will allow you to basically tell where the particles which way it's going. So right now, if I were to change the velocity speed to 100100. It's going to stay stationary, as you can see over here, it's going to spawn a bunch of clouds. So this is what basically it does. We can make use of it in order to just get ourselves some nicer type of a speed. I'm going to change it 10-500 or ten and 50 and see how this would look like. Going to look like this, so it's already looking pretty nice. And this is only going to allow us to make use of it in order to have it go upwards. If we want to change the velocity, we could change this to be With in regards to the cone axis. So right now because it's only has a value of one. You can see the cone basically would be just completely facing upwards. If I were to change this to something like for a value of y of one, it's going to start going diagonally like so. So yeah, it's quite useful when we want to have some small control to this. We're going to make use of it actually to make sure that the particle goes slightly outside of the rib, and we're going to make sure that the hut has a priv directional smoke coming out of it. I'm going to make sure it's a bit smaller in regards to the angle itself, though. I'm going to set it up to 0.2 and see how this would look like. And it might look quite right. Although the angle of itself in regards to the composition is going to be affected. I'm wondering maybe it would be better to go the way. It doesn't look like it would be going this way because there is a bit of a roof covered as well. So probably going to go ahead and do that. In order to change basically the angle on which side it's going, all we need to do is just make sure we change the value to a negative and that's going to go into the direction. That's pretty much it in regards to that. We're going to get ourselves a nice smoke with just a simple particle spawn. The next ones are going to be particle updates. The difference between particle updates and particle spans is that particle updates gets updated every frame, basically in regards to the values. So, for example, we got ourselves particle gravity, Gravity will allow the particles to be dragged down as you can see over here. It's not quite as clear if we keep it as such a huge value, so I'm going to lower this down to negative. And you can see the particles. One the spawn in they have sort velocity. I'm actually going to lower this down even more. Something like one. Let's see how this would look like. Maybe it's a little bit too small for an example. But basically, what this will do is once it gets spewed out like this, it starts getting affected by gravity constantly. So every time the longate reaches out, the further it goes off, you can see that the gravity starts pulling them down, and that's actually quite nice when we're setting up some of the particles. As they try to start going downwards, it might be better forward set up as 0.5 0.3 actually.'s making sure that it looks quite nice. It has a really nice type of a way to make use of the overall values to just bring everything down to spread out the smoke, as you can see over here. Although the smoke right now, this is way too much. So yeah, we're just going to keep it as 0.1. So a minimum amount of value, but it helps you to break up the smoke a little bit, so some of the particles will try to go down based on their velocity because of course, some of the particles that we set up in regards to the velocity, if you have a look at it back, onto add velocity, we had a random range. So the ones that have a smaller velocity, they're going to start trying to go downwards even faster than it did before, which is quite nice. And now that I look at it, now that we added gravity, we need to make sure we readjust the overall need basically of these clouds. We're going to make sure that we increase the minimum because I can see that some of them are starting to go down really fast, and we need to go ahead and fix that. First things first, we're going to change this to a 30, so we have a bit less of a variation in regards to that. Then the next step that we need to do is fix the length of these particles. They're spawning, they're staying there for too long in regards to the entire setup, we're going to go back to initialized particle and change up the lifetime. So the lifetime is going to help us to get these to be cut off in a bit earlier type of stage. I'm going to set up to 0.5, and let's say one, something like that. Let's go ahead and see how this would look like. And you'll notice that instead of just looking at the preview, I prefer to look at the overall scene itself. I prefer to have a bit of a context in regards to the scale and how the particles behave, and that usually is very beneficial to you. So make sure to make use out of that instead of just the particle itself. If at some point you have some performance issue, what I recommend you doing is within a preview tab, I just recommend you just to make sure that this is set from lit to lit. And this way, you'll save up on the performance while still be able to check the particle itself basically. This point, it seems like the particle is still staying up too long. I'm just wondering why that is the case. I'm going to set it up to 0.1 and 0.2. Let's see how this would behave. And I'm just trying to make sure that the shape itself is not staying up for too long. A voice is not going to give us the right results. And I just realized the mistake that I made. The reason being that the initialized particle is not affecting the lifetime is. I'm actually just going to click control z and make sure that lifetime is back to 0.5 point. One. The reason being that nothing happens is because after lifetime is over, we need to update the particle itself, and that was with the particle state. If we check on it, we can see that there's skilled particles. Basically, when they're time with their lifetime, we need to make sure that we update the particle with disling it basically. So we need to make sure that this is enabled, and now once we have this tk, we'll see that this is the type of result that we're going to get. So that's the way we're going to control ourselves with the lifetime itself. We're going to change this back to one and one point. Five, let's see how this would look like, and it's still not as long as I want it to be, so I'm just going to change this to free and two. And let's see how this would look like. It's making sure that we have some nice variation. We're not worried about them popping in and out like that. So I'm just making sure that we have enough variation. If we want to have more disparity at the very top, the more texture type, we've got to make sure that the lifetime between minimum and maximum is set to a higher variation. If we want for it to be a more of a fluffy, more dense type of a look, we'll want to make sure that these values are closer. Well, yeah, just by having it like so we can see that they're already looking pretty nice. We also are going to enable drag and what drag does, similar to gravity force is going to lower down the overall the velocity for this entire setup. But instead of just trying to grab it in one direction, what it'll do is just it'll gradually start slowing down the overall velocity itself, stopping it to a hold. And that's quite useful for when we want to make sure that we have some nicer motion at the very start, and then it's gradually slowing down. I'm going to change this to value of 0.1 because I think the default one is a little bit too strong, but it's particular fluffy type of a look. And yeah, it's already looking quite nice in regards to its length, but we don't have anything in regards to shape. It's just a nice kind of a cylinder fluffy cylinder. So we need to make sure we adjust that with in regards to going to be scale color and scale size. But I just realized that we are running out of time, so we're going to have to continue on with this in the next lesson. So thank you so much for watching, and I'll see in a bit. 35. Setting up Niagara Smoke VFX: Welcome back into creating setting environments in Andre Engine five. The boot camp for artists course. In the last lesson, we left ourselves off by playing around with the velocity, making sure it looks quite nice overall, but we still have some work to do in regards to the overall smoke. Right now, it's just popping in and popping out and the overall shape doesn't look quite as nice in regards to the width of it. So we're going to go ahead and fix that. We're going to start off by fixing this overall popping in and out. This scale color is what's going to help us out. We're going to go ahead and enable this. And right away, we're just going to see this sort of result, which I don't think it's going to change much, actually. It does change at the very end, as you can see it fading out. The reason being is the way it fades out is because if we have a look at this type of a setup, if we have the scale color selected at the right hand side, for the detailed sty we can see we have a couple of options. We have scale RGB and we have scale Alpha. And with these two, we have control over how it behaves over time. So right now, the default setup, as you can see, photograph, for the Alpha is set up, so it starts at a value of one. It actually starts at a value of 1.11, which is an interesting thing. I've never noticed that. And yeah, it goes just down all the way to a value that's zero or a value that's close to zero. By the fault, they should be set up as a bit of a better type of a setup. I'm not sure why they're set up like that. Anyways, moving on, we have a couple of presets in regards to the templates. As you can see, these lines represent how they're going to start off and end. If we were to select move ramp up and down, I'm just wondering they go with now has proper values of zero and one. So I reckon that the template for the fountain has had them a bit off in that regard, which is totally okay because we're going to be using a different template. The one that we're going to be using is, if we were to click on that spartan over here, it's going to be ramp up and down. Rp up or down will allow you to initiate a particle with a value of zero for the Alpha, making it invisible, and then it'll start gradually getting some color, some visibility, and it'll go back down. It's going to look like this. And if we have a look at the value overall, we can see it being like this actually helps out overall because it starts gradually appearing. Actually sorry about that for smoke. We're going to use a different one called pulse out. This is my actual favorite one when using it within smoke particles and whatnot, because it just pops in really fast. As you can see over here on the side, we're going to fix that, by the way in regards to the scale. It pops in and then it starts gradually just fitting out at the very top. So I really like this type of a setup. And if you're able to visualize a graph, then you're able to then add your own ones and whatnot by clicking, adding key, and whatnot. But I'm not going to focus too much into that because that's another depth in regards to that. But if you do have time, I recommend you just playing around with the graph and worse case. You can just go ahead and click back on the template photo pols out, and it should give you the same type of a graph. And yeah, going back to this, we pretty much got ourselves set up in regards to the scale Alpha. We're not going to focus on this too much. We're going to make sure that we set that up for the flame. We now need to make sure though that we set ourselves up in regards to the scale itself. For us to do that, we're going to click on Add New Module. We can click on this plus symbol over here. And by clicking on this, we're going to get ourselves search bar. And if we were to search for scale, we're going to get ourselves something called scale price size. By clicking on scale price size, we're going to be able to see this type of a variation. And it's actually already looking quite nice in regards to that because it starts off with a smooth ramp up. So this value over here, it starts by just having no scale at all as you can see at the very start, like so, and then it gradually gets ficker. So it's actually going to give us this sort of result. I think by default though, this tiny type of a value is a little bit too small for us. We're going to need to go ahead and fix that. Actually, what I'm going to do is I'm going to just hold down the window over here, and I'm just going to manually tweak this value. I'm going to click on this type of a key. Roll down a little bit until we get two A values. Actually, I'm just going to drag this out as well. So we can see the values. Anyways. By selecting this key, what we can do is we can specify the value for it in regards to its time and in regards to its value. So if I were to click this that is two one, you can see this is affecting the time in regards to it horizontal value. And if I make this a bit bigger, like so, we can see that by changing the second one, to have something like point. Three, I'll start this smoke effect already large type of a size, which is actually going to work out much better for us. I'm actually just going to make sure that we set it right at the front like so. Get this sort of result. So yeah, that's all there is in regards to the smoke. And just to make it a bit of an extra type of an extra touch I'd say. We can also add randomization in regards to the particle velocity. For us to do that, we're going to click on a plus symbol over here. We're going to just search for noise, like so, and there is some be called a curl noise or vector noise, both of them work quite well. And we're going to make use of the vector noise. Four, and by just having this, if we were to increase it to something like 2000, we can see what it does. I just start scattering everything all over the place. Tough yeah, by just making us out of this, we're able to get ourselves some real nice variation. Although 200 by default is a bit too large of a value. Changing it to something like 50, I'd say would add a bit of an extra detail. You can see some of them being scattered around, and that's exactly what we want. We're going to get ourselves in much more randomized shape. Although even 50 is a little bit too much, we're going to go down to 30. We want them to be somewhat clustered up a little bit. But you can see how much it does in regards to the shape itself, some we're trying to go one way and then they kind of curl up and whatnot. And it's really, really useful, especially for the smoke when it's getting affected or when we're trying to make it look like it's getting affected by the wind. And yeah, that's pretty much it in regards to the smoke itself. We can now even just hold alt and duplicate it all over the place and make it look like the entire building is on fire and whatnot. But of course, we're not going to do that. We're just going to make sure that we have some chimney smoke over here. Next thing that we need to do is we need to make sure we set ourselves up with some fire particles for the area within a blacksmith, and we have a bit of a bucket over here, which we're going to set ourselves up with some water, basically. But again, we're going to continue on with this in the next lesson. So thank you so much for watching, and I'll see in a bit. 36. Creating Animated Fire Particle: Well, I welcome back ever go on to creating standing environments in lang Fiive the boot cam for artist course. In the last lesson, we set ourselves up with a nice smoke particle within a scene. And now we're going to continue on working with this scene and make sure that we have some nicer type of a fire system in this type of a fiery pit and in the back as well, perhaps. So let's go ahead and make use of the fire, which, if we look at the VFX folder, we can check the folder. There is something called fire SUV. This is going to be a bit of an interesting texture in regards to particles. As you can see over here, has a whole bunch of range, which once you start stitching them up together, they're going to create a sort of an animation. This is what we usually use when we want more animated particles, when we want to have more visuals in regards to them. So yeah, let's go ahead and make use out of that. We're going to create ourselves a new particle system this time. We're going to right click. We're going to firstly create a material. We're going to call this one fire. Matt. So we're going to double click on it, and we're going to do similar things to what we did with the smoke itself. We're going to grab our elves this particle. This time, however, we're going to change this material from an additive to translucent. The reason being we're doing this is that we want to have some control over the color itself. We don't want to be just kind of a light type on overlay. It's a bit more bit more of a performance consuming, but it gives you control over the darkness of your color, which I'll show you what I mean in a bit. We're now going to go ahead and just grab ourselves particle color. Like so. We're going to make use of that. We're going to multiply the texture with the particle color, so. And of course, we're going to make sure that we grab ourselves an Alpha Alpha facity. Again, we're not going to go too much in depth in regards to this. We can leave it pretty much as that. We're going to save it out. And we're going to get ourselves some nice results. And actually, sorry about that. I totally forgot this is going to be a bit different. The basic is not going to work because you can see it has a black patches now. Actually is going to be the opposite in regards to the multiply. We're going to attach the base color with RGB itself, like so. As for the Alpha, we're now going to mix up Alpha and this texture. The reason being is that this is now just a black and white. When it was additive, all the black spots were just simply removed. But now we're just going to make sure that we use our texture sample just to extract the opacity layer out of it. The RGB itself, we're going to keep it as a way to control our particles. And with this done, we're now going to go ahead and close it down. But you can see that it has now transparency in exactly the same way that we wanted to. We're now going to make use of this particle that we created for material that we created with the particle. We're going to right click, create nagrosystem. And just like we did previously, we're actually going to go back and set ourselves up with a simple fountain looping fountain lek. And we're going to call this one fire particle lik. We're now going to go ahead and open this up. We're going to make sure that the window is smaller, and we're going to go ahead and well, first things first, we're going to change the sprite renderer to be with a fire material, just like that. And now we're going to get ourselves this bizarre type of result. So we need to make sure that we fix it. And actually, before doing that, I'd like to visualize how this looks a little bit more. So what we're going to do first is we're going to blow down a spawn right to a value of ten and increase the initial size to be much larger. I'm going to just set it up to 100 by 100. I' going to take off gravity force and add velocity, like so. We're just going to have this sort of a look. You can see what it has. We can see what it looks like whilst spawning. You can see that it spans all of the particles all at once all of the things on the sheet. We need to go ahead and fix that first. We're going to go to the sprite renderer, and within it, there is an option called sub U V. This is what is going to allow us to control the particle, how it behaves. We're going to be able to make use of the split. Before doing that, though, I'm going to go onto the texture itself, and we need to just count how many of them are in regards to the row in regards to the row and columns. And that's going to be basically six by six. You can see one, two, three, four, five, six, and by six. So 36 in total. We're going to go ahead and close this down, go back to this, and sub UV image size. We need to make sure that this is set to six by six, just like that. And you can see just by simply realigning and showing the program, how many parts it's split into, it's going to give us this sort of result. Currently, though, it's only spotting one particle. So that's not quite as good as the reason being that we need to make sure that we have variation of the animation going throughout. So let's go ahead and fix that right away. We're going to go on to the particle update. We're going to click on a plus, and I think there's something called sub UV animation. There you go. That's what we're going to make use of. Let's go ahead and choose that. This will allow you to get a start frame and an end frame. We're just going to go ahead and enable both of them. So which is going to give us this sort of result. It might be a bit harder to see what it is. We're going to slow down the spawn rate to a value. One, I'd say, and you can see that this is what we're going to get. It's going to spawn a particle that's going to just go through this entire animation. By default, it's going to be zero to 63. I think it's based on the sprite renders options that we set up. But instead of it being 1-36, it's going to give us this sort of a result. And we need to fix this first because as you remember, we had six by six, which is going to be 36, because again, the start frame starts at zero, that's going to be zero to 35. So we're going to just make sure we have this set up properly, and there we go. That is what we're going to get. Type of animation we're going to that ourselves up with. We're also going to change the sprite render to be sprite renderer like so, and that should fix the error just like that. As for the overall type of a setup in regards to the animation itself, if you want to have a faster type of animation, what you'd need to do is you'd need to go to initialize particle spawn rate. So initialized particle. We're going to basically change up the minimum and maximum four the lifetime. By changing this to something like ten by ten, you can see that it starts really slow and the frame rate is going to be very bizarre. By switching this to a value of 0.1 and 0.1, you can see that the frame is actually very, very short, so I'm going to change it to a one by one to show you what I mean. But you can see that the frame rate is going to be much faster, the whole flame animation is going to be much faster. Actually, we can use the star advantage because it will allow us to make more organic looking flame out of this. And actually, before doing that, I'll switch up the color right off the bat. By going to initialize particle and setting up the color, we can change this color to be, for example, red leg so we can change it to be more orange or alternatively, in order to set up variation between colors, what we can do is we can click on this arrow over here next to the color. Which will allow us to have additional options to set up with this, and there is something called random arrange linear color. If we were to select this, you can see minimum and maximum, we can set a minimum to be a bit more reddish or just to exaggerate it. Also, let's not forget to increase the value. Otherwise, you're not going to see the color itself. Also, the maximum, we're going to change this to be, for example, blue, just to exaggerate it. And what you should see basically or pink, actually. What you should see is that some colors are going to be pink, some are orange, and they're going to be going in between those types values, which is pretty nice, and for that reason, I'm going to set up this one up to be a bit closer to yellow, but not quite something like this to get this sort of a result. I think for the fire prt is going to be perfect. I'm actually going to put this type of a particle fire particle into the fire prt over here just to see how it looks like. And you can see this is what it looks like, and it's already looking quite nice, but we don't have all the control set up just yet. We still need to work with in regards to the way it fades in, in regards to direction it's going, and finally, the spawn rate. And while not only spawn rate, we also need to make sure that the shape location of the spawn area is set up properly. But we're going to continue on with this in the next lesson, so thank you so much for watching, and I'll see in a bit. 37. Niagara Fire Color Variation: Welcome back everyone to creating studying environments and reg at Pi. Food came for artist course. In the last lesson, we set ourselves up with a nice fire particle animation, and I just realized that I still want to tweak out the values a little bit for the color. I'm going to make them a bit red in regards to both of them. Like so. And I think that's going to look a bit better in regards to the scene itself. Yeah, I think it's going to look much better in regards to that. Although we'll say that I want to add a bit more yellow tint to this. There you go. That's going to be better. Now, the next thing that we need to do is we need to, of course, add velocity. We're going to add velocity in regards to that. And we are actually going to make sure that we have high enough of velocity like this. We want to make it look like it's shooting out quite fast from the heat, and then afterwards, we want to make it look like it's just lows down straight up kind of a thing after it gets that gust of heat puling it upwards. So yeah, we're going to make use of the velocity to just make sure it kind of spews it out really fast at the very start likes this, as you can see over here. Even faster, actually, we're going to change it to 20020050. Though, though, something like this, as you can see over here, it's looking quite nice. Of course, we need to make sure that we set ourselves up with a way to slow this down. So in this particular case, we're going to make use of a drag force. We're going to make use out of a value of something like 0.8. Let's go ahead and see how this would look like. And that's not it's nice. Let's change it to a value of two, for example, that's a bit more better, but it's still not quite there in regards to that, so I'm going to change it to a value of five. Let's see how this would look like. That's something a bit better. Although right now it's being speed up a little bit too high up, maybe we want to lower this down in regards to the particle itself, and there we go. We're going to have it like it's just being spewed out and then slows down at the end. That's exactly what we want. The next thing is in gravity force. If we were to enable the gravity force, of course, it's going to start falling down. But if we were to change this to a negative or a positive value of a gravity, something like 20. I think that's going to be good enough of a value. So it's going to help us slow down with the drag force, but at the same time, it's still going to try to keep raising up because the gravity is going to be pulling it upwards. But that's actually quite nice trick to make use out of. And then in regards to the overall setup, well, we need to set ourselves up with the scale color and scale size. Scale color in regards to the Alpha itself, we can turn this into a simple ramp, I reckon. It's going to appear and disappear, and I think that's going to be much better in regards to that. We're also going to make sure that the spawn rate now is a bit higher in regard to values. We're going to change it to. Not 20 and maybe not ten. Maybe something like this. There you go, that's going to look much better. I'm still thinking it's a bit too high up. So going to lower down the valume. And the animation right now, it looks like it's a little bit too fast for us. So what I'm going to do is I'm going to go on to initialize particle. I'm going to go ahead and change the lifetime minimum and maximum, going to change this to something between 1.5 and three. This, and this should give us a nice type of a really nice slow type of a setup. We're also going to go ahead and change the spawn shape. For the spawn shape, by default, it was set up as a sphere. I'd like to change this to a disc usually or a ring, which I would you prefer because the alternative to this is going to be a cylinder. Cylinder would be a three dimensional shape of that. But as you can see over here, the ring, if we look at it, it creates a sort of a ring all the way around it, and we can have a disc coverage, for example. Which would. Sorry about that. Going to put it back to zero. Going to get closer a little bit to show you what it does. This coverage, if we set it to one. It's going to cover this entire area. It might be a little bit faster if I show this with a value of ten, just real quick, just to show you what it does, going back to this. This coverage will allow you to just cover up this entire section. If we were to set it to a zero, it's just going to spawn all the way around, and we don't want this to happen. We want it to be in this area. Saw rate. Let's go ahead and set it back to normal value. I'm just going to click on Trot because I don't remember the value that I set it up with. It's actually five, and then going to go back onto the shape location or shape location, going to make sure that this ring is set with this coverage of one. And for the rate is, we're just going to depend this on the actual scene. So if we were to set it to something like 30. Let's go ahead and see how this would look like. Let's see if this looks good. Yeah. I think this looks good. So it's alright, as you can see, it looks like that. And yeah, that's how we set ourselves up with the particle. We're going to have a really nice type of a setup. One thing that we need to do is, of course, change up the scale color and the particle size, perhaps. We're going to go on the scale color first. So as you can see, scale color RGB within a particle update, it's only these values over here. We're going to go ahead and change it to be more of a curve. We're going to click on this litter arrow over here. We're going to change this one to be vector from curve, and this is going to give you this sort of a value. And actually, I'm going to click Control Z because one thing that I should mention is if I were to show you the graph itself. As you can see, it has x y and z values, and that makes it quite a bit harder to control for us to simplify this. What we're going to do is, firstly, we're going to convert x y and z values, which represents a whole RGB spectrum. We're going to change this up to just be a simple type of a vector first. So we're going to make use of a vector from float first. As you can see, changes down to this value, and this allows us to change, for example, if we were to change it to a value of 0.5, you can see it super dark, and then changing it up to a value of three, going above the value of one, it's going to just basically amplify the entire color. And this is quite useful when we want to set ourselves up with some nice flames. It allows us to have a nicer control over this a little bit in regards to the brightness of a color. We're going to then change this value to be a curve. So we're going to collect this and change it from curve like this. And this is what it's going to give us. Of course, this is not what we want. We're going to start off by having ourselves a bit of a brighter color, and then it starts like darkening down afterwards. So for us to do that, we're going to make use of a drop off like this. The drop off itself is quite nice, but I think it darkens up too much in regards to the vary end. We're going to select this last type of key. Then we're going to change this one to something of a value of 0.5. And also, we can probably adjust the bits as well. We're going to right click to this type of key, and we're going to change it from user to automatic. That's going to just ease out this entire curve over here to a set of automatic values. That's going to be giving us a really nice type of a result for the flame. We're going to now close this down and see how the flame looks like, and you can see this is what it looks like. So by having this type of basic setup, it's already going to look pretty nice. We're going to just duplicate this piece and put it on the back as well. Just like that, and it should be quite nice. And yeah, there you go. We're going to get ourselves a real nice type of set up, maybe. I'm just going to lower it down a little bit. It wouldn't look too hot in regards to the flames. And I think that's going to be pretty good. One of my thing before we move on, I realized that the play might not look quite as bright. I realize that. And often what I end up doing is just setting up a light source and a quick tip before we actually go into the lighting stage itself. If you were to click and hold L, you can tap on the screen, and that would give you a nice light source, and if I were to lower the intensity a little bit and see that overall flame would be looking much nicer with the extra light affecting it. But here's the thing though. I realized that not always you're going to make use of that. And of course, it's better to have more options in regards to especially the particles themselves, to have more control over them. So I'll show you a real quick fix for that in regards to the brightness of the flames. We're going to go onto the VFX folder, sorry, not VFX folder, we're going to go onto the fire material. There you go over here. And instead of just having it set as a basic color, what we're going to do, we're going to hold control. We're going to set it up to emissive color. If we were to click Control es to save it out, it'll update the entire emission, and you can see it looking much much brighter. You don't need any additional light sources or anything of the sort. And this will allow your entire setup to glow a little bit in regards to the heat itself. So, yeah, I hope that the video was informative. And now, all that were left to do is set ourselves up with a bit of a water particle system. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I'll see in a bit. 38. Creating Water VFX Material: Welcome back everyone to creating standing environments in unreal anched five boot camp for arts course. In the last lesson, we left ourselves off by creating some nice fire particles for the scene. And now we're going to continue on working with this and set ourselves up with some ice a bit of a nicer type of water within this area. So we already learned how to create a transparent type of materials within the first scene, but we're going to real quick reset that, and I'll show you first of all, how to make some animation from within the material itself, since I reckon that's quite useful information to know. And yeah, we're just going to right click create a material, make ourselves water material, like so. We're going to double click on it, grab all the textures from the water setup for the material for the water. So these ones over here, we're just going to drag this into the scene, like so. We're going to make sure that we attach them accordingly, so this is the water, and the base color, this is metallic. We're going to make sure that metallic is set up as well. And then we're going to have ourselves normal map. Finally, it's going to be the roughness value. So. All right. So by default, if we were to just simply save this out and put this onto our setup. So I'm actually just going to find the water material. Going to create a real quick material instance, like so and apply this onto our bucket. We're going to get the usual, and of course, I totally forgot to set ourselves up with an opacity. So let me just go ahead and real quick, do that. We're going to go onto the translucency for the option of the material. We're going to make sure that it is set with a surface translucency volume, like so, so we could make use out of all the PBR values. We're going to hold S. We're going to create ourselves opacity channel, like so. The default value, we're going to change it to value of 0.8. We're going to attach this to a normal s two opacity. Channel like so. We're going to save it out and just real quick, we're going to check out it looks like. So yeah, this is going to be a simple opacity type of a water texture. But let's just say we want to have some animation of it being flowing a little bit more. We're going to go ahead and do that first. The best way to make the motion within the material is going to be by making use out of something, if we were to right click, something called Panner. This pattern note is really useful for when we want to have a bit of an extra motion within the scene. I'm going to go ahead and attach this to all of our textures just like so. And this is going to help us get some nice animation. So we have for stars coordinate. For the coordinate, we're going to set ourselves up with a simple texture coordinate, like so. We're going to search for coordinate, find your cells texture coordinate and have this multiplied. I'm going to hold M. Going to hold S and going to a great scale. We're going to have ourselves a nice scale for the texture. So this is what's going to go into the usual UVs that allows us to make a nice control over the scale of this parameter. I'm going to set this up to value of 0.5 to make it just a bit larger for this particular water. So As for the pattern itself, though. In order to make use of it and control it. What we can do, right now, there is nothing going on in you can see over here. Make use of it, we can use out of the speed component over here. To actually set up with custom values instead of just writing it down in here and setting it up within the parameter values, we're going to create a cells couple of parameters, we're going to hold S and call this one X speed or actually sorry speed x. We want to make sure that it's set up within the same alphabetical order to make it a bit easier to follow within parameter set up. We're going to hold S and call this one speed y. And then we're going to make sure that we append them and combine them both together to make sure that we only get one value. This is a vector two for the speed. So in order to combine these two and have it have two vectors within our information, we're going to click, we're going to simply search for append and we're going to get ourselves a pend vector. This will allow us to connect both of them together just like that, and the outcome is going to be connected to the speed. This will allow us to control the speed as for the time itself. By default, it's going to be just a simple time itself. And sometimes useful to add a nice controlling multiply with this for when we want to just be able to slow down or speed up the thing, the panel itself, the motion of water. But actually, just having the values of speed x and y separate, that's going to allow us to have control on that anyway. So I personally don't create the time type of an input itself and just leave it as is, as it's actually quite a bit easier. Now we have it set up like so, we're going to go onto the water intense, we're going to learn a bit in regards to the speed x and y. I'm going to enable one. And speed X, if we were to set this to one, we can see it start moving all the texture type of information in one direction, which is pretty useful. We can make it go the other way by going with the negative value, and y is going to just give us the sort of result which is going to now go diagonally because we had speed X. But yeah, with controlling those, we're able to get ourselves a real nice type of setup. And for now though, I'm just going to set it up to 0.1 and actually 0.03. No, and it's going to give us a real nice type of a motion going one way. And another thing that I'd like to talk about is in regards to making use of the noise to distort the UV coordinate. So if I were to move this out to the side, we're now going to set ourselves up with something a bit of an extra. We're going to go ahead and hold T and create a texture sample, within a texture sample, we're just going to search for noise, and we're just going to get ourselves low res blurred noise. Just a very basic type of a noise like this. And if we were to just plug it directly onto our UVs, we were to just plug it like it's going to give us an error. The reason being is that we need to just use a simple channel like so. But if I were to plug in red value just like that and make sure that we plug it into all of them as an example. So, we're going to see that this type of a water is now really, really distorted. So we can use a sort of a noise to distort our textures, which is sometimes very useful for creating some nice effects within our animation of water in this particular case. This is a little bit too much. I'm going to go ahead and click control to make sure that it sets back to a pattern. But we're going to make use of this in combination with the per to get a nicer result. I'm going to hit Control C, Control V to grab myself a Panner. I'm going to attach this over here. And as for the pen, I can probably make use of this, but it's going to be a bit of a different rename. So I'm going to go ahead and just click F two to rename it, and I'm going to call this one speed x noise. And second one is going to be speed y noise. So, this will be two different values. Then what we need to do after we have this in motion, we need to make sure that we have some control of the overall type of a set up for this amount of it gets amplified. So we're going to hold M. We're going to set ourselves with noise scale, or sorry, not noise scale. It's going to be called noise multiplier. So we're going to attach these both over here. And I think it's best to just keep it as 0.1, something low of a value. And then afterwards, we're just going to add this onto our patter. So by holding A and clicking on material graph, we're able to add the value. So by just having this as a starting point and adding this later on afterwards on top of it, we're able to get ourselves some nice values. We're going to just attach this all and actually, sorry about that. We're getting an arrow because the reason being is that I set this noise with RGB. We need to make sure that this is set with the red channel, which is going to get this wavy effect. This is exactly what we want, so we're just going to make sure we do that. The easier way instead of just re dragging it all, it's going to be by holding control, putting it from Panner onto the value of A, and that's going to set it all up for us. We're going to get this sort of a result as you can see, it's very nice and the wavy. Like that. We're going to hit control and S to save it out. And just by going back on to the texture, you can see this is how it's looking like for now. We need to make sure we set it up a little bit better. We're going to go into the water itself. We're going to make sure that the noise multiply is actually set to a bit of a lower value. Something of value of 0.5, perhaps. There you go. That's looking much better. Then we also have noise scale of x and y. I'm going to just set it up to something of a low value of 0.1 for both of them, and that's going to give us this kind of nice ripple motion effect. So But just having it pan in one area while at the same time it's kind of going between the waves itself is making it look really, really nice in my opinion. And just like that, we're able to set ourselves up with some nice water type of waves. It's been done without any visual effects or anything of the sort, but just using material itself, we're able to create motion within it, sort of visual effects out of it. So that's also quite nice to know. And yeah, that's pretty much it in regards to this setup. I hope you enjoyed the video, and then the next one, we're going to continue on with the next scene. 39. 3 Point Light Setup: I'm going to welcome back everyone to creating standing environments in unrelanged five. The boot camp for artist course. In the last lesson, we left ourselves off by creating some nice animation for the water and completing the overall animation for this environment. So let's go ahead and move on on to the next stage. We're going to go ahead and open ourselves to seventh one, which is lighting and post processing. And you'll notice that there's only three levels within it. There's nothing else to do within that area other than working with the levels themselves, and each one of them are going to be isolated in their own individual scene. So we'll be able to work through it nicely. Once we open this up, we'll see this is completely pitch back. We might be able to get some outliner out of it. And you'll see that there's no lighting, no nothing. We're going to set that all from scratch. If we were to click on the top left down corner from lit, if we were to change it to lit mode, we'll notice that there is some bits in the scene, and this is for lighting and post processing. We're going to first of all start off by creating ourselves studio lighting itself. Which is going to be quite nice to begin with. And yeah, let's go ahead and get right into it. We're going to go back onto the lit mode, so we'd see this kind of a darkened up scene. And we could tell where our light sources are. And to set up a nice studio lighting, what we'll need to do is firstly, we'll need to, of course, grab ourselves a light source. We're going to quickly add the project. There is a light section, and usually for a studio setup, you'll want to make use out of a rectangle light. If we were to click and hold and drag it into the scene, you'll notice that this is what we're going to get. We're going to get this sort of a square with an icon in the middle. Which you can make use of to get some nice light source. You can see the shadows bouncing and everything. Most of it is already set up, but we need to make sure that we have some control over how it actually behaves within the scene. And first things first, We are going to go into the detail stab. There is sort width and height, which will allow us to control the height of this light. You can see us expanding this entire square and this square will represent where the light begins in regards to the source. We can make it super small, and that would also be affecting the way the light starts off from. And yeah, by default, I prefer to use it something like a value of 200, let's say. This is a nice type of a setup. So a simple square 200 by 200. It really depends on a scene. But in this particular case, because we're just trying to light up this silhouette, this mannequin will just use 200 by 200 type of a setup. Then the next thing that we want to do is make sure that we change up the light color. We're going to be able to do that by clicking on the square over here. We can change it to any type of color that we want to be honest. But personally, I prefer to keep the one, the first one as a bit of a saturation with blue, and not too much, but you can see the old and a new one is going to have a slight blue tint, which works really nice with a studio type of a setup. After which we'll want to work with door angle and door length. These are basically, you can see it expanding over here visually, but essentially what this is, if we were to put it to the side, the camera like so. So door length will allow us to control the angle, the amount kind of like a bevel. And then door angle will allow us to make it so we'd have more of a source coming out of it. So once we get close, you can see the way it behaves. It basically creates a light source from the center point, and then it gives us a nice control over the overall angle of the light using the barn door angle and door length. So with this in mind, we're going to make this setup with 50 in regards to its length, and in regards to its angle, we're going to keep it at something like 45. So it's a nice dingle type of setup. I'm going to click W two, move it sideways. And in this particular case, because we don't want it to be snappy, we're going to take off the snapping pools, basically, we're going to go on to top right hand corner and take this off. So now we have more control in regards to how the lighting is set up. And Speaking of lighting motion itself, we also have a couple of controls in regards to that. So right now we can move our light with the gizmo usually if we want to go in between x and y, for example, we'd use the bit in the middle. But let's say we wanted to rotate this at an angle as well. If we were to click simple, we'll see that it's also right now aligned to the world position. So if we were to start rotating it from this angle, it'll start doing those kind of with types of angles. So to fix that kind of an issue, there is a button over here that changes the world gizmo to local Gizmo. If we were to change this to local Gizmo, we'll notice that this gizmo, It's going to be aligned to the object over here. So now that we rotate this around, we can see it to be rotating it nicely in this kind of way. So that's a nice thing to know. And one thing that I'd like to talk about is going to be in regards to indirect lighting. So if we were to scroll down within a sense within the detail tab itself for the lighting, there is something called indirect lighting intensity. If we were to increase this, we'll notice that there is more bounciness coming out of it. So if we were to change it to something like 100, something extreme, we can see the lights coming and just shining up the body, the silhouette itself. By default, I prefer to keep it at one. But when we want to get some nicer light bounces, for example, I recommend you tweaking this value to get some nicer shines out of it. And in general, going back to the overall setup for the studio lighting, what you want to have is basically going to be a free point light system where you have free lights set up in the scene, and then you're able to make use out of them in order to light up the background, the foreground and whatnot. And Yeah, just by doing that, we'll be able to get ourselves a nice setup. I'm going to go ahead and simply go out of my local gizmo onto world gizmo first, and now I'll be able to move it nicely in regards to just rotating it around. I'm going to hold going to just drag this around and going to click, rotate this around. And first things first, we just want to just pick up the angles of our lighting. So once we have it set up in a triangular type of base shape, it's quite actually easy to readjust the lighting itself. And I'd say we can keep it something as this. We can also just select all of them. By the way, if you're not seeing these gzmos you can click G to make sure you're seeing those gzmos for light sources. And then once we have them all selected, we can just click E and then rotate them around based on a last option. So if I were to have this selected as the last over here, You can see that this is going to be the rotating factor for all of them now. So that's quite useful information for where we want to readjust and rotate all of them around. And then the next thing that I'd like to talk about is in regards to hiding lights away. So right now, the scene is quite empty, it's quite easy to set it up, but once we have light sources, I recommend you to have them selected and creating yourselves a new folder photo lighting. But this way, when you want to find it easily, you can just go ahead and have them in a small type of a folder and have them all easily to be able to select. So after which, once we have a nice organization, we're going to go ahead and just disable all the lights first, we're going to just enable one of them, so we're going to start with the first one. We'll want to make sure that we control in regards to where the camera is. I'm going to position my camera over here, like so, and it's best to have a main camera set up when you're working with this type of work. So instead of just going back and forth for our scene for our lighting, What I'm going to do is, I'm just going to real quick position my camera so, and I'm going to click Control one, which will add a s of a bookmark to the camera. Now, when I go out of it and just click one by itself, it's going to go back onto this camera save up. So we can do that with Control two, control free and so forth. With saving out multiple cameras, for example, from this angle as well, I can click Control two, as is. So now I can go click one and click two, and it's going to rotate between those two angles. It's going to snap between those two. And this is quite useful for whenever we want to get different lighting from different types of angles visible, so we can just go out of it, readjust the lighting setup and then go back into it. And yeah, for cars now to control the intensity, the main thing of the light itself, we're going to make use of the intensity over here. We're going to set this up to, well, something very low, something 0.1 for stars and we're just going to play out from this. And before setting it all up, actually, I'd like to real quick talk about in regards to the post processing itself as well. We're going to have some issues if we were to just make use of this type of a setup because by default, unreal engine has auto exposure. This is quite troublesome because auto exposure will mean that even if we have a set 0.1, I'll style to brighten it up. If you set this to ten, you'll see it gets super bright and then it just dims it down. So we can't have good controls in regards to lighting setup, especially within the scene because it tries to kind of rebalance it out. So for us to do that, for us to actually take that off from unreal enter, we're going to go ahead and quickly add to the menu of quickly add and add ourselves something called post processing. If you don't move your mouse, once you click on it, you can just type in the words itself within the search bar, and then you'll find post process volume. We're going to click and hold and then drag it into the scene, like, so it's going to give us a simple box, which, by default, within the box itself, everything is going to be affected, but it's only going to be in the box. I recommend you changing this option with the box selected, that is, I recommend you going into the detailed steps and changing it to infinity inbound, sorry, infinity extend unbound box. If you were to click on this, we'll be able to make use of the dosed process volume forgot the entire scene. So that's really, really useful or when we want to make sure that we have some nicer controls. And at the moment, we're not going to go too much in depth in sites, we're just going to make sure that we turn off the exposure options, so it's going to be exposure over here. If we were to type that in, we're going to scroll down, we're going to see minimum and maximum, we're going to make sure we have both of them ticked on. And we're going to set them both to one, which is going to give us a really dark type of an outcome because now we need to go back on to exposure component. And just to rebalance that out, we're just going to increase this value to something like let's say eight, I usually go with eight, and that seems to give us a real nice type of a set up. In order to go between the visibility in both process, we can make use of the infinite extent. The reason being is that it's probably the easiest way to just go between them in and out because if we were to have this exposure, as you can see, over here, for example, if I were to make this something like 20, super bright, And if we want to see it, how it looks like before, by disling this, sometimes it doesn't seem to want to work. I'm not sure why, but I personally got used to just making use of this infinite extent unbound just take it off and on, and that seems to update it much faster in my personal opinion. I think that's much easier to make use out of. Plus, if you have multiple post process effects, it's just easier to just split between them. And In regards to that, you will also mention that well, of course, we need to go into exposure, make sure that exposure is set to eight, and make sure that infinity is turned on, so we could have a nice type of preset. And yeah, we're still not done with IRgars to lighting itself. We're going to continue on with the scene in the next lesson, but pretty much, we got ourselves a nice post process volume. We've got a couple of lights which we're still going to be working on I regards to the lighting setup. But again, that's going to be in the next lesson, so thank you so much for watching, and I'll see in a bit. 40. Skylight and Ambient Lighting Adjustments: Welcome back and front to creating standing environments in unreal engined fib the boot camp for art discourse. In the last lesson, we left ourselves up with creating a nice post process effect, which allows us to control exposure. We also created ourselves free variations of lighting like so, but we're not still quite done with them in regards to the overall setup. We need to make sure we have them all nicely set up first. So we almost got the first lighting in regards to how it looks like, and I think it's looking quite nice overall. Like this, it has a really nice type of aide, kind of a highlight that are quite like actually. So we're going to actually turn this off and go onto the second light. The second light, I'd want to ideally be a bit more of a softer light. So what I tend to do with regards to this is I tend to just bring it a little bit back, maybe something to this area. Turn it sideways a little bit more, and even sometimes I would extend its width. So if we were to set it to 300 to widen up, we can see it's looking. It's just highlights a little bit better in regards to its cotter. Over like so. If it had a nicer face, you'd see more of its facial features. And afterwards, if we want to, of course, fix up the intensity, we need to go ahead and do that. We're going to set it up to a value of 0.1 as well, probably. We're going to see how it looks like in combination to this. So is going to help us out. But I reckon now that I combine it with the second light, it needs to be a little bit more facing forward. So I'm actually just going to move it to the front and rotate it slightly like so. This way, it's going to give us a really nice type of light. Although this one, I'd like to have it more dim. I'm going to set it up to 0.5, something like so. And I think that's going to be a bit better in that regard. And finally, we have the third light, main light. So let's go ahead and make sure that every light is invisible. We can turn this one on and see how this would look like. This one is going to look really nice overall. I'm not going to switch up the angle. I think the angle is looking quite okay. I just need to make sure that the overall lighting is going to look quite nice in regards to its brightness. So something like 0.5, perhaps, Something soft, I want to make sure that it has a soft effect. And actually, one thing that I forgot to mention in regards to the lighting setting is going to be at tenucy radius. At tenuci radius is going to be this detail over here. It will allow you to make use out of lighting in regards to how much of a space it affects. If I were to just lower this down to quite a minimum amount, you can see that, The light actually ends where the ten engine radius ends. And you might think of it in a way in which the light itself is going to be just applied onto the scene, and it's going to have, of course, indirect bounces and whatnot. So even if I were to increase it, you can see light being bounced off in here, but it's not going to do any of that if we were to just have it this sort of a light. So it's sometimes useful, for example, when we want the background not to be lit up, but it's also useful in regards to optimizing a lights. If you have a bunch of lights in your scene, of course, in this particular case, which is a studio setup. It's not going to matter as much, but if you have a bunch of different lights, you'll want to make sure you optimize this option as well. And I reckon, for this particular case, I'm going to go ahead and just increase it again for studio lighting. It doesn't matter as much, but maybe. Actually, it will matter in this particular case because I don't want this ground to be shown with such a massive spot light. I'm just going to go ahead and turn this down a little bit, like so, and that's going to just give us a nice lighting for the four foreground. We're going to enable the rest of the lighting, like so and see how this would look like. And this is quite all right. I think it needs though some optimization in regards to the intensity for the third light, we're going to change this up 2.3. Let's go ahead and see how this looks like. And yeah, just by doing a couple of options like that, we can see that we're getting some nice silhouette, nice lighting out of it. And yeah, that's pretty much it in regards to the lighting itself. Unreal eng it makes it super nice and simple for the lighting itself to make it real nice. The only downside in this particular case is that the lighting right now does not have any nice reflections. We can see that this body is actually quite shiny, but even if it's shiny, it's not going to have anything other than the studio lights being bounced up. So it becomes quite a problem in this particular case because we don't get as much of a realistic type of shine out of this metallic body. So to fix that, I recommend you in pretty much any of the studio type based lighting that you're setting up. You set up sort of a sky box that will allow you to reflect the lighting within your objects. The way we're going to do it. I'm actually just going to show you right away. The way we actually do it is we're going to go onto the top left hand corner. We're going to add ourselves something called Skybox. Sorry, skylight. There you go. We're going to click and drag and drop it into the scene. I'm going to click G so we can see the Giz We're going to get this sort of a result. By default, this should not give you much of an impact because this scene is pitch black. It's completely empty, so it has nothing in it. But what we're going to do is we're going to set the skylight up with a sort of an indirect light source that will allow you to light up your reflections and whatnot, with sort of a fake map. So for us to do that, first of all going to go into the details, with this selected, we're going to go and change the source type. We're going to change the source type to be specified cube map, which will allow us now to make use of a cube map. Okay Make use out of the Que map. We're going to just simply click on this box over here, and there are a couple of presets for the Que map texture. We're just going to select a simple daylight ambient que map, which once we select it, is going to give us this sort of a result. Because the overall setting is more or less dimly lit within our scene. It's actually going to expose it way too much, and we can actually control the overall setting out of this entire scene. I'm going to go ahead and turn off all the lighting first so we could see how the skylight would look like. And yeah, in order to control this, we're going to scroll a little bit downwards like snow, and there is something called intensity scale. By simply changing this to a 0.1, we can see it lowering down and it's going to look much better in that regard. We want to lower it down to the point where we are satisfied with dark shadows that we're going to get out of this as it will make sure that the areas that are actually darker if I was now to enable all the lights, like so, They aren't going to be as dark anymore. So we need to lower this down to the point where we are actually happy about it. So I'm going to turn off the lights just real quick. I'm going to play around with this, and I'm going to set it up to 0.01, perhaps, maybe even lower. And I should probably show you how it actually works with in regards to the skylight so we can visualize it. I'm going to set it up back to 0.1, actually real quick. And in order to visualize the skylight itself, what I personally prefer to do, also, just a quick trick in regards to the overall setup is if we were to right click, we can go ahead and create ourselves a material. And for the material itself, I'm just going to go onto it, going to make it metallic. I'm going to hold one, going to create a value that's going to be having a value of one. Then for the roughness, I'm also going to create a value that's going to be close to non rough value, so a value of 0.1 will do the trick. And we can create it as a neutral kind of a color. Value of 0.5 in gas or base color. So it's going to give us this kind of reflection for material. We're going to go ahead and save this out, like so. I'm going to close this down, and now we can actually make use of this to visualize it within the scene. We're going to quickly add a basic shape, which is going to be a sphere, and I'm going to go ahead and add this onto the sphere. So now we can see that this is how it looks like. So with us disling the light, even if we were to have all these erect angles turned on, we can only see the light sources themselves. But with the skylight turned on, We have a sort of a basic reflection that we can make use of it in order to reflect some of the extra detail onto our metallic surfaces or onto our glossy type of surfaces. And yeah, setting up this material is really useful for whatever you want to work with alt itself. Now we can make use of this to set it up with a nice, kind of a skylight bound. We want to make it look like an evening type of a scene. I'm going to keep on darkening it until I like the overall result. Okay. Something like this, super dark type of cloudy atmosphere. I think that's going to be quite right. We can now go ahead and delete the sphere, and you can see how it looks like. So before and after, you can see that some of the shininess on the sides of the shoulders, for example, even over here. I'm actually going to lower down the camera speed. I just realized that we kept it on we lower it down and just use mouse wheel to scroll in and out just like that. And yeah, the skylight, before and f can see that it gives you some bit of an extra ambient lighting, which is really, really nice overall. So, yeah, that's pretty much it how to set yourself up with some nice lighting. We can even make this different colors, for example. We can get this bit more to be, for example, more orange, let's say, or more blue even. Like the sci fi looks, I'm going to go with a bit of a more pinkish type of a color even, like so. We could match the side lights for these neons. And yeah, that's pretty much it in regards to that. I really hope you enjoyed the video. And in the next one, we're going to continue on with some larger areas so we could set up larger environments. Thank you so much for watching, and I'll see in a bit. 41. Night Scene Lighting: And welcome back ever on to creating standing environments in Unreal engine five. The boot for Artist course. In the last lesson, we set ourselves up with a nice three point lighting within the scene. Now we're going to continue on within the same stage but a different level. So let's go ahead and get started. We're just going to open this part up. We're going to make sure we save the one. And again, we're going to have the same type of a result in regards to the lighting itself. So in this particular case, instead of just creating the light horse ourselves, We're going to actually make use of the tool within a real engine itself. We're going to go onto the window tab and within it, there is something called environment light mixer. It's a really nice type of a window to make use out of it. Once we open it up, we can see it's completely empty except for a couple of buttons. And actually, I'm just going to make use out of it and click and hold and then drag the stab over here, which allows us to reposition it. I'm going to drag it next to the content browser and that's going to just attach it over here. I find it to be way more easier to work with after I get it set up in here in this area. So yeah, first things first, we're going to, of course, create ourselves a skylight. We're going to just click on it as is and that's going to create ourselves in a fault skylight. We're not going to change any Q Map or anything of the sort because we're going to be able to make use of atmospheric skylight and whatnot within the scene. So so creating atmospheric light. If we were to click on this pattern over here, we're going to get ourselves this type of a look, which looks a bit bizarre at the moment. And the reason being is that the light source is actually facing the other way. Control the light. We can alternatively just select it, click F, and we can see where it is. We could just click and just rotate it around so you can see it switching around or alternatively, or to do it. We can click and hold control and L on our keyboard, and that allows us to get a nice gizmo which if we were to move our mouse left and right, it allows us to change the angle of the light source. Also, if we were to move it up and down, it allows us to change the location if it's lower or higher up, basically. So with that in mind, we can just set ourselves with a nice lighting. So again, left and right to just change up the angle in regards to direction and up and down in regards to its entire slope and whatnot. So how high the light is basically. And yeah, we're with this, we're going to set it up something like this, put it up to the side a little bit more like so. And then the next couple of steps is going to be as the tabs suggest, create a sky atmosphere for now, it's going to give us a nice sky. We're going to create volumetric clouds to make sure we add some bit of detail within the background, and we're going to create a Sels hide fog. So the hide fog is what blends in regards to the depth. We talked about before when we were setting up the mountains. But in this particular case, we're just setting it up for just a kind of a background, so it's not going to be affecting the area where we are working with as it's a little bit too little in regards to the density. Of course, in this particular case, we're going to set ourselves up with a night scene. And you might be thinking, what are we going to do with the night scene? How do we set it up? And I saw a lot of people actually struggle with that on Internet where they just try to lower the sun down and it's going to be pitch black and whatnot. And if they try to make it kind of dawn, it kind of works, but at the same time, it's just not a night scene. So what do we do with it? Well, the easiest solution is to just actually fake the night scene. And what I mean by that is we're going to make use out of the sun. In order to get a much, much nicer type of a set up for the overall scene. So we're going to make use of that and environment, light mixure by the way, allows you to have nice controls within the area. Right now, I have this stab set up. It's minimal. Usually, I just keep it as normal advanced, which will basically give you all the detailed stabs the R. But for now, it's good enough to just keep it simple at the moment. We're going to change up the lighting to be a bit more of a bluish, not completely blue, but just a little bit, and we're going to then afterwards change up the intensity to be a bit darker. So something like this is going to be quite right. So by changing a couple of those options, it's going to make it look a bit better. And one final thing that I want to say in regards to the lighting itself is going to be indirect light intensity. But I noticed with the kind of night scenes is that it has much harder shadows in regards to the overall environments. So I tend to change this indirect light intensity to be much less. So if I were to set it to zero, you can see very hard shadows. If I were to set it back to one, it's going to give us a bit of softer shadows. So actually, Might be a bit easier to see if we were to have a nice bounce, you can see the light bounces back really nicely. But with night scenes, usually you want to have a bit more contrast. So usually what I tend to do is at this value to a value of 0.5, and that seems to get a bit of a nicer result for when I want to set up a night scene. Then afterwards, for the night scene itself, what we basically need to do is just simply change the post processing effects. If we were to go onto the cube on to quickly add button over here, we're going to simply search for post processing, we're going to add it up just like we did previously. We're going to make sure that this is set with infinity, the tick box that is then going to actually keep the rest as is. And the thing that we need to make sure that we change the most is going to be. If we were to scroll all the way down, it actually has a lot of options. I'm probably going to just type it in within the search part there you go. Temperature. Temperature is the one that will allow you to get a nicer tint. If we to have this enabled, and we can control how hot or basically how cold the overall environment looks like. And just by changing the temperature, you can see how blue tint affects the overall environment, and makes everything so much colder looking, which is already looking pretty nice. The only thing that we need to do is right now change up the exposure. Changing up the exposure, we can go onto exposure settings over here and just turn down the overall darkness. So it really depends on the type of a dene you want in regards to how bright you want it to be. I recommend you not to make it too dark because in virtual world, we don't need to make it look as realistic to the night scene as possible. All we care about is just making sure that it is close to just making it look like it's a night scene. So for example, even in movies and whatnot, they don't use actual night natural light scene from the moon. They just make use out of it in order to make it with the background so they'd have some additional lighting those areas. And I'm just going to set it up maybe a bit darker, like so. Again, it really depends on the type of setting you want to have, but just by doing it like this, you see a couple of steps, a couple of adjustments will allow you to make it look quite dark and quite nitish. And furthermore, to extend this type of settings, we can go onto our global color parameters. We can go all the way down. The main options within the area of f A nicene is going to be if we were to scroll down a little bit, global parameters. These are the options that you'll basically want to make use out of in regards to the color grading. You've got contrast, for example, if you were to take this on, by the way. You can see we have sort of a color occur over here that if you were to control it, you can adjust a sort of tints. Resample, this is only affecting it for the contrast in regards to the contrast itself. Usually, part of contrast, though. I'd prefer to keep it at a value of zero. If you want to reset it, we can click on this button over here. And then afterwards, we can just change up the contrast in this section over here, make it super contrasty, make it non contrast, and something of the sort. I'm just going to change this to 1.2 as that's going to give us some nice hard shadows. Of shadows, though. If we were to go down, we also have options for shadows and highlights, mid tones, and whatnot, which gives us some additional type of control. We can turn on, for example, gain, which will allow you to just play around with the value and get some real nice results. I'm actually going to just change this up to this kind of result and just play around with the value a little bit, just to get nicer type of a setting. It really is up to you to what sort of a look you want in regards to the color coding. I'm going to recommend you to just go into them and play around with all of these values that would help you in regards to the understanding. But I would personally say not to overdo it in regards to the values themselves, as you can get some really good values afterwards in regards to if, for example, setting up sort of a film recording or something of the sort, you'd want to do post processing, a lot of the post processing within an editing software. So these are like they're there within the unreal engine, but if you're working in regards to just setting up a sort of a real time rendered film or animation, you'd want to do most of this work to be honest within an editing software. And yeah, but other than that, it's really nice and simple to set up a sort of a night scene, as you can see over here. The clouds and the sky actually adds up to the atmosphere, and it's looking pretty good. So we're pretty much done with the night scene itself. Next one is going to be the night scene, which we're going to work on in the next lesson. So thank you so much for watching, and I'll see in a bit. 42. Starry Night Material Setup: Welcome back into creating standing environments in Unreal Engine five. The bootam for artists course. In the last lesson, we left ourselves off by creating a nice night scene. But this time, I'd like us to go a bit further and take it to the next level by setting ourselves a day night scene, a sort of a cycle, if you will. We're going to go ahead and open ourselves up with a new level, like so. We're going to then add a plug in that will allow us to get a nice and accurate type of position for the sunlight. We're going to go on to edit tab over here, plug ins, and we're going to be looking for something called sun position calculator. So if we were to sty in within the search power over here, we'll be able to enable this sun position calculator. Once we have it enabled, let's go ahead and restart the engine. After which your sun should be enabled. So let's go ahead and see sun position calculator. There you go. It's now enabled. We're now going to go ahead and go back onto our scene, actually. There you go. And the next step that we'll need to take is to make sure that we have sun sky blueprint placed within our unreal engine. And for us to do that, we're going to make sure firstly that we are within our content browser. So just make sure you have this enabled. Previously, we were using environmental light mixer. For now, we're just going to go ahead and close this down, like so. We're going to go back onto the content browser. We're going to now make sure that we have engine and plug in folders enabled, which we can do so by going onto settings over here, making sure that show engine content and show plug in are enabled. Otherwise, we're not going to be seeing the folders that we need. If we were to scroll all the way down, like so, there is a folder called engine. If we were to open this up, there are more folders, actually. One of which is going to be plug ins. Let's go ahead and open this one up, and we'll see a bunch of folders that real engine the plug ins themselves provide. This point, we are looking for somebody called sun position calculator content. We're going to go ahead and open this up. And then we're going to have ourselves blueprint for the sun position and the sun sky blueprint as well, which not only will have the sun position, but it'll have the whole setup ready for us. We're going to go ahead and firstly just select this, hit Control C and make a copy. We're not going to go back all the way to our folder. Actually, we can click on this button over here to just drag it back to the lighting and both processing. Like so we're going to hit Control B, just like that, to get ourselves this blueprint within this area as a copy. Because we're going to make a couple of adjustments to it. We don't want it to change it up within the engine itself. Otherwise, it's not only going to change it within a level within the scene itself within the project. But whenever we're going to be able to be using the same type of plug in, it's going to be changed as well. So we've got to make sure that it's properly set up in regards to that. Once we drag it into the scene, we're going to get this sort of a set up, which is going to basically give us a nice environment, nice basic environment for the stun for the sky and whatnot. And what's nice about it is that if we have it selected, we see that we have some details within the tab. We have a lot of control in regards to how accurate we want it to be in regards to the sin itself. So right now, the sun is facing right above us. The reason being is that if we look at it, there is something called solar time and it's set at 1:00 daytime. So if we were to start dragging this down, once it gets to 4:00, it's going to be over here. We have a lot of controls in regards to the sun position, and in regards to its accuracy. We can set the specific month and day of the date that we want. We can also go to advance and set up a lot of extra options. The ones that we need to worry about though, the most is in regards to latitude and longitude. These are going to control in regards to how fast the sun, for example, sets up and sets down. So if we have a latitude to very high of a value, it's going to start setting down for the sun at 4:00 as you can see over here. And you can see the sun being very low in that regard. It's going to start rising only at 8:00. That's something to be worth noting. I'm going to set it to a value of a default value. The one that we're going to be controlling the most is probably going to be the longitude. We need to adjust this and we can get ourselves a nicer type of a setup in regards to where the sun or when the sun would go down. I want it to be going down at, like, for example, 8:00. I'm just going to lower it down in regards to that to 8:00. So 8:00. So, and I'm going to go ahead and change to longitude. So it would just be going down just like that. All right. So now we have something like this in which when it reaches 8:00, it's going to start going down. In regards to the morning itself, it's going to start raising the sun at 6:00 in the morning. So I think that's a reasonable time in that regard. Once we start dragging it around, we can see it going up and down in regards to the sun itself. I'm also just going to add some clouds as well, and we can do that without the blueprints help. We can go onto the project quickly add button. We're going to search for cloud. And we're going to get ourselves volumetric cloud, which we can drag it in and get ourselves a nice type of a setup. And we also, by the way, have some options in regards to the clouds themselves. We can change the layer of bottom attitude and layer height. You just control the amount of clouds that we're having within the scene. So I'd like to default height. I think was quite nice, maybe a bit lower, and bottom layer is going to be raised up a little bit as well. So I think that's going to give us some nice kind of contrast in regards to the clouds themselves. Going back to this option, the sun sky. If we were to start playing around with this, we'll notice that once it goes down to the night scene, it actually just turns black. So, of course, we're going to go ahead and fix that. The easiest way to fix it is going to be by creating a starry night for our scene. And the way we're going to do it is we're going to right click, we're going to create a material. We're going to call this one Starry Night. And we're going to go ahead and set this up as a material for our sphere, for our skybox sorts. We're going to create ourselves a custom one for this particular case. We're going to go ahead and open it up right away for the material, and we're just going to make it large like so. And first things first, what we need to do is make sure that it doesn't change up any lighting itself. It doesn't cast any shadows or anything of the sort. So for us to do that, we're going to go ahead and select this. We're going to change the blend mode from opaque. I'm sorry, not the blend mode, we're going to change the shading model. Default lit to unlit. So this will make sure that we only make use out of the emissive color, which is exactly what we want for this particular case. And yeah, in regards to the texture itself, we're going to hold T. We're going to tap on the material graph, like so, and going to select the texture sample. Going to make sure that the texture that we're using is going to be a star type of texture. You should be able to get yourself a nice star knit setup from this texture over here from an unreal engine engine, going to click, going to search for coordinates, texture coordinates, going to hold, and multiply this with a scalability parameter. Going to call this one scale V, stumping short, combine these two, just like that. And we will have ourselves the value of four for now. Going to now combine this on to vs. Then we'll want to have a sort a multiplier for the missive color, we're going to hold M and S and then call this one strength. So we're going to just attach it to a value of P and combine it with texture that we have over here. We're going to start off with a simple value of one, like so. So we're going to get ourselves this sort of a look. And as for the movement itself of the sky, we want to make sure that the stars are somewhat flickering, and for us to achieve that result, we're actually going to set ourselves up with a quick panic motion. We're going to hold the T. We're going to create a selves a noise material like so, and apply low resolution blurred noise. With this, we'll be able to just pan it around. We're going to then create ourselves a pattern. I'm going to right click, search for pattern, so. This will allow us to make motion within our material. I followed long from within the VFX part of the course. You'll find this part quite easy. Instead of just creating our own parameters, I'm just going to set it up with a value that's quite low. Dumping of the sort. I'm going to click. Actually, going to change it to a parameter and I'm going to see sorry, not the parameter of my pad. I'm going to click Control Z and do it, going to click. And instead of changing it to a parameter, I wanted to preview the node. So once I do that, we're going to see how it looks like. And right now, it's a little bit too big in regards to the scale itself. I'm going to use just this value over here to set up something like ten. Actually, that's not going to work for that. I'm just going to quickly make a copy out of this like so, and I'm going to attach it to the coordinate for the scale name. I'm going to call it scale noise, like so, and this is going to give us a nice result, changing the value of six, something like that. It's going to give us a really nice and simple type of a result. I'm going to hold and attach this value to the overall scale over here, and we can do it like so and attach to final result to the multiplier with the strength. So what we're going to get is if we were to right click now, stop the parameter preview mode. We're going to get this sort of result where the stars are actually somewhat flickering. So that's quite nice. And now one final thing that we need to do is before we make use of it is we need to make sure that we have the selected, and we need to make sure that the two sided option is enabled. So let's go ahead and do that. We're going to enable to two sided functionality. After enling I'm just going to save it out and close down on material, and then we're going to make use out of it. But we're running out of time, so we're going to continue on with this in the next lesson. So thank you so much for watching, and I'll see in a bit. 43. Adjusting Stars for Day Night Cycle: Hello, and welcome back on to creating studying environments in Unreal engine five. The boot camp for artist course. In the last lesson, we left ourselves off by creating a nice starry night material, but if we still haven't had a chance to test it out. And before doing that, I'm just going to go ahead and click, create a material instance. And after which we're going to make sure we apply it onto an object. So the object I'm talking about is just going to be a simple sphere. We're going to create ourselves a simple sphere. So drug interworld and it might not be quite as visible because we need to make sure we set it up to unlit mode for now, we're going to make sure we don't have any light sources from a day. Yeah, let's go ahead and do that. We're going to just expand this type of a box over here once we get inside of it. We'll see that nothing is going to be visible because by default materials that use default materials that are being used with an unreal engine, it's actually one sided. But once we start applying this because we applied a two sided type of a material, we're going to get as this result where from outside, it's not going to be visible, but from the inside, we're going to start seeing the sky. So if we were to set it to lit, we can see that it's being visible now. And I recommend you creating this type of a scale for a sphere as large as you can. So going to set it up something like $10,000 by $10,000. I'm actually going to reset it all and just make sure that I have this locked out. So $10,000 by $10,000 is going to be good enough for a type of a sphere. Next thing that we need to do is just we need to make sure that the collision turned off because by default, these type of spheres will have collision on. So for example, if we were to set up a player here or something of the sort, that will cause some issues. So I recommend you just turning out off right off the bat. We can do so by going onto collision presets and setting up to no collision. And afterwards, we need to go onto shadow. So search for shadow. There you go. And we need to take off gas shadow. And with that done, we're going to get ourselves in really nice and simple type of a sky box. And of course, we need to do some tweaking. So let's go into the material instance for now. We're going to make sure that scale noise and UV strength, all of them are ticked on. We're going to start by probably just taking on the scale for UV. So let's go ahead and just play around with the values. Maybe something of the sort. We'll do the trick. Maybe that's a little bit too much. Seeing how it looks like. So something like ten, for example, might be a bit better. And then in regards to the strength, I wanted to lower it to as little amount as possible so we could get just a bare amount of minimum in regards to the sky. Tough we're only using this just to get a basic kind of a gradient out of the sky. And I think, yeah, value of 0.05 is going to do the trick. And as for the scale noise, we can go ahead and just play around with that a little bit. I'm going to make it up to something like a value of eight. And this should give us a nice result. Although just looking at this, I realized that the speed might not be fast enough. I'm going to go into the material itself. I'm going to check for the speed within the patter, and it set to a value of 0.1. So let's go ahead and set this to a value of 0.3, and all of them, they go 0.3 for the patter. So, let me just go ahead and see how this would look like. Probably too much, actually. It's just the right amount, I think. It really depends on how sparkly the sky you want it to be. The faster this is, the more sparkly it's going to look like, but as you can see, it's a minimum kind of amount, but it's just the right amount to make it look like there is some movement or some light thereans out of the sky. And that's pretty much it in regards to that. We can now go ahead and make a use out of the blueprint that we had. So this is the blueprint that will control your setup in regards to the night day cycle. We can now go back onto the default. Wait, give me just a second. There you go. We're going to go back onto the sun sky that we placed already within the world. We're going to check the time itself, so solar time, if we were to make it a daytime, it takes a bit of time to readjust. I can see that the sphere is still a little bit too small. I'm going to go ahead and go back to the sphere. Actually, I'm going to go ahead and rename the sphere first. I'm going to just double click on it and call it sky sphere. So I'm going to select one of the things in regards to what we have within the settings, going to click F to just make sure that we reposition the entire setup. So by clicking F, we can refocus our camera based on a selection. So just make sure I have the sun sky selected, and that's that. And in regards to the sky itself, let's go back onto the sky sphere. Change this up to add an extra zero. There you go. And now, in regards to the overall setting, what we need to do is we just need to make sure we add a height fox to this way. It'll change the overall sky to be more bluish tint, while at the same time, during the nighttime, we'll be able to see it. So let's go ahead and do that. We're going to add a height fog, like so, and right away, we're going to get this sort of a result, which is already looking nice. We can even increase the density, for example, to make it more bluish, and we can even use sky in scattering color to just kind of take some of that value a little bit ourselves. So we're going to get ourselves a real nice type of a setup so a bit of a bluish color, bit of a nice setup. Also, let's not forget to turn on volumetric in this particular case, well. So it'll be adding in to the realism of the background. And now, once we start changing up the sun sky blue print, we were to switch them over. We can see when it turns to dark night sky. This is what happens. It starts brightening it up and getting to this peway setting. So right now, I think we still need to play around with exponential height fog. The reason being is we're not seeing anything at the moment. And first things first, I'm going to go ahead and play around with the fog density. I'm going to change this 20.05, like so, so we'd have more strength in regards to that. Then afterwards, we're going to go ahead and change up the starting distance to quite a large value. We're going to set it up to something like 500,000, like so, and now we start seeing the sky itself. And as for the sun sky, the sky sphere, that is, I'm going to actually make it molar in regards to that. So it would be a little bit closer and there we go. That's what we're going to get. That's exactly what we're looking for out of our night sky. And actually, one thing that I forgot, we do need to set ourselves up with a dark type of exponential fog. Otherwise, it's not going to give us the right result. So the reason being is that we firstly need to fix that up for the night sky and then it would work quite nicely for the day sky. So I'm just making sure that we have mold bluish type of a tent at the edges of the corners. Small amount, like so. It's actually still too large. So I'm going to go onto the value changes to a zero of a value, then add a couple of zero and going to be zero, one. There you go. Something like so, and that should be well actually too bright. I'm just going to add another zero, like so, and that's exactly what we're looking for. We're just looking for a background that doesn't cut off with just darkness. So that's going to make it look much nicer. And when we go back onto the sun sky, changing up the solar time. So it's going to take some time to readjust. And yeah, if you're still getting some areas where some bits in the daytime is a bit darker, make sure to go back onto the sky sphere, go and add a couple of zeros, like so, and it should give us a full spectrum of the horizon just like that. And this being really large type of an area mesh is going to allow us to have a nice atmospheric skylight, so that's quite nice. As in regards to the skylight itself, if we were now to go onto the sun sky and change the solar time to a nighttime, a pitch black, it should start going up in regards to the brightness in regards to the exposure so so we should be able to see some of the scene in regards to the stars. And I'm just going to wait it out a little bit. There you go. It starts popping up. So it's really nice and simple type of a setup. And yeah, now that we have ourselves a nice day night kind of look out of this type of a setup, We're going to make use of it in order to set ourselves up with a nice cycle within our scene. So let's go ahead and continue on with this in the next lesson. Thank you so much for watching. And I'll see in a bit. 44. Setting Up Sky Cycle: Welcome back everyone to standing environments in Unreal j five. The boot cam for artist course. In the last lesson, we left ourselves up with a nice setting for day night scene, and we can just play around with it a little bit. The outlooks like. I'm going to first of all, just go to unlit mode just to see where this guy is. So Sun Sky. That's the one we're looking for. Let's go ahead and make use of it to see what looks like with a day night cycle. And you probably at this point, might have guessed that we're going to make use of a solo time in order to adjust overall daylight cycle, to make sure that we have some motion in regards to the day itself. And yeah, that's looking pretty good. We're going to go ahead and continue on with this, for which we will need to make sure we actually edit this blueprint. We're not creating a blueprint from scratch just yet. We're going to do that in one of our other scenes. So for now though, we're going to go ahead and click select this Sun Sky Blueprint, we're going to click edit in blueprint. And now at this moment, it doesn't really matter in regards to its complexity. All we're going to make use of this is to just quickly create a nice setup. You can see that we have a blueprint graph over here, and we just got to make sure that we are within event graph tab at the very top over here. Then we'll want to make sure that we begin an event. To an event begin play. We're going to right click. We're going to search for event begin play. That's the one we're looking for. Let's go ahead and add this to our scene onto our graph. But then I'm going to drag this out and search for timeline. Again, we're not going to focus too much about in regards to how they work, we're just going to make sure that we set this up, as we're going to cover this type of subject in the next thing. And for this one, we're going to make sure that we have this opened up. We're going to make this loop itself, so there you go. We're going to click on this part over here. We're then going to change the length, so it's going to be a normal type of a value. Hanging it to 20 seconds is going to be quite right. We're going to add a track a simple float value like so. And we're going to add and we're going to add two key points on this. So similarly to what we had we have fx, this is also going to be working in the same way photograph. We're going to add a key, the stym from scratch, and we're going to add a second key next to it. And we're going to go ahead and go on to this part over here. We're going to make sure that the time is set to zero and the value set to zero as well. On this particular key. And for this next key, we're going to make sure that this is set to the amount of length we want it to be. So I'm going to zoom out sorry real quick, so we can see this entire length, so we can see it 20 seconds, it's going to be changing the cycle itself. We're going to change this up to be 24 hours. So let's go ahead and do that. We're going to change this 20 and change the value to 24. So it's going to be going 0-24 over this. After which, we're just going to go ahead and close this down, and it should be saved up. So I'm just going to double click, just to double check. It is saved out. A is good. After that, we're going to go ahead and locate ourselves a solar time parameter. We're going to go within the variables at the bottom left hand corner for the variables over here. We're going to search for solar time, so it's going to be underneath time. And we're going to click and hold and drag it out onto the blueprint. We're going to set the solar time links. So we're going to make sure that it's being updated every time this loops, which is going to be indefinitely. Then the solar time itself, we're just going to connect it with the new track like this. Finally, we're going to go ahead and update the sun. So for us to update the sun, we're just going to drag this out. We're going to search for update sun. This one over here. This will make sure that it is updating the direction of the sunlight. And yeah, that's all we need to do. We're going to go ahead and save this out. We're going to close this down, and it's pretty much ready to go. We're going to just simply stimulate this viewport, like so, so we could see how it looks like. And by default, it should be pitch black, but then it increases in the sun. The sun is going over and we're going to get ourselves a really, really nice and simple type of a set up. And yeah, of course, because this is a little bit fast, it might be harder to see the night sky. But once the exposure goes down, we should be able to see it. So I might just do a quick test in regards to that, going to go onto the sun sky, going to change up the timeline. So if we do want to change up the timeline, we can go into it and change the length. So for example, for 20 seconds, we can just make it to 60 seconds and basically 1 minute will be an entire cycle. Changing it time to 60 seconds, like so. I'm going to click Save Control and S save it out. Close this out like Now, once we hit simulate, it should give us a better result. So again, I'm just waiting for the exposure to kind of settle in, like so, and we should start seeing some of the night sky. Like, so. And yeah, that's all there is in regards to the sun sky type of a day cycle. We got ourselves some nice starry night, and we got ourselves a really quick and simple type of a cycle. That's also going to be quite accurate in regards to how we set it up. So that's going to be it from this lesson. Thank you so much for watching, and I'll be seeing it a bit. 45. Creating Cinematic Camera With Rotatable Anchor Point: Hello, and welcome back everyone to creating standing environments in reelngedFive. The boot camp for Artis course. In the last lesson, we created the elves a nice night sky with a day cycle within it. And we're going to continue onto the next level. So let's go ahead and go back onto the boot camp folder. We are going to go onto the number eight cinematic camera techniques. Let's go ahead and open this up. We're going to load up the scene, and let's not forget to save out this previous level as well. So this is the level we're going to be working with. We go ourselves a nice viking boat that we're going to present it using the camera shots. But before we go into the camera shots itself, what we need to do is actually set ourselves up with a level sequencer. Level sequencer will allow us to put in cameras into it and have it animated within the scene. So yeah, let's go ahead and create that right away. We're going to right click on our folder. We're going to hover my mouse on the top and just search for level sequencer. Level sequencer, so, going to click on a level sequencer, and we're going to keep the name as is. Then the next thing that we need to do is just simply double click on it, which is going to open ourselves up a level sequencer tab. It's going to be put in the same area where the content browser was. So keep that in mind. If you want to go back to the content browser, you just have to click between those soup tabs. So. Now, although we have this type of a camera set up over here, I'm just going to go ahead and delete this and start from scratch, so to be a bit more clear in regards to how we created from the very start. So yeah, for us to do that, we're going to click quickly to add to project. We're going to go all the way to cinematic tab, and there is cinematic camera actor. We're going to just simply click and hold and then drag it into the scene, like so, and you see we have ourselves a nice camera setup. That's a real quick tip. We can make this icon larger or smaller. And if you're not seeing this icon, by the way, you can click G, you go out and into the game view. And yeah, by making this larger by clicking R and just scaling it up, we can make it a bit easier to see where the camera is. It's not going to affect your camera view in any way. So for example, if we click, we can rotate the camera around, like so. I'm going to actually rotate it in an angle. So at the top right hand corner, we've got angle snapping. We're going to enable this, and I'm just going to keep it at ten degrees like so. This way, we can just turn around and you can see it turning around in one 80 degrees, just like that. We're going to move it up to the boat, and you can see this is the type of a setting we're going to get for now. We can click r to scale it up and down the camera icon, and you can see that at the bottom right corner when we have the camera selected, the cinematic camera preview is not going to be changed based on the scalability of this camera icon. The next thing I want to talk about is real quick, just going to be about in regards to the sequencer. When we create a sequencer, when we create new objects from within sometimes it likes to just create new keys and whatnot. Just make sure to have them deleted for now, and we're not going to worry about it too much, and actually just going to reset my camera, as you can see over here. I'm going to just replace it over, so, and that's going to be fine for now. Because the next thing that we need to do is just we need to make sure we set ourselves up with a sort of a pivot point because right now, what we want to do is we want to make sure we set ourselves up with a camera turntable. It's going to be the easiest one, but probably the most used one in regards to presenting your type of assets and whatnot. So I'll go ahead and show that first. And yeah, we got to sell a nice camera setup. We'll also go ahead and talk about in regards to the detail tab as well. We got a bunch of options for cinematic camera. We got a way to change the lens. We got a way to change the focus of the lens and aperture as well. And these are very useful for when we want to make sure we have a nicer type of a setup. I'm going to change the current focal length 35-20, so we get more field of vision. But that changes the way the camera blurs out the background, which we are going to come back to it later on. But for now do, let's focus on the camera set up for the turntable. And yeah, once we have ourselves a change of current focal length, we're going to go ahead and shred up, set it up with a rotable section for the camera. The way we're going to do it, my personal favorite is just simply attach it to an object and use it as a sort of a I would point to just rotated around the scene. So the way we can do it is by simply creating ourselves a basic shape. I use here because it's really nice and simple to set it up. And the next thing that I'd like us to do is just simply make sure that we attach this to the right side of camera, so we have a really nice type of a position out of this. We're going to go ahead and go back onto the camera real quick. We're going to go all the way to the top and copy its location. We're going to right click, hit copy. We're going to go back onto the sphere. Right click hit paste. And this way it's going to be right in the center where the camera is. But then going to go out from the camera, sideways. So we're going to make sure that it is set within the world position, so we have everything properly set up. So no rotation, no difference in regards to that for both the camera and the sphere. And we're going to just simply double click on the sphere itself to just rename the sphere to a focal. Point. We're going to call it focal point A k. So then next thing that we want to do is just basically going to be attaching the camera itself tra focal points. So as you can see, I have the camera selected, I can see the focal point of the sphere to be in this area, and I'm just going to be within an outline, are going to just drag and drop it tra focal point k. So and that's going to attach it. Alternatively, I'm going to click control to do it. We can also if we are struggling to find it within a scene, we can also right click onto an object and select attached two. And then if we search focal point, like so, we can just select this like so, and it's going to do the attaching for us. So if we have a lot of items within the scene, that's probably the best way to do so. Now, once we have a set like so, if we start moving the focal point itself, we can see that the camera and a focal point, both of them move at once. And that's exactly what we want to have. The next thing that we need to do is we need to make sure that this sphere is not actually visible within our view, which is actually relatively simple to do. All we got to do is just simply go into the search par for the focal point. We're going to search for game, and there's something called actor hidden in game. If we were to have this selected, you can see this disappearing, and if we were to click G to go into game view, we're going to just make this disappear as well. And Yeah, once we have it set up like this, we can now go ahead and move our camera around in any way of shape or form. I personally prefer to in regards to the movement, make sure that we are only using angles for the pivot point itself. And then as for the camera itself, we're just going to make sure that we have it set in regards to its distance. So when we have the camera set up, I go on to the local Gizmo. So now, when we are moving this sphere around, as you can see over here, We can go back onto the camera and just move the distance in regards to the local orientation to the camera. So to speed up the workflow in regards to going between the world position and the local position, I use control and a dot next to escape button. I'm not sure what it's called. It's a console command button. So I just use that. You can see it's switching between those, buttons over here, which is really useful. So now I can just move this around. And if I were to for example, click back on the focal point and want to have a bit of a nicer angle, I can click E with the local point selected. I can just rotate this around, make this from a bit of a higher distance, like so, and it's going to be nicely positioned. But now, for example, I want it to be rotating all the way around like this section over here. We can now go back onto the world type of Agismo and it's going to help us rotate this around. So this is pretty nice. Also, if you want to see the preview in regards to the camera, not just switching out like that. We're going to turn off the snapping grid, like so, and that's not going to help us out because when it moves, it's not going to preview the window itself properly. So what we're going to do is just we're going to select the camera, and there is a small button over here next to the preview that's called pin preview. If we were to click on it. Now we can go back on to the focal point, and you can see that there are two windows, one for the attached window over here, and the other one for the one that we actually pin to our view. If we were to click, we can see that one of them is going to just be constantly in motion and properly updating within our section, so we can actually make use out of that to correct our turntable. And before doing that, we're just going to go ahead and fix in regards to how close we want it to be next to a boat and whatnot. But one thing I should mention is that attaching multiple cameras onto your viewport will affect your performance. So if you want to, for example, work with a better performance, you can go onto lit mode and change this two lit. So your main view, is your part is going to have a less performance impact whilst you can still preview your cameras in your corner. So that's one way to go around in regards to fixing up your performance. And yeah, another way would be to change up the scalability of engine scalability to something of medium or low. And that would also be helpful as well. And yeah, we're going to continue on with setting up the animation itself in the next lesson. So thank you so much for watching, and I'll be seeing you in a bit. 46. Creating Turn Table Camera Animation: Now, we welcome back every on to creating standing environments and relanged vive. The boot camp for artists course. In the last lesson, we left ourselves off by creating a nice setup for a turntable and we can make use out of this pivot point over here. Just rotate our camera around, although, as you can see, some of the parts are going behind the wall. I'm going to make sure that we go back onto the camera. We're going to change the global Gizmo to be to local, going to click W and just kind of get it much closer in regards to that. As for the angle and the overall setup. What I'd like to do is just go back onto this focus point. I'm going to just click back to the world type of Gizmo. Lower it down, perhaps, like so a little bit, and now click, go back to the local point, and this is going to allow us to just change up the angle a little bit, like. So I think that's going to be quite a nice angle. Let's have a look around. And there we go. It's actually still getting stuck in the wall. I'm just going to go ahead and fix that. Going to go back onto this, go back to the local gizmo, get this camera a little bit closer. Now I'm going to test it out with again, the world gizmo by rotating this around. This is looking quite nice, quite like this overall setup. If, for example, normally, if you're having a nice type of a setup scene, you probably wouldn't have this sort of a wall in the background, so you wouldn't have to worry about it too much. But alternatively, the way we could fix it is if we were to go back onto the camera, if we were to just remove it from a search bar, we would have just a simple way to just change up the focal length, and we could just zoom back out to capture the entire shot. But honestly, having this type of a setup is quite good as well. I'm just wondering if that's going to work. And yeah, it looks like it's nice, but we'll need to click W and just move this to more of a center of the boat. And yeah, I will actually change up the focal length a little bit. Like, so it's going to now be something like this. And it's looking quite nice in regards to the setup. Let's go ahead and actually set it up within the area over here. And it seems like I moved the transition and now we created again another transform. I'm going to go ahead and just remove it, see how that would behave. And now I'm just going to move it So sometimes annoying that it automatically creates it like, so I don't like it often when it does it, but I think it's back in the same area, it is. All right. So yeah, the reason this happens is because when we double click on it and we try to just move it out to the side, it's going to create transformation, and then it becomes troublesome. So just make sure that doesn't happen. But va way, we will need to create a cells as sort of an animation. In regards to an animation itself, once we are within a sequencer by the way. Once we are within a sequence of tape. If you're not seeing it in the sequence of tape, just make sure to double click on the sequence that we created previously. We're going to make use of it and set our cells up with a camera rotating around. So first things first, in order to visualize the size the space time itself, we're going to go ahead and change the frames from first frames per second. We're going to go ahead and change it to show it as seconds. Showing it as seconds will help us visualize it better. I recommend you doing that. Then we're going to change the working range at the bottom right hand quarter off the sequence. We can change this option here to have wider type of a range. Basically, we're going to change it to something like 60, so it's 60 seconds, which you can see changed up this part to be much smaller. Now we can grab one end of this and make it like so. At at this moment, though, I reckon we can change this overall setup for the camera to be going on to 15 seconds. 15 seconds for rotation. I think it's a good time. Let's go ahead and firstly, switch up how long it takes for the time quincer to reach the end. We're going to make sure we use this red part over here. As you can see, there is a red type of a bar, which if we were to click and hold and then drag it, we can change the time for it. So we're going to just set it up to a value of 15, like so, Now, if we were to hit play, it's going to go all the way to our value of 15, which if you look at this arrow over here, you can see it moving when we press space bar. So by pressing space bar, we can start initiating the level sequencer. So you can see it moving in regards to seconds, and when it reaches the end, it's going to stop. That's exactly what we want for now. Get back to the original starting point, we can click on this button over here, which says to front. By clicking on this, we're going to go back on to the very start. There is an alternative to go to the end over here. So by just going through this, we can go ahead and just set ourselves up with a nice type of a keyframe animation. Um, yeah. So make use out of this. We're going to just simply click and hold and then drag our focal point to the area. In case we don't have this focal point already set up. We're going to grab get ourselves a focal point with transformation. Transformation, if we were to click on the key over here, is going to allow us to create initial point. And then once we go to the end point of the transformation and start rotating this around. So we're going to hit. Start rotating it with a world gz mobile away. We're going to make it would rotate. So once we rotate it to a different end, we're going to hit Add key again. And we're going to see that now it starts moving our initial entire section. So the camera starts moving, we're going to get ourselves a real nice type of a setup, and we're going to pose it for now because we haven't set ourselves up with a nice rotation. We need to make sure that it rotates 360 degrees. So for us to do that, we're going to go onto the transformation tab itself. We're going to break up all of it and only worry about rotation itself. Now we're going to go onto rotation. We can see there are roll pitch and ya, we're going to check which one is going to affect what? So pitch is not the one going to click controls. Ya is the one that's going to affect how it rotates. The way I'm going to do it is actually, I'm going to go to the very first key point over here. We're going to just add three 60 to it. And actually, we can just set up the point to be set zero, like so. Then the final point is going to be set to a value of three 60, like so, and it should be rotating the boat around. You can see it's going in the direction that I wanted it to. So what we're going to do is we're going to go to the very end, and we're going to set it up with a negative value. So negative three 60, like so. It's going to now go in other direction just like that. If we wanted to speed it up and have it faster, what we can do is just we can go at the very end, and we can even double this value. So three 60 times two is going to be them and 20. So we're going to go ahead and write that in. Now, it's going to be the double speed of that and just going to make two complete circles in the span of 15 seconds. One thing that we also need to do is figure out how we're going to set it up so it would be rotating at a constant speed. As you notice, at the very start, it's being rapid slow, and then it speeds it up as it goes along. The reason for it is because by default, the key interpolation is going to be set as automatic. So it's going to try to ease in and out in regards to the animation itself. What we want to do is we want to grab all of these keys like so, we want to click on them, and we want to make sure that key interpolation is set to linear. This way, the overall setup is going to be nice constant speed in regards to the entire setup. We are now going to go ahead and drag the camera itself into the level sequencer, and now we see this type of a result. We want to start off by just making sure we eject our camera from the viewpoard so we can do so by clicking this type of a button over here, which is going to unlock our camera over here. And if we were not using the camera and had no key points, what it would have done, basically, if we started moving around, it would move our camera as well, which would be quite unfortunate, especially if we had already a nice setup or a key shot. The O one that I'd like to talk about is going to be this button over here instead. If we are within the button, you can see because the camera is already set up, it's not going to allow us to move the viewpoort itself. But once we hit play, we can see that it's actually just showing reviewing the camera itself. So it's going to show us the entire shot. It's going to look quite nice. It's going to rotate it all the way around just like that. So it's pretty good in regards to that. And yeah, that's pretty much it in regards to how to set up a nice turntable. We, of course, will need to render everything out and whatnot. But we're going to focus on how to set up the rest of the camera shots first. I'm going to show you how to just make it look like it's more of a handheld type of a camera. You have a nicer type of a closer composition shot. So, yeah, we're going to continue on with that in next lesson. Thank you so much for watching, and I'll see you in a bit. 47. Creating Handheld Camera Effect: Hello, and welcome back everyone to creating studying environments in Unreal Engine five. The boot camp artist course. In the last lesson, we last ourselves off with getting a nice type of a turntable going all the way this boat, like so. Now we're going to continue on with the process and grab ourselves a nice setup for a bit of a closer shots. We're going to start off by just simply making a duplicate out of the focal point and a camera that we already have. We're going to hit Control C, Control B, like so, and this should paste everything in that we already had before. That's going to be a bit nicer in regards to us continuing because these already have a nice setup in regards to their angles and whatnot. We're just going to go ahead and for cars reset the rotation of focal 0.2. So we're going to just make sure we are going to a rotation over here, we're going to reset it to a default apple rotation, and we can see it looking much better. We're going to now get the camera much closer. I'm actually going to click r to scale it down a little bit so it wouldn't get in the way of our preview. And I just realized that we have this pin preview still up from the last camera. I'm just going to untick this over here. So that should disappear now that we have it de selected. So, and just looking at it. I realized that it was the original one, so let me just go ahead and make sure that this is on, like so. Anyways going back to this, we're going to just make sure we have a nice camera shot for our frontal section. So this part over here, it's going to look quite nice. We're going to just grab it onto the focal 0.2, position it to the very center like so, and we're going to start by making sure that we have a nice animation out of it. The way we're going to do it is, we're just going to make a simple panning motion. We're going to rotate our camera accordingly. So at this sort of an angle. And I'm just going to start by having this sort of a result. We're going to go to the end point of the red line. We're going to start by making sure that the focal point is within the setup. So I'm going to drag and drop this over here, like so. So you can see it's already getting a bit bigger in regards to the sequencer. We're going to make sure that we simply add a key onto our, have a look at it. This was a A bit harder to see because there is object selected. I'm just going to go ahead and the selected. So Onton transform, we're going to make sure that we start off the key over here. I'm also going to make use of this bar over here, probably. Make sure it doesn't reach more than 15 seconds in this part over here. So 15 seconds, I'm just setting it up, making sure that I'm resetting it all, like so in regards to both the key frames and the Amer cut itself. After which we're going to make sure that we have the transformation from vocal 0.2 set up at the very start, like so, and we're going to go to the very end of this setup. We're going to make sure that this is set up to 15 seconds, like so, so I'm just going to drag it. I'm actually going to move the red line out of the way first. I'm going to make sure that we have a nice setup for this 15 seconds. Lumping around this. I think it's going to be quite right. We're going to move it back in regards to the red line, so it's going to snap to the arrow. And the next thing that we want to do is just make sure that we have a nice motion to this. We're going to go to the local gizmo, and we're just going to move the camera sideways leg. Then we're going to add a new, which is going to give us this sort of a motion. Previously, we set it up to a linear motion. And in this particular case, I think we can leave it as is. I think it's going to look quite nice overall in regards to that. And once we're done, once we're happy with the motion of a shot. We can also add a camera onto this onto 15 second area, like so, and now it's going to give us a really nice type of a shot. We can even preview this and see how this looks like. Now, yeah, this is looking pretty good for us. I'm quite liking this although it can probably start a bit later on. So I'm going to show you how to start this entire sequence in a later section. We can move it, for example, the arrow, I'd wanted to start in let's say this area over here, so it wouldn't be too far out of the shot. What we can do is we can go all the way down, we can add a key now onto the focal 0.2. We can delete the original key, and we can just move this back to the point of 15 seconds. And now, it's going to start a bit later in regards to that, and it's going to be much better. So this is one way that we can tweak out the values. And once we have a shot like this, we might want to add a bit of a handheld type of a motion, but is to make it look a little bit more natural to the shot. To do that, we're going to go onto the content browser. We're going to click. We're going to go onto the blueprint class, and we have selections. We're going to now at this time, go onto all classes. We're going to search for camera shake, and we should have ourselves camera shake actor. So this is going to be it, camera shake base, we're going to go ahead and select it, click Select, and we can call this one camera shake. So now we're going to double click to open it up, which is going to give us this sort of a view. Don't be surprised by it. It doesn't need to be this complicated. It doesn't need to even have all of this menus on. We're going to close it down, and now the second time we open this up. It's only going to be this sort of a result. So that's exactly what we want in regards to that. And now we're going to make sure we set up a root shake pattern. We're going to open this up. We're going to click on P noise camera shake pattern. It's going to give us a real nice natural type of a look. We're going to open up these windows over here. When we get a nice Perlin noise, what we'll need to do is also we'll need to make sure that we go to rotation. This is what we're going to use to make sure we have some camera shake. And the starting point is going to be actually at a timing point. The timing point has to set up with the duration itself. We're going to set it up at a zero. Otherwise, it's going to just move for a 1 second, and it's going to stop. We want to make sure that it moves indefinitely, so we'll always keep that on and we'll be able to control this from the camera level sequencer. So after which we're going to just play around with rotation amplitude multiplier and rotation frequencer. Rotation amplitude multiplier will allow us to give more of a strength in regards to motion, how much it gets rotated. So we're going to get ourselves a nice multiplier for ampitude. We're going to set this to two. The frequency is going to give us the camera shake about how shaky it is, basically, the frequency of the shakiness. The more you have of this, the more of shaking you're going to have. And for now, we're going to keep this as one. That's all we need to do. We're going to now click compile top left corner and hit Close button. Now we're going to go back onto the level sequence, so we're going to find ourselves the camera actor two. We're going to click the track, and we're going to get ourselves camera shake. If we hover over it, we're going to be able to select it. Let's go ahead and select it. And now let's go ahead and make sure that the camera shake that we have over here. We're going to just make sure it moves the very start of our frame. We're going to then make sure that we move it throughout the entire section. And now once we move it around, we can see the type of a motion we're going to get. So this is what we're going to get. It's a very nice and simple type of a seta for a camera shape. To make it more organic, though, we need to tweak a couple of values and make sure that we set it up properly. First thing first, though, is we're going to go onto the camera shake itself. I'm going to make the window quite a bit smaller, I'm going to squish it out into the corner like so. And I'm going to just make sure that we have a bit more control in regards to how the camera shakes. So right now, as you can see, it shakes quite a lot. I'm just going to make sure that we do it to the viewpoart in regards to the camera. And yeah, it shakes way too much. I think the frequency though is good. If we set it up something like ten, we can see that it's very, very fast like this. So usually having it as a starting point of one, pretty good going to set it up as 0.5 in regards to that because we only want a paramount small kind of shakiness, like so. So it's pretty good in regards to that. We need to make sure we don't overdo it. There is no urgency in regards to the scene, no, explosions or something going on in the background. So there's no need for the camera man to be scared or shaking the camera in all directions. So this is. This is pretty good. But we need to make sure that we also add an additional type of a camera shake. I'm going to go ahead and go back to the content browser. I'm going to hit Control C Control V for the camera shake. We have a camera shake two. Going to double click to open this up. Now we can see it's that up within my tab be here on the right hand side. And I'm going to for starts lower down this frequency to something like 0.3 and increase the amplitude for the multiplier to something like 0.8. Something like this will give us a nice type of setup. I'm going to go ahead and make sure we compile it. Go back on to the level sequence like so, make sure that we are within a tab like this. Then we're going to go ahead and add another tracking. We're going to add another camera shake, and we're going to get ourselves the second one as well. The reason we're doing this is because it's not going to be as varied. Otherwise, we got to make sure we have a little bit more of an extra control. Now you can see it starts moving. I'm actually going to table the upper one by just quickly deleting it so we can see how the one looks like. I'm just not going to do anything at the moment, just going to preview this camera simple camera shake. So you can see it bit going up and down a little bit. That's all we need in regards to that. Going to clear control and see to make sure the one is back. And by combining these two camera shakes, we can see them giving us a very natural type of a look in regards to this motion. And, yeah, that's pretty much it in regards to the setup for the camera shake. That's all we need to do to give us a really nice type of emotion for it. So yeah, in the next lesson, we're going to learn in regards to the transitions and how to set it up for emotion in between the cameras. So yeah, thank you so much for watching, and I'll be seeing you in a bit. 48. Camera Transitions and Video Export: And welcome back Ebron to creating standing environments in nnginFive the ButamF Art discourse. In the last lesson, we left ourselves off by creating a nice camera shake handheld type of a setup. And it's already looking nice, but now we can see that between the turntable, if I were to click G actually to move out the focus points. So between the turntable, if we were to click space and between this and that we can see there is a clear cut. So we got to make sure that we fix that up. And for us to do that, it's actually quite simple. I'm going to go ahead and close down the windows on the right hand side for now, like so, and going to go out of the viewport for the cameras. So now, in order to make sure that we have nice transitions, what we're going to do is, we're just going to fade the camera out into black and then make sure that they turn into another shot. And the best way to do that is actually going to be to make use out of our post process. We're going to make use out of the post process that's within a level already. So let's go ahead and locate that. It's going to be this box over here. I'm just going to double check if it has infinity extend up on here, like it does, which on and now we're going to make sure that we have some control over this post process setup in regards to the level sequence. So it's actually quite easy and simple to do. What we're going to make use out of is going to be exposure. So let's go ahead and have this opened up exposure tap. And by making use out of exposure, we can just darken everything down to nothing and then kind of increase the brightness up. But that's going to be quite easy and simple to do. Let's go ahead and do that actually. Also, another thing to consider is going to be in regards to minimum and maximum exposure. So I recommend you instead of, for example, changing minimum maximum exposure for these, we can also change up speed up and speed down, which will basically make you transition faster in between those. I'm going to set them up both 2.1, like so now when we are changing the minimum exposure minimum, um darkness and exposure, it's going to be much slower, actually. We need to make sure that we do the opposite of that. We need to make sure that we set them both to ten, and now it's going to be much faster as you can see over here. So that's how we're going to make use out of that. And now, in order to make use of it within a level sequencer, we're going to make use of this tiny icon over here, which will add a key frame to its property. By clicking this button over here, we're going to add it at the very bottom onto our level sequencer. And we're just going to make use of that in order to add ourselves up with the values. We can once we have the level sequencer opened up, we're going to be shown these buttons over here that will allow you to pretty much add any type of a property in regards to the number values onto our level sequencer, which is pretty good, actually. It's pretty nice way of doing it. We're going to start by setting ourselves up with a nice key frame at the very start before we actually hit the other shot. Then we're going to hit Control C and move this to the side and hit Control. So we have a nice type of a frame in between this setup. So in between here, you see there's an empty part, and we're going to fill that in with a lower exposure. We're going to darken this down to when it turns black, completely pitch black, there you go. My understanding we can use this value, and we're going to add this onto our key. At this point, because we already added a level sequence with this key frames, we can just simply click on this button over here, and that's going to make it just darken it down. At this point, what we have is basically we have a turntable that's going to darken down and it's going to go onto the camera shake type of a motion, which is pretty good for our setup. So yeah, once we're done with that, we got ourselves a nice type of a motion for the transitions, and we can work on a couple of extra ones. We can, for example, make do with in regards to just the camera blurring in into the scene, and we can go ahead and actually set that up real quick. We're going to make sure we do that as well. There is an option within the lens camera itself, if we were to go onto cinematic mera. Once we go onto the camera, we can have a look at it, and that's going to be the sinematic camera actor one. We're going to make sure we are at the very front of the sequence like so, so we can go ahead and play with that. And yeah, by just clicking on the camera itself, we're going to go onto its options. There is an option called current aperture. And taking the current aperture, if we have a look at it, we can take it down up to 1.1. But this is going to give you only a good depth of field. If I were to zoom in, for example, we can see a bit more clearly what it does. It just blurs everything out in regards to its depth. But we're going to make sure we use that in regards to just setting it up for a quick blur effect. So for us to do that, we're going to go a little bit up onto the section for lens settings. Make sure to have this on, and there is a minimum f stop. We're just going to set this up down to zero, so now we can have full control in regards to this because otherwise, it doesn't go lower than a value of 1.2. So now we start setting it up to a value of zero, or a value that's close to zero, let's say, it's going to give us a super nice blurred out effect. So actually, I'm going to go ahead and set this up as the nice key point with 2.8 of a value by default. I'm going to move this a little bit to the front. So I'm going to go back to the original one to the front of the level sequence this time, and going to go back onto the camera, going to find the lens options for this one over here, going to set it up to a value of 0.001, something like this. So nicely blurred out, going to add another key. And now we're going to get this sort of a shot. So it's going to start of blurred out, and then it's going to give us a nice type of result. Although just by looking at it, I realized that it's going to be a little bit too fast in regards to that. I'm just going to give it like this type of a result, and it's still a little bit too fast in regards to it going blurry. I'm going to basically set it up other type of a key frame that's going to be close to it afterwards, like so, going to add a new key frame in regards to this value over here. I'm going to lower this down a little bit. Again, something like this and just move it a little bit to the front like so. This way, when we're actually, I'm going to hold old, and I should be able to zoom in and Actually, I'm going to go in a bit closer, and I should be able to just move it in regards to that. We can also turn off the snapping as well to just have a greater control in regards to that, and this should give us this result, which actually it goes back to the bouncing this type of a setup. I'm just trying to figure out why that is the case. It shouldn't be the case. I'm just wondering why that is. Not quite sure why that is the case. I'm just going to delete the original one and just replace the one that we previously, and it should give us a really nice type of a blur out result. So yeah, just by doing this, we can see that the type of difference that we're going to get is much nicer, and this allows us to set ourselves up with a nice camera sequence. And once we have a 25 second video of a multiple camera shots, we can go ahead and render it out. The easiest way to render out a simple type of a video with an unreal engine is just to simply make use of the render this movie to a video button. This one over here, if we were to click on it, we're going to get render movie settings. We're going to make sure that the file image output format is AVI as this is going to be a video sequence. We don't have any audio but for resolution. Let's make sure that we have it set at ten 80 pixels resolution. Compression quality, I recommend you keeping it to a low valume something like 45, just a bit lower down, so we'll get a better quality result. And as for the video itself, we're going to make sure that this is set a cinematic mode. This will give you the best video available with an unreal engine. And finally, the only thing that we need to set it up is going to be output directory. Output directory will allow you to just click on these three dots over here. We'll allow you to make a nice video out of it. I'm going to just simply set it up within one of the folders, and it should give me a nice result after I'm done with it. I will need to check, of course, how it looks like, but let's go ahead and at this movie. Once we're done with it all, let's just make sure that the animation is set up properly. And the final thing that we need to do is actually going to be warm frame count. Usually, how it works is when we're capturing the film, we're capturing a video is it needs some time before it starts actually the whole video to load everything into the scene. So we're going to give a nice frame count. I usually give it something like 42 frames to make sure it loads everything in, and that usually gives a nice result. So once we're done with that, we're going to go ahead and hit capture movie. We're going to save out the whole thing, and it starts setting everything up. And yeah, that's pretty much it in regards to that. Once it's done at the bottom right hand corner, it says capturing the video. So this is not only a preview, but also a video capture. And that's going to be it from this video. We got to set up some nice camera transitions. And also, let's not forget that we created ourselves a quick video. So this allows us to create some nice and interesting presentations for our setups for our environments. And yeah, that's going to be it from this video. We're going to move on to the next scene in the next one. So thank you so much for watching, and I'll see you a bit. 49. Creating Motion in Foliage: Welcome back onto creating standing environments in region pile. The boot camp for artist course. In the last lesson, we left ourselves off by creating a nice level sequencer, using some nice transitions, creating a turntable, as well as a close up type of a shot. So we get ourselves a nice video overall. And yeah, we're now going to go ahead and move on to the next scene. Let's go back onto the bootcamp folder. We're going to go onto the folder nine, breathing life into the scene. We're going to go ahead and open this one up. We're going to get ourselves this sassin in which we have a nice bird a behave in a tree, but the tree itself doesn't have any sort of the leaves. So let's go ahead and fix that first. We're going to make sure that we have some nice motion from them. We're going to go onto the texture staff. You're going to find yourselves a couple of leave textures. So we're going to make ourselves a texture for that first, and we're going to apply that onto our area. And yeah, let's go ahead and start off with that. We're going to right click create ourselves a material, call this one leaves Matli we're going to go ahead and double click on it. And start creating ourselves a At for a nice folage. So for us to do that, we're going to go ahead and firstly, grab all of the leave textures. I'm just going to make this window a bit smaller by grabbing it to the side. So I'm going to grab all of these textures that says leave front of them, and I'm just making sure that these are the only ones. So we have five textures in total, which is pretty good. We're going to go onto the textures photograph itself and just drag it into the area like so. So most of the time, we've had four textures, but in this case, we have five. The reason being is that because we have ourselves on a pacid mask. So we're going to make use out of that. We're now going to just simply split everything off just like that. And I'm going to have ourselves the base color at the very top roughness or sorry, this is ambit decusion since we can see it at the bottom left hand corner, it is ambit decusion over here. We know that this is going to be at the very bottom. Then a normal and, of course, roughness values are going to be like this. All right, so now that we have it set up like so, we're going to go ahead and simply start by attaching every single one of them. So we're going to create ourselves a nice VR material out of this. For the Normal itself, I recommend you making more of a strength kind of a value in regards to the normal type of a setup. Usually, if we were to just attach it as is, you can see that it gives us a nice type of a setup. But if we want to have more control over these leaves, if we want to make sure we control somebody detail, What I recommend you doing is I recommend you creating a normal flatness. So by clicking and typing in flat, you can see that there's flat and normal. This is a very useful shade of when we want to control the intensity of the overall setup. So by just attaching this and setting it up, we're going to hold S, we're going to tap on the screen. I'm just going to call this normal flatten, like so, and I'm going to attach it onto the flatness, just like that. By having a default value of zero, it should keep the same, so that's that. But by moving it to a value of one, it's going to take off the normal value completely. However, if we were to make it negative, you can see that the intensity of a normal map is going to be amplified. So this is a very useful type of a setup to use, especially for the leaves whenever we want to have more motion in them and we want to have some of the light bouncing off a little bit more. So next is going to be amp in declusion And finally, we're going to have an opacity. As you can see for the opacity, this particular case, we're going to set ourselves up with opacity mask, but it's actually lured out. And the reason being is that we of course, need to change ourselves to material. We're going to go onto material itself. We're going to change the blend mode from opaque mask. Like so this will enable us to use opacity mask. And then we're also going to make sure that it's two sided type of a material. So we're going to go ahead and use two sided tick over here, like so, and this is going to give us this sort of a result. The next thing that I want to do is, I'm just going to first of all clear control and S to make sure it saves out like so. Then the next thing that I want to do is I want to make use of that sum of the color to just set it up with a emissive color. By just setting up with emissive color, we'll be able to make the leaves themselves look a little bit more cartoonish and a quite result. Let's go ahead and hold M and just attach this color onto the multiplier. We're going to hold S, and we're going to hold this mission multiplier. Soap. And yeah, for now, we're going to keep it as zero. We're going to attach it to a emissive color. But once we start playing around with the values themselves, you can see it brightening up do side as well. And it's a real nice way to control the brightness of your leaves. Now, of course, we're going to go ahead and create some motion for the leaves. So for us to do that, we're going to make use of a world position offset, and this allows us to offset the vertices within the material that will make a certain motion within a mesh. So for us to make use of it, there is a very nice type of a node called simple wind. If we were to just type in wind within a search bar, we're going to get ourselves simple grass wind. And although it's simple grass wind, it can be pretty much used within anyway and it's a really nice type of a setup to add a bit of a motion within the So just by attaching it to the world position offset, it's going to give us an error. And the reason being is that we haven't set up with the parameters for the settings. So first things first, wind intensity. We're going to go ahead and create a parameter for that, and the wind intensity is going to be giving us strength in regards to the jitter in regards to how much it's being offset for the vertices. We're going to start off with zero, and then we're going to move our way up for the wind weight, that's where we would use our vertex painting. Control where we want it or where we don't want the weight of a jitter to be, and we're not going to use this at the moment. We're just going to keep it as a simple parameter. So let's go ahead and set that up as a simple wind weight. But by just having a vertex painted node and having some vertex paint on this area, it would also work pretty well in regards to that. Wind speed in regards to the wind speed is just going to be the frequency of the jitter. We're going to hold S, creocells wind so. We're going to go ahead and attach to stir wind speed. And finally, additional BPO, we are going to keep that as zero. Most of the time, it's not going to be relevant for us. Instead is for additional tweaking of the motion. So yeah, that's pretty much it in regards to that. We're going to go ahead and click Control on S to save this out. And now we can finally go into our settings and create a material instance out of this. We're going to go and right click out of the leaves material, create material instance like so. And of course, we need to apply this to certain mesh. We're actually going to go ahead and create a simple shape for the leaves, we're going to create a nice plane like so. We're just going to make this bigger for the moment so we could see what we're doing. There you go. We're just going to make it bigger across the entire section. Now, we're just going to apply this material intense like so, so we can work on it. We're going to double click on it. We're actually just going to set ourselves up with the wind speed for now and wind intensity, like so. And once we start increasing this these both, for example, wind speed, we can keep it as 0.5 and wind intensity if we were to set it as ten. We are not going to get anything. The reason being is that the wind weight is set as zero, so that's not going to be affecting anything at the moment. We need to make sure that it is set to one. So we're actually just going to change this around and set it to one, and you can see. This is the type of wobble that we're going to get. It looks very interesting in regards to when it's only a single mess. So we're going to go ahead and create certain bushes to make sure that we get ourselves top tree leaves set up. So for us to do that, we're just going to first of all, probably take off the wind in density, set it down to zero, and now we can work on it and set ourselves up with some nicer variations of shape. So we're just going to hold duplicated, rotated around and make sure that we have ourselves some nice variations out of this. We're just going to go ahead and duplicate another one, create another one, and like this, we're just going to make a really nice and simple type of a setup. Just like that. One more time, perhaps, going to rotate this around, make this a little bit going upwards, perhaps. So, and put it in. We're just going to have a simple cluster of leaves just like that. Now what we're going to do is actually, we're just going to grab this whole plane section like so. We're going to click Control G, which groups up all the area of the selection. So if we were to now click G without control G, we're going to be able to go into the game view and see that there is a green type of highlight going all the way around. So now we can just select it and select it back on and it's going to select all of these planes for the tree leaves. By just having this, we're able to grab or selves a nice type of a setup for these leaves. I'm just going to populate this section entirely, like so. It going to make sure that these areas have more nice type of a variation, mainly putting them at the end, but we can also have some more interesting in regards to the Size, for example, we can make it a little bit larger, not too large, though because we want to have the variation of the leaves to be kind of like the same size. So it wouldn't look too often in regards to the pattern. And I'm just going to rotate this around, for example. Go to actually duplicate this entire section, multiple groups like so and put it up in this area over here. I'm not going to spend too much time in regards to that. We just want to make sure that we have some nice type of leaves. Maybe you can have it in between the sections of the tree branches as well. So it would look like there's smaller branches over here, and something like this will do the trick. I'm going to make sure that we have ourselves a nice enough of a variation in regards to that. Okay. And after we're done, we're going to get something like this. We'll actually put one more over here, so we could have a nice overall shape. Going to look like they're a bit floating, but when we connect it to the clusters, it's actually going to look quite right, and maybe one more actually over here, so we connect them just a little bit more. Like so right, so next thing that we need to do is we need to make sure that one more over here. I think it's going to be quite right. So we can form the shape in any way that we want. But anyway, moving on. The next thing that we need to make sure that we fix up the intensity for the wind. We're going to start increasing it and see how this looks like. So a value of 1.6 is a little bit too much. Let's go ahead and set it up with 0.8. So a small slow kind of jitter, so it would look like there is a small wind. And in regards to the speed itself, we can make it super slow, or we can make it super fast, but honestly, I recommend you keeping it down to a value of 0.3 for a nice simple type of a wind motion. As for the normal flatten and emission multiply, we can work on that as well. We're going to start increasing the emission multiply, and you can see that the leaves are brightening it up. This is a very type of a simple setup. In regards to when we want to just lighten up the leaves. The alternative would be to make use of something like stub surface scattering. But in this particular case, it is going to be enough just to lighten up leaves. As for the normal flatten, if you were to just drag this down, you're going to see that the intensity of the leaves is going to be a little bit stronger. And that's actually going to help us out in regards to making it more intense depth of the leaves. And yeah, that's pretty much it in regards to that. We got ourselves a nice setup. I'm actually just going to grab maybe a couple of more leaves, going to put it up to the side, like so, and just make sure that the last branch also has a couple of leaves just like that or something like so. And this way, we're able to hide the behave over the leaves. So anyway, that's going to be it for now. Thank you so much watching, and I'll see you in a bit. 50. Bee Wing Flap Motion: Welcome back on to creating standing environments in rengedFive The boot Cam for artist course. In the last lesson, we left ourselves off by creating a nice tree leaves that has a bit of a motion within them. I'm actually just going to maybe add a bit of a more of a cluster just to fk up the overall shape. And that looks good. We have a nice roundish kind of organic shape. Anyways, now to move on, we're going to go ahead and go onto our older for breathing life into the scene. We're going to go onto the assets, and we're going to find ourselves a little be to make use out of. So by simply dragging it onto the scene, we can see what it looks like. I'm going to click F to also zoom in onto it, and you can see this little guy is going to be quite useful buzzing around the Behave. So for us to actually make use of this and having it flying around, we'll need to firstly sort out its wings. So just like with the leaves, what we're going to do is we'll get ourselves a nice material setup. This only has simple basic materials on top of it, since it's such a small guy, and you can see it split up into just simple basic color materials. We're going to make use out of the wings. We're going to double click on it, and we'll see that it just has a color for the wings. And yeah, we're just going to make use out of that. Just liquid it with leaves. Of course, we're going to make use out of world position offset. Over, in this time, we're going to set ourselves up with a bit of a different type of setup. So for starts, we're going to right click, we're going to get our elves position, world position, so. This will allow us to control the motion of the wings in regards to the position of the world. And we want this to be added with time, so we're going to click search for time, like so. Of course, we'll want to make sure that we have control over this time. So what we're going to do is we're going to hold M. We're going to tap on the screen. We're going to hold S, tap on the screen and call this time multiplier. Like, so we're going to set this up to a bit of a faster speed since. I want to straightway, be able to have a nice fast motion for the wings. And we're just going to add this with in regards to the world position, but we don't want to add it to the entire world position. We just want to make sure that we add some offset in regards to one axis. So what we're going to do is just we're going to grab this out. We're going to grab component mask. Like so. And with the component mask, we're going to make sure that we only use our red axis. And this way, we're going to now add it all up to the time, we're going to hold A, add it to the area. We're just going to connect them both like so, which we're then going to output this onto the sine value. So the sine value is really useful as it creates a sort of graph motion going up and down so that allows us to control this overall value. In regards to the entire time. And then we're going to make sure we have control over this entire parameter. We're going to hold, tap on the screen and connect this with a simple wing flap amount. Like, so we're going to set the default value to one. Just like that. And now, we're going to determine which axis it actually is setting it up with. So for us, we're going to set it up with Z axis. We're going to firstly tell which axis it is by using vector free. We're going to hold free and tap on the graph. We're going to make sure that this is set up with a value for the Z. So it's going to be going up and down, like so. But I'm going to make sure that this is transformed from local axis to world space. So for us to do that, we're going to grab it out from this node. We're going to search for transform vector. So transform vector, it's going to be just transform. We're going to go ahead and click on it. There we go. And now we're going to make sure that it's set up properly. So just make sure that this is going to be the source that we're taking, is going to be set up as local space, and the destination for it is going to be a world space. It's quite important for this to work. Otherwise, it's not going to be set up properly. So just make sure it's done like that. And, of course, we're just going to multiply the value like so with in regards to the whole set up. Finally, what we need to do is right now, if we were to just connect this to the whole position upset, we can see that the entire thing just nicely wobbles like so, and we can control the value as well. In regards to the flap amount, if we were to set this to something like five, you can see that this is the type of emotion where we're going to get the real nice type of a setup to get a B buzzing type of emotion. The one thing that we need to do is just we need to have control. We don't want the entire wing to be flapping around like that. We just want to make sure that a specific tection flaps around. So for us to do that, we're going to make use out of the vertex color. We're going to right click. We're going to search for vertex, color like so. And then we're just going to use red vertex data. We're going to hold M, and we're going to multiply this with the red like so. We're going to then attach it to the world position offset. And we're going to get ourselves this sort of result back. We're going to now click Control and S to save it out, just like that. Then we're going to go ahead and close this down. We're going to click. Actually, we're going to just select the B itself. We're going to go onto the wings. We're going to just select it within a content browser, like so. We're going to click on it, and we're going to go onto as we're going to create ourselves a material instance, like so. We're going to go onto the B itself within a static mesh. So it will be applied, and we're just going to switch up the wing material with wing material instance, like that. So changes it for all of the static meshes for the Bs. Then we're going to go onto the wings themselves. We're going to start playing around with a flap amount and a time multiplier. So for us to do that. We're going to switch these around. So by switching the time multiplier, you can see that it starts flapping around much faster, and by lowering down, you can see the motion being like that. And the difference between a simple wing motion and what we set up just now is that it only moves up and down, whereas in comparison to the leaves as a motion all over. So it's a nice literal functionality to know about. And when it moves around, you can see it just moving around much faster because it's also combined in regards to the speed of a B itself, so that's pretty good in regards to that. Although it's only using one axis in reference, it's still pretty nice when it moves around. We can set this up to, for example, be like this, and you can see it's quite a bit messy in regards to that. But Yeah, having some bit of a motion is going to help us get a nice type of a setup. We're going to set this up for cars as free, and then we can come back to it later on when we are working with the particles themselves. Now though, I'm going to go ahead and make use of the vertex painting to set the B wings in regards to the motion. So win wobble next to it. We'll have a nicer control over the entire setup. We're going to go onto the selection mode and change it to be a mesh paint. Then we're going to be selected. We're going to go onto the pain mode. And we're going to just switch out the paint color from white to black, just like we had with the blending part of the video for a scene where we set ourselves up with the castle. In this particular case, we're going to make sure that the red channel, if we were to actually do non red channel over here. I just going to have a bit more of a darkened on at the very start, like so. So it doesn't wobble as much at the very start. And then it has a nice gradual change afterwards. We're going to change the size a little bit as well. We'd have a more type of this look over here like so. So again, a bit more gradual type of an exit and it's going to be quite right in regards to that. And I think that's going to be quite right. Let's go ahead and check out. Looks like we're going to go off the red channel, and you can see that this is the type of motion that we're going to get. But of course, let's say that the voble is a little bit too intense in regards to the motion. We don't want it to be just kind of b like that, making it look like wings are partially liquid. We're going to go onto the wing material itself. And within the sign value, we can adjust the period that it rates by setting this up to 0.1, for example, and saving this out. We can see that it creates a much wider type of a range, and it should or actually, sorry about that. We need to set this up to a ten. Instead, by setting this up to a ten, it's going to have a broader range by setting it to a 0.1, it's going to have a And yeah, having this is going to give us a nice result. I'm actually just going to try changing it to 100, for example. See how this would look like, and by making sure we compile the entire shader. We're going to get ourselves this sort of result. So you can see that it's looking a bit more like a sign away at this point by just checking the wings themselves. But of course, we need to now readjust the flap amount, for example, because it's very slow in that regard. So I'm going to go back onto this going to go onto the wing instance and adjust the flap amount a little bit more. And probably have a bit of a t multiplier as well. Again, I'm not going to worry about it too much at the moment because we have the wing set up in regards to the speed of the way it moves. So when we have it set up with the particles, it's going to have a much nicer type of a motion, as you can see over here. So yeah, we're going to leave it as is. And then the next lesson, we're going to continue on with this crass a nice particles that will allow the bees to be buzzing around the beehive. So thank you so much for watching, and I'll be seeing in a bit. 51. Bee Mesh Particles: Hello, and welcome back into creating standing environments in rengonFive. The boot camp for artist course. In the last lesson, we'll create ourselves a nice B wing animation, and now we're going to continue on with this. And although it looks slow now, once it starts moving around and buzzing around, we're going to look much better in that regard, we're going to go ahead and go on to the breathing life into the scene folder. Then we're going to right click and create ourselves Aniagra particle system. We're going to start off with a simple type of a fountain or actually, in this particular case, I think it'd be better with just creating ourselves a hanging particles template. This will allow us to just populate the area nicely within the scene. We're going to click Finish, and we're going to get this sort of result. And right away, I'm just going to drag this into the scene so we could visualize the best later on once we start setting them up. We're going to now actually start setting them up. We're going to go onto the Niagara particle system like. So yeah, first things first, what we need to do is we need to make sure that we use this B type of a setup for static mesh onto the Niagara particles. So for us to do that, what I'm actually going to do is I'm going to move to the side like so, so we could see the preview onto our B hive. For us to do that, we're going to change the sprite renderer from a sprite renderer to be a mesh render. We're going to go ahead and delete this render over here. At the very end. We're going to add ourselves a new render called mesh renderer. So this is the one that's going to be allowing us to apply a mesh onto the particle system. We're going to go all the way to the top and there it says, mesh renderer, we need to make sure that we set this up with a nice mesh, which is going to be within this array over here. So by default, it should be just a simple type of a default setup. We're going to click on this, and we're going to search for B, and we should find ourselves a nice B static mesh that we set ourselves with. And this is the type of result that we're going to get. By default, it's going to be a bit clunky, a bit chunky, and we need to first of all, reduce this phone rate. So by changing it down to a ten, I think that's going to be a bit better in that regard. Then the next thing that we need to do is change up the shape location. We're going to go onto the shape location, and we're going to change this to be not a box. We're going to change it to a sphere. So it will spawn in a nice area. Then we're going to make sure that we use a sphere surface, which will allow us to not spawn the things inside of the sphere, but outside of it. So by changing it to a value of 0.7, we should be able to spawn them like the speritus is a little bit too small, so I'm actually just going to increase it to a value of my choosing. So I want it to be boning all the way around the beehive like so. After which we want to make sure we add some motion onto them. So for us to do that, we're going to go onto the particle update. We're going to add something called gravity force. So if we were to just search for force, we have a lot of different options for the force. And actually, the one that we're going to be using is going to be called point force at a moment. Since this allows us to just grab everything and kind of pull towards or from the same section. And that's exactly what we want. If we set this up to a negative value, so we can see that the bees are actually trying to go to the center of the point, like so. And that's what we want. We want to make sure that the bees are kind of gravitating towards the behave just like that. Of course, right now, it's not set up quite in right set up just yet because we don't want them to be just clustering around in the middle section of the beehive. We actually want them to be going towards the be hive and then kind of getting pushed away from the hive. And for us to do that, we're going to create ourselves a new force. We're going to add ourselves a force. This time, it's going to be point attraction force. So point attraction force works in the same way as point force, except this time, we don't only have an attraction type of a strength, we also have a radius. So this radius will create only the force within a specific area, and that's exactly what we want. Once we start pushing the bees away, as you can see over here, you'll see that they go inwards or actually, it works in the opposite way, so we need to make sure that this is also negative. So although this force of strength by setting it up to a negative value is going to attract, this one, by setting up to a negative value, it's going to repel. As you can see, they're not able to move closer to this section. So that's exactly what we want. And we want it to be just pushed out a little bit further outwards like so. Something to a value of 400. Let's go ahead and set that up. And we should get ourselves this sort of result where it's just trying to go into the B hive, but it's not going too close. Actually, a little bit too far off, I'm going to change it back to 200. I think that might be a bit better. And we just want to make sure that it doesn't do motion too close to the center of the Bhive Point. Now, if you were to leave this entire be high just as is, it's just going to attract to one area. But once we start moving around this particle, you can see that he's being bounced around. So what we need to do is actually we need to make sure that for Ss, the force that gets repelled is going to be kind of equal in regards to the first point force that we had before. So the point of I'm referring to is going to be -3,000. That's actually quite a high number. But then afterwards, we can go ahead and make use of it. Inside of our point attraction force, and I'm just going to lower this value to something of the similar amount. I'm just going to change it to 2000 negative 2000. And now we should be able to get ourselves a sort of a look that just makes them bounce around a little bit less. And that makes them bounce a little bit too much. I'm going to change this to negative thousand. I'm going to see how this would look like? And it starts attracting them to the center point, but it still repels them enough, so not going to give us too much in regards to the overall setup. Once we start moving this around, you can see that bees are not just being repelled too fast and they're going to be quite slow. We're just going to make sure that we move them around later on, and it is going to give us a nice type of a setup in regards to that. One more thing that we do need to fix is in regards to the position, the location of the bees. So right now, the bees are set up in a way that's just going to be facing a random direction. We can fix that by going on to the mesh renderer and changing the facing mode from default to velocity base. Velocity base will allow you to move the bees around in regards to their velocity, which is actually not doing the right kind of a motion for us. So I'm trying to figure out why that is the case. It's trying to follow along in regards to the motion itself, but it's still trying to rotate it around. And that's probably because of the reset that it has for the dust particles, and we're just going to go ahead and remove the aerodynamic drag, like so and wind force. We're just going to go ahead and remove all of them and there you go. We're going to start getting this sort of a motion, like so. Be start going to go in the center area, but they're going to be just stationary if we were not to move this article point. But once we start moving it around, we can see the best to be just playfully going around and whatnot, and it's actually really really nice type of setup. So for us to actually make it move in regards to this particle area, what we're going to do is just simply we're going to set ourselves up with a nice level sequencer that will allow us to just move it within a level. And although it's not going to be usable in other level sequences are real nice for setting ourselves up with basic type of a motion. We're going to make use out of this in here as well. We're going to create ourselves a level sequencer. I'm just going to call this B level sequence. Okay. And I just realized that we have not renamed the Niagara particle system. I'm going to call it the particles. We're going to open ourselves up with a level sequencer. We're going to make sure that we have the B placed within the sequencer itself. So for us to do that, we're going to open ourselves up with a sequencer and just drag the selected Niagara particles from the level itself, drag it onto this area. We're going to start tracking the transformation, which will allow us to make sure that we get ourselves a nice location. We're going to just create a couple of location points in regards to its time, like It's going to move in regards to the time frame. Then move this over here, for example, and move it like so, and finish it off with probably getting it at the very end as well, just like that. So now, when it moves, it's going to look something like this. And yeah, that's pretty much it in regards to that. We can make more complicated motion to have more organic type of a look. But just by setting it up, like, so we are going to have ourselves a really nice type of a setup. And to finish it off, what we're going to do is just simply we're going to make sure that the level sequencer is going to be dragged with into the scene, like so. And it's also going to set set up with automatic play at the bottom right in the corner. And furthermore, it's going to be set up with a loop. So it's always going to be looping indefinitely. Now, once we hit the simulate button over here, we're going to see that this entire section is going to just give us a nice motion for the bees. The bees are going to be buzzing around. They're going to be slightly aggressive perhaps. And I reckon though it's going to be quite nice looking overall. We might though need to take off some of the bees. It's a little bit too dense in regards to the bees. I don't quite like that. I'm going to take off this small be as well that we had placed within the scene to set up the material, and now we're going to lower the count in regards to the bees buzzing around. We're going to go onto the particle setup. We're going to go onto the spawn rate, and we're going to just make it slash in half. Now if we were to clear control it S, save it out, we can go ahead and simulate this and see how this would look like. And yeah, just moving around, buzzing around, like so, it looks really nice overall. So yeah, that's going to be it in regards to the setup for the bees. Thank you so much for watching, and I'll be seeing you a bit. 52. Animated Bird Setup: All, welcome back everyone to creating standing environments in real nginFp the bootcamp for Artis course. Within the scene where we create ourselves motion and life within the environment. We're going to now make sure that we grab ourselves in nice animation of a bird flying across the scene. And so for us to do that, we're not going to actually make use of this static mesh as you look at the assets folder, you see that This bird is just a static mesh to actually make use out of the bird with all of its animations. We're going to import it from the resource pack. So let's go ahead and open that up. We're going to just drag this bird into our folder, like so. Drag and drop it. It is an FBX file, which means that we're able to save out animations within it. So the bone set up and effing of the sort is already set up, and unreal engine is not really good with weight ainting the bones, so the stretch of a motion within the bird itself would be properly fixed. But anyways, for us to make sure that we have the bird properly imported, we're going to make sure that the skeletal mesh is properly placed within the scene. So this should be by default already ticked on because the reason being it detects that this mesh has bone structure within its FBX file. So it's going to be ticked on by default. Another thing that we need to do is go down to animation. We also got to make sure that we import animations and the animation length is going to be set as exported time. So with these settings, we're going to be able to rob ourselves a very nice type of setup of animation for the bird blank. We don't need to change any of the settings anymore, we're going to keep them as is. We're just going to make sure that the skeleton is being imported and everything is set up as is. Once we do import our selves up with a bird, we're going to get our elves this sort of a result. And as you can see, it doesn't have anything in regards to the colors or textures. We're going to quickly change them up first. We're going to make sure that this is nicely set up. We have four variations of a bird, and you can see underneath the fum nail, there is a sort of aller stripe which identifies and shows you in regards to what type of a set up it is. So the first one is going to be skeletal mesh. If we have it over, we can see in the bracket it says skeletal mesh, Then the second one animation sequence, physics assets and the skeleton. All of them are necessary to set ourselves up with a nice animation. But before we do that, we're going to go ahead and open ourselves up with the mesh. And if we have a look at the asset itself, we're just going to change the materials real quick. It's going to give us this sort of window. It's not going to do anything at the moment, but yeah, we're just going to make sure that we are within assets detail tab. If you're not seeing this detail stab, just make sure to go onto windows and just make sure you have this assets detail stab ticked on. And then afterwards, we're going to change them up real quick. We're going to go on to the textures, like so we're going to find ourselves the bird material that's already preset for us. And I'm just looking for where they are. They're going to be over here, and I'm just looking at right type of a setup. Okay. First one is going to be if we isolate it, it's going to be the body itself. This is the body. It should be renamed a bit differently for you to make it easier to follow this along. But I'm just going to quickly attach all of them like so, and the eyes, I know they're purple. They should be these ones over here. Final these ones for the bird wings, and there we go. We got ourselves a nice set up for the bird itself. And if we were to just drag and drop this, we can see that this is how it looks like. It looks identical to the mesh before. We're going to now delete the mesh that was within a scene. And continue on with the process. So now, the skeletal math, basically, if we were to double click on it. This is the main one. The pink highlighted one is going to be the main one. And as everything already attached in regards to the bones, all the bones are set up. If we were to try to move them, for example, click W, we can just them moving the bird type of a wing. Of course, it's not set up for this type of motion, it's set up for rotation. So to flap the wing around a little bit. And the motion itself where it's saved up is at the very top right hand corner. If we click on this button over here, we can see the motion being set up over here and it's just flapping its wings around happily, like so. So for us to actually have the animation in here, we'd need to go on to the preview and change the animation over here. But personally, I just prefer to go within the scene itself once I drag the bird. So we're going to be on the bottom right hand corner, we're going to see the same type of set for the animation mode. We're going to change this up to be a custom animation. So use animation asset, this one over here. And then you can see there is a green highlight for the selection. We're going to make sure that to grab and drag and drop it into animation play like so, and it's going to give us this sort of result. It's actually going to be quite small in regards to that in regards to the bone setup. We're going to make sure it's a bit bigger like so. And now we're going to check if it's actually working, and we're going to make sure that it's a to looping because this is a nice looping animation of birds flapping around. We're going to make sure we simulate this, and it should give us this sort of a motion. So it's going to have a nice type of a bird flying around like so. And yeah, in regards to that, we're going to make use out of the bird to just fly across the scene, and I will show you how to set it up using again, level sequences since it's easiest kind of a way. If you're working on multiple levels, it's not recommended to set it up like that because this type of a motion within a sequence can only be used once per level. And if you're doing it again, you'd have to set up a fresh type of a level sequence from scratch, so there is that. But it's very useful in regards to getting control over a nice type of a set up for an animation. We're going to set ourselves up with a new sequence, call it bird animation sequence. So we're going to double click to open it up. And for now, we're just going to grab ourselves the bird and drag it in just like we did with particles, and it's going to give us a nice transformation. So for the transformation, we're just going to make sure that we click at the very start and go to the very end by clicking this button over here. So now we're going to drag it across the scene just like that and lick the transformation tab again. So it's going to give us this sort of a motion. Of course, it's not moving now because it's not simulated. So we're going to fix that in a bit. By seeing it with a simulation, we can do it by going back to the content browser, adding the bird sequence animation onto the scene. I'm going to click G, so I could see where it is. Here we go. That's icon. And I'm going to make sure it's set to autoplay as well. And we're going to make sure it's also looping indefinitely do. Right now, when we're setting it up in regards to the motion itself, if we were to just click Play, going back to the sequence, if we were to just hit play, And actually, we're going to play by making sure that we play within a selected viewport, though it plays all the sequences and animations all at once. It's going to give us this sort of result where the bird is flying across and then it just kind of resets itself. So in order for us to fix that kind of a flickering, what I recommend you doing is, first of all, make sure it goes outside of the camera in regards to the final shot. So we might want to take this bird and just extend this overall flying process, like so, I'm going to go ahead and do that. Extend this for the very start. So I'm going to go onto the very start as well on the front. I'm also going to make sure that this is set all the way to the back. So again, I'm making sure that this is set up in regards to the very start of the sequencer, and now I'm going to reset it like so, and now I'm just going to play it like this and it's going to be flying across like so. So actually, it's a little bit too far off. I'm going to go ahead and just reset it in regards to the motion itself. I'm going to make sure we have it a little bit closer in regards to when it starts. I think it'll be better in regards to that. Let's go ahead and do that. I'm also going to make sure it's set as a linear motion. So we have a constant speed in regards to the flying. I'm going to select all of these key points, going to right click. Set it up as a linear. And then the next thing, one final thing that we need to talk about is how it would look. By default, if we were to just have it reset, it starts off. Every time it resets, it goes back from the first frame to the last frame, and it can be instantaneous, but sometimes when it does that, it has a quick, kind of a smush motion across the scene, and we usually don't want this to happen. So in order to avoid that kind of a motion, what I tend to do is at the very start, and at the very end, I tend to just lower everything and make sure that the motion itself goes across underneath the map. So what I mean by that is at the very end, instead of just the frame ending at the end of our sequence, I'm going to move the sequence a little bit back. So at the very end, it's going to then go into the ground itself. I'm going to just drag this entire bird all the way to ground like so, to make sure it goes underneath the scene, going to add a keyframe just like that. So you can see there is visual lines that makes it go straight it down like so. Going to make sure that we have it as close as we can in regards to the frames, which is going to be instantaneous like so. And then in regards to the starting point, we're going to pretty much do exactly the same. We're going to make sure that the key frame starts like so, and then the very starting point is going to be dragged down underneath the scene just like that. It's going to give us a very fast type of emotion in regards to that, go to make sure that we also just zoom in in regards to the bar itself and get it as close to it as possible, just like that. And I think that's going to be good for our animation for our setup. Going to make sure that we have it set up nicely in regards to it, again, being as close to it as possible. So basically, what we did is we ended up making animation Actually, I just realized you can see there's a massive triangle over here. I realized that I mixed these two up, so it's going to give us the wrong kind of result. We need to make sure that the frame is set up in regards to the motion itself, we to be going underneath the map afterwards. So I just ended up switching them around as you can see. This is the frame that it gets cut off to the very end of the environment. And then the next frame is going to be underneath the environment itself. So what I did was basically with these controls, you can see the type of emotion it has. It goes up, appears at this area, and then flies across and then goes down. And with this kind of emotion, when we have it set up like so, We have a sort of a constant loop of the bird flying across the sky, if we were to hit play. We can see it flying around. And once we have the camera kind of set up in this area. So we are not going to see it appearing. It's just going to be flying in and out of the environment just like that. And that's actually exactly what we want in regards to animation. We want to make sure it loops nicely in regards to them. And it's having some nice flicker for the leaves. It has the bees buzzing around, and of course, the bird flying across our environment. And yeah, that's pretty much it in regards to the setup for this environment. So thank you so much for watching. And in the next lesson, we're going to finish ourselves off with a blueprint type of a level. We're actually just going to go ahead and open this up right away so we can start this off in the next lesson. So thank you so much for watching, and I'll be seeing you in a bit. 53. Setting up First Person Gamemode and Blueprint Basics: Hello, and welcome back everyone to creating studying environments and real Engine five. The boot cam for artist course. In the last lesson, we last ourselves off by breathing in some life into the environment by setting up some nice foliage animation, as well as bees buzzing around and the fly of a bird going across the environment. And now we're going to continue on with the setup in regards to the next level. We're going to work on the blueprint stuff. I think it's essential to learn the blueprint setup for unreal engine in regards to making use of of it for an environmental artists, for example, or just if anyone is using unreal engine in general. Anyways to start off, we're going to go ahead and actually start by setting ourselves up with a character. It's by default going to be played out, and nothing's going to happen. The reason being is that we need to grab our selves a character to replace within the scene. So it's actually rather easy to set up with a different game mode. We're going to create ourselves a first person character that will allow us to open and close the doors and just to interact with the scene. So to do that, we're going to go on the left hand corner. We're going to go within a content browser and click Add button. To add this game mode, we're going to go onto the add feature or content pack, like so, and this gives us a lot of different presets, and we just want to make use of of a blueprint for a first person character. So let's go ahead and select this and add it to the project. By simply adding on it, we are going to be able to just grab it right into the content browser. You can see if we were to enter ourselves the content folder. We're going to have ourselves first person arms, first person, and just new folders within the scene. We're going to open ourselves up with first person. We're going to find ourselves blueprints. And there are multiple blueprints. But first of all, we'll need to go ahead and create ourselves a age of different game mode. So whatever we play, we're going to be able to just spawn as a first person. So for us to do that, we're going to go onto the top left hand corner. We're going to go on to edit. We're going to change the project settings like so, and we're going to go on to just search for mode. By searching for mode, we have ourselves default gay mode. We're going to change this now into the first person. I'm going to find the first person gay mode over here. And by just clicking on this window, we should be able to find person in this section. If you're not able to find it, just make sure to click and drop and then drag it into this area over here, and it should give you the right results. Now, when we have this saved out and close it, we should be able to play it and it should spawn us into the scene. Like so. And now we're able to walk around the scene and make use out of this. That up. And I'm going to go ahead and stop the simulation. So we're able to now go ahead and make use out of the scene. Make sure we actually spawn in area where we want it to be, which is going to be in front of a door. We're going to first of all create ourselves a player start point. So it's actually quite simple to do. We're going to click on this button over here, top left hd corner. We're going to search for player, and we're going to just click and drop and drag it into the scene for the player start. The area for where it says the arrow. Well, first of all, let's go ahead and fix the bad size. The reason this happens is because it was within a collision. We're going to make sure that it just goes right above it like so. There is a blue arrow which shows which way it's going to be facing for the player, so we want it to be facing the door. I think that's going to be much better in regards to that. We're going to now hit play, and it's going to show you that we are actually starting in this area. So no matter how we position our camera, we're going to start in this section like so. All right. So now that we have the basic type of a game mode setup, we're going to go over the basics of blueprint, an introductionory type of a video to just get you more familiarized with the setup, and that will help you to just be more knowledgeable about what a blueprint is. So yeah, without further ado, let's just get into the video. And, welcome, every on to the basic video for Blueprints, in which I'm going to explain you everything there is a need to know about blueprint system within Unreal engine five. So to side of, what I'm going to do is, I'm just simply going to right click on our content browser, and I'm going to select blueprint class, which by default is going to give us a bunch of options. In order to get ourselves a fresh and empty type of a blueprint, I'm going to make sure I click on actor, and this will give me an empty actor that we're able to make use out of it. We can also change up the name, but I'm just going to click off of it to get ourselves a new blueprint. And essentially, if we were to double click on it to open it up, what this will do is, it'll give us an editor for the blueprint itself. And yeah, what blueprint is it's a combination of a code asset and everything you want to have within a single bundle. It's a sort of a pretty fab for unreal engine. So if we were to change this within the editor, it's going to be changed within unreal engine itself. Currently, I'm just going to close this down real quick, and I'm just going to bring this onto our game engine, viewport. I'm just going to drag this outle so, and we can see that it's completely empty, and we can click G two, see the icon itself, and I'll go even further and just make a duplicate out of it. So we can see how it behaves when we're adding a couple of items within it. I'm going to click Control D to make a duplicate, put it to the side, and now we have two separate icons that don't have anything if you click the G to go into our game view and hide all of our icons. We can see that there's nothing there. So with that being said, I'm going to go back onto the blueprint. I'm going to double click on it, and I'm going to see what's up we've done. I'm going to be greeted with this window, which is essentially because we don't have anything within this blueprint and to open a full blueprint editor, which is going to click on this text over here. But click on it, we're going to be able to open ourselves up with a proper full blueprint editor. I'm going to maximize this. And now, the main things that we need to know is essentially there are free viewports within a blueprint. There is something called viewport, which will show us a free D space of the blueprint itself. There's also a construction script, which will allow us to add options and settings onto our blueprint, which would work not only when the editor is played or simulated, I will constantly be working. And finally, we have event graph, which will allow us to do coding for the blueprint. And we have a couple of options that allows us to potentially start the code whenever it's being played, whenever the unreal engine gets hit play. It also has an option to overlap, and finally, it has an option to run the code on every single pick or frame of the engine. But now though, we're going to go back onto the viewport, and we're going to talk a little bit more of the other options as well. We have components tab which will show us everything in a similar manner to an outliner within our game engine. We also have graphs options, macros variable. So this is everything for coding, essentially. Then on the right hand side, we have options detail tab which essentially will work in the same way as for materials or for just objects within our unreal engine. I'll show us details based on a selection that we have. So for example, If I add a component, which we can do so by clicking a button over here, we can search for box like so. We have a couple of options to pick from, and one of the options we can choose is going to be cube. If we were to select cube like so, we're going to essentially create or sells a cube. The options for the V port are pretty similar to the ones that we have. Within the game engine itself, and by holding right mouse button, clicking and holding right mouse button, we're able to move our camera around. Cicking WASD will allow us to move our camera around like so. We can also use our scroll wheel to move it out and in and out like so. And by clicking and holding middle mouse button, we can simply pan our camera around like so. Alternatively, left mouse button is giving us this sort of an option. We can click F to recenter onto the center of the selection. So yeah, going back to the detail stab, we have cube selected, and we can see the detail stab for the cube in here. And that's going to give us all the necessary information and control over the viewport that we have over here. Now, for example, if I were to close this down, we can see that we have cubes in our level. And these cubes are basically blueprints. So what this will mean is if we were to select this and we can click edit in blueprint within a detailed stab. We can change the options from within here, and if we were to lower this down a little bit, were to select this object, we can, for example, click art to go onto our scale mode, and we can now simply drag this out in and we can see that both of these objects are being scaled upwards, like so, So, yeah, anything that makes use out of the blueprint will be changed like so. And, yeah, that's essentially it for the basics of blueprints. I hope that the information was informative and how let's get back to the video. Alright, welcome back, everyone. I hope that the video was informative. And now in the next lesson, we're going to continue on with the scene and actually start setting ourselves up with blueprints. So thank you so much for watching, and I'll see it a bit. 54. Creating Blueprint Prefabs for Asset Collections: Hello, and welcome back on to creating studying environments in unrelented five. The boot camp for Artist course. In the last lesson, we introduce ourselves with the basics of a blueprint. And now we're going to continue on by actually starting to make use out of it. And the first use out of the blueprint is to make use of it to create a collection. That will help us to just populate the scene. So within assets area, which have a simple type of a castle break, we're going to just drag it into the scene, and this is how it looks like the very basic type of a mesh that's really nice for us to make use of, we can set it up, for example, to create ourselves with some tiles. But before actually we start doing that, what I'd like us to do is just to make duplicates out of it in regards to this area, and I'll show you how to use it in regards to the components. We're going to hold Alt, we're just going to duplicate a couple of them. And if I were to make a little bit more of an extra duplicates, just like that I'm going to get ourselves a really nice type of a setup or the bricks. And to have some variation, what I'm going to do is, I'm just going to rotate them around a couple of them like so. I'm going to just bring them out. I'm not going to worry about in regards to how they're laid out and whatnot, going to have some of them going inwards, going to have some of them rotated completely around like so. And by setting it up like so, we're able to get ourselves some nice variation within just this part, but doing it for an entire path in entire area would be just way too long of a process. So instead of just remaking it and just duplicating it and whatnot, what I prefer to do is just have this selection selected, like so, the entire selection selected. And instead of just grouping them up by clicking Control and G, We're going to go into the top left hand section. We're going to go onto the blueprint stab, and we're going to convert the selection of all of these six bricks that we have over here. We're going to convert it to a blueprint class. And this way, we're going to get ourselves a new blueprint. We're going to make sure that we harvest components. And this way, we're going to keep all of its names and all of its assets properly set up. And then for the blueprint name, we can change it over here to something like tile VP, something like that. We're going to make sure that the path is set to assets, and we're going to click Select. And once it's done loading up, this is the result that we're going to get. We're going to get pretty much the exact same type of a layout. Which we now can make use out of. So if we were to close this down, we can see that this is the blueprint that we created, and we can pretty much have ourselves just a duplicate out of these and create a nice tile in the area. And we can make use out of these to just create a nice pathway over here, for example, and will look pretty nice overall. So something like that, perhaps is going to look quite nice. And maybe actually lower these down. No, that's not going to look it's nice. I'm just going to go ahead and use this for the backside over here. I'm going to just rotate them around a little bit like so, and I will show you how to make a better use out of them. And actually, I'm going to make them a little bit smaller, like so. And yeah, we're going to have a nice path going towards this overall section, like so. And as you can see, just by having it like this, it might look quite nice, but if we want to make a couple of additional adjustments, what we can do is we can go onto the blueprint class itself by double clicking on it, and we can go onto the viewpoar tab over here. And just by making use of these, we can adjust them afterwards within the blueprint itself. And as you can see, if I were to make this smaller window to the side, we can raise this and all of the blueprints that make use of this blueprint setup, it's going to be changed as well. So with this in mind, we can just make some adjustments within this tab over here. We can have some of the tiles, for example, more rotated, some of them more inwards, like so, and it's going to just update it instantaneously within the scene. And so it's really useful for when we want to create some nice variations of presets. That will allow us to make some non destructive type of adjustments afterwards. We can even, for example, make this tile bit larger and smaller, and it works pretty much in regards to the blueprints the same way as it does for the scene where we can click WE and R to just make use of gizmos, to just rotate it or move it around like so. And One of the things that I'd like to mention is in regards to this overall setup. If we want the setup to be different variations. For example, if I'd like to have this setup over here for the top of the roof tiles or not the roof tile, sorry, just the top of the cliff, just to make it look a little bit more interesting. I'm going to add it. So if we like for example, make use of this and you can see that it doesn't look quite as nice and we want to adjust it. We don't want to adjust the tiles that we have at the very bottom. What we'll need to do is basically we'll need to create a duplicate out of this blueprint. So I'm actually just going to go ahead and delete this out real quick, make a duplicate control C control V there you go, and now we can just put this at the top. And again, the reason I'm doing this is because if you want to make adjustments, but this we'll need to make sure that we have a nice setup like so. We can now go ahead and open this blueprint up. Go to the viewport, and now once we start adjusting these over here, for example, if I want to lower the down at the very side, so and do so. And you can see that these are changing, but the ones at the bottom, because they're different type of a blueprint, they're not going to be changed. So it's a quite nice type of a way to make use of this entire setup. And something like this might look quite alright. Just like that, we were able to make some nicer variations out of this entire setup. And yeah, that's pretty much it. We're going to go ahead and delete this one over here on the side. It was a rather short lesson, but now in the next lesson, once we touch the blueprints a little bit to just familiarize ourselves with it, we're going to continue on with this and make ourselves a door that opens in regards to this section over here. So, yeah, thank you so much for watching, and I'll be seeing you in a bit. 55. Blueprint Door Animation: Okay. Hello, and welcome back everyone to creating studying environments in Unreal engine five. The bootcamp for Artist course. In the last lesson, we loss ourselves off by creating some nice blueprints that we're able to make use of for acid collections to generate some nicer environment detail, and now we're going to continue on in regards to the blueprint setup. And this time, we're going to make sure that the door that we have over here actually allows us to be able to open it up and close it. So right now you can see that if I were to click and select on a door and click, we can just rotate this door and open it and close it like that. Of course, we'll want to set it up in regards to the blueprint itself. But for now, first things first is that we need to make sure that the origin point, the pivot point that we have on a door is actually set up in regards to its hinge, because we're going to be making use of this pivot point to rotate the door just like we're seeing over here. So, in case you're using a custom door or something that allows you to open and close, you'll want to make sure that the pivot point is set up properly. Luckily, it's rather easy to do that with an unreal engine itself. If you were to go onto the top left hand corner, you're going to be able to change the selection mode to modeling mode. If you don't see the modeling mode, just make sure to go to edit logins and you'll want to search for modeling. Like, you should have yourselves something called modeling tools editor mode. Just make sure to have this enabled and then restart your engine. Bottom right hand corner should have that option. And then afterwards, you should have yourselves a modeling tool kit mode. Once you go inside of it, you'll have a bunch of options, but we're going to be only worried in regards to where the pivot point. Is. And for that, we're going to go all the way down to the transformation tab. Within the transformation tab, there's something called pivot. Once we selected, we're going to have ourselves a b different gizmo, so this gizmo is a sort of all in one type of a functionality that allows us to rotate it and move it around. We only care about moving it around, so we're just going to make sure that this pivot is basically set up to the corner of our door, which it is at the moment. I'm not going to be too concerned in that regard, as it's mainly to show you that type of a way to basically change up the pivot point if you need so. And once you're happy with it, just make sure to accept, and you should be able to just have a nice pivot point that allows you to open and close the door. And yeah, in regards to that, that's pretty much it. We're now going to go back onto the selection mode, so we wouldn't have the menu on the left hand side. We're going to make use out of this door and set it up as a blueprint. We're going to select the door itself, going to convert this door to a blueprint. So let's go ahead and convert it to a blueprint class. We're going to harvest components just like we did with the slabs. And we can call this one a door P so Let's go ahead and click Select. And this is what we're going to get. And yeah, within it, we're going to have ourselves a viewport with just a static mesh. Of course, we'll need to set ourselves up with a nice blueprint that allows us to open up this door, which in this case, we're going to make use vv graph. So let's go ahead and go into it. This will allow us to call up a script, a blueprint script that will open the door. So for us to start off, we're going to make use of the then begin play type of a executable. We're going to drag it out of this, and we're going to set ourselves up with a timeline. Let's go ahead and search for timeline, and we're going to create ourselves a new timeline. This is how it gets usually animated in regards to the blueprints. We're able to make use of a timeline to determine the type of motion that we're going to one. Now we're going to go back onto the viewport, and we're going to just select on a door. We can see that this is being selected, static mesh component. That's what we want in regards to the selection. So we could just rotate the door around. We're going to go back onto the event graph and drag and drop this static mesh onto the area like so. So this is our door. Then we'll want to basically set ourselves up with a rotation from this. We're going to drag this outwards like so and just get ourselves a set relative location, sorry rotation. So let's go ahead and look for that. Relative rotation. There you go. Is that relative rotation? We're going to go ahead and just add it onto our blueprint. And we'll want to make sure that it gets executed the moment the timeline gets laid as well. So we're going to use the update to just attach it onto the graph like so. Then we'll want to go ahead and actually make use of this set relative rotation to make sure that we rotate our object around. We're going to firstly, right click on the new rotation and split it construct because we only want to be rotating it in the Z axis. So it would be rotating the door to open it up. Like, so. As for the animation itself, we're going to go onto the timeline, and we're going to just double click on the event timeline, and within it, we'll see this type of a sta. By default, it's going to look quite empty. So we're going to add ourselves track. We're going to add a flow track, which will allow us to get ourselves this sort of a graph. And this graph is very useful when we need to make use of more fluid motions within the scene. And we're going to zoom out first using our mouse button. And we can see that it has a highlighted area 0-5 because the reason being is that the length that we have of this graph is actually set two five. We're going to want to set it up to something smaller. For now, we can just set it up to something like 2 seconds is good enough for a door. It really depends on the speed of the door that you want it to be opened in. But yeah, having it set as 2 seconds for the door to completely open. I think that's going to be quite right. Then afterwards, we're going to right click on the graph, we're going to add a key, and we're going to right click on another end and add a key as well. So we have two keys. Of course, we need to make sure that we set them up properly. So for starters, we're going to select the one on the left. We're going to then adjust the options manually. Instead of just clicking on holding and dragging, we're going to be using the values on the top to change the time to be zero. So the first value will be starting at the very start. And then the value is going to start at zero as well. Now, the second key is going to start or sorry, at the time of two. So it's going to be played at the very end, basically. And the value's going to be is going to be one. So once you start off in regards to the time, it's just going to be played at the timeline and it's going to gradually go 0-1 in regards to the value itself. Of course, we don't want it to be just a gradual kind of increase, just a constant type. We're going to go ahead and select both of the keys. We're going to make sure we click and use automatic interpolation. So now you see that the graph starts off slowly and then kind of speeds up in regards to the way it moves within a timeline. And, yeah, that's pretty much it in regards to this setup. That's all we need to set it up. We set ourselves up with a value 0-1, so we can now go ahead and close this down. And if we were to just simply use the value of zero to one, we could just attach the new track type of value, which is over here to a value of z rotation. But the thing is, we only set ourselves up with a value of one. The reason being is that we want to have a bit more control for the door in regards to how it opens up. So we can actually on the bottom left hand corner, great ourselves a variable, which is going to be, we call it angle, like so, and we can change the bully in to a float. There you go. And now, once we drag this out and get ourselves an angle, we're going to be able to control the angle of the door. And we're going to also make sure that this over here is tick toon, which will allow us to change this type of parameter from within the port itself. And let's say an angle is going to be at 90 degrees and the final timeline is a value of one. So it's going to be just a 90 degrees type of a way for a door to open. But of course, it's going to start at this value of zero within a timeline. So it's going to gradually go upwards to a value of 90 0-90 degrees. And the way we're going to do it is, of course, we're just going to set ourselves up with a simple multiplier. Like so. We're going to click Enter and grab our selves a simple, very basic type of a multiplier to combine these two. Then afterwards, we're just going to attach it to the rotation. We're going to click Control and S and see how this would look like, and I'm going to make this a bit smaller. We're also going to need to before I forget. We also need to make sure we compile the blueprint itself. If we don't compile the blueprint, the ads that we added onto the door, the code itself is not going to be played out. So that we hit play, it should start opening up, but, of course, I forgot one more tiny detail, which is going to be that angle. So the angle, by default, we left it as zero, zero. Now, if we have the blueprint selected and go onto the bottom right hand corner, we're going to have an option called angle. If we were to change this something to 90 degrees, we should have this door opening up. So that's pretty much it in regards to that. If we wanted to go up way, we can do so as well. And I'm actually just going to lower the angle to something like 70. I don't want the door to be opened all the way. But as you can see, changing it to a negative value is going to open it up, like so. And I just realized that it might still be not enough. I'm going to change it to negative 85. Let's see if we're able to squeeze through in regards to the door itself. And that looks quite right. Let's go ahead and move on with that. We're going to now close it down, so we have a way to open a door. And of course, we need to make sure we set ourselves up in regards to the blueprint being played when an action key is being hit. So we're going to do that in the next lesson. And yeah, thank you so much for watching, and I'll see in a bit. 56. UE5 Interactable Door BP Setup: Hello, welcome back everyone to creating setting environments in re engine five. The boot camp for Artis course. In the last lesson, we set ourselves up with a nice animation play for the door, and now we're going to continue on and make sure that the door is actually interactable within the scene. So for us to do that, we're going to make sure that we go on to edit. We're going to go onto the project settings, and we'll need to set ourselves up with a new input key. So that's going to be rather simple to do for a basic type of a door. We're going to go all the way to the input section over here. We're going to then cick on action mapping, like so. It's going to create ourselves a new action mapping button. We can call this one action button, just like that. And we're going to then make sure that we expand this and set it up with a key. So I'm going to click on this keyboard over here, click on my keyboard, and then it's going to be applied like. So After we're done with that, we're going to go ahead and close this down, like so. Then we're going to go back onto the Blueprint event graph, and we're going to right click and we're going to search for button. Or not button, sorry, action button. So we're going to get ourselves an executable out of the setup. And yeah, by just attaching this executable with the door type of a blueprint. I'm actually going to grab all of this blueprint setup, and I'm just going to attach it when it's being pressed. When it's being pressed, it's going to activate this door. I'm going to take it off by holding control and just removing it from the event play itself. So only now it's going to be executed. I'm going to hit control and S and see how this would look like. We're going to hit play, and then when we hit E, it's going to start opening the door. Which is actually not going to be playing because I just realized we forgot something out. I'm going to hit escape, and the reason it's not playing is because we actually need to make sure that we enable this input. And yeah, the way we're going to enable it is from begin event play. We're going to cast it to a blueprint for a third person or a first person, that is, we're going to drag this out. We're going to just search for BP first person, and we're going to get our sell as a character. So Cast BP first person over here, like so. Then as for the input, we're going to then drag this to execute and enable input. So enable input, if we were to set that up, so, we can now hit control and S and see how this would look like. We can now hit play. And now the door is still not going to be working. The reason being is because we don't have enable input set up, which would allow us to enable this button to begin with. Luckily, we can make use out of this not only in regards to just enabling the button, but making sure that the button is enabled only when the person is getting closer to the door. So yeah, we're going to make use out of that. We're going to make sure that the door is being set up with it. And so for that, we're going to go back onto the viewport, and we're going to create ourselves with a trigger box. We're going to add a new item. We're going to start by just having a collision box, which we're now going to be able to make use of to set it up as a trigger. So first of all, we're going to need to make sure that we have ourselves, the box placed directly in front of the door. We're going to expand it. So on both ends, the player could be able to open it up, like so. And I'm going to make it just a bit smaller. Don'th of the sort will work quite enough for us. And yeah, after we're done with that, we're now going to go back to event graph. And if we look at the box itself, once we have the box selected within its component steps, we can go all the way to the bottom right hand corner within its detailed steps, and there's a bunch of component events that we can make use out of. The one that we're going to need to use is going to be starting off with component begin overlap. Let's go ahead and click Plus symbol to add it onto our blueprint event graph. And then we're also going to go back onto the box itself, and we're going to make sure that we add overlap. So this way, we'll have control in regards to when a player enters and when a player exits. We're going to start off by just getting ourselves a blueprint from this to be casting it to our first person character. So let's go ahead and search for first person. We're going to cast it to the blueprint first person character, like so, and we need to also make sure that we attach our actor to this object, just like that. Afterwards, we just need to make sure that from this character, we enable the input, enable input like so. So this way, we're able to enable the input for the interact button. And after we leave the box, which is going to be on end overlap, we need to make sure that we have this disabled. So we're going to just click Control C, Control V. With the selection for these two, we're going to attach this over here, like so. And instead of enable, we'll want to disable input, actually. So we're going to go ahead and click search for disabled input like so. We're going to grab ourselves this blueprint, and we're going to attach it over here just like that. Now we're going to go ahead and compile it and actually just realize that every actor within this object needs to be attached as well. One of the final thing that we're left to do is we just need to make sure that we get a player controller. We're going to right click. We're just going to get player controller like this. Player controller, this one over here. We're going to attach this to the player controller, and we're just going to do it for both of them like so. And now we enable and disable the input. We're going to save it out, compile it. Everything looks good. And if we hit play, we're going to stand inside of the box of a collision, and we're going to be able to open the door. Of course, now we just need to make sure that we close the door when we click. So what we're going to do is we're going to just inverse the timeline setup. This is already set up quite nicely. We just got to make sure that every time it hits play. The next time it hits play, it's going to invert this animation. For us to do that, we're just going to right click, search for a flip flop, like so. We're going to add it onto our project, and we're just going to attach it to the value of A. And then for the A itself, we're going to attach it to play. O B, we're going to reverse the animation. And this way is going to do 1-0 instead of the vice versa. We're going to compile onto the upper left hand corner. And now, once we hit play, we can open the door and hit to close the door. And that's pretty much it in regards to the setup for the door animation. We can make it a little bit more intuitive in regards to the player area by going back to the viewport. We can attach ourselves a simple text that says press to open. Let's go ahead and do that. We're going to click Add button over here. We're going to just search for a text render, like so. We're going to just add it onto the scene. And we're going to first of all, rotate it, so it would look better. I'm going to click Control. Is that actually going to make sure that we have the napping tool selected, and it will allow us to rotate at 90 degrees. We're going to just put this in front of the door just like that. Then with the text selected. On the right hand side, we can change the text and just press to interact like so. And now we can click itself on the viewport. We can actually click sorry r. You just make it much smaller, like so, and that's going to look pretty good in regards to that. We're going to now make sure that we click and hold and then drag it onto the static mesh component. So whatever it rotates, the text, it's going to be rotating as well. We need to make sure that we set it up in regards to it being rendered. So we're going to go back on to the event graph. We're going to get ourselves text renderer to just be placed within the scene. We're going to then drag this out and set it to be invisible in game view. So if we were to just search for game view or sorry, just game, there is an option set hidden in game. We're going to go ahead and select this. And now we'll firstly want to have this on by default. We're going to go back to the viewport. We're going to firstly make sure that we have the text selected, like so, and we're going to search for the game view in game the option over here. We're going to make sure that by default, it's going to be ticked on, and this is going to be making sure that whenever we click G is going to make it invisible. That is within the scene. So as you can see over here, it's going to be invisible by default. But now, when we go to the event graph, we are going to make this visible when the player enters the box. So it's actually quite nice and simple to do. We're just going to drag this to the side and place it into the game event area or where the box trigger is. So whenever the player steps into the box trigger, it's going to make it visible. And afterwards, we're going to copy and paste this set up for the text renderer. We're going to do the opposite of that. We're going to disable it. So is it hidden? It's going to be hidden afterwards. So there you go. We're going to make sure that we have this stick on, and now we can click Control on S and make sure that, of course, we compile this blueprint. And now, once we hit Play, we can see that it's looking like it's visible and then it's invisible when we get a bit further down. So it's a real nice and simple type of a setup in regards to an interactable door. Yet it works really nice within the unreal engine. So that's going to be it from this setup. Thank you so much for watching, and I'll be seeing in a bit. 57. Creating a Floating Trophy: Welcome back here into creating studying environments in unrelentpive. The bootcamp artist course. In the last lesson, we set ourselves up with a nice interactable door, which we can now go through and open it up and close it down. So it also has an interactable text, which is nice. But we now need to make sure that the trophy that's in the back is actually going to be able to be pickable object. As in the player we'll be able to approach it, and then he'll be able to pick it up and we'll have a sort of a windscreen on the front of our menu. So for us to do that, we're going to first of all, get ourselves a trophy. We're going to change this into a blueprint, so we could have it more unique looking more interactable. Let's say, we're going to create it as a blueprint. Let's go ahead and do that. Convert the section to a blueprint class. Then we're going to harvest its components, and we can just call it a trophy BP. So we're going to go ahead and click Select, and this is what we're going to get. It's a simple type of a setup. And first things first, what I want to do is just make the object to rotate to make it look a little bit more presentable for the viewer. So let's go ahead and actually do that. Actually super simple to create a rotation. All we got to do is just click on an add button and search for rotate, and it should be a rotating movement option over here. Now, with this motion, if we were to click Play, nothing's going to happen at the moment because the reason being is that we need to make sure that we set it up with some options for it. So let's go ahead and do that first. We're going to go ahead and just close this down and make sure that we set up ourselves with a rotation. So by just clicking start, we're not going to have anything. The reason being is that This object, this asset itself. If we have a look at it, if we have it selected, you can see that we have a static motion for it. And actually, just looking at this static mesh, it's set as movable, but the mesh component itself, it's set to static. We're going to change this to movable. We should now get ourselves no errors in that regard, and that's going to be a good start. But within the area itself, if we were to hit play, nothing's going to happen because the reason being is that we need to go onto the area itself onto the scene itself. If we were to hit play, we can see that the object is actually rotating pretty nicely. So that's a good start. We can control the rotation using the rotation movement detail tab. And there are rotation rate. So this is going to be x value, y value, and z value. That value is what controls that go in around it, self. So let's go ahead and just change that down to quite a low value, something like 60. We'll do the trick. Let's go ahead and see how it looks like, and you can see it lowering down completely or not completely, but much, much slower in regards to that. We can also go ahead and add ourselves a bit of a bouncy motion with an event graph. We're going to go onto the event graph, and from begin play, we're going to drag it out, create ourselves a timeline. Like so. We're going to add a timeline, and we're going to go right away into the timeline itself. We're going to create a new flow graph just like that. We're going to keep the length as five, or actually, at this point, let's go ahead and change it to six. We're going to be having it a bit larger variation. Like so, and then we're just going to zoom out. We're going to start by creating a key point at the very start with a value and time set to zero. Then last key point is going to also be in regards to time is going to be six. The value dough is going to be set as zero. And then we're going to create a new new keypoint in the middle, which is going to be set in regards to time set to three, like so, and a value to one. And then we're going to grab all three of them and set it up with automatic parameters. So we'll have a nice interpolation of the values. Then we can go ahead and close this down. And sorry, we're going to go back onto this. We're going to make sure that this is set with loopable animation. So in order to make sure that this loops every time it's being played, it's going to need to have a timeline enabled with a loop functionality. So this button over here is what makes sure that it loops the overall animation. Then we're going to close this down, and now we're going to make sure that we grab ourselves the static component mesh. We're going to just drag and drop this out. And then we're going to make sure that we just get this component, which is the trophy to make sure that we are getting its transformation value. So we're going to transform relative transform that is onto the area, like so. We're also going to set relative transform. So we're also going to drag another one out relative transform. Relative transform. There you go. And we're going to make sure that sorry, that's the wrong one. We're going to go ahead and delete this relative transform. We're going to drag it out, and we're going to set relative transform. That's going to be for the static mesh component. So there you go. That's what we're looking for. We're going to then make sure that we grab ourselves a value. So now we're going to simply make nice executable. We're going to make sure that the return value is actually split. So we're going to just split structure pins. After we split it up, we can see that we have a variables for location, rotation and scale. We're only going to make sure that we use a location. We're going to right click, promote a variable or sorry, no, promote a variable. We're going to right click and just split construct. There you go. Then we're going to just affect the location. We're going to do the same thing for the setup of the b one. We're going to split it, and we're going to get ourselves lit into location as well. There you go. Now we're going to be able to just affect that location of the asset itself. We're going to make sure we create ourselves a multiply value to be able to multiply it with the timeline itself. We're going to set up a nice float variable. Let's go ahead and create a variable for a prop intensity. So we can just call it intensity, like so. We're going to just make it into a float value and attach it onto our blueprint. So we're going to get an intensity value like Of course, we're going to click on this over here to make sure that it's public. We're going to then attach it with the new track that we created. And this way, we have a lot of control in regards to that. We're now going to go ahead and basically add the z location of the object with this new setup. So we're going to add basically a value on top of it, which is going to help us out to get a nice type of visual aesthetics. We're going to just create ourselves ad and we're going to add it onto our setup or the Z location, of course, since we want it to be bouncing up and down. Now we're going to attach it to the transformation Z. And yeah, that's pretty much it in regards to that. We're going to now go ahead and compile it. I play and see how this would look like. And of course, It one more thing that we need to do is we need to go ahead and change upentnsity. We were to change this two a ten. There should be some motion, but it's not happening. So I'm going to go back onto the blueprint class and see what I missed. And I just realized now that the thing that we missed is basically going to be this executable. We're going to grab it from the timeline and make sure we update this every time the timeline is being played. Now we can go ahead and compile it, and this should give us a nice result for the thing to disappear because we're using the value that's a little bit too intense, we're going to set it up to a value of 0.1 and see how this would look like. It looks like it disappears. But actually, when we look at it behind us, we see that there is a trophy in the back. And the reason it's doing that is because if we were to go back onto the blueprint, we got to understand the way the coding works in regards to the blueprint itself, we lay the timeline, which just makes a sort of animation for the value itself. Then we change that up with an intensity, multiply with that, and then we get ourselves relative transform for the location. But when we are setting it up after the timeline is being played, when we're setting that up with the relative rotation for the transform, we've got to make sure that we also update the transform locations with the previous ones to get the results back. We're going to start off with x and y values for these and we also are going to do the same for transformation rotation and scale. So we're going to get this sort of a look. Which basically it grabs the same type of result as we had previously, but we change up the rotation, sorry, not the rotation, but the location for the z value. Now we can go ahead and compile this, and if we were to hit play, it should give us the same result. So there we go. We're going to get ourselves a nice type of rotation while it's bouncing up and down in regards to the whole setup. And it's not bouncing up and down. It's actually just constantly going up. The reason being is that we only keep on basically adding on top of it in regards to the value itself. We want to make sure that we're able to also then take it down as well. So it's actually quite an easy fix. We're going to go back onto the timeline, like so. And instead of just having it set as value of zero, zero, we're going to set these values two minus one, like so. So it's going to be bouncing up and down in between the values of one and minus one. And now, once we have a set up like that, it's going to give us the right type of results. We're going to go ahead and close this down and hit play and see how this looks like. And yeah, that's pretty much it in regards to that. We're going to get ourselves a very nice type of interactable. But we still need to work on in regards to making use out of it. And so we have to make sure that the player is able to pick the trophy up. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I'll see in a bin. 58. UI Text In Unreal Engine 5: Hello and welcome back, everyone to creating standing environments in Unreal entered Pip. The BookmF artist course. And last lesson, we'll create ourselves with a nice trophy that's able to be just floating around within the back side of our door. And now we're going to continue on with this and make sure that whenever we get close to it, we get a sort of a reward. In this case, it's just going to be a simple text over the screen. For us to do that, we're going to firstly create ourselves a UY type of a text or the front screen. For us to do that, we're going to just simply right click within our content browser. We're going to go ahead and make use of the user interface, and we're going to set ourselves up with a widget blueprint. Let's go ahead and create that. We're just going to create a simple user widget, like so. We can just call this top text or actually top text overlay. That would be better. Let's go ahead now and just double click on it, and we're going to get ourselves introduced with the blueprint or the UI. So if we were to maximize this, we can see that this is what we're going to get. It's going to be completely empty, and it's actually going to be in a sort of a graph type of a setup. But in this particular case, it actually is more of a two D view. Or the UI. So for us to start it off, we're going to first of all, get ourselves a Cavs. We're going to just type in Cavais to get ourselves canvas panel. By simply click and drag in and dropping it, we're going to get ourselves a screen Cavas leg, so, which we're going to be able to make use of, to create ourselves a simple layout for the screen. So the next thing that we want to do is going to be a simple size box. If we were to just search up for size box, we're going to be able to click and hold and then drag into the area legs the size box will be basically attaching whatever is inside of it in regards to the alignment of the entire screen. So for example, Right now, if I were to just simply set it up to be over in this section on the bottom right hand side, it wants a sort of an anchor point to be able to tell where it is in regards to the whole of the screen because usually when you are within a computer within different monitors, you'd have a lot of variables that need to be accounted for. So, Easiest way to do that is just simply to make use of the anchor points top right hand corner, and we have a bunch of options that we're able to make use of in order to anchor our entire setup. In this particular case, if I was to have it on the bottom right hand side, it would be this one over here, the bottom right hand one that would allow us to basically anchor it to the bottom right hand corner. But because I actually wanted to set it up within the middle section of this area over here, which is going to make use of the anchor point off the middle one. So, and that's going to be better for us. And we're just going to set it up to the middle section like so. I'm going to go ahead and simply reposition it using the corners of the box to just to the center of the view. Okay. After which I'm going to make use of this box to actually set ourselves up with a text box. So the text box, if we were to just simply type it in text, we're going to simply grab our selves not a text. We're going to grab ourselves a text box. We're going to drag and drop this into the box over here, and you can see it filling it in like so. And all we're going to do now is just type in a text on the right hand side. For now, we're just going to type it in test like so, and it's going to show up over here. To make sure that it's fully centered though, we're going to make use out of a center aligned horizontally. That up over here. That's going to give us a nice type of result. Also, in regards to the size as well for the text. We're going to find that within the text style. If we were to just simply click on a text style, we're going to grab ourselves a font, and then the size can be adjusted over here. So I'm just going to make it something to 70 at the moment just to test it out, and we're going to be able to adjust the text itself from within a blueprint of an asset. We're going to go ahead and click this off and actually, one thing that I forgot to mention is in regards to the color. If we were to just simply change this up to be a dark type of color, you can see it being black. But if we don't want any type of a color, we're going to just fix up the Alpha over here Alpha node. And we're going to just lower it down to a zero to get a completely transparent type of a box. So now we're just going to get ourselves a simple text or a UI. Now we can go ahead and click on the top left corner compile and it's going to compile everything in for us. And actually, before moving on, since we're going to do this in the next step, we might as well do it right now. We're just going to go ahead and select the text, and underneath the text section where we wrote down our own type of letters. We're going to go ahead and click on byte, and we're going to create ourselves a new binding lek. So this will prompt up with a blueprint coding. We're simply just going to make sure that this is set as a variable. We're going to right click on the return value over here and just promote it to a variable leks. And this is what we're going to get. We're going to just simply get ourselves new variable for it. We're now going to go ahead and actually rename it. So real quick, we're just going to select this and call this whichever way we want. In this particular case, we can just call it UI text. So let's go ahead and select this. We're going to just use variable name on the left hand side to call this a UI text. Like so, and we can go ahead now and finally compile it and close this down. So now what we're going to do is we're going to get ourselves a simple widget, but by just simply playing it within our scene, you can see that nothing's happening, and the reason being is that we actually need to apply this onto our level. So for us to do that, instead of just applying it onto a blueprint, we're going to apply it onto a blueprint of a level itself. And if we were to click on the blueprint icon over here, you can see that there is something called open level blueprint. So not only does asset blueprints have sort of a section where you can place assets and decoding. You also have a level blueprint itself. But anyways, as far as to get into it, we're just going to go on to open level blueprint, like so, and this is what we're going to get. We're just going to get ourselves a simple event graph. We are within the level blueprint. Let's go ahead and drag it out from the event begin plate to initialize our wigit. We're going to search for wget create, and that should be at the very top. I'm actually just going to type it in W create wget instead. There you go. And we're going to select the class that we're using. So that's going to be the one that we created. We're going to click on this box over here. We're going to type in top text box overlay, which is going to allow us to select our wgit that we created. Afterwards, we're just going to drag the return value from this to get ourselves the UI string that we created. So that's going to be this variable over here, UI text, we're just going to drag it out from this return value, set ourselves to UI text, and we're going to make sure that it's get executed once we start up playing this level. Now, within here, you can see that there is a box over here, which we can change what text we're using. For example, we can do test one to three, and it will be playing this type of text. But actually, before we continue on, we need to make sure that it's added to the viewport. To actually add this to the viewport, we're going to drag this from the executable. We're going to just simply search for add to viewport, like so. It's going to add this to the viewport. We also for the target need to make sure that we target this fidget. Let's go ahead and just target it like so, and that's going to fix our problem. Now we can go ahead and check it out how it looks like, we can hit play, and we can see that we have some text at the very front of our screen. So we can make this at the very start to ever say nothing by just deleting this and keeping this empty, like so. Or we can just type in something like find or get a trophy, and then it's going to remove itself afterwards. So it's actually quite easy to do. We're going to start by just typing in find trophy over here. So then we can just from the last piece of a widget, get ourselves a slight delay. Like, so a delay for this can be something like, let's say, 5 seconds, something like that. And again, we can just go ahead and use this widget to create a simple type of a text that's going to disappear afterwards. So with this, we're just going to make it disappear. We're going to, of course, make sure that it targets the widget itself. Like so. And now we can go ahead and hit compile and hit play. And now we can see that it's as fine trophy. It's going to get 5 seconds with it, and then it disappears. So that's one way of doing it. And then the next thing that we want to do is just we want to make use of the same wget to tell congratulations when we approach the trophy. So we're actually going to continue on with this in the next lesson. Thank you so much for watching, and I'll be seeing in a bit. 59. Trophy Congratulations Message: Welcome back everyone to creating standing environments in Unreal Engine five. The bootcamp for arts course, and this is where we left off. In the last lesson, we ended up just setting ourselves up with some text that appears at the start of the level and then ends up disappearing by the end of it. And now we're going to make use out of the same widget to make sure that we apply some texts, whatever a player approaches the trophies. So, for us to do that, what we're going to do is just we're going to go onto the trophy blueprint, like so. We're going to just maximize this. We're going to go onto the viewport, and for starters, we're going to make sure that we create ourselves a simple collision. We're going to just add a collision, so let's go ahead and do that. A simple box collision will do. We're going to make this collision a bit bigger. I think it's actually quite small. There you go. We're going to make this quite a bit bigger. Once we add in a box, something like this, what we can do now is we can go onto the event graph or actually before going onto the event graph, we're going to go ahead and select the box. And now with the box selected, we're going to scroll all the way down until we get onto the component overlap. We're going to begin an event. So let's go ahead and grab this one over here. Then we're going to grab ourselves an object for the third person or for the first person, we're going to just drag it out, and we're going to cast to first person character. Then we're going to make sure that object is also connected to the ver actor, just like that. And this will allow us on beginning the overlap with the first person character to allow us to begin the event. And the event that we want to do is simply grabbing yourselves the widget variable. So we're going to create a widget from here. Let's do it like so. We're going to select the giary one, which is going to be the top text overlay, just like that. Let me just grab this from executable. Set UX set UI text, and we're going to make sure that this target gets selected. And the text itself, what it can be is we can set it up to be a choice to be done within the blueprint itself within the viewport of a level within the scene. If we were to create this instance as edible over here, So we can simply right click promote this to a variable, and this should give us this sort of result. By selecting this UI text, we can go ahead and make sure that this is set as edible, like so. We'll need to expose this on a spawn, so we'll be able to edit this. Once we go ahead and compile it, we can now close this down and with the blueprint selected for the trophy within our area over here, we can find ourselves UI text. Now we can just type in congratulations. So. And when we actually hit play, we should be able to interact with it, and when we get close to the trophy, nothing's going to happen. And the reason being is firstly, we need to add to viewport. So, now we're going to go ahead and make sure that this is being targeted, just like that. We're now going to go ahead and compile it hit play, and once we go inside of this, we're going to see congratulations. Although right now it's overlaying with the introduction text. Once the text disappears, which we can lower down is delay properly for the level blueprint. I'm actually going to go ahead and do that to fix this issue. So going back onto the level blueprint over here, We're going to go ahead and make sure that this is set to a way lower value. Something like two second, I think is going to be enough. But when we hit plate, it's going to say pine trophy, and it's going to say congratulations when we go into it. Of course, we need to make sure that we set it up with a nice type of a setup. Once we pick the object up. We don't want this to be constantly over it, so we're going to go ahead and just simply drag ourselves to mesh for a trophy. We're going to grab ourselves this trophy static mesh onto here. We're going to set the visibility for it by dragging this out and setting visibility. Like so, and we're just going to make sure that the new visibility is going to be that as invisible. Now once we actually enter the area for a trophy, is just going to make it disappear and it's a congratulations. You picked up a trophy. And that's pretty much it in regards to the entire project. In this unreal engined five course. We have explored the intricacies of setting up assets from scratch, blending, t texturing, creating studying environments, and adding visual effects to make your scenes more immersive. You've also learned how to use different lighting techniques, camera angles, and animation to create captivating cinematics. Finally, we delved into blueprint fundamentals to give you a solid foundation for creating interactive and engaging experiences. So thank you so much for watching. Thank you for joining me on this journey Frau ten Real engine five. And I hope you discovered something new and exciting to help you elevate your projects to the next level. It's been a pleasure sharing this knowledge with you, and I can't wait to see the incredible creations you'll bring to life. So until next time, see you soon.