Unreal Engine: Open World Landscapes

1. Course Trailer: beautiful landscapes, a feature of countless Tremblay games drawing you ever deeper into their worlds. How are they made? Could I ever learn how to do it? Yes, yes, you can. Hi, I'm Mr Wandera, 12 year industry veteran and four year industry educator. And I have taught thousands of students just like you how to make games with unreal engine for this course, give you all the knowledge and know how to create your own open worlds. By the end, you'll have an in depth understanding of how to create in shape a landscape. Paint different layers such as mud, grass or snow onto any area desired. How to populate your world with grass, flowers, shrubs or trees and how to add winding roads, fences and rivers. This'll Landscape and foliage Focus Course is designed to be the go to resource for new students and experienced professionals alike. Unreal engine and all assets using this course are completely free. Please find out for yourself how capable you are of creating that amazing open world you've dreamed of building. See you inside 2. Project Primer: welcome everyone. A quick project primer before we get things started here. Just so you know what you're in for. First off. Thank you so much for taking this course. I believe this is my fifth online you e four course that I've created. And I've heard of such positive, amazing feedback from you all. I really appreciate it. I know you have a lot of other options out there now. This course has been more than a year in the making, and I made this course because I heard from a lot of students who had seen some videos on how to make some cool, open world landscapes. But, you know, they were done like in an hour, and they're like, Well, that's great. I want to learn how to do that, too. But really, truly, how do I learn how to do what I've seen in those videos? So I set out to create a course that extensively covers all the tools, the tips and tricks for creating landscapes, adding foliage and building thes open worlds that you so badly want to build. Now my goal here was to build a resource that newbies and you e four veterans alike can own for life something that you can refer back to when building your own gaming projects. Now, a quick disclaimer here, this course is gonna be a little bit different from others I've created in the past. Those of you that have taken some of my past courses. We've built something rather specific. Some of you have taken my arcade classic course we built, you know, a replication of Pac Man, some of you that have taken my course on the characters skill system. We built a very specific character skill system, and it was pretty much I do. You follow and we learn as we go along like that, and that's great. But I couldn't really follow that recipe for this course. It's too hard to build this course in such a way where I build and you try to replicate. The tools are such that it would be almost impossible for you to build exactly what I build . So instead, I took a different tact in this course in that it's really tool focus. I teach you how to use the tools. Next, I'm gonna recommend that you initially followed these videos in order once the course is finished, you can refer back to the videos as needed. Now I do want to make mention here that I do use some free content packs in this course. You'll see me at on a few throughout the course. Now, if you're taking this course at some point in the future, those content packs may or may not be available. But if they're not available, never fear. You can always choose to make this course with the version of the engine that I'll be using . And in a future video coming up shortly here, I'll show you how to install different engine versions. And then, of course, you also have the other option of ignoring the specific assets that I'll be using throughout this course and using other assets that are available here in UN riel or the unrelenting in market place. Now, if you notice any errors or omissions in this course, please private message me. And if you like the course, please leave fop. Please leave positive feedback and tell a friend now, just a quick fly through here of some stuff that we're going to be building so you can get a sense of what's to come. We're gonna be learning how to shape some landscapes here. Some mountains and one not we're gonna learn to paint our landscape. That is, we can add, Ah, snow. We can add grass. We can add gravel, different types of surfaces like that. Of course, we're gonna learn how to add some foliage using the foliage tools. Here we do learn how to create a quick day night cycle. In this course, you can see I've got my son whipping around the world rather rapidly here. Later on the course, we do learn how to build some God rays and whatnot. You can see a few of them right there. Ah, we do learn how to build spines, things like roads and fences. Here. That is pretty cool is well, lots of awesome things to come in this course. Guys, I am very excited. I hope you are, too. Thank you. Once again for taking this course. Let's get started 3. Download and Install: All right. Welcome, everyone. In this video, our goal is to show how to download and install the epic Games launcher, which is going to lead us to downloading Unreal engine four. Those of you that already have unreal engine for in the epic games launcher. Feel free to skip this video. This is just for the newbies out there. So using an Internet browser of your choosing, I currently have Microsoft Edge. Chrome is fine as well. Just come to www dot unreal engine dot com. And currently, as of today's date, they've got a couple buttons here. Either this get started now, button or this blue download button, either one you can click upon. And when you do, you're gonna be prompted to create an epic games account. Now, I already have this done, so you should go ahead and do this. If you're a newbie. After you've done that, you will have the option to download the epic games launcher for either a Windows or a Mac machine. Once you go through all of this, once you initiate that download, you should be able to find that likely in your downloads folder. Now you won't see it in My Donald Fall in my Downloads folder because again, I've already done all of this. But this is where you should be able to find something that says something like Epic Games installer, installation wizard, Something of that sort. Double click on that, and it will lead you through the installation of the epic Games launcher. Once that installation finishes, you should be able to find a little app icon known as the Epic Games launcher. If you don't see this added to your desktop automatically, you can search for it. I'll just do a search for it down here. Epic games launcher. There is that app. You can double click on it. You can right click and you know, pin to your start menu, etcetera. Um, added to your desktop so we can gain access to it. Once we have access to it. Double click on it, and now we need to go about downloading Unreal Engine four. So you see a whole bunch of tabs along the left hand side, as well as tabs along the right hand side or the top, not the right hand side. I guess it's kind of the right hand side. Make sure you've got unreal engine selected down here and then across the top. Once you have unrelenting selected, you want to come over to the library tab. Now. I've been working with Unreal Engine four for a while, so I have many different engine versions installed. Unroll Engine four dot to four was just released a couple days ago. That is the newest. As of this recording right up here, you can click this plus button and choose. You see just added that box over there when I click that choose to add the latest version of the engine again. As of today's date, it's four dot to four. There are going to be updates in the future, so feel free to download the most recent version now, once you do that and actually let me just click on that one more time, it will say install. So you click on this and this will begin the downloading process for unreal engine, For you can check on the progress of that. You'll see this you before local kind of Philip from bottom to top. Also, you'll have a download section right here that you can see how that is progressing So that is how you go about downloading and installing Unreal Engine four. This is our gateway to making good stuff. All right, guys, that is going to do it. Offer this video in our next one. We're going to go about creating our project. We'll see you there. 4. Project Creation: Welcome back, everyone. Well, in this video, we're going to go about creating our project. Your under a legend four dot to four or later should already be installed. So let's double click on our epic games launcher and back here in my unreal engine tab, I'm gonna come back to my library, and we want to create a brand new project. Now, a couple ways, I could do this. I could click launch right here. That will get me there. Also, I've got this yellow launch button right up here, and if I click this little drop down, it'll show all the different versions of unreal I have installed. So I want to make sure that I launched the newest version so I could click on either this button or this button to initiate the creation of a brand new project. I'll click right here just to get us started here. Now the flow for creating a project has changed just a little bit as of our engine version four dot to four. But it's really simple and straightforward. In fact, I like this flow better than the old flow, so we'll just wait for a moment while this gets up and here we are finally are unreal. Project Browser Window has popped up, so I have the option of selecting a recent project that I have worked on or creating a brand new one. So now they've got it separated out into several categories. We are going to be doing a game, obviously, So let's select that. Go to next. We're gonna be doing 1/3 person project. We're gonna have 1/3 person. That's kind of running around it. Landscape. So let's choose 1/3 person template NEC six. Going to ask you to choose some settings here. I like all the default settings here. We do want some starter content. Desktop in council. This is going to be a blueprint project. Sure, let's go with maximum quality. All is good here. Let's, however, give our project a name. Don't leave. It is my project. That is a pet peeve. Let's call it landscapes and let's create our project. So now we're finally firing up Unreal engine four. And when we get inside, I just want to change. One thing that I've noticed confuses a lot of new users when they're going to test their game out to play their games. So we'll check out to the editor here, almost finished loading in 91%. And I know a lot of you are familiar with having created a few projects and whatnot. So the most important thing that I want to get to you guys right off the bat here is how you can give your game mouse control right from the get go. So this is unreal engine for I'm not going to talk about all the different areas of the editor right now. Um, I'm gonna click the play button and you'll notice that if you use the W S and D keys right away to try to move around your character, you can't do it. You actually have to click on your view port to move around. And this tends to confuse a lot of people. So I'm going to change some things about our place settings right away. So let's click this little drop down arrow next to our play button and first thing I want changes. I wanna do new editor window. So that way, instead of playing in the View port, we've got this new window. Of course, you still have to click on this for your character to get control, get mouse control. So under our right click menu right here, I'm gonna come under advanced settings and right there at the very top of our editor preferences, which we just access we've got this game gets miles control. Let's click on that Now. There's no save button here, anything like that. All you've got to do, just jump back in click play. And now you won't actually have to click on the window in order for you to gain access to your character. So hopefully that will avoid any confusion about controlling your character. All right, guys, we have just gone ahead and created a project that is going to do it all for this one. Guys, we'll see you in the next one. 5. New Landscapes: Welcome back, everyone. In this video, our goal is to create a brand new landscape, which means we don't want to be in this third person example map. We want to start with a fresh map, and the way we can do that is by coming under the file menu. Let's do new level Control plus N is a hot key and how to get here. And when you click on that, you'll see that you've got four different new level options this time of day, one being the newest one. It's kind of cool. We're actually gonna choose this one and actually have as given by this tip right here some new controls for how to control and set your son in here. And I'm not gonna get to in depth with that now. But I'll just give you a quick preview because I know you're just aching to know holding down control and the l key. Then moving, we'll bring on that little preview of that you see there and then if you move your mouse left and right, you're actually changing the position of the sun. Up and down is also changing the position of the sun so there it is. So that light blue arrow is kind of showing the angle of the sun within our little dome shape Reviewer there, So that's pretty cool. But anyways, back on topic, let's create a brand new landscape. We're going to start off by deleting this guy. We're gonna delete out this actor, Select that hit the hit the Delete Key. Select this text render actor We're gonna hit the delete key because we don't need it. Now, the way to create a brand new landscape is we're gonna come under our landscape tab up here in the modes panel shift plus three is the hot key. If you like using hot keys, gonna click on this and when you do, you're going to see a giant green grid. Philip, your world here Well, not the entire world, but a large portion of it. I am using the W A S and D keys to kind of fly around like this while I have the right mouse button down. So you're going to notice a bunch of squares here and we're gonna talk about those in a little bit. But first, let's go over some of our settings that we want here. We have enable edit layers. Now, layers in landscapes is something new as a version four dots to four. We're not going to talk about them in depth here, but they are going to come into play in the future video. So let's make sure we've got this check box ticked material. I had this material slotted in by default. Uh, any prior trial before I actually recorded this video, so I would recommend that you find em underscore. Ground grass is just a sort of preview material. We're eventually going to create our own and apply it. But this ground grass is going to give us something something kind of natural to work with . We are then going to talk about some of these settings down here. Now we've got location and rotation and scale settings. Note that you can actually hard set some locational settings here. So if you want to set your ex location here too, I don't know, 5000 and then hit. Enter Notice how? My preview kind of shot down in the X direction. The red direction right there. But you can also actually go in your preview window here and move it around by dragging around these arrows. I'm gonna set these back all 20 for the time being. Let's see, as faras rotation go is, there's some things to know about this and that. You are kind of restricted in how you're rotating this. If you try setting a rotation in the X value, you can't do it. The why value You can't actually do it. I tried punching in 45 hitting enter. Nothing happened, but the Z value I can. So I'm just actually left clicking right here, moving left and right to kind of change the value so you can change it in the Z axis here. Also, if I just reset this, I can press the space bar within my preview window here and you can see that it Onley allows me to rotate it around the Z axis. So that's a little restriction here until you actually create the landscape for the time being, let me set that back to zero. These scale settings these you are allowed to change either in here hard setting them or within your preview window. So I could set my ex scale to be 50. But notice that when I hit enter here, it's gonna change my Why? Along with it. Likewise by changed my Why value. I'll change it back to 100. It's gonna change my ex along with it. Z value here I could change. This is something like 10 but it doesn't really matter, because Z for a landscape is your up and down. And right now we're just creating this large swath of X and y land. Okay, I'm gonna set this all back as is for the time being. Next up, let's talk about some of these settings down here. We've got section size section per component and number of components. These are actually are different squares that we see out here. Let me just go into unlit mode for just a moment here so I can turn our screen black. It's gonna make it a little bit easier to see our green lines here. So let's talk about what we got. And I'm gonna set my section size here to seven by seven. My sections per component. I'm gonna set to be two by two. And our number of components is gonna be eight by eight. So what have we got here our number of components. Eight by eight. That is these larger squares that I'm kind of trying to outline right now with my mouse cursor, you can see we've got one, 234567 and eight. And we've got eight this direction as well. Now, these two by two sections, these are little bit tougher to see. But you see how each one of these components has won two squares within it and then 12 squares within it. So these sections per component, these are our components again are how many different sections in a single component 1212 Probably a little bit easier to see on some of these upper ones. Pretty faint lines between those and how the seven by seven quads are how many squares within a given section. So by trying to zoom up in on one of these, okay, again, this is a component. This is a section of the component. And then we've got 1234567 and you can count seven. Down here is, well, quads within that section. So that's how all of these squares are divvied up now What does this have to do with anything? These different section sizes? Sections per components? Well, there's a lot of technical reasons behind all this. I won't bore you with the details for now, but section size has to do with things like landscape L O D ing and culling. If you really want to read more about that little nighttime reading for you, I will direct you to the landscape technical guy that you confined at this address in the epic games. Unreal Engine for documentation. I'm gonna come back to this recommended landscape size in just a bit, but it's talking about some sections per component component sizes, etcetera. That's all included in there as well. I'll come back to this in just a moment, OK? Something else that you may have noticed here. If you're really astute our number of components, which is eight by eight, that is also the total number of components listed down here. So you can see that this is a great out parameter. It just simply multiplies these two. That's how this comes about our overall resolution. What is that? 1 13 by 1 13 That is the number of Vergis ease our landscape is using Vergis is what is that? Well, that is essentially these intersection points that you find in this preview grid. So there's a Verdecia right there. There's another one. There's another one, etcetera. So there's should be 1 13 up in 1 13 across. If we were to count them all, which I will not do So right now. Now, something to note here is you can actually hard set your overall resolution here. I'm just gonna put in 200 by Let's try 200. And as I hit Enter, you may have noticed something that my number of components is automatically updated to 14 by 14. My overall resolution changed back to 1 97 to 1 97 not 200 by 200. And my actual landscape reviewer here has grown in size as well because I've now bumped it up to 14 by 14 components because I changed my resolution. Now what's going on? Why didn't he keep 200 by 200? Well, remember, it has to calculate our overall resolution by figuring out how many components, how many sections per component, and then our section size, how many quads and when the math all works itself out, it will get is close to your 200 by 200 resolution, as you put in, which is 1 97 by 1 97 In this case. Now let's talk about this Phil world button we've got down here. If you click on this guy, you will notice that you're landscape Reviewer here has grown in size prior to what we currently had, and you've got a rather large looking landscape. Uh, we've got 32 by 32 components. When you click on this Phil World button, that's pretty big, but it's not his biggest you can actually make. If you were to set your section size here to 255 by 255 and left of the rest the same, it'll automatically update our number of components to 16 by 16. You'll notice that we have created one giant landscape. Now you can actually create open worlds in a much better way than creating one giant swath of landscape like this. That'll be something we discuss way down the road when we talk about world composition but just showing you that you can create a giant landscape right from the get go. Now, I'm gonna go ahead and put in our riel settings for the time being what we really want. So I'm gonna seller section size here to 63 by 63. Sex is per component will leave it to buy two number of components. We will change to four by four and notice. Right now, I've got four by 16. That is, that is legal. You can do that if you want to do something like that. But I'm gonna go four by four to get a square shape. That's going to give us an overall resolution of 505 by 505. And I'm going to go ahead and click. Create now our landscape. This is our landscape actor. You can see that in the world outline right here. We've got a landscape actor and you can see it's got our m ground grass landscape material already applied to it and you'll notice it looks rather flat looking right now because we are currently in unlit mode. Let's jump on out of there and go back to lit mode. And if you're skies looking kind of weird like that. Remember, you can hold down the control and Elke and then moving your mouse button around you can change the direction of your son. Where is my son? Somewhere beyond the horizon out there. But I will set it. Let's go Bring it around. There it is. That's looking pretty nice. So we've got ourselves a brand new landscape which has no undulations, no sculpting done. But let's go ahead and save our landscape. And before we even do that, let's create some new folders under our content folder here. Go ahead and left. Click on that. Then we'll right click will create a new folder and we'll call this landscapes. And you know what? I'm gonna color green right away by right clicking on it, setting the color Let's go A straight green color I'm going to set G two b one are to be zero like so and I'm gonna click. OK, that will just make it stand out in our content browser. And then I'm gonna right click on our landscapes folder. We're gonna create a new folder and call this Memphis and we're gonna want to save our map inside here. So right Now we've got an entitled map. We could simply click here to save our current map. It's gonna ask us where we want to save it. Let's navigate down to our Maps folder, and I'm just going to call this map. Underscore 01 Sounds like a fine name to me. Let's go ahead and click and save this So we've got our new map and you should have to assets that show up down here. This map file and this map of build data registry. That's what you're looking for. And now one more thing. Before we close out this video again, I just want to point you to the landscape. Technical Guide on the Unreal Engine For documentation. Here are some recommended landscape sizes in terms of sections per component component size , total components, etcetera. So if you're looking to create your brand new landscape, consider one of these sides is because it will be pretty performance based on unreal recommendations. Guys, that will do it all for this one. We will see you in the next video 6. Import Height Maps: Welcome back, everyone. In this video, our goal is to import several height maps to instantly recreate the contours of a real world landscape. In the last video, I showed you how you can create a brand new landscape from scratch, one that you can sculpt and paint and do all those things on your own, which we still have yet to do. We've just got a flat, boring landscape for the time being. But while we're here talking about creating landscapes, let's talk about how we can import one that's already got some contours to it. And to do that, we're going to make sure that we're in our landscape tab. We're gonna come under our managed tab underneath that and underneath here along the left hand side, make sure that you've got this new landscape option selected, and here were given some familiar options. Last time we created a brand new one, but this time we want to import from files to make sure that you click on over here. Now it's auto populated. Some stuff in here for me already because I did a trial run before recording this video, let me just click a couple of yellow arrows here to undo some of these settings. Um, it's gonna ask us if we would like to enable at it. Laters. Sure. Let's say yes. We want to do that. Height map file. Now, where do we want to find the height maps To import well attached to this course, you should be able to download four of them. These four in particular. When you download them, they should be available in your downloads folder for me. I have these locally available within my one drive. These are the four you should be looking for. Now I'm going to import this sky first, and this is intentionally going to look like a pretty ugly looking height map. One thing I do want you to note about it is note all these white outlines that are separating the state's I've got different colors and shades of gray for the States themselves. But there's a white outline outlining each of the states that have come into play in just a little bit here. So let's specify our height map file. By clicking on these three dots, I'm gonna go with height map, one there and a few notes about all this before it actually create all this height map suggestions. You e four epic games suggest that if you're gonna import one, a 16 bit grayscale, p and G file is suggested. You can use Color, P and G's, but they may not be exactly what you expect. The results may not be as desired. It's best to use a high res image, something like 2048 by 2048 for greater detail. Images do not have to be equal dimensions or a power of two. Now, when making a height map in an external application, let me just show you against some of these images here. Ah, value of white is equal to which is equal to 2 55 in all channels will represent the high points. The highest points under map in a value of black, which is zero in the RGB channels will represent the lowest points. Which means these different shades of gray are gonna be somewhere between those two values . And that's how we figure out different heights based on the different shades of gray between black and white. Okay, let's talk about some of these options available down here. You before does give you some default settings based on your height map. Now you can change this section size and the sections per component and all that jazz. Typically, when I'm importing a high map, I like to just click on this button fit to data, and it'll already shape everything. Give me the number of components and what? Not that I am looking for. When all that is done, you can go ahead and click this import button and you will notice some ugliness appearing right before your very eyes. Right now you see these long green stretch walls in front of you. I'm just gonna hold down the right mouse button, use my e key to fly up into the air, and you see some a rough outline of the United States. There. I told you it was gonna be ugly. Now what have we got going on here? Ah, monstrosity of sorts. So that obviously doesn't look beautiful, But let's understand a few things we've got going on here. If you look into my world outline, I've currently got two different landscapes are lance gave one which is the brand new landscape that we created, and then our landscape to which is this map of the United States. Now I'm gonna rename this. Let's call this landscape underscored us A. Just to help clarify things. But over here in our landscape editor, when it comes sculpting time, we've actually got to choose which landscape we want to effect. So currently we got landscape U. S A. Now let's talk about this ugliness. All these Jaggi points while all this is resulting from this Max Elodie level setting which is currently negative one negative one means the max available. Basically, unreal Engine is trying to help us out. It's trying to ensure that our game renders at a good frame rate all the time. And the way it does this by is by ensuring that its optimizing our landscape, changing the level of detail, the further we are away from it. So the closer we are up to things, the more sharper the level of detail, like we're seeing this outline between California and Nevada, the further away we get, However, the more those level of details seem to fade away because we're theoretically so far away, we don't care if this absolutely drives you nuts, you can change your Max Elodie level between the values of negative 1 to 5 of value of zero . However hitting enter here, we'll give you this. You're basically saying, I don't care about the levels of details that unreal engine is trying to help me out with. I want them to just stay the same no matter what. The level of zero will give you this. However, a level of five, if I was to give you a level of five, is going to do that. Fine adjusting based on how close or far away you are again. Five is the more performance. But if you really want to potentially harm your performance a little bit and you must have the best level of detail setting that 20 we'll do that for you. All right, let's delete this guy out of here and try to get something a little bit nicer. So Landscape USA going to select you in the world out liner and delete you bye bye. I am going to try to create a new one. So landscape manage. Let's select a new landscape. I do want to import from file once again, Onley. This time, let's try to import. What shall we say? How about height map goods? Hence the name. Good. Let's select that. And you'll notice we don't have any sort of warnings or anything like that. Here. Look at that height, Matt Row height map resolution is a perfect 10. 81 by 10. 81. I'm gonna fit to data and everything is looking snazzy there. Let's go ahead, import, and you will see that this one looks a little bit nicer. Now, the reason we've got this green square right in the middle is because we need to select our new landscape actor. I'm gonna call this landscape underscore. Good. And then if I just change the Z location here, let's change it to be 5000 showy. It's still not too high. Let me change. Let me actually jump out of my landscape mode and go back into place mode. Now I can raise up my landscape. Good. Come here. Come on up. It does not seem to want to be rising up. Let's click off of it. Raise it up again There we g o why that was not raising up. I don't quite know. There we go. So now we don't have that landscape that's underneath it kind of protruding. Now note that a lot of times your imports, things are not perfect note along the edges here. Sometimes you have this sort of, ah, flat weirdness going on. So it's going to take a little bit of manual sculpting to fix us up. Also, you've got some miniature ridges here that might need some smoothing out. But all in all, this looks pretty nice. That was a nice import and gives you a great starting point. So with that, we can pretty much wrapped up this lesson here. I do have a couple mawr height maps here that you can fiddle around with trying to import. There is one this height map, jagged, that if you import it, it's going to look kind of like a Minecraft level. So I'm just going to give you this as another option to try importing, just so you can see some of these differences between the qualities of height maps. And it's sometimes difficult to find good ones online. But you can create your own in an external programs such as Photo shop. All right, guys, that'll do it all for this video on importing height maps. I hope you like it. We'll see you all in the next video 7. Custom Height Maps: Welcome back, everyone. In the last video, I showed you how you could import in a height map. When creating a landscape in this video, I'm going to take that a step further and show you how you can import in a custom height map so that you can quickly recreate a riel world location. Now, before we do that, I want to create a separate level file down here. We've got this current map. No one, but it consists of two landscapes we've got are blank landscape right here. That's the one we created from scratch. And I'm currently hiding out are quote unquote good landscape. This is the one that we imported that guy right there. So this is what I'm gonna do. I'm going to select our blank landscape. That is this guy right here. I'm gonna hit delete here. Then I'm going to show our good one, and I'm going to do a file. We're going to do a file, save current as we're gonna go under maps, and I'm gonna call this map import, and we're gonna save that. And the reason I'm doing this is so that if you want to go back and work on any of these maps. You have an easy way of accessing them. OK, so that is all well and good. Now, let's talk about customizing. Uh, a height map. What do we do? Let's head on over to a search engine of your choosing. I've got Microsoft Edge locked and loaded here, and I want you to head on over to terrain dot Party. That is the address right there. Okay. And when you come in here, you should see something that looks like this. We are in a location in the world, somewhere around Finland. There's Helsinki, and they're going to see this little purple icon right here. Now what this is is basically a sampler where we can sample any part of the world that we want to create a height map from. I'm gonna use my mouth's here and just Well, there's my right click and drag there. And I'm just going to use the scroll wheel to scroll on back and I want a sample. Seattle, Washington, which is right about here. So I want to make sure that I click and drag over this little sampler and it might have to zoom in and out here a little bit, all the way on over to Seattle, Washington. Now you can sample any location that makes you happy. The reason I'm doing Seattle Washington is because I know it's got some some water areas, some mountain areas, some hills, etcetera. So I want to place it right about at the heart of Seattle. Washington, Right there. Now, you can sighs upper size down the size of this sample tool. Right here. Um, here's where you could do that by expanding it or contracting it. I'm gonna go with this 18 kilometers right here. And when you're happy with where this is located, just click on this button right here to export that, we need to give this a name. So I'm gonna call mine Seattle Click, OK, And you will initiate the download process. And we will say this to let's save as oh, I will say this to my downloads as Seattle terrain. That's fine. So I'm saving into my idea, uh, Donald's folder right there and finished downloading. So let's open the folder here. Now, if you're using chrome, you're going to see some of these messages and notifications down in this area of your your browser here. So I'm gonna open this file location. And if I go back to the downloads folder, you can see that it is a zip file and get a right click on this and we're going to extract all click extract and you're going to see within this folder. Now there's my downloads folder. That's a zip file. This is the unzipped file that we just created So inside of this Seattle terrain folder, I've got all these different height maps. Which one do we want to try? Importing one importing from it suggests in this read me file that we can import in the merged. So now let's jump back to in Real and let's go to file new level. I'll choose the time of day Once again, I'm gonna delete out some of these guys delete select elite. Let's go to our landscape tab. I want to import from file. Will enable at it. Layer. Sure. Click on these three buttons. Let's go to our downloads folder, Seattle terrain and I want to choose the emerged. Now I'm gonna select fit to data. Now by default, it should already have fit to data but just is a fail ah filled checker here. Make sure you use like that. Let's go to import. And now if I zoom on back, you will see what we have just created. I'm gonna speed up my camera speed here a little bit so that I can hold down the right mouse button and fly back a little quicker. Now it's again. Not going to be perfect. You're going to find when you zoom up closely on this, you're gonna have a few little rough edges like you see around here. And some of these mountains may need some smoothing out with some of our tools coming up. But in general, that is not too bad of a start for recreating a re a world location. I kind of like it. So that is how you can go about importing in a custom height map from any real world location. Before we finish off here. Let's go ahead and save this. I'm gonna go to save current. Let's call this map. Underscore Seattle. Save it and let's call it a day here. Nice job, guys. That is how you import in a custom height map. We will see you all in the next video 8. Creation - Q & A: Welcome back, everyone, into this video. Our goal is to answer some questions that new users typically have upon getting started with landscapes. Now, I did something between videos here to save us a little time. What I did is I went to this build option right here, clicked on this little drop down, and I built lighting that is calculating the lighting for our landscape and upon doing so, and it takes a little bit of time. I got this message saying no importance. Volume found. Now this freaks out a lot of new users and and they're like, What is this? How do I fix this, Etcetera. So that's why I wanted to bring this up. Now, once you see that warning message, what it's asking you to do is to place a light mass importance volume. And you can access this by going under the volumes tab of your placement mode. And right here is a light mass important volume. Go ahead and drag this out into your scene. It will be tiny. I'm just gonna tap the f key to zoom up on it. And your goal here is to size this up, so it's surrounds your entire landscape and the best way to do this? It's the user Ortho Graphic view port. So I'm just going to jump to the top Ortho Graphic view port here. And with that light mass important volume selected, I'm going to zero out the location here. It's gonna pop it right in the middle, and I'm gonna set my X, Y and Z to a giant value. Let's go us A. 70,000 in the X. Let's go bigger than that 100,000. Not quite sure how big this Seattle environment is. I'll go 100 and 50 1000 in the except surrounds it. You could see that yellow line that I'm looking at right there. So I'll go. 150,000 in the UAE is well and for the Z, let's go out of this top view and let's look it a back view. Sure, we could see it's not super tall. In fact, want to change the Z height of our landscape here, So I'm going to select our landscape itself, and I'm actually gonna move that on up so train about their case and I'm gonna select my light mass important volume and for the Z height. I'll change it to something like ho. I don't know. 50,000. There we go. Now it surrounds our entire landscape. Now it should make this nice and snug around it. But this is gonna be close enough. What this does is when you go to build your lighting here, it's essentially saying, Hey, where do we focus? Where do you want to focus on having nice lighting results just in this light mass important volume area? So now, if I was to click here in build lighting on Lee, I would no longer get this message. So that's how you can fix that. Okay, Next question. How do I know how big I should make my landscape? Well, that is not an easy question. Answer. But I will do my best. Let me just save my my Seattle map here, and I'm going to jump back to my map Old one located in this directory. Double click on that. And here we are, back in map. 01 Before we do anything, let's delete out our landscape. Good here. Because if you remember right, we created a whole separate map import level file for this. So I'm gonna select my landscape. Good. Hit the delete key. We will get rid of that now. A good way to test out the sides of your landscape is to simply run around inside of it and see if it is what you're looking for. So I'm gonna select my players, start actor hearing it will select it in the world. And I'm gonna lift it up into the air and hit the end key to snap it on down to the ground . Then I'm going to tap the F as in Frank Key. Zoom up on it so I can see where I'm going to spawn in. When I click play when I click play this little drop down Arrow says where I want to spawn it the default player start Which means right there. So if I click play, we'll jump me on into my game world and I can get a pretty good idea as to how big this landscape is now. Simply run from one end to the other. And that will give you a pretty good idea as to how big the size is. Now. A few things to keep in mind here because I don't have any sculpting of my landscape. No hills, no valleys, any of that kind of stuff. So let's talk some Monreal measurements to give you a sense of scale. My man here, about 60 tall, he's about 182 or 183 unreal units tall. I can't really see that from here. So what you could do to replicate the size of a six foot man is selected geometry tab. Let's add a box brush. And if you simply scale it up in the Z to be 1 83 and then let's maybe thin it up by setting the brush to be I don't know, well, say 25 by 25 we're gonna go with the really slender man here, dragging up into the air tap that in key that is about the size of a six foot man, and it's right behind me. So there we go. Comparable size right there. You can also use your measure tool in the top Ortho graphic view port to get a sense of scale. I'm just mouse willing back here. And if I hold down the middle mouse button left, hold down the middle mouse buttons, scroll wheel and drag. You can see how big my landscape is from end to end, a little over 100,000 unreal units. Now again, one unreal unit equals one centimeter. So one mile for all of us Americans here equals 100,000 sticks, 161,000 unreal units. So this is a little bit less than a mile square mile in each direction, and you can see down here. There's the measurements that it's trying to help show you as well to give you a sense of scale, which is pretty handy. So my recommendation for how big should you make your landscape make a few new landscapes and test amount Simple. Is that okay? Next question that we have here is can I really not rotates in landscape by that? I mean, when we created a landscape, I showed that you could Onley kind of rotate around the X axis or, I mean the ah Z axis, meaning that you could sort of spinning around here. If I select this actor and hit the space bar, I can show you that like that. But after you've created it, you can actually turn a landscape on its side. So if you wanted Teoh and again I'm just hitting the space bar here with the landscape actor selected, you could theoretically turn one this way you could turn it upside down. In fact, if you do turn it all the way upside down a complete 1 81 thing to know about with that is that when you do eventually start sculpting your landscape, which will talk about here shortly your sculpting, uh, instructions your sculpting controls will be reversed. So f why I keep that in mind. Let me just flip this guy back 1 80 because I like it like normal. But yeah, I have seen students build out levels where they actually have several landscape actors. And if they kind of want to simulate going through a cave or something like that, that will actually sandwich two landscapes with one being flipped upside down and sculpting and so that there's some undulations that kind of reach all the way down to the floor, kind of like they're in a cavern or something like that. Next question here is Are there any tips for navigating around our landscape faster? This is a pretty big swath of land. What can we do? Well, in the last few videos here, I showed you a key that you could use is ah, changing your camera speed slider right here. If you jack this all the way up to eight and even you could mess with the scale or to which I typically don't do it could increase that if you then hold down the right mouse button and use a W A S and D keys. You will fly around much, much faster than if you had this set to say one and use the WS and D keys. I am barely moving right now with that set toe one. That is one method. Another method you can use is to set some level bookmarks, and you can set some level bookmarks that is saving locations around your level too quickly . Warp to them by pressing the control plus any of the number keys. So control plus one will set a bookmark control plus to control plus three all the way up to control plus zero. So you've got 10 of those that you can possibly add, and just to quickly demonstrate this I'm gonna place a few objects are around here so you can get a sense of where I am at. So I'm just gonna place a box down here, and I'm gonna skill it up a little bit bigger so I can see this in my landscape. So there is a box? Well, more like a slab, if you will. And then I will police. So I don't know a cone out here, and I will also skill this up in size hit the end key. And so let's say I wanted to set a level bookmark right here so I could warp to its I'm going to do control plus one. And now I'm going. Teoh, move over here and do control plus two. So now all I need to do to jump back to my control post One location is to press the one key and to get to my control plus two location, I can press the two key. Now, if I wanted to make this, uh, my control plus one location, I can hit control post one right here. And now if I fly someplace completely different impressed The one key I have said that this is my new control plus one location. So again, control plus the number key to set a level bookmark and then just tap the corresponding number key to immediately warp to that location. That's a really handy trick for rapidly navigating two key points around your landscape. Alright, guys, there are some quick questions and answers with some landscapes for new users. Hope you found them useful. We will see you all in the next video. 9. Sculpting Tool: Welcome back, everyone. In this series of videos, we're gonna be talking about the sculpting tools. These are the tools you use to shape your landscape to create hills and valleys and all that kind of stuff. Now, before we do that, I want to create a brand new map here because when I created this level, this map 01 I came under file new level, and I use this time of day template I've noticed by playing between videos here that my frame rate is rather low. This is a largely untested level for me, and I don't know how performing it is. However, this default level, which I want to choose instead, I know that my frame rate is pretty high when I use this and I want to make nice quality videos for you all. So I'm gonna choose this one to demonstrate some sculpting. Okay, here we are, inside of a new level. I'm going to select our floor mess year. Just nuke that out and I'm gonna create a brand new landscape coming under our landscape. Tab managed tab is one right underneath it. This is where we can create a brand new one make sure create new is selected enable Edit layers is checked. Make sure that that is checked material. I'm using em ground ground grass as a placeholder. We're gonna swap that out later. Section size 63 by 63 my sections per component I swapped to to buy to lets go ahead and create this And when I do, you're going to immediately notice a few things. One thing you'll notice is that there are dark lines everywhere. Oh my, what are we to do about these dark lines? These dark lines are outlining are different landscape components and I failed to mention in our question and answer section what to do If you see these dark lines well, these dark lines will be gone if you a build your lighting so become under build right here and you build lighting Onley it will make them disappear. However, as you go about sculpting and painting your landscape, they will re appear so they're constantly out here. I recommend Onley building lighting when you're really happy with your landscape and then you will make all those dark lines disappeared. Don't be obsessive about trying to get rid of him. Okay, Now let's talk about our sculpting tool. Here we are under landscape. Now we're not in the managed to have any. More were in the sculpt tab and along the left hand side. Here are different sculpting tools, the most basic being the sculpt tool and what you see currently in your view, port is a spotlight of sorts, with two circles over in our settings. Over here are brush size this 2048 that represents the outer circle, the outer ring. I can change the size of my brush. Bigger numbers equal, bigger brush. Smaller numbers equals smaller brush. If I left click, I will create some blobs. I will raise the terrain. I'm just holding down the left mouse button Right now. This is how you can quickly sculpt your landscape. Now you'll notice that I'm just raising it right now, and it's raising it based on my brush size there. If I wanted to increase the size of my brush, I'll raise more terrain. However, if if I wanted to lower the terrain, all I would need to do is hold down the shift key and left click, and that is how you can create some valleys quickly. Now you'll notice that with all of my slopes in my different valleys here that it's not a steep drop off. It's a gradual drop off or a gradual rise. What's determining that? Well, this brush fall off parameter is what's determining that. Let me turn the camera around a little bit and we'll do a quick demonstration this way. Reset my brush size. So if I just left click with these settings, you can see I've got a fairly gradual slope and you can see if I place my brush right over it. That is a gradual slope from my outer ring to my inner ring. That inner ring that is determining my brush fall off size. Now if I said this to value of like 0.1, this is going to create a very drastic brush fall off. So now if I was to left click, you'll see that there's very little room for that gradual sloping there. I'm tryingto replace my brush immediately over the top of it. Now, if I set my brush, fall off to a value of save one, I've essentially got a dot in the middle of my brush size and if I left click from here, you can see how gradual that slope is from the outer ring to the mid point. So that is how you can determine how drastic your hills in valleys are. Let me set this back to its default value tool strength. This will determine how quickly you sculpt either up or down. So if I was to set this to a valve value of one and left click, the terrain will rise rather gradually control. Z will undo your last stroke control. Why will bring that back? Let me do control Z one more time. If I was just at this 2.1 and I would hold down left click, it's going to rise rather gradually, so this is just kind of a way to determine how quickly your terrain is going to rise or fall. Now this used target value is currently disabled. We could turn it on, but I believe it does nothing. Someone can correct me on this, but through all my research, it looks like this was a legacy parameter for those that were sculpting in landscape. Using a Wacom tablet, I am using mouse and keyboard, so it should not apply to us. Now, let's talk about this clay brush. What is this use for? Well, I haven't found many great uses for this, but I'm gonna find the best use case that I can figure out. I'm gonna hold down Kind of a washed out background here went after just some of the lighting here. If I hold down the shift key and left click to create a little trench here of sorts. Now, if you change your mind, well, I can't want to fill that back in. If you left click within it, it's not gonna fill it in super uber accurately. You can get some of these kind of weird ridges in there, so I'm just gonna do control places. Easy to undo it Where if you click, use clay brush and now I try to left, click and scrub right down the middle, fills that in rather nicely. Okay, with all that out of the way, let's now talk about our edit layers. When we created our landscape, we made sure that we had enable at it layers checked on. This is a new feature and currently we we've been doing all of our sculpting on this base layer. That's why it's highlighted in yellow. There's this Alfa value associated with it. And what this determines is how much percentage wise we see our sculpting. So look at my mountains here. Ah, value of one means we're seeing it 100%. What? We sculpted it as if I said this to be 1000.5, these mountains are gonna be half as tall. 0.5. There you go. And you saw my valley in the background there kind of feeling a little bit as well. If I said this to zero and hit enter, you'll see. Essentially, I'm returning back to flat terrain. There we go. Now, I can also set this to a negative value. So if I said this to negative one, what you're going to see is your hills have now become valleys. And what was your valleys have now become hills. All right, I'm gonna set this back toe one. Now I'm gonna create another layer here. Let me just find a new swath of landscape to play upon, and we'll come. We're in this section over here, and we can create mawr layers here by right clicking and saying create a new layer, and I will rename this layer we can right click and rename it as layer zero to now. Currently, I have this layer selected, but let me just select my base layer here, and I am going to quickly sculpt a little bit of e Mountain. And the idea is, I want to create kind of a ah volcano of sorts Res res res res, res res. Kind of a terrible looking mountain. But you kind of get the idea. Okay. Okay. So I've raised some terrain in my base layer here. Now I'm going to jump to layer zero to now I'm working in layer to I'm gonna shrink down my brush size here a little bit, and I'm gonna hold down the shift key and left, click and create a little hole in as if I was to create a volcano of sorts. Okay, Now we can show and hide our different layers to see what our terrain would look like, with or without our second layer. Now, remember, I did are sculpting of this little hole here on layer number two. So if I was to hide that, I could see what that Mountain would look like without that hole in it. So this is a good way, adding adding more layers and editing separate layers to see what something looks like, with or without a given effect. Now, notice, too, that I'm toddling my layers visibility. So currently I've got layer to off that wasn't want the hole in it. And with this layer selected when it's highlighted in yellow, I cannot sculpt on the layer. It's got to be visible in order for me to actually sculpt. I'm I've also got these lock layers right here. If I lock this layer, I'll receive a little message here letting you know that this layer is locked and I must unlock it before you can work on it. So that's a way to prevent you from screwing yourself up there. Now note that I could also right click on this layer. Oh, to here, and I could say I want to clear all the sculpting on this layer so that will essentially get rid of it. It'll ask me if I want to, and I'll say yes, indeed, and can also right click on this layer and delete it out. Yes, indeed, we want to delete it out. Okay, so we will deal more with layers throughout this course. But that's a quick crash course on using the primary sculpting tool for your landscapes to quickly raise and lower some terrain. Hope you guys found a useful. We will see wall in the next video. 10. Erase Tool: Welcome back, everyone into this video. Our goal is to demonstrate how to use the erase tool when working with landscapes. With this tool, we can rub our brush over the landscape to return the height map back to its default value . Now, between videos, I did add a light mass importance volume from our police mode. Volume stab. You can see it in the world out liner, and I gave it this these brush settings to surround my landscape. It is that yellow box back there that you might see. So after I did that, I then built the lighting, and that is why all of my dark lines are now missing now. I also commented in the last video about how kind of washed out the lighting looked. Everything looked a little bit brighter and not as well defined as I wanted it to. If you come under your view modes right up here and I turn off the games exposure game settings that'll just darkened things up a little bit, and hopefully things will read a little bit better as I m sculpting my landscape. So just something I'm doing here temporarily. Okay, now let's jump on over to the erase tool. Come back under landscape mode because we can't sculpt unless we're in landscape mode. Make sure that we are in sculpt mode and in our list of tools, let's work our way on down from the sculpt tool to the erase tool. Now, like our sculptural, we've got a brush size. You can see it out there in the landscape as well as a brush fall off and tool strength. What thing I should also mention here is you don't actually have to move this slider back and forth to change your brush slide. If you have clicked, interview port and you must have clicked into view port. First, you can use the left bracket to shrink your brush size by 5%. The right bracket will increase your brush size by 5% with every tap. So handy trick there. Now the race tool will simply return your landscape back to its default height. All you need to do here is left click and you see those black lines come back. That's why I mentioned not to obsess the bottom, and as I rub it over my landscape, it returns it all back to its default height. Now you're seeing that this takes a little while for me to rub over everything. Given my brush size, I could increase my brush size to its max here and go like this. Or if I really wanted to be heavy handed about it, I could left click on my brush size do 67,000 enter. That'll make it the max size. And then if I left click boom, taking a little time to register here, it's not legging. It's legging for me, too, and I just destroyed the entire swath of landscape now. I did not destroy this just yet. Let me set this back to its default size. You do have tool strength here as well. So if I was to set this to a very small number of say, like 0.5 and left click over this, I will return it back to its default setting. It's just probably a little bit slower than if I said it to one, which makes it rather immediate. So, guys, you raise tool a fairly new tool, but rather handy toe have Indy whips. Missed a spot. All right, guys, that will do it all for this one. But before we end this, let's go ahead and save this level because we currently have not saved it. Let's save it under our landscapes of maps, and I'll call this map, underscore sculpting and let's click Save and let's do one more thing. If you were to close out of your unrelenting and open it back up, we would not come straight to this map. We need to set which map we come to by default. Now we're gonna be coming to this map rather frequently over these next few videos because this is our sculpting playground. So under our project settings, which you confined under settings, project settings, let's go to maps and modes. In under here are editor startup map. Let's change this to B map sculpting. And so, if you were to close out of your unreal engine and open it back up, this would be the map that we would come to first know State button or anything here. No se button it all. All right, guys, that'll do it all for this video. Hope you learned how to use the race to a pretty simple tool. See you in the next video 11. Smooth Tool: Welcome back, everyone. In this video, our goal is to demonstrate how the smooth tools can be utilized When working with our landscapes. This tool will soften our height maps by getting rid of jagged portions of it. I also like to use this tool to make switchbacks in the side of the mountain. And I'll show you how to do that in just a little bit. All right. To access our smooth tool, we need to be under our landscape tab. Make sure you have these sculpt tab then selected within that and then under our list of tools right here, let's make sure we have selected Are smooth tool. Now this tool is pretty easy to use. Let me just increase my brush size here a little bit. I've got some mountainous terrain here that I created ahead of time, and all I need to do is left. Click and rub my brush over some of this mountainous terrain, and you can see how it's smoothing out gradually. Now, obviously, tool strength. If I crank this all the way up and rub it over some mountainous terrain over here, it will smooth it out more rapidly. And if I turn it on down and say, like 0.1 and rub it over some mountainous terrain. It will smooth it out. It will just be a much more gradual, deliberate effect. Okay, let me set this back to be 0.3. Now, this combined layers option check box here. What this will do is you're basically saying yes or known that you want to apply this smoothing effect to multiple layers. So in our sculpting video, I had multiple layers out here. If you do have multiple layers created and you've got sculpting on all of them or just a couple of them, you can have this checked. And by rubbing this smoothing brush over it, you will be smoothing out all layers that have some sculpting applied to it. Okay, Next, let's talk about our filter current radius. What does that do? Well, this is a radius that smoothing is performed over. So essentially bigger numbers will smooth out bigger details. So let me just increase the size of this 0.7. I'm gonna go back to my brush size here, let me find a rather jagged looking peak, something like that. So notice the before and now I've got my filter, Colonel Radius at seven. If I left click in and scrubbing over this, it's gonna flatten that out rather drastically. Now, if I do control plus Z to undo that now, let me just set my filter Colonel radius down to one. Now, if I brush over this, you can see that it is smoothing it out a little bit, but not quite as much. So the higher values smooth out bigger details. Lower values smooth out on Lee. The smaller details. Now let's talk about our details. Smooth option right here That is currently great out. I have to click on this check box in order to activate it. Let me semi filter Kirm radius back to its default here as well. Details smooth. This determines how much detail is preserved when smoothing high values, removes mawr details. And let me just crank this all the way up. I'm gonna make our brush size like 700. And if I go to the side of a mountain here, let's try say this mountainous slope. If I was left, click right about here. It's gonna flatten things out rather drastically. And if I just kind of weave it in and out like this. I can use this to make a kind of switchback path going up the side of a mountain. That's what I have found to be a rather handy use for the details. Smooth. Now, if I was to shrink this all the way down to see, like, 0.1 and try applying this to the side of our landscape, you're gonna notice I'm holding down the left mouse button right now. Nothing really seems to happen. If I click on the top of a peek here, I can get a little bit of in effect, but not much. So I found that the details smooth with the values cranked up are really good for making these types of switchbacks primary use for that. All right, guys, that is how use the smooth to a rather basic tool to use. Use it a lot to smooth out lumpy terrain. Let's save one more time here, guys. That'll do it all for this video. We will see you win the next one 12. Flatten Tool: Welcome back, everyone. In this video, we're talking about one of the most important sculpting tools, the flatten tool. We're going to demonstrate how it can be used with our landscapes to raise or lower parts of our height map here to a desire level. I like to use this to make plateaus and mountainous terrain as well as terraces like you see, done with various terrorist farms in parts of the world. You can even use this to help create things like sand dunes and river gorges. Now, before starting to record this video, I thought I better prepare a map ahead of time to just have some lumpy terrain it's gonna make, demonstrating the flattened tool of that much easier. I am in my content landscapes, maps, folder. You can see the directory right down here. That's the one I created all these lumps in to demonstrate some of these tools, and in order to work with a flattened tool, I have to make sure I am in landscape mode. Then let's make sure we've got thes sculpt tab here, selected and then over on the left hand side, where we have all of our sculpting tools make sure you have the flattened tool selected. Now this is a pretty simple tool to work with on the surface, although it's got many layers of depth. So if I just zoom up in on the side of my rough looking mountains right here, you can see my brush. I've got familiar parameters here for my brush settings. Brush, size and brush fall off, and all I got to do to flatten the terrain is left. Click anywhere on my landscape. Now it's going to sample that is, choose the value wherever I begin to left, click and flatten it to that height so you can see right here. I've got my brush on the side of this mountain. I'm going to hold down left. Click right now, and you can see it already started to flatten it. And as I hold down my left mouse button and move it around, you can see how the landscape is terra forming here to be flattened to that desired height . Now you'll notice that the landscape above is being lowered to meet my flattened height in the landscape that is below this height is raising up to flatten to that level as well, and this is because right now, our flattened mode is both flatten may both raise and lower values. Now, let me undo this. We're gonna hit control plus Z here to undo that again. Control. Plus, why will redo control plus z will undo. And I'm gonna change my flat mode here to raise. And as it says in the tool tip flattened may only raise value, so values above this click point will be left unchanged. So now notice. I'm gonna sample right here. Hold on. Left click. Terrain that is below this point will raise up to flatten at that level. However, I'm still continuing to hold down left click. It's got no effect on terrain above this level. I'm going to do control plus Z to undo. Let's change our flat mode here to lower. This is going to have the opposite effect. So now if I left click in sample values that are above my sample point will be lowered to meet to meet my desired flatten level. However, values below where I sampled will have no effect. I'm continuing to hold down the left mouse button right now, but I am in lower flat mode, So only terrain that is above my sample point will be lowered. Okay, let's go on to interval. So this is going to flatten to the closest specific terrorists interval at my click point. Now, if I click on this, I need to reveal some advanced settings down here and I said some of these ahead of time. So I've currently got this terrorist interval value set to 1000. So that means it's going to find the closest height of 1000 in different 1000 Incremental Say that this is the 1000 unreal unit level 2000 3000 4000 etcetera will pick the closest one and flatten it to that level. So if I sample right here and left click, you'll find the closings closest 1000 unroll unit value and flattened to it. However, if I click right about here, it will find the closest 1000 unreal unit level and flattened there. And if I click right about here, it's gonna pick there. So these air, all in different increments of 1000 unreal units. Now let me do control plus Z to undo a few times there. Now let's try flat Mode Terrace. And this one is pretty cool because it creates sort of Minecraft looking Look to our landscape. Here, let me increase my brush size to be rather large as well. So I've got flat mode of terrace and I'm setting my terrorist interval to 1000. So this is going to have different levels of one. Actually. Let me set this down to 500. So I'm gonna have 500 unruly units difference of height between my different levels. Here, let me just zoom on back and you'll see what this does. If I left, click and kind of rub this all around, You can see how I've kind of created a terrorists farm here. Now you may have seen, like in parts of Japan where they grow Ah, rice on different levels. They will actually create landscapes like this of it. They can grow rice on different elevations like this. Cut some cuts like this into the mountainside. So this is how you can create a look like this. Now I'm gonna do control. Plus Zied, undo this. Now notice my terrace interval. Here was 500 control policy. I'm gonna now set this to be 1000 and I'm gonna left click and now notice I don't have quite is many layers because my terraced interval is bigger. That's the different height levels in unruly units. Control policy. If I do 2000 you'll see an even greater difference like so, and I'm gonna change this back to well, say, 1000. Now this terrorist smoothing is going to try to make it so that there's actually some smoothness between those different levels. Currently, if I click with my terraced smoothing at zero, you'll notice there's some very jagged edges in between my layers control policy here. If I set this all the way up to one, which is my maximum level here in the Left Click, you'll notice that I don't even see any levels. That's because I'm smoothing it completely. Let me do control, plus a Z there and set my control or terrorists moving to something like 0.75 So now it's gonna create those layers, but you don't see quite as many jag ease along those ridges there. You see a few, but it's not quite as bad as when my terrace moving was down in the value of zero let me just do control plus Z one more time. Let's are picking our way through some of these tools settings over here, and I'm going to set my flat mode back to its default both so tool strength. This is going to do kind of what you think it's going to do. If I set my tool strength to a value of one and I sample right about here, it is going to flatten it pretty much immediately with a click. However, if I undo this and set my tool strength of something like 10.5 and then I left click, it'll flatten it. But I kind of have to rub the brush over this spot again and again to flatten it to its desired level. So this is essentially how quickly do you want to flatten it? Let me set it back to default here. Flattened target. So if we turn this on, you'll notice something that this show preview grid also showed up. Aziz. Well, so if I turn it off, that is great out. If I turn it on, it shows up and I'm gonna set a flattened target here to be 1000 now when I dio This may be a little bit hard to capture on camera. In fact, let me set this to 3000 and let me zoom up a little bit. You can see a little preview mesh right there. That is what this show grid previews doing. See how I'm clicking it on and off. It goes away or appears. I'm saying I want to flatten to a target of 3000 unreal units. So now it doesn't matter where I am sampling from. I am hard setting the unreal engine height that I want to set it to which in this case is 3000 general units. So that is how I can determine exactly how high an unruly units I flattened something to. I highly recommend that if you're flattening to target here, you have the show preview grid on. I don't know why you wouldn't have it on, but it is worth talking about. Now let me just undo this quickly and I'm back out of flattened target mode Combined layers operation. So we currently are doing all of this flattening and all of our sculpting on one single layer here with this checked, if you're flattening and you have multiple layers. It's going to apply it to all the layers that you have some sculpting done upon. Obviously, if this is unchecked, it will only apply your flattening to the selected layer that you're trying to sculpt upon . Kind of like we talked about in the last video. Just a quick camera cut here while I zoom down lower here to demonstrate a couple of these other tool settings. This use slope flatten is really useful because it flattens to the angle of a click point instead of the horizontal elevation. So let me click this on and down here. I'm gonna click. I'm gonna sample right about here on the side of my mountain. This is about a 45 degree angle, give or take. And if I left, click and hold and rub this over the surface. That's actually steeper than 45 degrees. But you can see how it's flattening this entire ridge to that exact angle. Now, this is great for creating something like this. Some of these mountains here in Italy kind of slabs protruding rocks. You can see how we could create this, and you could even do that to create some of these slabs of rock pushing up in the background here as well. Now let me just do control plus Z to undo that lets uncheck use slope flatten and let's check this pic of value per apply what this does, and the tool tip tells you that's going to constantly pick new values to flatten towards when were rubbing a brush all around instead of our first click point. So instead of flattening everything to wherever we click, if I rub this over my mountain range here and down below, you can see how it's constantly re sampling which elevation to flatten towards. So this is great for creating some quick sort of terraces as well as just some lumpy terrain that doesn't look too flat all the way around. Now, I have used a combination of these two before use slope flatten as well as pick value per apply to try to create some sand dunes that I'm not gonna do you a very good job. But I'm gonna come over here quickly, and with both of these turned on, you can kind of create some undulating hills that look like they're sort of wind swept in blown to create more of a sand dune style feel again. It takes a lot of tweaking and tuning with the values to do that. But it is possible to achieve something like sand dunes. Now flatten tool. What is a great use for this? Well, let's assume this. This is some mountainous terrain, and we wanna have a city or a castle up on the hillside. We could simply let me uncheck these. My flat mode is both right here, left click, create a simple terrorists. And then if I jump out of this and go back into my modes panel, place a cube, let's assume that this guy is a nice looking castle mesh. Zoom up in on this hit the end key to snap it down to the ground that I'm gonna hit my space bar to bring on my skill tool Skill This kind of big. Raise it up into the air. Press the end key And there you go. That's my nice castle on a hillside. So there you have it. The flattened tool. One of the most useful sculpting tools available. That'll do. Offer this one. Guys, we will see you in the next one 13. Ramp Tool: Welcome back, everyone. In this video, we're going to demonstrate how to use the ramp tool when working with landscapes. This is a super handy tool for making smooth Grady INTs that lead exactly to where you want in. Need it. Sample uses may include ramps for an off road racing game or maybe even a ramp leading up or down to a castle. Let's get to our ramp tool here in our landscape mode sculpt tools in our list of tools over on the left hand side. Let's left, click and choose the one right below. Flattened. There is our ramp Tal. Now I'm picking right back where we left off in the last video with our flatten tool, where we where we created this flattened surface and put a box up on it. Let's create a ramp that leads all the way up there, shall we? So this is pretty simple to do all you need to do in your view. Port is left, click and drag to create two points that is your ramp preview right here, and you can move these points up and down and side to side like so, and I should probably use my Ortho graphic views here, but I'm not gonna obsess about being too perfect here. Something like that. Okay. And let me select my point over here. Maybe move that and a little bit closer. And again, this is just my ramp preview or have not actually made the ramp yet. Over in the details panel, I've got some tool settings ramp with that's going to determine the overall with of the ramp. And that's determined by these outer dotted lines right here. Not the inner lines. So let me set this to something like 5000 and now the side fall off is going to determine if I've got a sharp edge ramp or a narrow ramp. This is a percentage 0.4. So if I set this to 1.0, I would essentially have a smooth ramp here. Whereas if I set this 20 I'm essentially going to have whoops. Control Z right there. What did I do? We said that right back There we go. If I said this is zero, this will be basically a sharp fall off from the edge all the way on down. Let me actually create a ramp like that just to show you so to create a ramp. Once I've got my points exactly where I want them, I can just click this ad rant button and boom, You got a ramp and you can see how steep those sides are. There's no fall off it all. I'm just gonna do control plus Z to undo that and let me set my side. Fall off to the other extreme of one. And now, if I click add ramp, you can see how it did make a smooth ramp up. However, it's curved all the way up and it falls off along the sides like that. Now let's say that I want to keep this ramp and I want to create a separate ramp. What do I have to do? Well, let's just click this reset button, and that's gonna get rid of your two points here and now you're free to add another ramp. Now, before I left, click and drag to create those two points, you can actually also left Click to create one point. And now I'm not dragging. I'm simply going to left click again to create a second point, and I'm gonna show you another use that you can possibly use this ramp to a four. I'm gonna actually take this point right here, put it down below the surface of my landscape and want a nice like this and sink it on down is well, I'm going to create a side Fall off here of, Let's say, 0.3 ramp with a 5000 fine. Let's add a ramp. Boom. I've got myself a little trench so you don't have to use the ramp tool just to make ramps. You can use it to make trenches as well. Get clever with it. Now you may have noticed that these are simply straight lines. If you want to create mawr intricate ramps, curved ramps, ramps that go around the bend. That would be something called the spine tool that can do that. We will explore that mawr later on in the course, but the ramp tool is really useful for making these straight smooth line. Grady INTs from point A to point B. Guys that'll do it all for this video. We will see you in the next one 14. Erosion Tool: Welcome back, everyone. Over the course of the next two videos here, we're going to be exploring a couple of the erosion tools when working with our landscapes and in preparation for these videos, I went ahead and I sculpted some blobby mountains on here. And then I did some very quick sculpting with each of these two erosion tools just to give you a quick sneak peek as to the kinds of looks that we can achieve. So from this angle, I just used my sculpting tool to create some blobby mountains. They don't look too exciting or realistic. If I use my level hot key here, I'm gonna fly round to the other side of my mountain range here. This is the kind of look you can achieve using the erosion tool, at least on a mountainside of sorts. And if I fly around to the other side up high, this is a sort of look that you can achieve when using the hydro erosion tool. So that's what's in store for the next two videos. Get a pause, a video here, and when we come back, we're going to explore just the erosion tool, and we are back a simple blobby a mountain range to get us started here. Let's explore the erosion tool. And of course, we need to be in landscape mode and in landscape mode. You got to make sure you got that sculpt tab selected and then over on the left hand side, make sure you've got our erosion tools selected. Now, just a quick tip here. It does have tool tips for every tool that you hover your mouse over this says is that this is thermal erosion simulates erosion, move from higher to lower areas. And if you hold down the control plus all keys, it will give you a little preview there as to the kind of effect that can be achieved. And we saw that similar kind of carved rock effect over on that right hand picture there just a moment ago. So make sure you got your Rosen tool selected, and I'm just gonna change my brush size back to its default. Now, let's start exploring some of our tools settings over here, and we're going to start with the most obvious one being the tool strength. Actually, let me just jack up my brush size here to be a little bit more tool strength. Pretty self explanatory. If you have a big number, let's crank it all the way up. And then you left click. You're going to see a pretty dramatic effect for any tool that you use. Let me do control Z toe. Undo that. Whereas if I have this down to a much lower value, you get much less of an effect, really controlled how quickly the effect is applied. I'm gonna hit control Z again to undo that control. Why, as a reminder is how you can redo that. But I'm gonna set it back like this for the time being. Let's go back to a default tool. Strength combined layers operation again. This matters. If you have multiple layers that you have in your stack of creditable layers, I only have one right now so that this is not gonna come into play. Let's talk about threshold next threshold. The minimum height difference necessary for the erosion effects to be applied to smaller values will result in Mauricio ocean being applied. So if I said this to a value of say one, you're gonna see a rather dramatic effect here by left clicking and just kind of rub in this across the top of our mountain range pretty much flattened it straightaway controls the I'm gonna undo that. Whereas if I crank this all the way up to 1 28 now, I'm gonna get a steep kind of slope. So essentially the bigger than number, the steeper the slope that you're gonna be carving into what it is you're trying to erode. Let me do control Z right there. And you saw how Steve that slope was valued like 64 which is about halfway in between. It's not going to be quite as sharp of this slope as it was with 1 28 They can see as I am sculpting this a little bit. You're seeing these like little a little bit of jitter right there, Right there. That results from this parameter right here known as noise scale. So let me just do control Z really quickly on that. Let's explore noises, scale. While that is taking up our attention. If we jack this all the way down and I left click and apply this all around, you can see how it applies that sort of jitter some noise to wherever I sculpt control z undo. Whereas if I have this cranked all the way up, that effect is greatly minimized. So if you want to add a little noise, you need to make the value smaller. That's kind of un intuitive, and it confuses a lot of people. But that's what you got to do. That's how it works. Next one we're going to explore here is like flip over my page of notes is our noise mode. Currently, by default, it is set to lower, so it says it on. Lee applies erosion effects that result in lowering the height map so Onley transfers soil lower. However, you can change this to be both or raise. So let me just change my noise, scaled back to its default there. And let's explore this by coming over to the side of a mountain right about here. Changed my brush size to about there, and I'm just gonna kind of rub along the edge of this mountain range here. So with it lower, you can see it's transferring it from high points on down the mountain. Gonna controls the right there. Next, let's go rays. I can see How is I tried, Teoh rub over it. It is trying to raise it up in areas now. Obviously it's easier for soil to go downhill than uphill. But you can see it's making some attempts to raise it up in areas. Lets you control Z right there. And if I do both, you kind of get a little bit of each. That's kind of a happy medium in between. There. Now, something you're gonna notice here is that this erosion tool. It's really great for kind of sculpting the ridge line of a mountain range like so, Because when you're just sculpting, you see some kind of blobby, rounded top mountains, and that doesn't look very realistic. Erosion tool is great for crafting that kind of finely tuned ridge of a mountain range stew . Control Z. One more time to set us back to our A default. You don't? Actually, Before I move on here, I wanted to show you how to create some protruding rocks kind of look in the side of your mountain here. If you change your noise mode to raise and we increase our tool strength quite a lot here, which you can dio is as you're rubbing this along the side of a mountain, never mind the noise here. Let's just keep rubbing. Kind of in the mid point here, you can eventually raise up sort of another mountainous Ridgeline. You can see we've kind of got this mountain range in the background, that Ridgeline right there. And now we're having a slab of protruding rock starting to stick out from here. And if I kind of fly up, you can see who were starting to craft another little Ridgeline. Many mountain ranges kind of have that slabs of protruding rock like So let me do control Z once and twice to set me back to where I waas next. Let's explore this parameter called iterations. So in orations is kind of like tool strength in a way. The lower the number, the lower the strength of the number of iterations of thermal in orations you're going to be performing. So let's crank this all the way down. And if I'm rubbing it across my Ridgeline, you see it has a very minimal effect, and it doesn't really transfer that much ground from one area to another. However, by control Z and crank this all the way up and rub this along the top. It does doom or but not all that much. Now, if I do control plus Z here to set me back and I'm going to set my iterations back and I'm gonna set my tool strength all the way up tool strength is a little bit more heavy handed than in orations when it comes to the transferring of soil from one area to the other. So I kind of like to think of generations is a sort of mini modifier when transferring soil from one area to the next gonna set Mike tool strength back. And next, let's talk about our surface thickness parameter. Now, this one is great for making your mountain range kind of pop out or sinking in areas as well. And to demonstrate this, I'm going to change a few parameters here. I'm gonna jack up my thirst, my surface thickness all the way. Gonna jack up my tool strength all the way it orations. Let's Jack that up to 1 50 as well. Sure, why not? Annoys scale. Let's bring that up to something like 90 is probably good. Don't want too much better there in our noise mode. Let's set this to raise. Now, when I rub this along the side of my mountain range here, you will see kind of bringing on a slab of protruding rock. Kind of like we were doing before. There's again you can tweak into in a lot of the levers here. You're different tool settings to achieve varying results. Sometimes they're similar. Sometimes they're different. Okay, I'm gonna do Let me just fly around here. You could see how that kind of brought up some protruding rock. They're gonna do control Z controls the again. Now, I was to change my noise mode from raised to lower with all the rest of these settings being the same. Now, watch what happens when I rub, rub, rub in the side of a mountain. It kind of is seeking that portion of the mountain in. All right, let's do control Z from there as well. All right, so let's put all of this together and try to come up with a decent looking mountain range. I'm gonna set all of my parameters here back to default because we just explored some of the parameters here. I like to usually go with the noise mode of both threshold. I usually like to go about 75 ish, and I usually like to start off by kind of rubbing along the mountain range the mountain range lip, if you will let me increase my brush size quite substantially as well. I usually go pretty large right from the get go. So I kind of like to rub kind along the side like that. You can see how its defining the Ridgeline quite dramatically, which I think looks kind of nice. I am getting quite a lot of jitter there with our noise scale. We can smooth that out over time. Let me just bring that on up rub, rub, rub. And the best part of the erosion tool I find is just creating sharp looks to all of your initial sculpting blobs. Now, you get a lot of these streaks when you're starting out here and that's okay. We can smooth at a lot of those streaks out with some of the other tools. And with our next two of the hydro erosion tool, we can further kind of carve out areas of our land is well, make it look like rain water flew into it. Let's change noise mode now to raise crank up my service sickness year noise scale. It's that that's using 90 Gonna change my brush size down to save 5000 and I'm gonna crank up my tool strength and let me change my threshold. I want a little bit of a steeper inclines. I'm gonna crank that up as well, and I'm gonna be looking to make a little bit of a protruding slab right here. That's a little bit heavy handed. Change my brush size a little bit lower, and you can see how you can have kind of a slab within a slab, which I think kind of creates a nice look from time to time. All right, Larmore. I could play with here, But that's just the rough general gist of using the erosion tool to better sculpture landscape. I recommend using it to take the smoothness. The unnatural illness out of your initial sculpting is gonna make a mountain range look a lot better with just a few changes here and there. That's gonna do it all for this one. We will see you guys in the next one. Where, Where where we explore the hydro erosion tool. See, there 15. Hydro Erosion Tool: Welcome back, everyone. And this video. Our goal is to demonstrate how to use the hydro erosion tool with our landscapes. Rainwater do actually sculpt the land that we live in every day. So this is another handy tool to use to give your landscapes aim or realistically crafted. Look. Now, to find your way on over to the hydro erosion tool, make sure you've got your landscape tab selected. Come under the sculpt tab and then in our list of tools, make sure you've got hydro erosion selected. Now we're picking right back where we left off in the last video where we applied regular erosion to our mountain range here. And that just gave us a more sculpted kind of a carved look to arrange. And you can see some JAG ease out here which obviously look very unnatural. And that was fine for now because we were going to use the hydro erosion tool to now start applying some wrinkles, if you will, to the side of our mountain. You see, a lot of ah mountainous range is having these sort of wrinkles because as rainwater beats upon a mountain range over time, it creates all these kind of crevices and wrinkles kind of going down the hill. And as we apply this, a lot of these JAG ease are going to disappear. Now, before we get started using this tool, make sure that you have your intended layer selected. And then the Alfa values set to 1.0 so that we're seeing the effects of our tool as intended, just like a lot of the other tools. A tool strength basically determines how quickly you're going to see the effects being applied. So let me just jack this all the way up to one point. Oh, I'll increase my brush size here to be a little bit bigger. And as I left, click and rub this over my mountainous range Here, you can see that it is applying those effects of hydro erosion rather rapidly. Now I like to think of this brush when I'm using my hydro erosion tool as a rain cloud, and I'm just deciding where do I want to apply rain again and again to my landscape. And as that rain falls as I'm left clicking, how is it shaping? How is it influencing my landscape? So that's what the tool strength at 1.0. Let me just control plus Z to undo that. And let me do my tool strength at 0.1. Now, if I left click in a poor apply the brush. It does create some wrinkles, albeit does it a little bit more slowly. Okay, I'm gonna set this back to its default value right here. Now. Rain amount. This is essentially saying how much rain is coming from our rain clouds. So in a way, this is kind of like East tool strength enhancer as well. So with my tool strength it 0.3. Let's jack this all the way up saying that this is going to be heavy rain cloud and left click, and I rub it through the a little crevice e area of my mountains range Do control. Proceed. Undo that. Now Let me set my rain amount all the way down to one and left click, and I'm holding down the left mouse button right now, but my rain cloud, if you will my brush isn't dumping much rain, although you'll see that it's kind of smoothing out some of those jag ease that were existing out in the landscape. just a moment ago, I'm gonna control the that so rain amount. How thick is your rain cloud? How much rain is it dumping? I'm gonna undo that. Generations. This is how many simulations how many iterations were going to apply to our landscape. In a sense, this is kind of like a tool strength enhancers. Well, I like to think of this as How long is this rain cloud hanging out above my brush area? The lower the number, the less time it's spending in that area. The higher the number, the more time the rain cloud is beating upon that area. So I'm gonna raise this up with my rain amounting tool strength at the exact same values, the default values. And as I rub this around, you can see how it's crafting those crevices. Control Z. Now if I turn the in orations way down to say one and I left click again. It's is if the rain cloud is not hanging out above each area that I rubbed for very long. So I like to think of iterations as to how long is my rain cloud hanging above in area when I'm left clicking so with some combination of tool strength, rain amount, and it orations all these different levers that you can pull one way or another is going to determine how much rain is beating up on a given area now. Rain distribution field right here. This is going to determine if it's going to rain in some places or others randomly, or if I choose the positive option right here. If rain is going to be applied over the entire area, that my brushes, so to see the effects with this, I'll leave it both for now and let me just left click with all my default values otherwise , and you can see how it's kind of randomly just deciding where it's going to rain. Contrast that with positive where rain is being applied to the entire area, and what this does is it seems to be a little bit more heavy handed in terms of how it's going to create those cracks in crevices, wrinkles in the side of your mountain. Let me just set that back to its default value sediment cap. This value, I find does not really seem to do much of anything, so I rarely, if ever even touched the seven cab. You can play around this attitudes min or Max value. I find it does very, very little combined layers operation. If you have mawr than one layer down here and you have this check, this will apply your hydro erosion to however many layers. You have selected rain distribution scale. This is a fun one to explore. Let's set our rain distribution scale rather high and rub it over. Let's say kind of where we're seeing some of this jitter right here. Left click. I don't see too much jitter, if you will. In my landscape, it's kind of creating just some smooth crevices. Let me controls the contrast that where I set this way down to arraign distribution scale of 1.1, and now it's going to be a little bit more finally detailed. Let's set that back to its default. Now this detail smooth. Oh, you see some drastic differences with this one? Actually, let's turn it off for the time being, with details smooth turned off and I left click, you can see how this maintains a lot of jitter in my landscape. Let me control plus Z with details smooth turned on. I'll leave this at 0.1. Actually, let me crank up my tool strength here a little bit to help enhance this effect. Something like We'll do a hard value of 0.8 left click. They could see. It still looks rather kind of jittery. I'm going to do control plus Z very fine. Little cracks and crevices wrinkled into the side of my mountain. Now, if I said this to it's max value of almost one and I apply this, you can see that this is going to kind of just steamroll things. So this is kind of like a flattened tool. In a way, what I like to do is I'm just going to sit that back to his default, set this back to its default. I've got all default settings here outside of my brush size. So let's just say your creating some crevices here inside of your mountain applying this brush all around and you decide that some of these air flowing a little bit deeper than you really like. Well, then what you can do is crank up your detail smooth, and I'm gonna go to something like a 0.5 and maybe make my brush size a little bit smaller , and then you can rub these over some of these bigger cracks and crevices here and actually let me increase my detail smooth. A little bit to kind of a new do how drastic some of those wrinkles are like. So All right, so this is a really good way to kind of flatten or undo or kind of fill in some of these crevices. It just got away from you a little bit. All right, let's just undo these and set thes back to our default. And I'm going to do control Z a few times on the landscape to set it back to where we had it and a quick camera cut here. Now, let's try to put this all together and have a realistic look to hydro erosion affecting our landscape here. I usually like to have a bigger brush size. If I've got a mountain range of about this size to just kind of get a general look of some hydro erosion in my mountain range, I'm gonna go something like 5000. Tool strength will leave that at its usual detail. Smooth. I usually like to at least bump that up a little bit as I just make my first few swipes and I'm just going to left, click and hold down left click a little bit, and I just released, and I don't do huge brushstrokes to start with. Sometimes I like to work my way down an existing crevice to kind of enhance some of these wrinkles. Now I've usually got my fingers on control plus Z as well, because a lot of times as I'm doing this, I kind of get these little divots at the base of the mountain. And I just created one of those. So I always do small little brush strokes here, kind of working my way down some existing where there's a little bit a of ah, crevice or dip, if you will in the landscape, like right about there and right about here as well, always being a little bit wary of creating those divots because it is super easy to hold down the left mouse button. And then suddenly you get something like that, which is no good again. You can choose to fill that in by upping your details smooth and rubbing over that, but I'd use small brush strokes and control plus z ah lot when I am working with the hydro erosion told. Sometimes sometimes I'll even go with an approach where I'll ramp up my tool strength. And instead of holding down the mouse button, I'll just do a click here and there. Let me just ramp up my tool strength. I'll wrap ramp up my rain amount and my generation's everything maxing out here. And then I'll just click a little bit here a little bit there. That's way too much. Let me do the iterations much lower, actually. And that way I can get a little bit of noise and some of these areas. My iterations is still too high and probably my tool strength as well. This is a lot of trial and error to make it look kind of how you want to look. Now you may notice that if you try applying your hydro erosion, let me just set a lot of these back to its default values over kind of a flattish looking mountain range like this. I'm just gonna left click. I'm holding down the left mouse button right now. Not much is really happening to the side of mountain, but you're starting to see some of these debates kind of appear at the bottom now. This is because if you look at this mountain right here, there's not a lot of existing cracks and crevices in it. To begin with. I find that the hydro erosion tool works best if there's already some undulations kind of pre existing within the landscape. If I fly around to the back side of this mountain here, you can kind of see these streaks on the back side of the mountain. If I apply my hydro erosion to this, what you'll notice again is this just kind of accentuates Ah, bunch of the cracks and crevices that were already there. Now my lighting is a little bit tough to see, but it kind of took that existing streak and just kind of ran it on down the mountain. So in order to really give us a realistic look, I'm just controls being right there. I find that you almost need to manually carvin some cracks and crevices some wrinkles into the landscape to begin with, because the hydro erosion tool just accentuates those now, getting this right on your landscape can take a long time. It's a lot of fiddling with values. That's why we aren't doing I do. You do type of approach to these lessons For me, My goal is to just show you what the tool settings do, so that you can then explore them on your own. A lot of trial and error goes into this. Do a lot of control Z to undo. If you're not happy with your brush strokes, guys, that'll do it all for the hydro erosion tool. We will see you in the next video. 16. Noise Tool: Welcome back, everyone In this video. Our goal is to demonstrate how the noise tool can be utilized when working with our landscapes. Now this tool excels at quickly creating some random hills and valleys in specific areas, and it can often serve as a great starting point when creating a landscape. So per usual, we need to be in our landscape mode. Make sure you've got these sculpt tab selected, and over in our list of tools along the left hand side, make sure that you have your noise tools selected. Now I'm just going to swing on over, holding down the right mouse button and pivoting my mouth's to come over to a flat section of my landscape. To best demonstrate this. Make sure that you've got your layer here selected as well with an Alfa of One, and I will increase my brush size here. And this tool is pretty simple to use. Simply left click to add a little noise to your landscape, and you can see here that I raised up the terrain in some areas and I lowered it in others . Let me just do control plus Z and set my tool strength all the way up to really see a strong effect. So left click boom really raised it in some areas, really lowered it in others. It's all random now. The reason it's going both up in areas and down in others is because of my noise. Mode is currently set to both, which means it can raise or lower the terrain. If we set this to just add and we left click, it can only raise control Z. If I do noise mode of sub, it will only lower the terrain. Now. Control Z one more time. My brush fall off here really matters. If I set my brush fall off to zero, you could see I've got no fall off whatsoever and I left click. I've got a very harsh line, whereas control plus Z one more time. If I set my brush, fall off to one, and this time I will add in left click. It's a lot more gentle going from the outer ring of my brush to the middle. That's something to keep in mind as well. Now this noise scale is going to determine how much jitter there is when you click in your landscape. Let me set my tool strength back to its default value. I'm gonna set mode to both. Let's go and extreme to noise scale 1.1. And if I left click you can see I've got a lot of jitter. Ah, lot of undulations. Whereas control places een if I set my noise skill all the way up to its max value of 2 56 you can see it barely did anything at all. There it is, little, little more rounded nous to a single indentation There. Now you can hold down. Let me just set this back to its default value. You can hold down the left mouse button and simply go around your landscape like such to create some random noise. If you do that, I suggest you set your tool strength down to something like 0.5 so that it's not too drastic. You get in effect like that. You can use this on an existing bit of sculpting to add some variation. For example, I've got this flattened area of my mountain range and it doesn't look supernatural. So what? I could Dio you may be set this 2.1 I'm gonna make my brush size much smaller. And then I could just left click. Let me control Z that I am going to send my tool strength up a little bit higher Left, click, kind of rub around to add a little bit of variation. Another quick and simple use of the noise tool is to just add some random undulations all around your landscape just to get you started. And the way you can do this is to increase your brush size beyond its max capacity. If you said it to a hard value of 70,000 by clicking in their entering 70,000 then press enter. You can see how you've got this giant or miss brush. That pretty much takes up your entire landscape here. And then if you set your tool, strength is something like I don't know 0.15 and then click right about the middle of your landscape year. Give it a moment to calculate. You could have some random undulations all around just to kind of give you start, and you could sculpt from there. Oh, all right, let me just control Z to undo that quickly. So that is some quick, simple uses of the noise tool that'll do it off for this one. Guys, we'll see you in the next one 17. Retopologize Tool: Welcome back, everyone. In this video, our goal is to learn about what the read apologize tool can do for us. And to access this, you got to be in landscape sculpt and then in your list of tools you come under reads apologize. Now, once I do this, you will see that I see a little warning down below my edit layers section where says the reeds apologize Tool is not available with the landscape layer system and you can see that I've got a red colored brush indicating that I can't use this tool when I've got the landscape layer system enabled. Now you may remember when I created this landscape, I enabled editing of with layers and you could see that with my landscape selected in my world outline er my enable edit layers is checked. So unfortunately, at this time, we can't use this tool with the layers system in place. But just to show you what this does do I'm going to create a brand new map file new level default. We will not say that. I'm gonna delete out my floor here. We're going to create a brand new landscape. Onley. This time I am not going to check, enable edit layers. So that's gonna be unchecked. I'm gonna create it quickly, and I am going to create a harsh plateau. First of all, this is a rather bright right Now I'm going to select my light source, and I'm gonna less in the intensity here a little bit. I need a little bit of intensive go. Something like 1.5. Okay, Something like that. There we go. And let me come under my sculpt sculptural, and I'm gonna change. My tools are a brush fall off type. We're gonna explore these fall off types in a future video here. I'm gonna change it to tip. I'm gonna change my brush size all the way up to 81 92 I'm gonna jack up my tool strength to be I will say 0.5. And then I'm going to find a spot in my level here. And I'm just gonna left click and hold down the left click for a little while. Okay? So I get some giant plateau like that. Now, you may have some sculpting like this going on in your landscape and you notice that you got some stretching that occurs like that wherever there's sharp changes in elevation. Now the reach apologize tool is meant to help lessen that stretching. Let me just make my brush size much smaller, much, much smaller. So I don't have that spotlight of sorts in there. And I'm gonna come under my view modes here. Let's not let mode. We're gonna go to wire frame so we can see all these polygons, and I'm going to come under the world out liner and turn off my sky spheres so that we don't see all the policies and back for that. So you can see by kind of look up at my my sculpting here, I've got some rather stretched virtus ease. So Verte sees are the intersection points of all these white lines right here. And if I change back to the reeds apologized tool and rub this over portions of my landscape, it could help lessen that effect. Let me actually jump back into lit mode here. You can see there some Jaggi edges right along the lip. Years I'm gonna change my brush size Teoh don't know something like five Allah go. 500 tip will change that back to smooth. I'm gonna fly on up a little bit and I'm going to left, click and kind of apply this all around the edge. In fact, I'm gonna change my brush size to be a little bit bigger than that left click kind of up in over the edge and just holding down the left mouse button. As I do this one back and forth, I'm continuing to hold down the left mouse button and you could see how some of those jagged edges have now disappeared. There's still some jagged edges over here where I didn't rub the brush. And if I go into my wire frame view, let me just lessen the brush size so I don't have that spotlight gonna go back into my view modes wire frame. It actually moved around some of those vergis ease to try to lessen that stretching effect . And just to try to hammer home the point that these Verdecia are in fact getting moved, I'm gonna do some reads apologizing here in the wire frame views. Let me increase my brush size one more time. I'll go value of 1000. And if I left click, let me just raise up a little bit here. If I left click while I am doing this, you can see some of those. Verdecia is getting moved around very slowly, very subtly. There you go. Kind of on the right hand side. There. He can see some of them moving around right beneath my brush. Now, this is not a cure all. It will not work perfectly to your intended desire results. But if you apply that brush left, click and hold over time, eventually it will get rid of a lot of those jag ease. All right, I'm gonna go back to lip mode here, and you can kind of see the result that we've got going on a little bit less jag in a little bit less stretch the guys. That is the reeds apologize tool that will do it all for this one will see you in the next one. 18. Sculpting - Q & A: All right. Welcome back, everyone. Question and answer time. The goal in this video is to answer some common questions that users typically have upon getting started with landscapes. One of the first questions that people are gonna ask with this layer system is why do I even need it? I've got one layer out here. Why would I want to add additional ones? Well, when you're going through the process of creating a level level, designers often black out a level before they actually make it look all pretty. They'll have things like basic geometry, cubes and cylinders and whatnot out there before they actually replace all that geometry with more pretty looking static message. You could do something similar with the layers system here and unreal landscapes. So we've got our current layer. We only have one singular layer, and you can see my mountain range off in the distance. Here. I'm gonna add a second layer by right clicking right down here. We're gonna create a new one. It added layer one here. I'm just gonna right click on it and rename. And I'm gonna call this block out and you can see that it's orange. It's now selected. Now I'm just gonna create some very rough looking volcanoes. As if I was to say, Hey, I want a volcano to go here. So I've got my settings up here sculpt with the tip brush and tool strength pretty high. And I'm just gonna left click create some very rough volcanoes yet want one there? Want one there, want one there? And then I could see at a glance. Okay. Is this exactly how I want my level to play? I could jump in and play now and see like Is the spacing between these two of Aldgate volcanoes Exactly what I want or not And I can turn off this layer, see what it looks like with those very rough looking volcanoes or not. Now, I could also add another layer here and let me do that. Gonna right click create a new layer. And I'll call this by right clicking on this new layer Rename will call this block out. Plus, And now, with this layer selected, I'm just gonna reduce my brush size. And then I'm gonna hold down the shift key and left click to add a little divided into each of these volcanoes, if you will. So now I could see like, OK, do I actually want volcanoes out here? Or if I hide this layer, what would it look like if it was just plateaus? So it's a very nondestructive way of seeing what your level looks like without having to put it all into one singular layer. You can hide and show each of these enough. I hide my base layer back here. You can see what this would look like with just my block out and block out. Plus, All right, so let me go ahead and delete these two layers. Right click Delete. Yes, right click delete. And yes, OK, next question. Are there hot keys available for landscape editing? Indeed, there are we explored with our brush size here. If you click in your view port and just hit that bracket, the left bracket the right bracket. You can increase or decrease the size of your brush, but you can set your own hot keys, and you can do this in editor preferences and to access your editor preferences. You come under edit editor preferences. There is that tab, and you can do a search for landscape and here all the different things that you can set some hot keys for. And let's try. I'm gonna go to Let's do these smooth tool Let's set one for the smooth tool. So the way we can do this and I did this ahead of time with Shift Plus seven, I'm going to remove this binding, and if I click in the field, you can see I've now got that little that little straight line right there. I need to press the buttons that I would like to bind to make this a hot key. So if I do shift and the seven key at the exact same time, I will set that as a hockey. Now there's no save button or anything here. It will just do it automatically. So let me go back to my level. And now remember, I set shift, plus the seven key to transfer on over to my smooth tool. So if I do shift plus a seven key well, I need to actually click in the View port first shift, plus the 70 I've now jumped over to my smooth tool. So that's how you can go ahead and set those the next question, you may have noticed that if you jumped in and played that your character might not be able to scale some of these steep mountains. And I've got a hot key too quickly Move myself over onto this side of the mountain. And if I go ahead and play and I've got 1/3 person character, I'm trying to trudge up this mountain. Oh, the hill got a little bit too steep and I can't quite scale it there. How do I fix that? Well, we've got 1/3 person project. This doesn't matter if you've got 1/3 person, a first person, a side schooler, any character blueprint that you're using to try to skill your landscape here minus third person. So I'm going to come into content. Third person BP blueprints. Double click on our third person character blueprint here, and you need to have your character movement components selected over in your list of components. With this selected over in the details panel, you do have a parameter right here called walkable floor angle. This is going to determine how steep of a slope your character can walk up. So if I set this to Let's just try 10. And now I try to play. I'm not gonna be able to get up any slope at all. However I exit out of there. So, like character movement changes to 90. Now, I should be able to pretty much walk up a straight wall, so I'm gonna play. And now getting up these steep slopes is no problem. So you can set the angle at which characters kantra First up, that is character movement, walkable floor angle. I'll just say that quickly and exit out. All right. Next question. There seems to be this weird I adaptation effect that takes place whenever I go and play my level. This is to simulate when you walk into a room and things are a little bit dark, but your eyes adjust to the darkness over time, and suddenly you can see a little bit clear Watch when I mean, when I click play right here, the screen's gonna start off a little bit dark, and then over the course of about five seconds, it's going to get progressively brighter. So watch carefully to rather subtle effects. And let me actually expand out my screen here. My view Port okay, Starts out a little bit dark and notice how everything gets just a little bit brighter. That tends to drive people nuts. A lot of students hate that. Where can you go to fix that? Well, you gotta find your project settings. If you come under edit project settings or alternatively, you can come under settings, project settings right up there at the top. In here, you do a search for exposure and you've got a field called auto exposure right here. Just uncheck this box again. No save button or anything here. Now, if you come back into your map and you click play, you'll notice that that I adaptation effect doesn't take place anymore. Okay, so that's how to fix that issue. Now. I just did a quick camera cut and noise up some terrain here to address our next question. When I fly around my landscape, my landscape tones to warp and pop a little bit. What is going on? Well, what we're talking about here is if I fly away from this drastic looking mountain, noticed some of the finer details of this sculpting. You'll notice how some of it kind of pops a little bit. You know, it's a little bit around the edges there. What is happening is your level of detail is changing. What is happening is the engine is trying to ensure that it stays performance. And in doing so, the further away you get from things the lower level of detail, you see, because you don't need to see something high quality when you're 15 miles away from it. Now this is being determined with our landscape after being selected here by this setting right here, Max Elodie level. And it says when it's said to negative one, that means the maximum level available. Now you can override this, But in order to truly see how we've got different levels of detail, I'm gonna come under my lip mode. My view modes rather, which is currently set the lit, come under landscape visualize er's and set this to L O. D. And when I do that, you're gonna notice some different colors out here. Let me fly up nice and close, and you'll see that when I am close up to this mountain range here, Gray is the highest quality level of detail that would be considered level of detail level zero. Red is the next best quality, that is level one green would be level two, and as we fly away, we're going to see some purple etcetera. Now, if this popping is absolutely driving you nuts, you could set this to Max Elodie Level of zero, in which case everything would be gray and we would be trying to render everything at its highest quality level of detail. Now, I do not recommend this in order to keep your game performance. Your landscape performance is setting of negative. One is going to try to help you to do that. Let's set this back to landscape Visualize er's normal view, and that is what that issue is all about. That popping has to do with levels of detail and one final question. Before we wrap this up, I noticed that when we created a landscape, there is now a landscape gizmo active actor added to our world out liner. What the heck is that? Well, we'll explore how to use this when we talk about our various region tools in future videos . Essentially, though, this is a tool that will allow you to copy and paste a given area of your landscapes so that if you created a sweet looking mountain you want to duplicate that and added to some other area of your landscape, you can do so well. There you have it, guys. I hope that clears up some of the questions that you had up until this point. That'll do it off for this video. We will see you in the next one. 19. Sculpting - Circle Brush: Welcome back, everyone. In this series of videos, we're going to be expanding upon our knowledge of the different sculpting tools by specifically talking about the different brush types that you can use when you're using your sculpting tools. And this video is going to focus on using the circle brush type. Now when you are under landscape, the sculpt tab and you've got your list of sculpting tools over here, whenever you have a sculpting tool selected, you've got access to different brush types. Now I know we have not covered all the different sculpting tools we've only covered up to reach. Apologize at this point, we will cover some of these other brushes at another time. But for now, I've got my sculpt tool selected. And, as you can see with my sculptural selected, I've got access to four different brush types. When you've got the circle brush type selected, you have access to different brush fall off types. If I was to have my brush type B, let's say pattern. I don't have access to different fall off types, so this video is gonna be focused on focusing on just the circle brush time and with this let me change my fall off type to smooth, which it is by default. If I hold down the left mouse button and I just sculpt in my level that is what this smooth fall off type ends up looking like. Let me change this to linear left. Click. Let me change this brush. Fall off type two spherical. We get that kind of look and then lastly to tip and you can see when we're using our circle brush type and have access to different tip fall offs. These are the different looks that we can achieve. All right, now, I'm just gonna hit control Z here a few times. Now, while you do have access to these different brush fall off types, I have noticed that it only seems to really make a noticeable impact. When you're using these sculpt tool, the erosion tool and the noise tool, you can use it with the various other sculpting tools. But with those three in particular, you will notice the difference. So let me just switch this on over to the erosion tool for a moment and again, I've got my circle brush type selected and let's see what we got If we change this to a smooth fall off type, I'm gonna jack up my tool strength here to say 0.5, I'm gonna say noise mode, add or ah rather raise so that we can see it raised up. And let me just change my brush size to be bigger. Okay, here we go. Left click. Just rubbing it around a little bit, giving it a little jiggle there. That's what we get. Very smooth. Fall off. If I go linear again, I'm just kind of moving it around a little bit by little bit. Let's go spherical. And then, lastly, let's go with the brush. Fall off type of tip. I'm just moving it ever so slightly as I'm holding down my left mouse button and you can see that there is a noticeable difference between my sculpting with the erosion tool. When I've got different circle brush fall off types. I'm just going to control Z here a few times, and let's changes on over to the noise tool, and I will do these settings to a strength point. Five noise mood. Add sure that brush size again working just with the circle brush. Let's start off with smooth one left click. There we go. Let's go, linear one left click. Let's go, spherical! One left. Click and then let's go. Tip one left click so you can see the drastic differences between fall off types. When you're using the circle, brush with the noise, erosion and the sculpting tools. Again, you can use those different circle brush fall of types with some of the other sculpting tools. But I've noticed that with those three tools you will notice a difference. Some of the other ones not so much. Alright, guys, that's gonna do it all for this video. We will see when the next one. 20. Sculpting - Alpha Brush: Welcome back, everyone. In this video, our goal is to demonstrate how we can use the alfa brush when sculpting a landscape to give it some nice visual variety. This is also a great brush to use if you want to quickly sculpt a nicely shaped island or lake, which we will demo in this video. So in landscape mode under sculpt, we've got her sculpt tool. Let's change out from a circle brush which we explored last video to an Alfa brush. And when you do, you're going to see something that looks like this and you'll notice that you'll be able to sculpt in a manner that is consistent with this texture that we've got here. OK, this white and black texture so white raises If I left click, the whiter it is, the more it will raise. Now I'm just gonna undo this. This is not a very interesting texture to use when sculpting our landscape. Wouldn't it be nicer if we had something different? Well, indeed, we do attach to this course you're gonna find a couple of textures for you to import. Come under your landscapes, content landscapes, folder. We're going to create a brand new folder here. Right click new folder. We're gonna call this textures and I have my textures in a folder. You should be able to find them in this course, and we're going to be importing T Alfa Brush 01 anti Alfa brush zero to just left click and drag these on in. Yes, one of those does look like the shape of Australia. That is not a mistake, all right, And then once we got those in here, let's save them all. It's going to save both of those textures that we just imported as well as our level here and now instead of this checkerboard texture, let's select rt Alfa, brush a one and bring it on up here. Now this is going to be the texture that we sculpt by now. This texture channel you can sculpt by different channels Red, green, blue or L fa. We will explore this more next video so we'll just ignore that for now. Brush size. We will leave this at 81 92 for the time being. Ah, use cli brush. Don't use clay brush. Don't even worry about that setting auto rotate. It's currently checked right now, And what that means is, as I'm moving around my cursor, you're seeing that that texture is auto rotating. However, if you have it turned off, then it will respect whatever texture rotation you have said here. So let me set this from zero to say 45 now you can see it's at a 45 degree angle. All right, I'm going to set that back to its default, set this back to its default. And now, if I was should just left click a little bit. You can see how I could do something crazy like that, which can add some texture variety to your landscapes and Tess elation some noise, if you will. I'm just gonna do control Z to undo that. So again, the white areas of my texture is what it's raising by There I just left clicked, and you could see it's raising up with white areas. White equals raised, the whiter it is Mauritz going to raise up. Alternatively, I can hold down shipped in left click, and it will lower those areas. OK, so that's kind of interesting, But what about this island that you were talking about? Mr Wandera can't we do something a little bit more interesting? Oh, indeed we will. Let's bring in T Alfa Brush zero to now. We've got Australia out there. I am going to not auto rotated. I just wanted to be a certain direction. I can't really tell if I've got it in the intended direction. But if I let me actually increase my brush size even bigger, let's go. Something like Ah, 30,000. Yeah, something big like that. Now let's go. 20,000 something like that. And now if I hold down left click, you can see I raise up the the continent, the country of Australian I went a little bit strong there, but that's all right. So now we've got Australia again. You could make this much bigger if you wanted to. How could you make an island? Well, if I was to jump out of landscape mode here for just a moment, and I go back into policemen mode geometry and I bring in a geometry box brush. I'm just gonna size this up with that box brush selected. I'm gonna change my ex to be something like 40,000 my wife to be something like 40,000 something like this. So it just kind of resides underneath the country of Australia. And now all I need to do is apply a water type material to this. So if I click off of that brush, click back on right up here. I can assign a surface material. I know. I've got some water. I believe there's one called Lake in my starter contents. And if I assigned that Look at that. We have now got the continent of Australia surrounded by some lake water. Isn't that lovely now? Obviously, I could spend a lot more time making this look nice and dandy, but you get the idea. Now, let me just delete this out really quickly. This box brush and we are going to come back into landscape mode. And what I'm gonna do is search for an unreal engine for logo that is available in our engine content. Firstly, let me destroy all this stuff. I'm gonna go with my erases sculpting tool where it is going to erase. Erase, erase! Sorry, Australia. You are being replaced. Let's go back to sculpting Alfa Brush and let me insure my content browser that I do have engine content turned on so long as I dio I should be able to come under engine contents. And in here there is a folder called VR Editor. We've got another folder called Devices. And in here we've got a folder called Vives. And in here we have an unreal engine for logo. And wouldn't you know this texture is black and white. So let me assign this to our Alfa brush. And now, if I left click I can raise up a logo Or if I hold down shift, I can kind of imprint one into my level. So I'd be kind of a cool Ah, cool little sort of formation that you have in your level sort of burned into the landscape , if you will. So, guys, that is going to do it for our discussion of the Alfa brush. Pretty cool. Definitely use it. We will see you guys in the next video 21. Sculpting - Pattern Brush: Welcome back, everyone. In this video, our goal is to demonstrate how to use the pattern Brush went, sculpting the landscape. Now this brush is similar to the alfa brush in that it can be used to add some visual variety to your landscape. But whereas I like to use the Alfa brush to sculpt specific features such as islands and lakes, the pattern brush attend a favor. If there's some kind of textural pattern, I want to apply to a large swath of landscape. Now to access the pattern brush, make sure you're in landscape sculpt tab. We've got our sculpting tools selected over on the left hand side, and instead of a circle brush or an alfa brush, were coming the next one down the pattern brush. And instead of using this default texture, we're going to be importing one that I created in photo shop very quickly. To help demonstrate some of these texture channel concepts that you should know about so attached to this course, you should be able to find it's extra called T underscore colors access that now in Once you have downloaded it, we're going to drag and drop it imported into our engine into this'll folder location, content, landscapes, textures just left click and drag this on in like so. And then I am just going to save this quickly and for demonstrating use of this pattern brush throughout our sculpting level here. I'm back in my sculpting level. I'm gonna make sure I've got my tool strength set to 0.1. My texture scale is going to be 0.4. My brush size 20,000. My brush fall off at zero. And for my texture, I am going to be using my t underscore colors. And now when I move my brush kind of around my landscape, it's gonna look like I'm kind of revealing where this hidden texture is more on that in just a bit. But before we even get to using this brush in our level, let's go ahead and double click on our texture right here and open it up so we can talk about the different channels available inside. So what do we mean by different channels here? Well, here in our check shirt by come under the view mode, I can see different color channels checked on or off, And if I uncheck green and blue and Alfa. I am just now viewing this texture through the Red Channel that is, show up in white What contains some red Now, the text read is 100% red and has zero green and zero blue. The text that is written in orange and I made this texture in Photoshopped does contain 100% read, but it also contains some green as well. That's why you see it here in white. Now remember, with our hide maps, we said that if it is in white, it will raise it up, whereas Black will not. So by saying we want to access the Red Channel, we're treating anything in red as being white. Now, if I was to check the Green Channel and unchecked the Red Channel, you can see that I do have a little bit of green in the orange text. It's about a little bit more than 50% green as well as 100% red. That's how you make orange, where, as the text green is written with 100% of a G value 100% green and does not contain any red or blue. Likewise, if I click on the Blue Channel. The text blue is written in 100% Blue has no g and no are no green and no red. How does this help us in our discussion here? Well, let me just check these all back on. I'm gonna escape out of my tea. Underscore colors here. Back in our brush settings, we can decide which texture channel we would like to access when sculpting using a pattern brush. Or as we mentioned using an Alfa brush, you can access your texture channels as well. Let's go back to pattern, though, because that's the topic of this. And right now I'm saying, Let's use the Red Channel. So anything containing red? If I left click, I will raise that on up. I will treat it as white. Now again red and orange have 100% red in them. Let me just do control policy to undo that. And now let's go to the Green Channel and you can see my orange Texas very faded out there kind of in gray. Where is my green text is showing up very white because green has 100% green. Where is orange? Only has a little bit more than 50% green. So now if I left, click and sculpt, my green will actually rise up mawr than my orange because it is whiter. We're accessing the Green Channel, basically treating green as white, and so the green text will rise up mawr than the orange. Let's just do controls need to undo that. Now it may be fairly obvious, but over in the brush settings we can rotate the direction of this so you could set this table. Let's go hard 45. And now, if I hit enter, you can see how the text there has rotated 45 degrees. I could obviously change my skill to be much bigger or much smaller, like so. And let me set that back 2.4 end. Set this back to zero and the texture Panyu envy. This is going to shift the location of this up and down left and right a little bit, So if I change the pan, you try to keep an eye on my text right here. Change the pan. You You can see how it's shifting it left and right. Set that back to default, whereas Tex Pan V is going to shift it up and down. Now, let's get a little bit more creative here and show off what the pattern brush conduce by using this world space check box and note that when we click on this some of our parameters here going to change. So we're gonna use world space, and you can see some of that stuff changed right up above. And this is going to be a great option to use if you want to apply a pattern all over your landscape. So what I'm gonna do is I'm going to change out my texture here from the tea underscore colors, too. And I'm gonna click this little drop down here. I'm going to type in Kabul, Stone and I want t underscore. Cobblestone. Underscore Kabul's stone underscore pebble underscore d underscore d for diffuse that guy right there. That should be in your starter content. Okay. And then I'm gonna change my repeat size over here to something like 25,000. A little bit bigger. You can see some spots starting to appear over on my landscape and my brush size. I'm gonna maxus out if I said it to 70,000 and hit Enter. It'll change it to its truly Max eyes. This is essentially the size of my entire landscape. And now, with just a little bit of left click Ege in my last game, you can see how I've added is sort of cobblestone. Look across my entire landscape. Now, this could be cool if you want to replicate, I don't know, like some dinosaur skin or I don't know the texture of a basketball, that sort of thing. But this is a way you can quickly and easily apply a texture, a pattern across your entire landscape. Okay, I'm just gonna hit control Z to undo that quickly. And I'm gonna change out my texture here to be Let's go. The default Alfa Texture. This is the one that was in there by default when we first got in there. And it shows the path on how to get there. It's in our engine content folders. Okay, um, I'm gonna change. Well, we could leave. The texture channel is green. It doesn't really matter if we have it at green or blue or what have you, because whites is 100% red, green and blue Where is black? Is the absence of red, green and blues. It doesn't matter what texture channel we have here. We will use world space. We're going Teoh. Let's rotate this just for fun to 45 degrees. Let's set our repeat size year to 10,000. You can see that makes everything a little bit smaller in a brush. Fall off is that zero? And now, if I was to a left click, I have just raised up. Let me just decrease my brush size because I gave it a very brief left click. You can see how I've created kind of a checker board pattern inside of my landscape. In fact, one increase my tool strength there 2.5 just to see what that looks like. Increase my brush size back up to it's Max. Eyes left, Click And there we go. That looks a little bit more convincing. So maybe you want to make a game of chess all across a huge landscape. Well, there you go. You got some checkerboard pattern right there for you. Alright, guys, that's gonna do it for our discussion of the sculpt pattern brush. Find some cool uses for and don't forget. You can use your texture channel to access different things about about your texture. That'll do it all for this one. Guys, we'll see you in the next one. 22. Sculpting - Component Brush: welcome everyone into this video, we will be exploring the component brush. And in order to do so, we're gonna make sure we've got landscape mode selected. The sculpt tab selected. Let's have our sculpt tool selected and then moving one to the right in our list of brushes were going to move on down to the component brush. Now you may remember when we created our landscape, we got to decide how many components made up our landscape. And with my landscape here selected in my world outline, er I can see that I've got 64 total components. The components are these larger square sections that you see out in your landscape when you have not built your lighting just yet. I've got eight across in eight down, and you'll also notice that being in the component brush mode here, I do not have that circular style brush out here. The spotlight brushes. I like to call it. Instead, I can raise or lower entire components of landscape. Now the tool strength will determine how quickly I can raise or lower it. And let's just demonstrate this quickly. So I am currently just going to raise up one component here left click to raise it up, control Z and then holding down shift left click that will sink it on down. Now you'll notice that I'm Onley highlighting one square at a time here. One component and that's being determined right here with my brush settings. If I change this tooth, let's go four by four or four. I should say brush size of four. You'll see that I select my brush size is four across and four down. So now I could raise up a little bit. Say I want to change my brush size down to two two by two. And then I could raise it up again. Like so I'm just gonna hit control Z here a few times. Now, what are some potential uses for this? Well, I don't see a whole lot of youth for this, but maybe let me just jump out of my landscape project here. Maybe you're looking to build a building pads, something like this. My dad actually had a excavation company such as this, and they built building pads for buildings all the time. A flat surface that could be one use for doing that. Maybe you want to create an old school arch, our tactical RPG style map. Technically, you could create something like that. You need a giant landscape, but you could raise up some components up and down to create a look such as this. Or maybe you just want to create some sort of, like natural my imperium ID. You can see how there's sort of different levels raised up here as well. Now let me just jump back into my landscape and I'm gonna show you one of the drawbacks that you may run into when working with the component brush. I'm gonna go back to a brush size of one is if I raise up one component and then I choose an adjacent component. What you're gonna notice is you get a little awkwardness here and I gotta fly on down to see it. But essentially, I've raised up that ridge right there as well, and that's not easy to get rid of. You could use a smoother, flattened tool to try to get rid of that, but I would suggest when working with the component brush, let me just hit control Z here a few times to try to figure out what you'd want your base level to be at. Say, we've got a three by three area like this Raise that up and then if you have, like another layer of the cake, as I like to say, let's go two by two. Raise that up. And then if you got another layer of the cake, so to speak, we'll go with one. Raise that up, and that's going to prevent you from seeing those weird ridges. In addition to that, you're going to want to ensure that you're not raising components that are adjacent to one another like this bouts. To raise this up, you're going to see that weird ridge. Let me control Z that However, if I was to lower this doing a shift and left click lowering it, you don't see any of that were Ridge at all. So just some tidbits of information for how to work with the component brush effectively. Alright, guys, that's going to do it all for this one. We will see you in the next one 23. Blueprint Brush Setup: welcome everyone. In this series of videos, Our goal is to demonstrate how you can sculpt a landscape using blueprint brushes. This is an entirely new approach, introduced in unroll engine four dot to four. Now, blueprint brushes are a flexible and powerful tool that enable you to sculpt wide swaths of landscape in a time efficient manner. And if you get good at using these brushes, you can crap some pretty sweet looking landscapes. This mountain range that was created right here was created in very little time using a blueprint brush. Now the goal of this specific videos to demo and explain what a blueprint brush is, what it can do and show how to access the blueprint sculpting brushes and how to add one to your landscape. Now, this is currently done in a test project. So I'm gonna jump on out of here, gonna hit F 11 and un full screen this and I am going to exit out of here. I don't need this anymore. And here I am, back in the same project that you all created your landscapes project. Now the first thing we need to do in order to add one of these blueprint brushes is to get the land mass plug in So right up at the top here along your toolbar come under settings, click plug ins and under the search bar at the top. Let's search for land mass. We need to add this landmass plugging right here. So click this enabled button and it's going to say it's in a beta version. It might be unstable. Yada, yada We're going to say yes, we do want to enable it. And then you're going going to see a little bit of a message saying that we must restart Thea NREL editor for the plug in changes to take effect. So we're going to restart now and I will rejoin you in a little bit, okay? And my engine has started back up again. Now let's create a brand new level. I'm gonna come under file new level, and I'm going to create a default level. We're going to select our floor here, delete that out and we're gonna create a brand new landscape in this new level. Come under landscape. Make sure you've got your managed tab selected here. We want to, of course, create new. We do need an able edit Layers checked. Very important. In order to use this brush, you must have enable at it layer selected material. Sure, M ground grass would be good. Everything here we can leave per normal. Let's go ahead and create this. And before we do anything, just gonna rise up into the air. I'm going to save this level right away. Will save it, clicking that button right there under my landscapes. Maps folder. I am going to call this guy landscape. Underscore. Blueprints underscore brushes, and we'll save that out. Okay, next order of business is down in my content browser. I'm gonna click on this view options button down here, and you should make sure that you've got both show engine content and show plug in content checked on, so make sure that that is, if it's not okay. Next thing we need to do is locate our sculpting brushes. We added the landmass plug in. So coming under my sources panel. And if you don't see your sources panel, you can click that button right here. I'm going to scroll on down until I find my land mass content that folder right there and I'm going to click on the landscape blueprint brushes and the one we're going to explore using is gonna be this custom brush land mass. Okay, so we can simply drag and drop one of these guys into our level. You're going to see kind of a triangle looking shape. And as soon as you dio you're going to notice that a pyramid of sorts is now populating your landscape, we just move the sun down. And in the world out liner, we have added a custom brush. Landmass is well as this landmass brush manager which we're not going to deal with that anytime soon. Okay, So make sure you've got your custom brush landmass selected. You can see all kinds of brush settings down here, but we're still not in a position where we can use our brush. We need Teoh over in landscape sculpting. Instead of using this sculpt tool, we need to change this on over to blueprint brushes. Okay, Important step in order to do that so you can actually modify this brush now. We just added this custom brush land mass to our level right over here in the details panel of our landscapes are edit layer blueprint brushes. We see custom brush land mass. You see two little buttons down here. You wouldn't even know that these air brought buttons. This is highlighted purple and says that this custom brush landmass is currently affecting our height map. You can click on this to turn it off. My pyramid is now gone. Click it to turn it back on. This one over here affects the painting that this blueprint brush can apply to your landscape. Now landscape painting is not the focus of this video. We got plenty of that upcoming in the future. So let's talk about how we can manipulate this blueprint brush to create an interesting sort of shape. Well, we've got these different supplying control points out here. And if I was to select one by simply left clicking on it and let's say I move it up where I move it down, nothing really seems to happen. Let me just controls the here a couple times to get that back. However, if I select one and I move it in that direction or that direction, you will see a difference. Up and down doesn't really do much for a single control point, but moving it along the X or the y axis will. However, if you have your entire brush selected and I just clicked off my land mass brush and then click back on it shows in my control point or my translation, which it is right here on my spine control point. And now, if I was to grab it, I could move it up and down and you can see how that reshapes things. So I've got three different control points out here on my spine. Can I add any more? Well, the good news is, yes, she can. So this is how it works. You've got to select a single control point like so, and you can see how the area to the left of this turned this sort of oranges color. Never hold down the altar key left, click and drag. Aiken, bring out another control point. You can see it's got some tangent handles here. That I can manipulate is well, right. So let's add a whole bunch more Sline control points. And you can do this however you want. I'm just gonna ault and left, click and drag. I'm just gonna move this guy out. Like So I'm gonna move this way. I'm gonna move this one on the far left way. I'm gonna create kind of a mountain range of sorts. Okay, Zoom back out. Okay. Again. To the left of this is where it's going to create a spine control point. Ault left click. Gonna bring that back out like this. Olt left click. There's another one holding down Cult left Click will go like that. I'll do cult left Click will go out like this. Maybe I'll pull this one way over here. It's like that one cult left click bringing in like this and you could see we're starting to get a pretty interesting shape than adults in left. Click. Something like. So now you don't need to close off this loop or anything like that. Nothing like that. Just creating an interesting shape like this is enough. And you can add some or control points to the end of this one. If you want adding holding out, altered left clicking like so we'll just simply add another point on the end like this. They're gonna want to whip it way around, like so Not Obviously, this doesn't look all that interesting. Right now, it looks rather artificial. But in our future videos, we're going to manipulate some of the settings for this brush to make this look a lot more realistic. So that is going to do it off for this one. Guys, make sure you've got a basic blueprint Brush, spine shape in order. We'll see you in the next video. 24. Blueprint Brush Effects: Welcome back, everyone In this video, our goal is to pick right back up where we left off in the last video. We're going to show off some cool effects. We can apply to our blueprint, brush too quickly and convincingly sculpt a landscape. So for this one, you've got to make sure that you've got your custom brush landmass selected here in your world out liner. And if you don't see your world out liner under the window tab right there, you can check to turn that windowpane on. Select your custom brush land mass. Now, between videos here, I noticed that some of these fall offsetting seemed broken from the previous version of the engine where we could play around with some of these in a, uh in a beta version of this tool. So just a word of caution. With some of these fall off settings, however, fall off angle seems to be working. This will determine the slope for your mountain range here. Suffice to set. This is something like 20. It's gonna set that to be much more gentle. 45 is pretty decent turnout. Let me go 30. That's fine. Another possible shape option you might want to explore. Here is currently my brush type is set to land mass outline. If I was to set this to something like a spine mesh instead of a sort sort of mountainous like you get here, you get sort of this snaky look, and as a tool tip will say here for your brush type, this is good for using with roads and rivers. In addition, you've got this blend mode here. It's currently set to Alfa Blend. If you were set this to men, you would sink that into your landscape so I could see where the river could kind of place . Inside of there maximum will mean it only raises a terrain. Alfa blend is where we're gonna go back to and we're going to change our brush. Type it back to land mass outline. Okay, so that is all fine and dandy. Some other parameters that do not seem to be broken at this point. The Z offset. If I said this to be something like 1000 it's just going to raise up your brush. Ah, 1000 unreal units, as if you were to just raise it manually yourself. Okay, but those aren't the really interesting ones. Let's scroll on down to where we've got this affects area and let's open up in area noon as curl noise. So we're under effects in curl noise and curl two. We've got curl one in curled to This seems to effect the brush AZM or off a whole. Let me just set a 2.7. This is a something that I predetermined ahead of time and you could see how immediately around range has a more interesting and natural shape. You can scroll this to the left and right to kind of see how this alters things. Obviously, you can get some kind of crazy looking stuff, So I found that 0.7 seems to be pretty good. That's gonna affect the brush more of a whole. Let's also set our curl to tiling down here. It's currently set to five. I go something like 15. You can see how that adds a little bit more fine detail to that so curl strength with curl tiling will add a little bit of detail to that. Now let's go on to curl number one now. This affects more of the details of the brush so I'm gonna do curl one strength to set that to 0.3. And as you can see, once I hit enter there just a slight little effect there. And you can also left Click right about here. Move this slider left and right to see some of those drastic effects. But again, I'm gonna go to your 0.3 and then for the tiling curl one tiling I'm gonna change is to be 100. Once I press enter, you can see I've got a lot more sort of noise along the edge there. And that's certainly look pretty good. Not too bad. Okay, Next, let's come under the displacement settings. I need to flip my page and notes here, and I'm playing around with some of this. You got your displacement height. Try value something like, say, 2000 and hit. Enter and you can see how you've added a lot more noise to your map. That maybe a little maybe a little bit drastic for some of you. But if you change your displacement tiling from two down to something like 20.5, that'll just kind of lessen that effect a little bit. This is starting to look kind of interesting. Yeah, I'm just gonna raise up my custom brush land mass right there, maybe set it back down. Yeah, it's pretty good. Next we've got the blurring effect. Blurring, blurring, blurring Were coming under effects, blurring right here. Blur shape is currently checked on. If you were to set this to something like, say, five watch what happens when I press enter suddenly you're going to blur out, so to speak. Some of that displacement effects that you just added a moment ago. Sort of a way of like smoothing out all that roughness if you really wanted to. I like it back in one, though. Next. Let's come under smooth blending rights. Here. Expand that out. We've got the outer smooth threshold that we're going to try to change here. Let's change our outer smooth threshold to something like 3000 watch. What happens when I press enter? You start to get a little bit more natural transition from the flat landscape to the hill itself. So again, you can kind of lesson this effect to see how that changes things from gradual outer smooth to non gradual at all. Okay, I'm gonna set this back to 3000 right about where I had it. No, let's go. 2000. Showy 1000. That's a little bit too sharp. Yeah, that's pretty good. Right there. And now, actually, to do these parameters Justice, I can actually bring in another blueprint. Brush here in landmass, Cotton content, landscape of blueprint brushes Let me bring in this land mass river I'm gonna left click in place it way over here you can see just looks like elbow spaghetti Something like that If I was to select that landmass River and come under my smooth blending I could set my inner smooth Blending to something like 500 in my outer Smoothing to something like 1000 And you can see it's doesn't sink it in quite enough Let me go And with my custom brush Landmass River selected I'm just going to sink it down into the ground a little bit more Now you're starting to see some of the effects of that smoothing taking place Let me set this inter Smooth back to something like zero and the set that back to 500 so you can see that once again And the outer smooth if I set that to zero, you see how sharp that is? Outer smooth sets of 1000. So you can really get an idea of those smooth blending effects when you have the landmass river brush selected. Okay. And let's quickly delete this brush I hear delete and go back to our custom brush landmass . I'm going to select it up here because we're gonna go. We're going to go a little Minecraft effect on this by coming under our effects terracing. And let's play with some of the primers here to get a pretty interesting look. So I'm gonna change my terrace Alfa to something greater than zero to see any effect I'm gonna set to one Now, I know it looks pretty pretty crazy right now, but stay with me. I'm gonna set my terrorists spacing to 500. Now you're starting to see the layers here. This 500 is a horizontal distance between our terrorist layers. Terrorists smooth. This gonna set that to zero. That's gonna make everything a little bit sharper. And then our mask length This determines how far this effect reaches. So zero, If we set this to zero, you're going to see, it extends all the way to the end of the brush. Whereas if we set it back to its defaulted on Lee kind of terraces this, uh, middle portion of the brush, if you will. So, essentially, the smaller the number, the less the terrors are. The bigger the number, the less the terracing, the smaller the mask lank, the more dramatic you see, that sort of terracing effect kind of cool, if that's what you're going for. Now I'm just gonna reset these all back to their default. One last thing to point out here is just like many other things in unrealized. You can create a duplicate of this this currents blueprint brush If I hold down the bulky and left click and drag you can see now I've added a custom brush land mass to Aiken. Turn that one off, turning it back on. I can turn my 1st 1 off or on. And now if I wanted to work with any of these in particular, I would have to make sure I have it selected first. And then I can go into the details and modify things. Alright, guys, that's going to wrap up our discussion about some of the blueprint brush effects that you can add to create a realistic looking landscape. Pretty cool. I say. See guys in the next video? 25. Material Shortcut: Welcome back, everyone. Well, up until this point, the course we've learned how to create some landscapes. We've learned some tools for sculpting our landscape, but we have yet to learn how to go about painting our landscape. What do I mean by that? Well, if I jump into chrome here quickly, I mean this the ability to paint different surface types, different textures on top, off our landscape. You can see we got some grass. Here's some soil, some snow, that kind of thing. Now you may remember, right? Let me just jump on back to unreal here that when we created our landscapes, we just assigned this m ground grass landscape material to our landscapes. What we need to do is create a special material, set it up in such a way so that when we assign this special material to our landscape, we can paint different surfaces out there. Now creating a landscape material can be a little scary and intimidating. So you have a choice to make a decision. You can either finish this video and take a material shortcut. I'm going to give you a shortcut on how to get this landscape material or if you want to learn how to create one of these landscape materials from scratch, Then you can skip this video and do the next to. So if you do not want to create a landscape material, you just want to do the short cut. Stay right here and finish off this video. Okay, so you want to stay? You want to do the short cut, then this is the first step you need to take. Firstly, head on over to the marketplace. The epic games launcher come under the unreal tab. Not under engine not learned, but marketplace. And you're going to add three different asset packs to your project. And the reason you're going to add these asset packs to your project is because we're gonna be using some assets inside of them. The 1st 1 you're gonna look up is in thin the tea blade you can just search for there. We're looking for infinity blade grasslands. This guy right here, it's gonna say that I own it. Just click on it right here because I've added this to other projects and the way you can add this to our current project, it's is simply click on this ad prat to Project Button, and it currently shows it does support the latest version of this engine. I'm gonna click. Add to project. Now if it shows that a dozen support your latest version of the engine, What you can dio is you can click on this show. All projects button at the very top to reveal all projects, even the ones it seems incompatible for and you can just add the latest version of it. But here I am going to select my landscape project and click add to projects, and it's gonna begin adding some folders to my content browser. Now, that's not the only one here. Just gonna scroll on up. And eventually there's my Infinity Blade Grasslands folder. It's gonna start populating some of these other folders with assets. That's not the only one. If I go to Google Chrome here, I've got the other ASIC packs that I would like for you to add Infinity blade grasslands, that is one this open world demo collection that is another. And then this paragon agora and monolith environment add that is well, now this is gonna take a little while for all these project folders to get added Teoh into your project. So go ahead and do that now. And I will rejoin you when it's all finished. Okay? And we are back. All those asset packs have been added to my content browser and you can see them down here . They're called infinity Blade Grasslands. Kite Demo is the name of the open world stuff, the open world demo collection that she added. And Paragon props is the name of that Agora and monolith collection Pack that you added. If you don't see this panel over here again, you got this Sources panel show and hide. That's how you convey your folders and I cull. Arise these just to let you know that these are added on content packs and the way you can add color to these folders is by right clicking, going to set color, and then you can choose a new color with the color picker. And then I even save this color up here in this little save bar up here. Then click OK, And there you got a nice color folder. All right, let's go ahead and create a brand new landscape material. We're gonna do this in our landscapes folder and in our landscapes folder. We're going to create a new folder. So highlight this. We're gonna right click create a new folder. This one's going to be four materials. And then inside of this empty folder right here, we're going to right click create a new material and we're just gonna call this m underscore landscape. Simple enough. Then we're gonna double click on this material to open it up. Now comes the fun part because we get to cheat to finish the creation of this material. You open this up, use your right mouse button to kind of pull our mass material Note over to the side here. Actually, with our master material notes selected, make sure that selected we're gonna come over in the details panel and change our blend mode right here to be masked. And that's gonna make this opacity mask parameter available because we're gonna be plugging a node into that in just a little bit next attached to this course, you should find a note. I have mine currently in this folder. Mine is in a text document right here called landscape Material Again. You should be able to find this attached to this course. We're gonna open this sky up now in this text document right here is going to contain all the code that we need to construct our landscape material. And I did this ahead of time, and it's gonna reference some of the textures from some of those added on content packs. So the way that we can select all this is just make sure that you've click somewhere inside of here, do control Plus A that's going to select everything, then control plus C to copy it. And now let's go click into our material right here. I recommend zooming way back moving your mass material node kind of the right here that I'm gonna click right about here, left click and do control V toe pace and just give it a moment while it starts to bring all that in already in after what seemed like an eternity there, Suddenly all the nodes have pasted in. Now I'm going to select my master material node, which is way down here, and I'm gonna hook up some wires here again. This is just a short cut, so we're not gonna go through the lengthy explanations for now. this pin is going to go into a base color and I could see we've got an error here. We'll come back and fix that in just a moment. This zero value is going to go into metallic and speculum her. This value of one is going to go into a roughness. This landscape visibility mask which will come into play later on, is going to go into this capacity mask input. And this one is going to go into our normal input Now, it was complaining about a missing grass textures. So for shame somehow we miss that. I mean, it's like my grass texture sample here with that selected in the details panel. I'm gonna look for that grass and let's put in t ground grass D Now I may have this fixed up in a future video. So if that's already there than just know that I have fixed up the copy and paste for a landscape material here. Not sure if that was an error on just somehow. This didn't copy over properly. Or more likely, I just forgot to copy over or set that texture sample ahead of time. No worries. Okay, now this looks rather scary. In some future videos, we're gonna be building out some of this stuff stuff manually. But you did the short cut route. So you already have this done. And so when we address some of these landscape material things and other videos, you can say, Huh? I've already got that done. Don't need to do it. Let's go ahead and save this. Everything is hooked up appropriately, and after that is saved, we can jump back into our map and actually assign this material to our landscape. So let me jump back to my map sculpting level. Make sure you've got your landscape selected here, and now instead of M ground grass, I'm gonna come under my landscapes. Materials there is my M A landscape. Let me just left click and drag this on over. And when you do, you're going to see some hideous gray checkerboard. As the material compiles, Shader is compiling. And indeed, once this is finished, we will have a proper landscape material on our landscape, and we will be in a position where we can go ahead and paint our landscape Now. I did mention at the beginning of this video that if you took the short cut route. You can skip the next two videos that IHS well, Material creation video number one and material creation Video number two. You are in a position now where you can skip ahead to the video called paint layers. We're gonna let this finish up. Don't be alarmed that things are looking dark and we will see you in the next video. 26. Material Creation #1: Welcome. Welcome, Ye Hardy. A few for you have chosen to forego the material shortcut offered to you in the last video , and instead you have chosen to stick with me and build a landscape material from scratch. Now, we're not gonna have it completed by the end of this video or even the next video. But we will start chipping away at it bit by bit because it can be a little bit scary and intimidating now. First things first. Before we get started, we do need to add on some free marketplace content to build out our material. So why don't you head on over to the epic Games launcher and in here, you wanna make sure you are under the unreal engine tab and across the top in the marketplace. There's a few content packs I'd like you to add to your project, the 1st 1 being infinity blade grasslands. And you could search for these by typing it in the search bar up here, it's. Add this. You're going to click on the ads of Project Button, find your current project. Mine is this landscape projects. That's the one we're working on and then clicking the add to project button. Now, at some point in the future, if your engine version is not supported, you can still click on this ad The project button and show click on show all projects to show any version of the project that may not be supported by the by this acid pack, and you will be able to install the most recent version of that asset pack now, also at some point in the future, if they don't have this asset pack, no law is no longer available. That's okay. You can seek out some other acid packs. I'm just gonna tell you, the ones were using to start with and then if you want to choose some other ones down the road, that is fine. I'll tell you kind of what we're looking for in just a second here. So I want you to add on the infinity blade grasslands and then jumping over to my notes here. You're gonna want to grab another one called Open World Demo Collection. And then you're going to want to add on another one here called Perry Gone. I'm gonna butcher this agora and monolith environment. Those are the three that have some texture assets in them that we're gonna be using to build out our landscape material Now if he's go away at some point in the future. Essentially, what we're looking for is, um, acid packs that have a mud texture, egress, a gravel, a path, sort of texture. Iraq texture is snow texture them some some sort of a ah walkway texture, like I have cobblestone that we're gonna be making use of. So that's essentially what we're going for to go ahead and install those now. And when you have them in your constant browser, they will be listed as such and have highlighted them down here in my sources panel, which I can show or hide. With this button, it'll be infinity blade, grasslands. The open world demo will then be known as the Kite Demo folder, and the Agora monolith one from Paragon will just be known as the Paragon Props folder. So those are the three folders you should see added to your content browser. Once you have finished adding those to your project, all right, and once those have all finished being added, we can go about creating a brand new material so we are going to be doing this in a landscapes material folder. And you probably do not have this folder creative yet. Because for those that took the shortcut, we created this materials folder. And the way you can go about creating this folder is by right, clicking on your landscapes folder clicking new folder right here and name it. Materials like you see here. So in this pathway, content landscapes, materials were going to be creating a brand new material. This is the one that the shortcut people have. We're going to create our own right click. You're gonna come under there, what? Right click menu and select material. And we're going to call ours M underscore material underscore created. And once you've got that created, let's double click on it to open it up. I'm just gonna dock this right across the top. Here we see a loan master material node and nothing but empty graph space for us to start building something out. Okay, The first step here is we're going to right click in some empty space and do a search for the word landscape. And as we start to type in the word land, you can see there's several landscape related nodes and the one we're looking for right off the bat here is this landscape layer blend Note. Go ahead and select that. Now this no does is it uses an array to store information about different landscape layers that we get to name. So with this selected over on the left hand side, we can see that we can ADM or or elements to our array here. And I'm gonna click this seven times. One, 23456 and seven. And you can see some new inputs have been added to this landscape layer. Blend note. Now there is a collapsible Siris of parameters underneath each of these different elements . If you're right, click on your top most layers right here you can say expand all. And that will make all of these difference elements easily viewable, which I recommend because we're going to go about naming all of these. So the names and you should grant each of these are as follows the top most one. We will call mud the next layer down. We will name grass. Note that that is element one. I'm naming grass element to here I'm gonna name Let me flip my page of notes. I want to make sure I'm going order gravel elements. Three. Next one down, we're going to call path. And as you see, I'm adding these names. It's updating our layer blend. Noto have each of these different labels under element four. We're going to change the layer name to rock element five. We're gonna call this snow, and then element six, we will call Kabul Stone. Okay, Flipping back some pages of notes here, I'm gonna scroll back up in my layer. Blend node. Now, below each of these layer names, we have a blend type. Now you have the option of a weight blend in Alfa blend in a high plan. Now, this is not going to mean much to you now, but for most of our layers, we're gonna go with a height blend. What a high plans going to mean is that as we blend, say, grass with cobblestone, we will get to see a gradual difference between these two. So you could have, say, 80% cobblestone, 20% grass, and you'll see the grass kind of filling in the gaps between the cobblestone. So most all of our layers are going to be this high planned. However, we're going to set our mud layer here to be an Alfa blend. And the sole reason we're going to do this is because there are some issues that can appear with the look of your landscape layers. If one of them is not labeled as an Alfa blend, that's from the unreal engine documentation. So if you want to know why one of them is Alfa Blend, it's just to avoid a known issue with some of these landscape layers. All right with these other ones, the grass. We're going to change the blend type to be height blend. Same thing with the gravel height, blend path, height blend, Iraq height blend, snow height, blend and cobblestone. Lastly, hi. Planned and you'll notice as we change the blend, type over to high planned. Now we've got two different inputs for all of our various labour layers that are labeled as a high planned. The mud layer does not. So each of our different layer types is gonna have to inputs here that we're going to be in putting stuff into over time. Okay, Next thing we're going to do is move this note up a little bit in our graph because we're going to duplicate this. Select this note Hit control C and then control V. Now, why are we doing this? Well, eventually, we're gonna be plugging in some different texture samples into each of these layer blend notes into this top layer blend note. We're going to be plugging in textures for our grass gravel path, etcetera, and these air going to eventually end up being plugged into our base color. And that's gonna be the main look of our different textures. The textures we plug into this layer blend no down here are going to be plugged into our normal input. And those were gonna be different versions of our different textures up here, something called normal maps that kind of give the illusion of depth to these different layers. So cobblestone without a normal map is going to look rather flat. A normal cobblestone texture will give it an illusion of depth. Now, before we wrap up this video, I just wanted to make mention that with one of these layer blend nodes selected, you can choose to click on one of these layers. Click that little triangle right there and you can choose to insert a new one, delete it or duplicate this layer. Alternatively, if I scroll all the way up to the top and I click right click right about here, I can collapse all layers. And then I'm just going to click this triangle to show it. In this view, you can grab any one of these and I'm left clicking right here. And you can reorder these as you see fit. So I'm gonna take what is my cobblestone layer? Place it way up at the top and now you can see my layer blend note has updated. But I actually want that one at the bottom. So I'm gonna left click and drag it on down to the very bottom. All right, guys, we have our landscape material started. A lot more work to do. Let's go ahead and save what we have built thus far More work to be done in the next video . But that will do it all for this one. See you in the next one 27. Material Creation #2: All right. Welcome back, everyone. In this video, we're going to continue manually building out our landscape material that we started in the last video. If you took a break between videos, we are in our content landscapes, materials folder. And this is the material we started to create. Double click on that guy to open it back up. In this video, we're gonna be adding a lot of texture sample nodes. Now, before we even do that, I mentioned that these layer blend nodes are gonna be plugged into our master material. Note here eventually. Let's go ahead and do that. Now, this top most layer blend node, let's put this into our base color this bottom, most layer blend note. Let's plug us into our normal. And then what I would recommend doing because we're gonna need some space. Here is scroll wheel back. Place this first lair blend note up towards the top of the 2nd 1 town down towards the bottom cause you you will be needing some space. Next thing, we need to add something called layer. Sorry. Not layer texture sample nodes. These are a very common node inside of a material, so they have a hot key. If you hold down the T key T as in Thomas and left Click, We're going to add 123 456 and seven of these nodes and you can organize them as you see fit here. I will do this very quickly and off camera. I will try to straighten these up a little bit more. So there. I've got seven. Then let's highlight the seven left. Click. Just gonna move them up a little bit, using my arrow keys so they're all highlighted. I'm going to do a control. See to copy that. I'm gonna come down here and I'm gonna do a control V to Paste, because I'm gonna want seven mawr down near this layer blend node. Okay. And now we're going to start slotting in different texture samples. So this 1st 1 is going to be a mud texture. So with that selected over in the details panel, we're gonna be searching for t underscore soil mud to this guy right here. And if you hover over it, it's gonna tell you which path that came from. And this came from our Paragon Props folder. Some of those assets that we imported. So I'm going to slot that in here, and then we're going to select the next one down this one we're gonna be putting in grass and I want to do the ground grass. That one right there. That's the one that's currently on our landscape. This comes from our story content that will be just fine. The next one down. Select that in the details panel. We're gonna change this out to ground underscore gravel. This also comes from the start of content. Let's put that in next one down. Select that This one will be if you type in leaf half. We're looking for this guy that comes from our kites Demo folders That is the open World demo collection. Next one down, we're gonna select that The texture we're going to be putting in is rock underscore. But salt, this comes from the starter contents next one down. So, like that guy, this is going to be snow underscore ice generic right there that comes from from the infinity blade grasslands and then the next one down, selecting that guy, we're going to do a search for Kabul and there is a cobblestone pebble but I like this one right here. Cobblestone Rough underscore D that also comes from our starter content. Now we need to plug these into our layer blend note, and I'm going to select my layer blend noted, Just kind of bring it up towards each of these texture sample notes as we work along. And this is how we need to hook this up. Are rgb is going to plug into the top most pin that says layer whatever layer mud in this case and you could see that there is no height input for the mud. So we're just gonna leave the RGB that is essentially this whole color right into the layer mud and for the grass, RGB is going to go into the layer grass. But for the height grass, we're gonna plug in this a value and we're gonna do that for all the rest of these For the gravel rgb into the layer gravel the a value into the height gravel rgb for the path into the layer path A into the height path and so on and so forth. And I'll try to speed up my rate here for efficiency sake. Snow in there height for snow in there. And lastly, cobblestone rgb into the layer and a into the height Cobblestone. And then you can sort of organize it like so Okay, now we're going to be doing the same thing down here for our normal textures. And these textures kind of give the illusion of depth to these various textures up here. So for our top most one, we're going to select that and over in the details panel. We're going to change this to soil mud, and you can see we did this one for the texture sample up above for this one. We're looking for soil, mud to end. So these textures are going to look like this kind of this hot purple, blue ish type color, normal maps. All right, select the next one down. For this texture, we're gonna be doing ground underscore grass. And again, where we did this one up above. We're going to do this one. The underscore n down below next one down, this one is going to be ground underscore gravel again. The underscore n which stands for normal down below. These provide the illusion of depth for our various textures. Next one down. We got type in leaf path once more and here is the one that we want to do Leaf path stones underscore n all right, Next one down. So like that and we're going to be looking for rock but salt. And there's our guy right there. The underscore inversion next one down. So, like that we're gonna be looking for snow. Underscore ice generic. And we're looking for this guy right here. Underscore in our m and we're gonna select our last one here in the details panel Cobblestone. But make sure you get the right cobblestone cobblestone rough underscore. And that guy right there and just like we did before, we now need to hook this up to our layer. Blend notes will try to do this rather rapidly. The stop one again is just the mud. So RGB goes into the mud and then for the grass, the gravel, the path, the rock and at this point, you're probably wishing you taking the shortcut, right? Trying to be as time effective here is possible the snow and then lastly, the cobblestone. And hopefully I didn't do this too fast where I screwed anything up getting a scroll wheel back and there we go. Let's go ahead and save this. And then let's go ahead and apply this material to our landscapes. I'm gonna jump on out of here. I happen to be in my landscape of blush Blueprint brushes map. Right now, this guy right here at this path and let's swap out our current landscape material with the one that we just created. So I'm just gonna left click and bring this on in. And for starters, I should make mention I do have my landscape here selected to my world out liner. That's how I'm able to see my landscape material. So bring this on in. Everything is gonna go hideously gray for a while while she aiders are compiling, and you will notice that everything has now turned completely black. Note. This is because we don't have landscape layer info objects created yet that is to come next video. So I know it looks terrible right now, but we will fix this up in the next video. We'll see you there 28. Paint Layers: Welcome back, everyone. In this series of videos, we're going to learn how to go about painting our landscape. It's boring just looking at grass, and we're gonna learn how we can go about painting on rock and snow and mud and all that good stuff. But at this point in the course, I just wanted to bring everyone together in a common spot. Some of you took the material shortcut that I gave you. You skipped over the material creation videos. One end to some of you decided to not take the short cut and do the creation videos one into of a landscape material. I want to make everyone come on over to our map sculpting map. Right now you can find that it content landscapes, map. Those of you that took the shortcut already have applied this m underscore a landscape material to this map. Those of you that just did the creation project, you can come over to your materials list and pop your M material created onto our landscape material slot right here. Of course, making sure that you actually have your landscape selected in the world outline. Or that's how you confined where to slot in this landscape material. Now, obviously, things just look hideous at this point. Not what we wanted. We'll fix that in just a moment, but I would be remiss if I didn't go back and fix this little thumbnail image. For those of you that created this landscape material, how come the people that did this shortcut got this nice looking thumbnail? What's going on? Well, if you open up your M material created for those of you that have gotten the shortcut you could follow along by looking in your own landscape material. It's because with our layer blend node selected, we did not set a preview wait for any of our layers. So I selected my top layer blend node. I'm gonna set my grass here to have a preview weight off point to. That's gonna be 20% in my cobblestone to have a preview weight of 200.8 and you're gonna start to see something up here in the viewer, although it looks a little flat. So let's come under our landscape layer blend mode down to the bottom where all of our normal textures are plugged in. And with that one selected, we're going to change our grass preview, wait to be point to and our Kahlo's own preview wait to be 0.8, and then you will see much more depth to that, their landscape material. Let's go ahead and save this, and then let's jump on back to our map sculpting. Now there is a reason I want to do our landscape painting within this map sculpting as opposed to our landscape blueprint brushes level, and the reason is because landscape blueprint brushes are so knew. I have done very little testing on that. I am not sure how well the painting coexists with those brushes, so we're just gonna steer clear of that for the time being. All right, so let's jump over into our landscape tab up here. And once we got our landscape to have selected, we need to select our paint sub tap. Now this trips up a lot of people. They think that they want to paint their landscape, that they should be in this paint mode. No, you want to be in landscape paint mode right here, and then if you scroll down to the bottom, you are going to see some very familiar labeled layers mud, grass, gravel, etcetera. You will notice that these are all the same names that you will find in your material. Now. You can't go ahead and paint yet. In fact, if you look at your brush, you see a little red dot instead of the white spotlight. That is because we have not created landscape layer info objects. In fact, it's telling us so right up here. Landscape Blair Info objects will save your painting information, so we need to create one for each of these layers. Let's go ahead and do so now. And the way you do this is by clicking on this plus button next to each one of these, I'm gonna click on this plus button next to mud. It gives us an option for which type of layer we would like to create a weight blended layer or non weight blended layer. We'll discuss the differences between these in the next video, but for now we're gonna choose weight blended layer, and we're going to save this acid type to our materials folder. Let's keep that name click OK, and we're going to continue on this process all the way down. Wait blended layer for Grass Materials folder. Keep that name. Okay. And you can see some updates happening as we're doing this. Gravel create layer info, weight blended. Let's save it to our materials folder. And I'm just leaving all the default names here. Path weight blended into the materials folder. Rock wait. Blended into the materials folder Snow wait. Blended into the material Fuller and Kabul zone. Wait. Blended into the materials folder and you can see Whoops. I did not get those into the materials folder. My bad. So what I'm gonna do here is I'm going to select these two assets holding down control and left clicking, and you can see it wanted to create a folder for me. I just like to put these in my materials folder. So I'm gonna left click drag these into my materials folder Say, move here. And then I'm going to delete out this folder for map sculpting shared assets by right clicking and selecting. Delete. There we go. There's all of our landscape layer info. Objects, however, were not done just yet to demonstrate some of the differences between our different layer types. Right here. I'm going to click on our grass layer info right here. I'm gonna right click and duplicate this. And there's a particular reason that I want to do this. And I want to rename this. And I had a very specific name for this. Hold on. Just a moment. I want to call this grass. None. Wait. Underscore Layer info like so. And I want to open up my non weight layer info and in here I want to check this box for no way planned. You remember that option where we had to choose? Ah, way planned or non way Blend Here. We're gonna check it. So it's no way blend. And this is for demonstration purposes in the next video. Keep that and save and note that this is going to contrast with our grass layer info inside . Here we are going to ensure that we do not have the weight or no, wait. Blend checked. So that is a key difference between those two. The grass layers, the only one. We're going to do that for us. I'm gonna exit out of here and exit out of here. We're gonna come back here and we will save all these assets. Save all asterisks. Go away and we are in position to paint our landscape. Guys, that'll do it all for this video. In the next video, we will do some painting will see their 29. Paint Tool: Welcome back, everyone, into this video. Our goal is to demonstrate how we can use the paint tool to paint various texture layers onto our landscape. Also, we're going to explore the difference between our weight blended layers and are non weight blended layers that we created in the last video. When it comes to painting each layer type onto our landscape. You remember when we created those landscape layer in full objects, we created all wait blended layers. However, we did create one non weight blended layer for our grass. It will explore that in a little bit and then lastly, we're gonna cover what is subtracted. Blend is this check box area right over here with our different layers. Now, before we get started here, I just want to make sure we are all on the same page. So make sure you are in your map sculpting level and then within their come over to your landscape mode, selecting the paint sub mode under landscape and this is where you should be able to find all your different paint layers. Now, if you don't see this over here, it could be because you don't have a landscape material applied. For those of you that have created your own landscape material, make sure that this is when you have slotted. For those of you that took the shortcut material, you can apply that here to your landscape as well. Okay, Painting a layer is super simple. But maybe perhaps unbeknownst to you, we did actually apply a coat of paint in the last video when we created our landscape layer info objects. If I hold down the right mouse button and press my cue key on the keyboard, I'm just gonna fly on down to the surface of my landscape. We actually do have mud applied everywhere, which is all well and good, albeit you can see a lot of tiling going on. How can we apply another coat of paint out here? Well, it is a simple as a selecting one of these different layers and note about where I am clicking and then left clicking in your landscape. So I'm I've got some snow selected here. I'm just gonna left click in my landscape and you'll notice that when I do this suddenly some components are gonna be turning all gray and I'm continuing to hold down the left mouse button, and they turned all gray because, as you saw in the lower right hand court corner of my screen, the shade er's were compiling. That just means it needed a little bit time to register what that paint layer was gonna look like on our landscape. Okay, left clicking will apply that on there. To erase that particular layer, you can hold down the shift key and left click, and that will wipe it away. Now note here I do have a tool strength parameter that I can apply. The bigger I make this, the faster it's going to apply it or erase it as I hold down the shift key. And then, obviously you've got your same parameters here for brush size to increase the size of this and then your brush fall off is well, I'm just gonna erase this right like that and show some brush fall off. Let's sit brush, fall up to zero, and you can see now it kind of gradually goes from the outer perimeter to the centre circle . Just gonna erase that guy. Now let's discuss the difference between our weight blended layers and non wit blended layers weight. Blended layers are the usual kinds of layers that affect each other, so painting a weight blended layer will decrease the weight off all other weight blended layers. For example, painting grass will remove mud and painting mud will remove grass. So I've currently flown on up to our mud here. I've got my grass layer info selected. This particular one is a weight blended layer, as is this mud layer info that was a weight blended layer. And I've got my grass here said to a tool, strength of 10.1 brush size of two of 2 50 brush fall off of one. And if I just left click and just kind of moving around a little bit, I'm going to zoom up even closer here. You can see Let me decrease my brush size toe one. So you see my cursor here You can see that I have removed mud right in the middle here and it is 100% grass. However, as we move towards the side, it is about 50 50 split here, whereas way out on the peripheral, it is 100% mud. So as I applied grass here, it took away the mud and applied the grass. And as we gradually moved towards the fall off, that transition became 50 50. Right about there to, ah, 100% mud and 0% grass out here. Okay. Next, I am going to paint some cobblestone out here. Let's find my cobblestone layer. Click on that. We're going to increase our brush size here a little bit and brush fall off. I'm gonna change is 20 Let's left click. You're going to see it go, Checkerboard, any time you're applying a new layer that you you have not previously applied and now we've got some cobblestone out there. Your engines gonna stutter a little bit as that happens. Look at that sweet looking cobblestone. Okay, Next, what we're gonna do is we're gonna change our grass layer info. We were previously using this one, which was which was a weight blended layer to this one. A non weight blended layer I can drag and drop this in here like so. And I could see I've got the no way blend and it'll tell me so. And now I'm gonna change my brush size down to be a little bit smaller, and I'm gonna set my brush fall off to be about 0.5 year. And as I apply this to my cobblestone, let me just left click and reduce the size of my brush so we can see what we got. No, What I did here is I applied this grass, but it did not take away the cobblestone. The cobblestone still exists with a non way blended layer. The layers are independent of each other, so painting a non weight blended layers such as grass like we just did it did not affect the weighting of the other layer. The cobblestone still exists. So this is a good choice to use these non way planted layers. If you wanna have in effect, such as this, you know, some grass kind of coexisting with some cobblestone. Now, let me go ahead and select my gravel year, which is a weight blended layer. I'm gonna increase my brush size here a little bit, kind of fly on up. And as I apply this around, you'll notice that this is on the cobblestone way over here, and I'm gonna move some of this onto my non weight blended grass. What? You will see if I decrease my brush Size is over here on the left. My gravel has essentially stomped out my cobblestone because that is a weight blended layer . However, my gravel has not stomped out my grass because currently I have e non weight blended layer for by grass that exists as a separate layer. So that is the difference between weight blended and not wait blended layers. All right now, the next thing I wanted to talk about here is how you can go about clearing or filling an entire layer across your landscape. I've done a quick camera cut here, and I've painted different layers in my landscape, and I've got some snow here. So let's to start deleting these out one at a time. I'm going to right click on my snow layer and say, Clear it. Now you're going to see the snow disappear. That whiteness once my shade er's finish re compiling. And this is a handy trick, for if you've got that particular layer painted in all parts of your landscape, not just one spot where you can just shift and left click, So snow is now gone. Next, let's go with my grass. Non weight blended layers. So let's clear that out. And then I also had some rock and gravel out there as well. So we will see these disappear one at the time as well. So that is gone. Let's go, Gravel Next right click Clear that out. Things chugging along just fine And that is gone And now we've got a little bit of rock a layer I'm going to right Click on that and clear that out That is gone Now I'm gonna change my grass layer here from non weight blended back to my simple weight blended And you can see that I've got two different grass layer info objects to choose from. That is because one of these comes from from my infinity blade grasslands pack And this is the one that I created in the last video. So I'm gonna select that and I want to fill up my entire landscape here with the grass so I can simply right click and choose Phil Layer. And that is how you can fill an entire landscape with one particular layer type. And now we're going to turn our attention to what this subtracted blend option is. Now. This option is Onley available? If you have the enable edit layers system turned on and you can tell if you that is turned on If you have your landscape selected and able at it, layers is checked. Currently, we've been doing all of our painting on a single layer We can actually paint on multiple layers and we're gonna prove that now by right clicking on our layer here creating a new one and we're going to right Click on this new new layer and call it layer Underscore rock So currently on this layer we have filled it all with grass on my layer rock We're now going to select that and we're going to right Click on our rock down here And we're going to fill that layer rock with rock and noticed my view port When I do this suddenly my grass looks a little bit darker because underneath this layer of grass is a layer of rock And I can prove this by coming under my layer This one which is filled with grass and I'm gonna change the Alfa down to zero meaning no grass Show me just my rock layer which is at 100%. These layers are additive Now I am in my layer rock If I paint some grass like I am doing right now And I take this layer and put it back to an Alfa of 1.0, you will see that that grass right painted shows extra strong because these layers are additive grass upon more grass Now let me just set my base layer here my layer filled with grass down to Adelphi zero. Now what I'm gonna do is on my rock layer here I'm gonna change the grass that I just painted on to now be subtracted WCI and you could see how it changed it to a more dull kind of flat look. And now if I change this layer to now have an elf off one were adding that Grassley or back on top, you can see that it is not additive grass upon grass, it is subtracted grass subtracting from this grass. Now there are ways to kind of mitigate this pixelated look. But that's beyond the scope of this video. All right, well, guys, we have just finished up our discussion on the paint duels that are paint tool. Rather that'll do it all for this one. We will see you in the next one 30. Texture Sizing: Welcome back, everyone, into this video. Our goal is to add some nodes inside of our landscape material so that we have some control over the size of each texture that gets painted onto our landscape. This is going to allow us to easily scale up or scale down the size of each individual texture. Right now, I have are created landscape material added to this landscape, and you can see some grass tiling going on out here. Now, this would apply to any of these layers Really gravel path rock. You see a lot of tiling, and it doesn't look really good. What can we do about it? Well, for starters, those of you that took the material shortcut You don't have to worry about this because all of this is already built into your version of the material. So if you took the shortcut for the material a few videos back, you can skip this video and the next one on texture variation. So this video and the next one are on Lee for those who decided to build their material manually. Okay, got it. Those of you that builds your material manually, let's go ahead and open up M material created first things first, let's find our way up to these texture sample notes up here specifically to this mud texture sample note, and right in front of this, what we're gonna do is we're gonna right click in some empty space and do a search for landscape layer cords. Node. Now this note allows us to do is we could plug this straight away into the U. V's of any texture sample, and we could scale it according to whatever mapping scale we give this note, I'm going to give in a value of one point. Oh, right now. And this would actually be a way to control the size of each texture sample right away. But I want to build a material with a little bit more flexibility. So we're gonna break this wire by holding down the ultra key and left clicking. And I'm gonna bring in a multiply node by holding down the M M is a multiply and left clicking, and we're gonna plug our landscape cores, note into the a value and into the B value we're going to right click and type in scaler parameter. This allows us to provide a name for a parameter. We're gonna call this mud tiling and then provide a value. We're gonna give us a default value of 0.2 and we're going to multiply this 0.2 value by our mapping scale of one point. Oh, and then we're gonna plug this into our U. V's. Now what we just did here is made in such a way that we're gonna have a parameter that we can talk to modify easily in something that we create, called a material instance too easily Change out these values without having to re compile this material again and again and again because that takes forever. Okay, so I just hooked up these three nodes to this soil texture. What you can do now is left click and copy control, See and control V. And we're going to do that for each of these different texture samples, with the lone difference being that you want to rename this skill or parameter. So for this one, obviously I'm going to call it grass tiling. Okay, so do that for the next five nodes right on down here. And then we'll come back in just a little bit to make sure that we're on the same page seeing a little bit. Okay? And now I have that set up before each and every one of my different textures here, and you'll notice that I named all of those scaler parameters the appropriate thing. Gravel tiling path, tiling, etcetera, rock tiling, snow tiling. I kept all the parameters at 0.2, although for the cobblestone tiling, I put that in 0.5. But you'll be able to play with these values at another time to see the difference. Now, the next step we need to take is we are adjusting the scale of all of these textures. But we are not yet adjusting the skill of all of these textures to map. Now, what I could do is I could simply copy and paste all these nose and plug him down here. That's one possible approach. Although I don't want to do that. I am simply going to take what I have here this result of my multiplication. And I'm going to take this mud tiling out of that multiply and plug it down into this UV texture for this soil mud normal map. Now I'm gonna have some wires that are kind of crossing here. But I'm going to do this for each one of these. So for my grass tiling the result of this multiplication, I'm gonna plug it into the corresponding normal map, ground grass, underscore. End down here. So I think you get the point for all of those. Go ahead and do that, and we'll see you back in a little bit. All right. And from a 10,000 foot view, this is what I currently have in our material. Now you can see that the results of all these multiplication xda down here are flowing into both the regular texture samples as well as their corresponding normals texture samples. Okay, you can see I've just kind of moved from nodes around a little bit just for organizational purposes. Now, I'm gonna go ahead and save this, and when I do this, the whole material is going to begin to re compile. And this could take a long time. And it's really annoying. And you don't want to do this again and again and again, Whenever you make some change, you could see compiling Shader is more than 1000. This is no good for trying to make tweaks and tunes to your landscape material. So this is why we're doing this work ahead of time, building out some skill or parameters. So later on down in the course, when we create this thing called a material instance, we can make changes to the size of our various A tiles here, and we don't have to re compile shade er's again and again. So little pain now for some long term gain. All right, I'm gonna jump back to my map sculpting. You can see everything is great out while the compiling is going on. I'm gonna pause the video here and then come back when this is finished. All right, She aiders have finished re compiling. And this is what we've got so far are grass styling has changed, but we will change it again so you can see a more drastic difference as well. There's some other stuff I want to change in our material, namely our materials looking rather shiny here. We don't really want any of our landscape textures to come across as shiny. So let's jump back into our M material created. Take note of our tiling sides. By the way, I am going to come under our grass tiling. And instead of 0.2, I'm gonna put this to a value of two. And then I'm gonna come back to where our master material note is using the right mouse button to move around. And I'm gonna hold down the one key and left click to bring in a constant one note. And this is going to allow us to plug in a value into some of these other inputs. I'm gonna plug a vow. Our ah value of zero into metallic and speculator zero means I don't want anything to come across is shiny or metallic. No matter what my landscape texture is, I wanted to look a little bit rough To help enhance the roughness. I'm going to hold down the one key and left click again Onley This particular node, we are going to change the value. We're gonna give it a value of one. And if we plug this into roughness, that is saying we want 100% roughness here. We're saying we want 0% metallic nous or speculators, Shiny nous. So let's save this once again. Yes, indeed. We are going to get some shooters that re compile and I will come visit you back after this is finished, see in a moment and we are back. Now let's take a look of what we've got. We changed our grass tiling to a value of two point. Oh, and if you'll notice I didn't change the camera angle here, the tiles got much, much smaller, so it's a little counterintuitive. Bigger numbers equals smaller tiling. Smaller numbers equals bigger tiling. Also, you'll notice we don't have any shiny nous going on in our landscape anymore. We got rid of that by adding the used to constant one nodes to our metallic speculator and roughness. Now, I don't actually like this really tiny grass tiling, so I'm gonna changes back between videos to a value of 0.2. But guys, that is going to do it all for this video on how to change up some of the texture. Tile sizes will see you in the next one 31. Texture Variation: All right. Welcome back, everyone. In this video, our goal is to add some visual variation to each landscape layer texture inside of our created landscape material so that the tiling issues you see before you right now are greatly reduced. In the last video, we made it so that we could change up the size of our different texture layers here, and that's all well and good. But you still see a lot of repeating texture tiles going on here. It doesn't matter if it's the grass, which I have painted here. The mud or some rocket still looks rather repetitive and not realistic. It also this video. We're going to go ahead and fix that now. Good news is for those of you that took the material shortcut, this is already done for you in your landscape material. However, those of you that we went through the pains of creating this landscape material from scratch stay right here because this is what we need to do to change up are repeating texture tiles. All right. Still with me. Let's do it. Jump on into content, landscapes, materials. Double click on your M material created, and you will see from my 10,000 foot view. This is what I currently have in here. I broke off my mud and my grass textures, and I put him up high right here because we're gonna be adding some nodes right below our grass sample right here to help break up the texture tiling for our grass. And then we're gonna apply it to our different layers. All right, I'm going to, firstly, hold down the T key, TIAs and Thomas and left Click to bring in a texture sample note. And with that guy selected over in the details panel, we're going to slot in a texture known as T underscore. Macro variation. This guy right here. As you can see, it should come from the starter content per our tool tip. And this is the one we're gonna use to kind of break up the repetitive nature. All right, now we want to change up the size of this particular texture as well. So I'm going to right click and type in C O R D s just chords. Not sorry. Not landscape later cords. I just want to look for texture, coordinates, texture, coordinate, Node. This guy, we can plug into our UV, and here we can plug in a you and a V value to change up the size of our texture sample. In this case, I'm gonna changes to be point to in the U and point to in the V, and that's going to make it look like we've zoomed in on our texture a little bit. And you can see the difference if I click this texture sample down arrow and then back up again. Kind of does is refreshing little thing, and you could see what that now looks like. Now, I'm also going to drag off of our RGB value right here, and I'm gonna bring in an ad node and we're going to add the value. With this selected, we're going to change the constant be value to be 0.5. And now, if I click this little drop down arrow in the node, you can see what that does visually to our texture sample. Kind of just brightens it up a little bit. Okay, Now, within these three notes created, we're going to copy them and paste them two more times. However, before we do this, I want to select my texture, sample node One more time and I want to change this sampler source in the details panel to be shared rap. Now, in fact, we need to do this with every texture sample know that we have in our material. And the reason for that is if I go back to my landscape, I have not shown you this yet, but we're currently restricted to how many different layers we can. We can paint on any given component. You paint to your all right, you paint three, you're restricted to four. And then when you go beyond that, you start to see gray checker box everywhere by changing your texture samples all of them to a sampler source of shared rap. You can have up to 128 different texture layers painted onto a component. So why don't we do that now before we forget? So I am going to left click and hold down my control key to left. Click all of my various textures samples here that exists in this landscape material. And with all of them selected, we're going to change their sampler source over to the share rap option. All right, make sure that you have gone ahead and done that. Okay, Now, also, before I copy this, I'm gonna leave a node comments here. I'm gonna right click on this note, and I want to put in the value of zero points to as my note comment so I can see at a glance without having to actually select this Known what value I have applied to that this ad known Ready shows one number I'm adding by. Okay, Next, I'm going to left. Lick, brag. I'm gonna highlight those three nodes control. See to copy. And I'm going to paste it by control v ng once and then twice. So we got three of these out here. And the only difference between these is I'm going to change this texture. Coordinate value right here to be 0.5 in the U and the V. And I'll update this node common here to be 0.5 and then for this texture court and know what? I'm gonna change it. 2.3 and I'm going to update the little note right here is well, 2.3 Okay, you don't see these changes reflected in these little thumbnails. Unless you click on that little drop down arrow a couple times so you can see this is kind of somewhat zoomed in. This is going to be even Mawr zoomed in, and then this is, like, extremely zoomed in down here. Okay, so what we're gonna do with these bottom to is we're going to multiply the result of both of these, and we're going to hold down the M key and left click to bring in a multiply node like so. And then we're going to hold down the M key right about here and left click, and we're going to multiply the result of this and the results of that. You can see what this is going to kind of do to our grass layer. It's gonna add some splotchy nous to it. Now it's not going to show white like this. In fact, it's going, um, or just add the splotchy nous to it. But we need to actually multiply the result of all this by our texture sample here. So let's hold down the M key one more time and left click, and this is going to plug into the B and We want to plug this RGB value now into the A. But I don't want to snip this wire. I want to drag this wire out to here. So let's hold down Control left, click and you can drag this implied that into that multiply note. And now he can left click drag are rgb into here? And if we click our little preview thumbnail there, it doesn't look like much yet, But if we say this, she aiders will compile. This will take a little while. We'll posit right here and I'll rejoin you when the shade er's have finished re compiling, See in a moment. All right, so check it out. Look at our grass. Now that looks much more realistic with some splotchy nous peppered throughout. However, you'll notice that our mud and our rock still looks terrible. So what we're gonna do is we're gonna make life a little bit easier on ourselves. We're going to apply this same note network to our different texture layers. So we're not going to do this on camera because that would bore you to tears. But what you can dio is you can collapse some of these down like this. You want to grab all these nodes right here? Take note of all the ones I'm highlighting and note that these are ads right here. And these are multiplies left clicking, dragging, and I'm gonna control seed a copy. And I'm gonna move my mud up above like so And I'm gonna control veto pays. And then I'm gonna get these in such a position where I hook this up in a very similar manner holding down control. I'm gonna move this right there. My rgb for my mud is going to go into there, and this should all be well and good for my mud. Now, now, I do want to place some comment box around each of these. I'm gonna left click drag, hit the Sea Key. And I'm gonna just type in mud up here by double clicking on that, This is gonna be our mud. And with this selected, I'm going to change the comment color here to be something I don't know somewhat brown ish . Come on, now and great. My engine just happened to freeze as I'm picking a color. There we go. Purple. Nice purple. No, we want something a little bit more brown like ants goes something like that. Okay. And now what you're going to want to do is apply this to all of your difference texture layers here, not the normals down here, but all of these up here. So I'm gonna do this off camera and will rejoin you when I finish with that process. And here we are. I would say this does not look too bad. We have that network of notes hooked up to all of our different texture. Layer samples now, and we can see some splotchy. This some random variety added to our grass are mud are rock, and I put some path out here is, well, not too shabby. Now, just to recap here in our M material created, you should have this hooked up to all of your regular texture sample nodes, Not your normal texture samples down here. So if I kind of wheel on back, this is gonna be the 10,000 foot view that I have hooked up to all what was at seven different texture samples that we had out there. Now, if you look in my level here and I'm gonna jump back to my level here really quickly. You'll notice that some of the splotchy nist, um, of the variety looks the same between our grass and Iraq in our mud. And what Not now, if you really want to change up the visual variety between it all, it's gonna be a combination of the size that you make each texture here. And you can control that through this ah scaler parameter hooked up to each of your node networks here and also with some of the texture coordinates sizes that you have linked up to these M T macro variation nodes right here. So you can play around with some of these variables here to see what kind of results you get. And maybe you want to add different numbers here. I just had 0.5 going across the board, and I didn't change this. Between my mud and my grass. It's all the same values and whatnot. All right, So, guys, that is going to do it all for this one. I'm going to save my level one more time here. We've got some texture variation going on. In the next video, we will explore painting restrictions. See, there 32. Painting Restrictions: Welcome back, everyone. In this video, our goal is to learn about the various painting restrictions You have access to these right here in our landscape Paint tab, these painting restrictions right here. And we're gonna learn how we can utilize these to maximize our landscape Painting efficiency. Now, in short, these restrictions that I'm about to show you are a way to prevent yourself from over doing it by painting mawr layers onto your landscape components, which are these squarish sections, then is necessary. The more layers you paint onto a given landscape component the mawr. It's gonna cost you in terms of performance, the fewer layers that you paint onto a component them or performance your game will be. And obviously you want your game to be performance and run at 120 frames per second, don't you? Don't you? Of course you do. All right. Before we get started talking about thes painting restrictions here, I wanted to make mention of one thing inside of our M material created, or if you took the shortcut, your M landscape material. And I didn't mention this in the last videos as well. Please open them up and I've got my M material created. Open up here. Here is the pathway in case you lost your way and for any texture sample node contained within this monstrous noted network doesn't matter if it is a texture sample of a normal map or any of these diffuse textures or any of these variation textures, all of them. Please set the sampler source to shared rap. And again, this is to avoid the limitation out of the box of having just a few layers layers that you can apply to a given landscape component. If you do not do this, then it doesn't even matter if you have painting restrictions said here or not, you will be limited to just a few layers per component. But with this set to share rap for all your different texture samples, you have up to 128 different layers that you can paint onto a single component, which is pretty nice OK on to our different painting. Restrictions are 1st 1 is the painting restriction of none, meaning we can paint these landscape layers on any component we want. That is a default setting. There are no restrictions whatsoever. Simple enough Next painting restriction. If we click this, a drop down box is limit layer count. And with this selected, this will respect over with our landscape actor selected in the world outline er, this will respect the max painted layers per component parameter that you will find when you're landscape actor is selected. You'll find that a little ways underneath the landscape material. So if he said it to something other than zero, so let me just set it to say one. You'll see that my brush now turns red because I already got some grass out there. I can't paint another layer on their Let me set this to to now my brush turns white, indicating that hey, it is okay to paint another layer. I've got mud selected here, so let me just go ahead and left, click and put some mud on here. Now let me grab some Oh, I don't know gravel and oh, my brush turns red once again because it says I can paint on Lee up to two layers per component. It's read here, However, let's let me go back to my mud. I can come to this component this square up here and I could paint some mud up there. That's fine, because that is the second layer per component thes square sections. Okay, I'm just gonna hit control Z here a few times. Next one in our list of painting restrictions, we have existing layers on Lee so you can see when I've done that. My brush has immediately turned to read. And what this means is I can Onley paint any existing layers that already exists on that their components. So gravel. No path, no can do that grass. Yeah, I could. Even though it's grass on grass, Let me just changes back to none. For the time being, I'll put a little mud back onto this landscape component. Now if I switch this painting restriction to existing layers on Lee, if I choose mud, I can't do it on this component because there's no mud. However, if I come over to this component, my brush turns to white saying, Hey, there's already some existing money here, so yes, you can apply some mud on here as well. Next up, we have component white list and what this allows you to do. This is a way to specify which layers are allowed to be painted on a given landscape component on Lee, the ones that you allow. And we can do this by coming over to our manage button over here under our list of tools on the left hand side. Make sure you've got your selection tool selected, which we already had, and now I can select a given landscape component or components by changing my brush size to a bigger size. I will leave it one by one, and I'll select this one a front in center boom. It is now selected, and now down in my details panel, I will find a layer white list, and currently I've got a grass layer present on there that is in the white list. So is my mud layer, my path layer and my rock layer. The reason I have some rock in path as well is because when I deleted out some of my other layers, I didn't fully delete out my rock and my path layer. They are actually in existence, although albeit very faint, underneath the grass. So let's just say now I went back to paint mode and you can see these are the things that I am allowed to paint on this component. So let me see. Can I paint some rock on here? I've got a selected My brush is white saying, Yes, I can. I can't paint it on this component. However, this one I can What about Ah, Snow? I don't see any snow on my white list. So if I select that and try to paint it No, up my brushes red. If I go to my layer white list, click the plus button and now I add my snow on there. Let's do search for snow layer. I gotta make sure I select the right pathway here. I'm just like that one in my game Landscape Materials folder. Now you could see my brush turns white, meaning I can paint it on there. This is a new material that I'm playing our new texture, that I'm painting onto my component here. That is why it is compiling shade er's And there you see some white applied. So guys that is going to do painting restrictions In a nutshell. It is a way to restrict yourself as to how many layers you paint per component, because the fewer components are the fewer layers that you paint per component, the more performance your game will be. That'll do it all for this one. Guys, we will see you in the next one. 33. Smooth Tool (Painting) : Welcome back, everyone. In this video, our goal is to learn how to use the painting smooth tool in our landscapes to create more realistic transitions between our landscape layers. Because having harsh cut offs and lines between are layers is really unnatural looking. So before this video, I have prepped an example of some landscape painting smoothing right here for you. So we've got some grass out here and I painted some mud and I smooth the transition in between. How did we do that? Firstly, make sure you're in your map sculpting map or some other map with a landscape. And next, make sure that you have some sort of a landscape layer applied across your entire landscape . And I just had some grass and I went to right click and fill the layer in completely with grass. Now I'm gonna get rid of my mud right here so I can demonstrate how I did this. I'm going to right click on my mud and I'm gonna clear that layer. And now I am going to make sure I've got the mud layer selected and I am going to paint some mud on my grass. Now the smooth tool is right here under landscape paint. But instead of the paint tool, I'm gonna come one down to the smooth tool. Yes, in our paint tools. We do have some of these same sorts of tools, as in our sculpting tab, the smooth tool. So with these parameters right here, I've got the basic tool strength of 0.3, filter Colonel, Radius of four and my brush size paranormal. I'm just gonna rub this right about at this transition point right here. Left clicking, I'm holding down my left click and you can see how it creates a nice, smooth transition. Now, what this is essentially doing is it's adjusting the layer waiting between the two layers to create that smooth transition. More specifically, if I have 100% grass over here and 100% mud right here, it is gradually shifting that percentage waiting from mud being 100% to grasp. Being 100% right about here is say 50 50. So the next thing I want to demonstrate is how the tool strength can affect your smoothing between two different painted layers. I've got some mud painted on here next to my grass and there is a pretty sharp, harsh transition between the two. Now, with my grass layer selected, I'm gonna jack up my tool strength all the way up to one and I'm gonna change my brush, fall off and set that all the way down to zero. Now, if I do one rub along this transition seem right here I just left clicking, holding down left click You can see that it performs a pretty nice transition over a wide area. I'm just gonna do control Z and let me change my tool strength down to something really low like 0.5 And now if I hold down left, click and go down that same seem again it does do some smoothing Onley. It doesn't do it over as wide of an area. It tends to do it in more of a narrow region. So I like to look at the tool strength. It's kind of a way to determine how wide of an area is that transition from one layer to another going to be taking place. Just gonna do control Z here again real quickly. Next, let's explore this filter, Colonel radius parameter. I look at this parameter is determining how drastic you're smoothing is. And as a tool tip says, this is the radius over which you're smoothing is performed over. Let me send my tools strength of you. 0.3 here and my brush fall off back 2.5. The default value here is four. But let me set this to one. So that is going to perform smoothing over a smaller radius, and I'm just holding down left click. And as I bring this down, you can see the smoothing does happen but happens a little bit slower, and I would need mawr rubs to really kind of make that is smooth, as maybe I wanted contrast that with I'm gonna hit controls the year I sent my filter Colonel Radius up to seven, which is the max, which means it's going to smooth over a larger radius. So now if I left click and drag down the seam one time, it's gonna perform a little bit more of a drastic change. Not much, but it is noticeable. I'll set this back to one again just so you can see the before and after. That's with one, and this is with seven just one left. Click and drag down that seem. Let's controls the one more time and I'm going to set my filter. Colonel. Radius it back to its default. Let's explore detail smooth now. So with this checked on, it makes this parameter active so small. Values preserve more details. Large values remove mawr details. So let's try a small value here like 0.1. If I left click along this transition, I'm gonna hold down the left click. You see that that transition from Iraq or not rock mud to grass does happen, But it's in a very small kind of band that that happens. Let me do controls the on that And now let me jack this all the way up 2.99 left, Click and drag down here, and you can see how that transition almost looks equal across the entire band. In fact, this would go too far in terms of it almost looks like there's Mawr mud over here than there is over here. So that is a way you can influence that blending that smoothing between two different layers. Now, one more thing to point out here is I have had my grass layers selected here while have been trying to do some smoothing. This is I'm trying to spook between mud and grass, and I can have either one of these selected or to smooth between them. Note. However, if I was to select, say rock and I was to try to smooth let me just set this back to default. I'm trying to smooth with a rock layer selected and I'm gonna hold down Left click. Nothing happens because I don't have any rock layer here. So that's just one thing to keep in mind as you're working with the smooth tool that you actually have to have that given layer selected in this case grass. If you want to smooth between that particular layer and something else so grass would work or I could have mud selected and I can try to transition from mud to grass, grass, tomato, either or will do all right, guys, that is going to do it for this discussion on the paint. Smooth tool. See in the next one 34. Flatten Tool (Painting): Welcome back, everyone. In this video, our goal is to learn how to use the flattened tool when painting our landscape. This is the painting tool of choice when you're looking to grab a sample of some landscape painting that you really like, say, half grass, half mud and apply to other areas of your landscape just before we get started here, let's make sure we're all on the same page. I am in my map sculpting map and then I am in my landscape tab. I have the paint tab selected right here and then under my list of painting tools along the left hand side, we're gonna be working in our flattened tool not the paint tool, but the flattened tool while within paint mode. So currently what I have out my landscape is I have some mud painted over on the left here , that is my mud layer right there and then I've got some grass painted over on the right and I've got a blend between the two right down the middle. So let's assume that this is 100% mud. This is 100% grass and say, in the middle here is about a 50 50 blend now with the flatten tool which you can do is you can sample any one of these different mixtures of grass versus mud versus somewhere in between and apply that to different areas of your landscape. But, ah, lot of this is determined by what is your flat mode over in the details panel right now we have it set to both. Now I'm gonna changes over to raise for the time being, and we're gonna explore these different options. So go ahead and change that to raise the tool. Strength here is fine. And I've got my grass layer selected very important that you make sure that you've got your grass layer selected. If you're following along and again, I've got grass on one side and mud on the other. Now, if I left click and sample right about here was 100% grass, which I will do. I'm left clicking now, and I'm just dragging this over to the left hand side. You are seeing that I am raising up my waiting of grass over my mud layer here to match whatever my percentage of grasses over here. So if we assume that this is 100% grass. I've raised this up to be 100% grass as well. Let me just do control Z right there. And now I'm gonna sample right about here where it's about a 50 50 blend. So I'm left clicking right about here. And as I dragged this over to my mud area, you can see that it is raising the weighting of grass in this section to be about 50% grass as well. Notice that if I drag this over to this area, it is not raising this up to be more grass controls. The again let me sample right about here where there's even less grass. So left clicking, dragging. I'm raising up this area to be the same percentage grass that I sampled from, but it will not raise this up. It will only bring up areas that are deficient in grass to match the percentage from wherever I sampled. That's how that works. Conversely, if I change my flattened mode from raised to lower, the opposite effect will take place. So now with my grass selected down here, my flat mode set to lower. I am going to sample my grass right over here. Now if I left click in drag, nothing really seems toe happen, however, and I'll just control Z to make sure I said that back. If I left, click and drag save right about in the middle here, which is about a 50 50 blend and I dragged over here. Actually, that was a poor sample. Let me just undo that. Let me just left, click and drag right about here where there's just a tiny bit of grass left, click and drag. Now you can see that I am lowering my grass in this area. So if I sampled at a portion that was, say, 20% grass, it's gonna bring these areas that were, ah, 100% grass down to 20%. However, I'm still continuing to hold down left click. It will not lower anything here because I already have no grass year. I can't have less grass. So again, if I sample in an area that's got 20% grass left, click and drag, it will bring in areas that have a higher percentage of grass and lower it down to that percentage. All right, moving along here, we will change our flatten mode from lower to both. Now, what this will do is depending on if it needs to get raised or lowered. It will transition whatever I have sampled to match my sampled level. So again, I've got grass selected here and I'm going to sample at about this 50% mark right here, which is about 50 50% grass, 50% mud left clicking. Now, if I drag this over here, it will lower it because I am currently rubbing over in a spot that had 100% grass. Whereas if I continue to hold down left click, it's going to raise it up over on this side where I had the mud because I had 0% grass and now it's got about 50%. Let me control Z right there to set that back to normal. That is what flattened mode both will do. It will raise or lower the percent weighting of my selected layer to make it so that that will apply that percent layer to wherever I'm rubbing. Now our other flattened modes Here we have interval. If you so like that and try to left, click and sample anywhere doesn't do anything. Likewise, if you set your flat mode to terrace left, click and drag, that doesn't do anything as well. When we are within our paint mode, those will do things if you're using your flattened tool in sculpt mode. But here in paint mode, they don't matter worth a squat. Now also, I just want to point out I'm gonna change my flat mode back to both here. I've currently got grass and mud. If I was to select a different layer, say, I don't know, let's say I select my rock and I'm choosing to you flatten with a rock layer selected and I left click Summer out here nothing happens. And that's simply because I'm trying to flatten to whatever percent that I have rock in these locations, which currently I've got 0% rock here and here. I currently on Lee, have grass and mud. So again, if you want to flatten to any of these given layers, make sure that whatever you're trying to flatten to that, you actually have that layer selected In this case. I can only flatten to whatever percent that I have grass here or whatever percent that I have mud So that is a flattened tool. When you are painting guys, it is a really handy tool to use if you like a certain percentage waiting that you have and you want to sample that and copy it elsewhere in your level, that will do it all for this one. Guys, we will see you in the next one. 35. Noise Tool (Painting): Welcome back, everyone. In this video, our goal is to learn how you can use the noise tool when painting our landscapes. This is the painting tool of choice when you want to add some quick visual variety to your landscape to help things feel a little bit more organic and not so obviously painted by hand. This is a great tool to use. If, for example, you wanted toe have some patches of snow out in your landscape like you see here, I feel that nice, patchy variety. Doesn't that look sweet? Yes, indeed. So let's get on the same page. Here I am in my map sculpting level, and I've got my landscape mode selected in landscape mode. I'm on the paint tab and then over on the left hand side, we're going to be exploring this guy. The noise tool, the noise paint tool to be exact. Now, how did I get some splotchy variety out here? Some snow. If you will let me just control Z to undo that set things back to normal here. So for starters, you'll notice that I have a few different layers painted out here. I've got some snow grass, mud and rock. And I've got those out here just so that when I paint some of these with my noise tool, you're not going to see those grade chucker boxes. So with our noise tool settings over here, the big one that's going to impact how you add these splotches is gonna be your noise scale are noise mode. We're not gonna change both is what you wanna have it at if you're going to add some noise , some splotches, if you will to your landscape. If you set this to add or subtract, you're not going to get what you want, so leave that unchanged. We can leave our tool strength for the time being unchanged. However, we're gonna be fiddling with this noise scale by default. It is at 1 28 Let's try a few different parameters here to see how this impacts things. So I'm gonna change to 1.1 for starters. And again, I've got my snow layer selected here and with a value of 1.1. If I left click around, you can see how it adds some small splotches to my landscape. Now you got to be careful with this because if I was to set this noise scale to be a value of one and left click, I'm holding down left. Click Right now you see nothing. All right. Now, if I set this to a value of, say, five, not 65 but five and left click, you'll see that I do add some splotches, but they are bigger in size. And then if I changes to a value of, say, 20 and I left click, I see even bigger splotches. Now I can obviously raise this value. And as you may have, guess I will have bigger splotches. But I find that above 20 it starts to look kind of unnatural tool strength right up here. If I was to set this to a extremely low value like 200.5 and I left click, you can see I'm adding some splotches, but they're a little less strong. And I really have to set this download something like 0.1 to really kind of make them look a little bit not 0.1 rather 0.1 To really look them, make them look a little bit more faded and subtle. If you will so that is a pretty strong parameter. Anything 0.1 and above is going to come in pretty strong. There's 0.1, and as you can see, it comes in pretty strong. Now, perhaps at this point you're not very impressed with what the noise painting tool can do. Is there anything else I can add? Other than just kind of like these weird splotches? Well, you can actually make things look a little less splotchy by using this used target value parameter. You gotta check it to turn it on like this. And let's try some sample parameters here. I'm gonna set my tool strength back to be 0.3 used target value. I will set this to be 0.1. And our noise scale here will set this to be safe. 10. And with this set, if I left click, you can see that I do kind of add some variety, but it's a little bit more faded, and it's also less splotchy Now contrast that with and gonna hit controls the year contrast that with If I set my target value of to be something like almost 0.5 left click against a little splotchy but it's more evenly splotchy, if you will converse that where if I set this all the way up to one and left click, it comes in a little bit stronger, and it's still somewhat splotchy. But it's in contrast to if I have used target value turned off, which has this kind of splotchy splotchy. So it's kind of two different ways to add some splotchy nous all depending on what you're looking for. Play with that used target value and again just to demonstrate a quick use of this noise tool. Note my settings over here. I've got very low tool strength, noise, motive, both noise skill of five. Then I've got my snow layer selected a simple way to left, click and add some splotches of snow across, say the top of a landscape. And of course, I can change up the noise scale size maybe be some bigger splotches in some areas, some smaller splotches in areas etcetera. And I'm not having to do a lot of work here in terms of adding some visual variety. I'm not having to use my paint tool, for example, and then be like, Oh, I want some snow here and I want some snow here and I want some snow here because that doesn't look very realistic. Where, as this in the background, using my noise tool Does the guys hope you learned a little bit about using the noise tool ? One painting that will do it all for this video. We will see you in the next one. 36. Visibility Tool: welcome everyone in this video. My goal is to show you how you can use the visibility tool in unreal engine four. In order to poke holes in your landscape. A lot of people want to create caves in the side of their mountains. How do you do that? Well, you gotta rip a hole into your landscape. Now you may be asking why are we talking about this now? I thought this whole section was talking about how to paint your landscape. Well, the reason we saved it until now is because we actually had to create a landscape material first before we can then go about hooking up the functionality to rip holes in our landscape. So let me show you how this is done. And I actually already have it done in my material. But I will show you the process that you need to take in order to do this, find your m material created those of you that took the shortcut and have this M landscape material applied to your landscape. This is already done for you. Otherwise, those of you that created your landscape material from scratch find this content, landscapes, materials, folder and double click on your M material created to open it up. Now you're going to see what I have done to my landscape material here. In order to poke a hole in it, I had to add a node called landscape visibility mask. And you can get one of these by simply right clicking and typing in visibility. And that's the Noja looking for right there. However, you will notice that when you add this, you do not have the opacity mask input illuminated and available to plug into like I currently do. So what do you need to do to change this? Well, you must come under your master material note here. And with that selected, you want to change your blend mode two masked. It was opaque before. Now go ahead and change it to masked. Now, once that is saved, you're then able to use the visibility tool to poke holes in your landscape. So I'm gonna jump out of my material here and go back to my map sculpting. And here we are in our landscape mode and I'm under the sculpt tab, not the painting to have this sculpt tab and in my list of tools Along the left hand side is our visibility tool that we had yet to talk about with that selected in order to poke a hole in your landscape, all you need to do is simply left click. It is that addition to the material, this landscape visibility mask that's plugged into the opacity mask input of your material note that enables you to do this. Obviously, you can resize your brush here as needed. Brush Fall off here doesn't do anything, and you obviously must have a layer selected here as well. Now, if you want to fill in your whole, you simply need to hold down, shift and left click. And that is how you can fill in your whole now in order to create a cave. It is more than just ripping a hole into your landscape, so I will just go like this. Left click with my visibility tool to create a whole. Now what you would want to do to create a cave is to add a whole bunch of, say, rock meshes around the mouth of this cave to obscure the fact that you just ripped a hole in the side here. Now you'll also notice that as I fly down into my cave here, that if I look up, I don't actually see any of the landscape material that is applied. It just goes invisible. That is because we have yet to create a two sided material that's to come in the next video . But guys, that is how you can go about ripping holes into the side of your landscape to create caves that'll do it all for this one. We'll see you in the next one. 37. 2 Sided Material: Welcome back, everyone. In this video, we're going to demonstrate how you can make your materials to cited. In the last video, we showed you how to poke some holes into your landscape. If you want to make a cave or something. And if we fly into our makeshift cave right here and we look up, we will see that we don't actually see the underside of the material. What you kind of see off there in the distance is actually the top side of that material. We don't see the underside like we should, and that is because our material is not too cited. Now we're going to demonstrate how to do this, and it's really simple to do. Now. Note that if you did the M material created and this is in our content Landscape materials folder. If you created your landscape material from scratch, you should do this. And also, if you did the material shortcut you should do. This is well because this is not done for you. So let's go ahead and look inside of our M material created again. This is the one applied to our landscape. Double click on that, and it's super simple to make this two sided with either no node selected here in your graph. Nothing selected or your master material node selected right over in the details panel. You have a check box for whether or not to make this material two sided. It's a simple is checking it and then clicking Save now again. You should do this if you have the created material or you did these short cut and I will do this in my shortcut material here while I take a pause because this is going to take a little while for our shader is to compile. So I will rejoin you in just a bit, okay? And our shade er's have finished re compiling. So let's fly down into our tunnel once again holding down my right mouse button using W A S and D to fly on in. And if I now look up at the underside of my tunnel, I can see e a landscape material little dark down here. And that's because we don't have any lighting going on. We don't have the sunshine illuminating the bottom of our landscape here. But if I waas just to bring in a light I'm just gonna bring in another directional light here and let me just pivot this thing. So the white arrow is shining up there. You can see the bottom side of our landscape kind of cool. So simple trick to use If you wanna have to side of materials, note that a lot of the water materials inside of the starter content. I don't believe either of them are two side of material. So that's something to keep in mind If you ever want to see the underside of a water material. Real handy trick for other materials as well, guys, that'll do it all for this brief video. We will see you in the next one. 38. Painting - Q & A: Welcome back, everyone. Well, I thought it would be appropriate to wrap up this section about landscape painting by answering some common questions that students have when they're learning about painting their landscape. Now, before we get to some of the questions, I just want a frame where we are at. I'm currently in my map sculpting level. I've got my landscape tab here selected. I'm currently in paint mode and in the world outline, or I have my landscape selected, and this is where I assigned my M material. Created my landscape material. Now. Currently, I've got this entire map is filled with grass, and you can fill your level with grass or any of these other layers by simply right clicking on it and saying, Phil Layer Now, my first question here is when I first paint on a layer, the landscape goes checkerboard for a bit. Why? And this is talking about a new layer, one that has not been painted on before. So if I was to select, say my gravel there here and I come into my landscape and I left click to try applying this , you can see how things go checkerboard and as you see down to the right hand corner. This is simply because the shade er's are compiling. It takes a moment for the engine to apply this gravel onto our landscape. And there you see it appearing. Those checkerboards go away in all is well. And once it's on there, you can simply left click, and your gravel will appear without it going checkerboard. Okay, so that is the answer to question number one. Question number two. My landscape stays in a checkerboard pattern once I paint mawr layers on it. I believe this is too many layers on it, but they just same or layers on it. Why and how can I fix this? Okay, I know what this question is talking about. So let's explore this phenomenon now. Notice. I'm gonna be painting different layers onto a single landscape component. This square area right here. I've currently got some grass and some gravel. Let me find some muddle paint some mud on here, which I had on here before the video started and I deleted it. And now I'm getting gets a mud back, you see, went checkerboard there because it's got to re compile the shader is there and slowing my frame rate down here quite considerably. So now I've got some mud, some gravel and some grass. Sorry for the stuttering frame rates. Let's go to a rock layer. Gonna apply that. And as you can see, compiling the shade Er's goes checkerboard temporarily and, of course, impacts my frame right here a little bit. Okay, so grass, gravel, mud rock. Let's try a little bit of snow here. Sorry, selecting snow. And it goes checkerboard once again compiling those she aiders compiled, compiled compile in just about finished compiling. But, uh oh, it did not finish. It's still this checkerboard. What is going on? Well, between videos here, I miss taken Washington say mistakenly I purposely changed my m material created Let me just jump inside of here And I changed it so that all my texture sample nodes had a sample source of from texture asset Every single one I changed to be from a texture asset. Now the problem with leaving all of your texture samples here inside of your landscape material to from texture asset is your limited to how many different layers you can paint onto a single landscape components now we only painted on 45 layers there. And then we got this checkerboard that simply blows. That's not cool. So how can we go about fixing that? The fix for this, as was mentioned in previous videos, is to select all your texture sample knows. And I will do this between videos here, but all of them, anything that says texture sample in here, including these variants as well as these normal textures down here way down here, all of them, and changing their sampler source to shared raft. Now, when you do this, you're going to open up a whole new world for you because now you can apply up to 128 unique textures per landscape component, which is a lot more than your limited version that you saw there of four or five. So I'm gonna go ahead and change all these back here in a little bit. So then you will see that this will no longer be checkerboard. So pausing the video here, I'll join you in a little bit and welcome back. Now you can see that my landscape component here is no longer showing that great checkerboard. But it is showing all of my different painted on layers, and all I did was I changed all the texture samples here to be shared, wrapped that is the key to making it so that you can paint multiple texture layers onto your landscape. All right, next question. Is there another way to view how many different layers I have painted onto another component, as opposed to just counting? Like, Oh, there's some grass gravel. 1234 Manually. Counting them is no good, right? Yes, In fact, there is. Now this is a little bit of a sneak peek to some landscape. Visualize is we're going to be talking about later on in the course, but in your view port. If you come under lit Lance gave Visualize er's. You can show layer usage instead of normal and watch what happens when we do this. It changes it to this. Find you and these numbers correspond to how maney difference landscape layers you have painted per component. And as you can see, we've got five currently on this landscape component. All these different colors correspond to different landscape layers that we've got here. So this yellow one indicates we've got some rock and you can see I've got one mostly on every component except I've got a couple twos here. Looks like some grass as well as some some mud in areas over there is. Well, the mud must be very faint in some of those areas. So that's a pretty cool visualize er and again that was under lit landscape visualize er's layer usage. I'm gonna set this back to normal. Okay? Next question. Question is, I deleted out a layer from my landscape material. And now I see a question mark in my list of possible painting layers. What is this? And what can I do about this? Well, I currently don't have any like that, but I can show you how to replicate this, that I'm gonna have to temporarily destroyed my landscape material so you can see what this question is talking about. So let me just jump into my m material created and I'm gonna find my rock in my landscape. Blend nodes. We got our layer blends and let's find where the rock was. There's path. There is rock. I'm going to simply delete this one out of here. So right here, there's a little drop down arrow. I'm gonna delete that. And then also down below in the normals, if you will, we're going to select that layer blend note, and I'm gonna find where the rock layer is. And I'm going to delete that out. And I'm gonna say this. It's gonna re compile, and I will join you in just a bit. All right? And we are back. The shoulders have finished compiling. And here we are, back in my landscape Have with my paint tab selected under that and in my list of layers, you can notice that my rock layer has this question mark icon. Instead, this is known as an orphan layer is a layer is removed from your landscape material after it has populated the target layers list of a landscape, and it has painted data on the landscape. It's gonna be displayed with that question mark icon like we see here. Now you can delete orphan layers from the landscape, though it's recommended that you first paint over any areas where the layer was used. I've got a little rock right here. The painted layer data is preserved until the layer is deleted, so no information is lost. You make a mistake in the landscape in your landscape material. So let's go ahead and delete out our rock blend here. If we select this and I hold down shift and left click, that's gonna get rid of all rock exposure here. No rock. In fact, I could simply right click on this clear layer and that should get rid of all of our rock. And now, once our rock is gone, whenever our shooters are compiling my screen jitters a little bit weaken simply x out to delete this layer. Are you sure? We will say yes and boom, it is gone. Rock is no longer present in our list of target layers. Now I'm gonna put that back in my Emma material created here in just a moment. I don't recommend that you do that. If you want to paint some rock, I'm gonna put that back here in just a little bit. One final question before we wrap this up, the question reads, What does the hardness parameter in a landscape layer in full object determined? Well, for starters, what are they talking about here, Here in my paint tab, We've got our different landscape layers. These are our landscape layer in full objects assigned to each layer. Let me jump to our grass layer info because that is the one that we have applied across our landscape. Here. If you click right here, you'll jump to where this asset is in your content browser. There it is. I'm gonna double click on this asset to open it up and inside of here there is this hardness setting, which by default is set to 0.5. Now, what this determines is when we use the erosion tool in our landscape. How much does the erosion sculpting tool effect that given layer type. So I'm gonna set this to one jack it all the way up because it can't go above one. I'm gonna save this. Gonna go back to my map. I'm gonna go back to landscape sculpting tools. Let me find my erosion tool right here. And I'm gonna have all default settings over here. Nothing changed. I've got my layer selected. And now if I find a ridge to sculpt upon, I'm just gonna left click and it flattens. It may be a little bit, but I don't really see much of a difference at all. One equals a hard value. I should probably fly over to the ridge over here to make that a little bit easier to see the impact. Okay, so let me jump back into my grass layer info and let's change the hardness from one to Well , let's go a little bit softer. 10.5 And now, if I see that go back into my mouth, have my erosion till here and I left click, you can see that it flattens it. Ah, lot mawr. Now maybe a subtle difference. Maybe a little bit hard to detect. But it does make the terrain a little bit softer, a little bit easier to apply erosion. So that's what that does. I'm gonna set this back, Teoh 0.5, where it was before, save its and jump back to my map. Well, guys, that's going to do it all for some painting. Q and A for our landscape. We will see you all in the next video 39. Painting - Circle Brush: Welcome back, everyone. In this series of videos, we're gonna be talking about the different brush types available to you when painting a landscape. Specifically, we're gonna be talking about using the circle brush when painting a landscape in this video . Now, this is your default brush when painting, and it's the one that we've been using up to this point. Now, just to make sure that we're all on the same page, I am in my map sculpting map. I have my landscape tab selected here, and under that I am in with my paint mode and along the left hand side here are different paint tools. We are using the paint tool. Not any of these other tools were using the paint tool in this series of videos. And here with the paint tool selected, you have access to four different brush types. The focus of this video again is on the circle brush type, and when the circle brush type is selected as it is by default, you have access to different fall off types. These four different ball off types right here, of course, make sure that on your landscape we have our landscape material slotted in our M material created, or for those of you that took the material shortcut your M landscape material and make sure you've got a layer selected here and a given layer selected here. I'm gonna paint some mud to demonstrate these different brush fall off types. So again, circle brush type. Let's see what it looks like if we use the smooth brush. I'm just gonna left click, hold down, left, click and just drag on down. That's what the smooth. Let's change this to linear and do it right next to it. Next, we're gonna go to Spiric ALS and then, lastly, to tip, and what you'll notice is there's really not much a difference at all. When you're painting your landscape, what's different? Circle brush fall off type that you use the Onley. Real difference that you're going to see is just in terms of the with of the layer you're trying to paint. As you could see, spherical here ended up being wider than tip. But of course, even if you have your default smooth brush, he can simply adjust your brush size to modify the with of your brush as well. That's really all there is to it for the circle brush. I don't find much of the circle brush. Fall off types toe have much of a difference other than just the with. So that's gonna do it all for this one. Guys, we will see you in the next one. 40. Painting - Alpha Brush: Welcome back, everyone. In this video, our goal is to demonstrate the use of the alfa brush when painting a landscape. Now, this is a really handy brush to use when you're looking to give your landscape some textural variety, as you can see here in the screen shot, I've just peppered on some snow atop my mountains. This can be super useful if you're looking to break up any noticeable tiling going on in your landscape. So let's explore how we made this particular effect happen. Make sure you are within your landscape paint mode. And then we've got our paint tool selected. And again, I'm gonna be doing this in my map sculpting level. Of course, per usual. I've got my landscape material applied to my landscape here. And instead of the circle brush tool, we're gonna change this on over to the Alfa brush. And you saw this when we explored using Alfa Brush. When sculpting this is gonna be used in the context of painting. Now it's gonna ask us to slot in a texture. And if you remember right, we did import a texture in our landscape Textures folder a year called T L faux brush Underscore. 01 I'm simply simply going to drag and drop that up here. And it doesn't matter what texture channel we use here. It doesn't matter if we use red, green or blue All these white spots that you see in my brush White is made up of 100% red, green and blue and so thusly. Whatever given layer, I have selected down here in my target layers. That is where we're going to project on our given layer type. In this case, I've got Snow selected. Okay, let me just scroll on up here. It doesn't matter what texture channel, but I'm just gonna change it back to read. That's been the default brush size pretty self explanatory. And I do have auto rotate on so you can see how my brush is auto rotating as I kind of moving around. Let's change our tool strength here to be one as well, because I want that snow to appear rather rather strongly when I click on my landscape. Now, this is super simple to use. All I got to do is just simply left click and I add a little bit of snow. You can see wherever it is white. There in my texture, watch when I click. It's not that snowy there. Boom. It adds a little snow now. Obviously, if I was to hold down my left mouse button and kind of dragging around, I can add a lot of snow. But this is super great just by clicking a little bit here and there, adding some splotch units. And of course, I can increase my brush size to make some bigger splotches if I want. And that's starting to look pretty natural. The Alfa Brush guys. It is a great painting brush to use to add some texture variety. Of course, I could add, you know, some mud. Let's let's add a little mud. Shall we click here at some mud? Sure little mud in with our snow and it's starting to look rather organic. Guys, that is going to do it all for the painting tool. Alfa Brush. We'll see you in the next one 41. Painting - Pattern Brush: Welcome back, everyone. In this video, our goal is to demonstrate the use of the pattern brush when painting a landscape like the alfa brush. This brush allows you to assign a texture of your choosing over here, which we can then paint onto the surface of our landscape, specifying the channel, the texture channel of our choosing. Also like the Alfa brush, this is a super handy tool for quickly adding some texture variation. So again, I am in my map sculpting level and I've zoomed way out to show the entire landscape with my a landscape selected. I do have my landscape material slotted in and I am currently in landscape mode. The paint tab. I've got my paint tool selected Onley This time instead of the circle or Alfa brush were coming the next one down the pattern brush Now in our texture area right here I'm simply using my t Alfa brush 01 that you should have added into your project a bunch of videos back You confined that here in this directory And of course I'm gonna be using my red texture channel doesn't really matter which one we use for this, and we're gonna demonstrate how we can use this to quickly add a lot of variety all across our landscape. Now I do have my snow layer selected right here and just with much of my default settings here. Although I do have my texture skills that 2.4 and my brush size that at 81 92 you can see how, as I'm kind of moving my brush along. It's kind of like a spotlight of sorts worth revealing that texture throughout my landscape . And I could simply do, in effect like this, where I left, click and drag and add some snow like that. That's one thing I could do, however, just gonna do controls the year. I can use this to apply some variety a pattern to my entire landscape here, So I'm gonna try a few settings. My texture scale. Here, I'm gonna set to be 0.5 my brush size. I'm going to make bigger than my maximum slider Here. You can see it when I left, click and drag the slider. It caps out at 81 92. But if I select this and put in a value of 60 let's go 70,000. It caps it out at this value 65,005. 36. And that's almost the entire size. My landscape and you can see now my textures are much smaller and there's kind of tiling out there. That's fine. Now all I'm gonna do is with my tool strength. Also one kind of strong. I'm just going to give this one click right about in the middle. Okay, so just gave a one click, and you can see it's a little bit, uh, faded out in the corners because of my fall off. But you can see how it adds some quick texture, variety a pattern. Now, obviously, that doesn't look super real. But I can keep kind of applying this effect to break up my current landscape tiling and to add some variety like, let's do a second past year. Okay, so this time I'm gonna make my tool Strength be will say 0.5 and we will do a texture scale of 0.15 and let's do a texture rotation of honor. No, say 45 degrees. Something like that. Brush size. We will leave at its maximum. And now, if I was to put this right about in the middle and left click, you can see it adds a little bit mawr texture, variation. And we can keep doing this again and again. You know, may we increase the texture scale to be 0.5 something big like that and I rotated to some angle like I don't know, 67. And now, if I was to put this right in the middle and left click again with some snow selected Now I've got in effect like that and let me just minimize my brush size. So all I did was three different cliques using a pattern brush with my snow layer, selected with things just simply scaled differently. And now I've got some nice texture variations. So that is a really nice use of the paint pattern brush toe. Add a bunch of texture variation to your landscape, guys that is going to do it off for this one. We will see you in the next one 42. Painting - Component Brush: Welcome back, everyone. In this video, our goal is to demonstrate the use of the component brush when painting a landscape. With this brush, you can easily paint a layer of your choosing onto a specified landscape component or components. And again, components are these giant square sections of your landscape. Now, just to make sure that we're all on the same page, I am in my map sculpting map under the landscape mode with the paint tab your selected over on the left hand side, we've got our paint tool selected Onley. This time we're going to be coming over and using the component brush, the last one in our list of brushes. And, of course, my selected landscape over here is using my landscape material that we created in previous videos. And also I have a layer selected here to paint upon, and currently I am going to have my snow layer selected. Now. You can see right now with the component brush selected instead of having that round this brush, we now have a square shaped brush that's gonna highlight a giving component, and I can change our brush size from one to a bigger number. I could make it be three, for example. And now you can see I can select a three by three area. I'm just gonna leave this at one for the time being. And I'm just going to select a few different landscape components here to paint upon just that component again. I've got snow selected, so I'm gonna left click here, left. Click here, left. Click here and you can see how it applies snow in a checkerboard pattern by selecting these given components. Now, obviously, I can change out my different type of painting layer here to say, I don't know Iraq. And now I could fill in some of these gaps with rocks so possible use of this could be something like creating a giant just bored. Or, you know, there's tactical RPG style maps that have square tiles with just a given Ah, target layer. You know, like grassani given tile. And of course, if you wanted to raise or lower any of these giving components, you could take this on over to sculpt mode on with your sculpt tool selected with the component brush selected sculptural component brush. You could then left click on a giving component and raise that up. Now, this is raising up very slowly. But if I zoom down in on it, you could see how you could have this component be white with snow to up a top rock on the sides and it can be raised up just like that. So some possible uses there for using the painting component brush. Hope you guys learn a little something there that will do it all for this one. We will see you in the next. 43. Blueprint Brush Painting: Welcome back, everyone. In this video, our goal is to show off an entirely new way to go about painting your landscape. Up until now, we've taken the traditional means of painting our landscape, and that's all well and good. But in this video, we're going to show how we can use blueprint brushes to paint our landscape. And that's what I'm showing off here. This is a previous project that I did to create this just so I can show you what can be achieved here. Now this is done through setting some paint layer settings on our blueprint brush. And if I hop out of my full screen mode very quickly here, I could just show how, with a custom brush up custom blueprint brush selected over in my details panel, I have different layers paint layers set up with various parameters applied to him to create, in effect, like this, you know, ring of grass. And then as we go up the mountain, we've got some rock and then some snow. This isn't that tough to do. So let's explore how to do this. Okay, so here we are, back in our current landscapes project that we've been working on together and I'm currently in my landscape blueprint brushes map that I had created some time ago in my content landscaped maps folder. I'm in my landscape, Tao appear over in paint mode and if I scroll on down, you can see that currently, even though I have a layer selected, I am seeing a warning saying that this layer has no layer info assigned yet. That's why we don't see anything painted so quickly. What I'm gonna do here is a sign landscape layer info objects to all these different layers . So I'm gonna do that quickly and rejoin you in just a moment here, okay? And so I have all of my landscape layer info objects assigned here in pain mode. My next step is I want to turn one of my blueprint brushes here with one in the background . I'm gonna make this more of a straight looking brush. So the first thing I'm gonna do is I'm going to select that brush in the background which is currently known as custom a brush land mass to I am going to rename it Custom Brush. I'll say straight, even though it's not gonna be perfectly straight. And then what I want to do is come into I want to come out of paint mode. I'm gonna go back into sculpt mode. Make sure I've got my blueprint brush selected here, and I've got my straight brush selected. I'm just gonna rise it up into the air a little bit, and then I'm gonna select individual points. Here is start the leading some of these out again. I'm not going to delete them all out, but just something to create a little bit more of a straight look. Here, Bring this on over low, a little bit too far. Select. Some of these points are proving hard to select. Let's select that guy. I don't want to know. I don't want to leave that one out. Select. And I can't select that point right there. There we go. Select won right there. Let's select that one right there in that one right there. So that's straight ish. If you will just going to make it easier to demonstrate some of these settings as we apply them to a more of a straight range, as opposed to this more of a rocky range, if you will Okay, so that's gonna look pretty good. So I'm gonna jump back into paint mode just because I am in the paint mindset. When I'm in pain mode, change my paint tool down to blueprint brushes, Let's make sure that we've got our custom brush straight selected here and then over in the details panel. What we want to do is we want to come under our paint layers, and what we want to do is click on this plus button to add and elements, and the first element we're going to name is Snow. So this is where you calling out, what type of layer you want to add to your blueprint brush. Let's do snow. And as soon as I hit enter here, I see some snow applied to the top of my mountain range. Now let me expand out my parameters here to show all the different settings that weaken set per layer. All right, so the first parameter we're gonna play around with your is our fall off with currently set to 5 12 If I was to set this to something like, say, 20,000 what you'll see is that the snow reaches much further follow up with is essentially the distance that this layer will gradually fall off from are defined spine this line right here. Okay, let's set that back to 1000 for the time being and hit. Enter next. Let's explore this edge, Offset. I'm gonna set this to a value of, say, 5000. And with that set, you can essentially see how it has expanded our edge from not only this line are defined spine right here. But we're saying that we want this blind to be 5000 unreal units wide in each direction. So the edge office edge offset is essentially the distance beyond the outside the bounds of our spine that the layer will extend to all right modulation texture down below. Here, this is essentially the texture filter through which are given paint layer. In this case, snow is gonna be applied. So white are areas to apply. Our snow black is areas to not applied to add some variety there. Now we're gonna skip over texture tiling here for just a moment. But we are going to explore this texture, influence setting Next. This is how much of the snow there you're going to see through the lens of our modulation texture here, so low numbers are going to equal mawr and high numbers are going to equal less. So you see what this looks like with a value of 0.5 quite a lot of snow. However, if I was to change this to a value of, say, 10 now the snow is going to look a lot more patchy. And you can see that as you kind of scale this up and down. I'm just dragging this parameter here, left and right by putting my mouse cursor right here left clicking and moving it left and right. You can see how it adds more or less. Okay, I'm gonna set that to be 0.5 again for the time being now texture tiling. Let's explore this one. Next. This is going to alter these size of the modulation texture through which our snow is being filtered. So smaller values, air going equal, bigger texture sizes and bigger values air going equal, smaller texture sizes. And to really do this justice, I'm going to change. A few of my parameters here might fall off with. I'm going to change to be 20,000 I'm gonna change my edge, offset to also be 20,000. So it's really going to extend the reach here and I will change my texture influence also to be something like five. So we got some splotchy nous. Now watch what happens as I alter the texture tiling. If I go to something like 50.5, you see some big spa cheese. If I was to changes to something like 10 you're going to see very small splotches. And again, you can put your miles cursor right about here and kind of move this left and right to see how that is going to change the size of your splotches. Let me just go ahead and set this back to I'll go up. But it's a 10 and five for right now. Midpoint. This is going to shift the midpoint of the textures elevation. So if we have a value of say 0.1, it is going to shift it, so the texture midpoint is lower. Whereas if I was to give us a higher midpoint by giving this a value, something like 2.5 suddenly we don't see anything. And again you can put your ah score right there and kind of ship this down. You gotta release it from time to time to see the actual results that you got there. Now you're seeing the snow starting to come back once it gets into the 0.8 range there, Riggio. So, essentially, as you make the number bigger, you're sort of like lifting that up. And as you move to the left and make those number smaller, it's kind of like you're making your midpoint lower. Next, we've got final opacity, and this one is pretty straightforward. A value of 1.0 means 100% we can fully see. This layer, however, is I begin to move this down past 50% 500.5 and down 2.3 and eventually zero. You can see how it gradually fades away. So this is just a percentage really going from 0 to 1, indicating how full, how opaque you want to see that given layers of 0.5 is halfway, I'll set this back to one for 100%. Next one, we've got this mask using banned option. Now, by default, it is false. However, if I set this to true, you're going to start seeing things appear a little bit different now. You just saw some spots go away there. Now, I do have some settings in mind here I want to get using. So let me jump in and set some of these things back to normal. My texture time. I'm gonna be setting that back. 2.4 texture influence is gonna be back 2.5 Midpoint is going to be back. 2.5 is well And what we're gonna do is that our band thickness here to be 1000 and our fall off with. I'm going to set to be 200 and our edge offset. I'm going to set to be 5000. Okay, With all these settings in place, you can much more clearly see what this mask using band does. And sorry, I meant to send my band thickness here not to be 100 but 1000. So ban thickness is pretty self explanatory. It just It just determines the thickness of this band. The edge offset is going to be how far offset it is from our spine Point here. And the fall off with is going to determine how rapidly this falls off. So if I was to set this to be, like, 2000 you can see it's a more gradual fall off for this snow. Something like 5000 even a more gradual fall off along the mid point of that band. I'm gonna set this back to be 200 there you can see that is how you can create some very sharp bands. And you saw some of these bands in my teas at the very beginning of this video around the base of my mountains. I had some grass. All right, Now, let's put this all together and paint some layers onto a brush that looks a lot more interesting than this straight brush. So I'm gonna actually just delete out this straight brush. Don't need it anymore. Bye bye. We are going, Teoh. Yes, Choose. Yes, We do really want to delete this. That is fine. And then let's make sure we've got our custom brush landmass selected here. I'm just gonna move it a little bit more towards the center of our land, raise it up a little bit more into the air. So we got something a little bit bigger and more prominent to work with. All right, here we go. Let's see what we can do. I'm gonna move down in my details panel until I find Sorry. Move on up my list here until I find my paint layers. Let me click the plus symbol there, and we're gonna do this one at a time. So this 1st 1 is gonna be named Snow. I'm going to expand out my various parameters here, and I'm going to set a fall off with to be 500. Edge offset is going to be 300. Just gonna be a little bit wider. Not much texture tiling. I'll set to be five. Not much difference here. Texture, influence. Let's go. Something like 10 limit more sporadic like that and we're gonna do a Yeah, we're gonna leave the rest of this, just as is. I think that's gonna be good. Let's go ahead and add another layer. Here. Click this plus button to add an element scrolling on down. This is gonna be element one. We're going to name this rock and expand out are details here while our shares compile. And while our shooters are compiling, we can go ahead and plug in some values here. So the fall off with for this we're also gonna set to be 500 again. Not much different here. I just like round numbers. Edge offset will go with 100. You don't see much at all in here just yet. We're going to change our mask using banned to. True. And we're gonna set our band thickness here to be something like 700 a little bit stronger . And I'm gonna change my final opacity. You can actually go above the value of one here. I'm gonna set this to Let's try five. That makes it a little bit more prominent. Now, this is a pretty subtle rock effect here. I've got rock on top of mud. You can't see it too strongly there. But you can see it a little bit. Maybe I want to go a band thickness of a little bit more under 1500. No, it's kind of creeping up on my snow, Not necessarily so much. Let me go back to 700 and maybe my edge offsetting increase that to say 500 could just spread that out a little bit more. Yeah, that's all right. maybe I will come back into just that. I've got some little splotchy nous of mud in between my rock and my snow there. Okay, let's create another layer here. So scrolling on up under paint layer target settings. Let's click the plus button scroll on down. Element number two. This is gonna be called grass, and you could see I could keep going on with this. I'm only gonna add three here, but I'm gonna expand out my values here and let's say for grass and gonna have a fall off with of, say, one thing 1000 an edge offset of 2500 And let's go Final passage e I'm gonna again go above my 100% value. Gonna set that to a five. Just gonna make it a little bit stronger, Band thickness. I'm gonna set to 12 1st using mask using banned list that that the true that my band thickness, I'm going to set this to 1000. So there you go. That's not too bad. Now, obviously, you could see I could go on and on and on, and I probably raised up my brush a little bit higher than I was anticipating. here because I was having my wanting to have my grass kind of along the base of where this meets the flat ground there. I can set that down a little bit. Something more like that is what I had in mind. Now, even with a blueprint brush out here applying some painting, we can still do some regular painting as well. So in order to do this, I'm just going to switch from my blueprint brush here in my paint tab to a regular brush. I'll just go with the circle brush here. And, you know, I could select some grass in simply left, click, and apply this as well. Now, you can actually go over the top of your blueprint brush like you're seeing here. But of course, it's not going to overlap all layers. Okay, now, this is something that takes a lot of tweaking and tuning to really get right. You're not gonna get this perfect your first go around. But it is a nice little addition to the blueprint Painting tools, having a blueprint, but brush that you can apply some layer settings to, as well as using your normal paintbrush as well. Well, guys, that is gonna wrap it up for this video. We will see you in the next one 44. Grass Overview: All right. Welcome, everyone. In this series of videos, our goal is to set up a landscape material in such a way that whenever we paint a given landscape layer meshes such as grass like you see in front of you will automatically appear Now. Our goal in this particular video is just to give you a sneak peek of this set up in action . And I'm going to direct you to the marketplace to add an asset pack or two to your project . This is our blueprint brush level, and all I've done is at a couple of notes into my landscape material so that my grass layer automatically has these grass meshes in, um and you can see that looks pretty sweet. And now if I fly on up, you're going to see how this looks from a distance. Now, you may have just noticed that my grass disappeared and I did this for a reason. So that from a 10,000 foot view you can see that all have ism painted grass here. However, when I get closer, all those grass meshes appear. You can actually determine at what distance from the camera those grass grass meshes that's hard to say. Grass meshes appear that's called culling distance, but its real handy way to make it so that these kinds of measures appear automatically. And you can set him not just for your grass but for a rock layer for a mud layer or any of your other layers. So let me just hit, minimize here and just show you that this all it takes in a landscape material is just a couple notes here, that's all. We're gonna add the upcoming videos. What will actually add a few more difference grass types, as it were. But really, you only need to to get that effect that we just saw. Now I am going to be using some of the acid packs that I've already included in this course , but I do want to direct you to the epic Games launcher marketplace and show you some good ones to consider. Firstly, is the open World Demo Collection, and you'll notice that I am on the unreal engine tab in the marketplace. So I am a largely going to be using assets from this pack, and when it is added to your project, it's actually known as the Kites Demo pack. I imported this one earlier in the project. That's a good one. Another one to consider would be mega Oops! Lemme exists. Exit that out. Let's look for the meadow pack. There is this mega scans metal pack. It's got a lot of nice foliage grass like foliage in there and again, just click that add to project. Another one to consider would be Let's do Garden lawn mega scans Garden Lawn. That's not a bad one, either. Now there's all kinds of crazy, good free content packs that you can adhere in the marketplace, especially in the way of mega scans. If you do a search for mega scans, you'll find all kinds of good stuff. So go ahead and import a couple of those again. If you want to follow along exactly like I'm doing, I would recommend that Open World Demo Collection, which will be known as Kite Demo, down here in my content browser when it is brought into the project. So, guys, that is what is to come over the next few videos here just wanted to give you a sneak peek CIA in the next video 45. Grass Creation #1: welcome everyone in this video. Our goal is to create a grass type asset and link it to a landscape layer of our choosing inside of our land escape material. So let's get right to it. I'm currently in my landscape blueprint brush level. You could do this in any level that you want, but this is mine for the choosing. Here we are in our content browser in under the landscapes folder. I'm going to right click on our landscapes folder and add a new folder. And I'm gonna name this foliage and then I'm going to right click on our foliage folder here and I'm gonna add another new folder and this one I'm gonna call grass types. Okay, so here you could see my pathway content landscapes, foliage, grass types and right over here in the content, brother, I'm going to right click And in my right click menu I'm gonna come under foliage and right here is landscape grass type. Let's go ahead and click about. Click on this and I will call this L g for landscape grass. Underscore grass underscore 01 hit. Enter and then let's double click on this asset to open it up. All right. Gonna just docket across the top of here quickly. Okay. Now, the way this works is inside of this grass type asset. We can add some grass variety. So I'm gonna click on our ad element plus button here, and you can see we've got element zero. Let's expand that out. And there are three different types of grass meshes that. I'm going to be adding to this the 1st 1 right over here. I will make my field grass. This is in the kite demo, that open world content pack that I added earlier Again, You can feel free to slot in whatever you want here. But if you want to play along and do exactly as I've got, this is in the open world content pack, which is known as the Kite Demo folder. Once you bring it into the content browser, little confusing. I know. Okay, so I'm gonna slot that in grass density. This is obviously going to determine how dense that grass is going to be. I'm going to set this to 300 use grid. I am going to not use grid right now. We're going to explore the use of this grid later on, when we create fields start and end called distance. I'm gonna leave that a 10,000 right now. We'll talk more about call distances later on. This is essentially the distance at which these will not appear anymore. A distance from 10 of 10,000 unreal units away from the camera. These will start to go away. Okay, Next. I'm going to set my scaling here to be not uniform. I want to set it to be free because I want to have a little variety here. This is gonna be the scale of your mesh in the x y and Z planes and my scales e I want to set to a minimum of 0.25 and a maximum of three. Just so I have some height variation there. Random rotation? Yes. I do want this checked onto that. These measures are randomly rotated, aligned to surface. This if it is checked on, it is going to basically grow perpendicular perpendicular early out of the surface, it is applied to the US. If it was applied to a steep slope, it would be shooting straight out of the side. So I'm going to uncheck this. These other two check boxes here receives decals. We don't need that one. We're not gonna be projecting decals onto our grass types. Cast dynamic shadows. Now you've got to be thinking here a dynamic shadow is a shadow that updates. You know, like as the sun moves across the sky, for example, you see a tree's shadow kind of moving as the sun moves a dynamic light source creating a dynamic shadow not were not going to be worrying about that for something as small is field grass. In fact, if you can have no shadows for your field grass at all that is going to help improve performance. So we're gonna say cast dynamic shadows. No, thank you. Okay, so with that, I'm going to save this asset, and we're going to have this linked to our grass layer in the side of our material. So next thing you should do with that grass type saved is find your landscape material. And currently I've got my M material created here slotted to my landscape. Those of you that took the shortcut for your landscape material. It will be the M landscape for us that created the last game material from scratch. Make sure that you've got your M material created open. Here is the pathway and how to get there. Okay. And the way we're gonna link this up is we're gonna come right above our master material note here. Now, this is a little bit interesting and unique and that grass types, they don't get plugged into the master of material note here. Instead, we could just right click in some empty space and type in landscape grass in here. You're looking for one called Landscape Grass output. Click on that guy and I'm gonna bring in a know that just has grasped the top and it's gotten input called grass, and immediately you're going to get this little pop up warning saying, Hey, a your input is missing. We need something to go into this grass import. You could just exit out of that for the time being. I can just get a zoom on up on this one a little bit, okay? And with this grass node selected, we need to slot in a grass type. We only have one so far, so if I click on this drop down, you can see our grass type now. Right here is the name of our input Grass grass. The important part of this node is what grass type you map to. It doesn't really matter what name you give it here. Although since we are wanting this to be grass, it makes sense to call the grass. But honestly, you could call this potatoes for all that I care. It doesn't really matter now what we need to plug into this. I'm just going to scroll over to the left here a little bit is a right click A landscape sample known landscape layer. Sample note right there. Okay. And this is going to ask you to provide a name now. Right over here in the details panel with this note selected are parameter name. We should name grass. Now. This name does manner. This is essentially the layer name that you want to assign this material to. We want this LG grass to appear on our grass layer. And if I jump back into landscape mode, the paint tab we're saying that layer right there grass is what we want to assign. Those mesh is too. So let me jump back into my material with Make sure that we plug this in and then we can go ahead and save. And we should now see some grass appear wherever we have painted grass in our landscape. Now, this is just gonna take a little bit of time to re compile here. But I will join you momentarily when this is done. Okay? Our material has finished re compiling, and at a glance here, you don't really see anything. But as I inch up to my painted on grass layer, you're starting to see that there are indeed some grass meshes that populate the grass layer. Okay? And you can see they're all shooting straight up right now on The reason they're shooting straight up is because in my landscape grass type, you may have remembered I said I did not want to align to surface if I wanted them to shoot straight out from that angle. Let me just minimize my brush size here, so that's not distracting. Then I would click, align to surface, so aligned the surface is clicked. I say that and I jump back into my level. And now you're noticing that the grass is kind of growing more straight out from the angle of my landscape. Okay, Now I want to add some or variety to this because right now it's just kind of some clumps of grass, and that's all well and good. But we could do better. And the way we can do better is to jump back into our landscape grass type here and to add some or grass varieties. So let's click this plus button one more time. We're gonna add another Grabsch grass mesh. I have a hard time seeing that, by the way, and this one we're going to slot in, I'm gonna type in the word Heather. And we've got this Heather mesh clumps again. This is from the Kite demo package, the Open World Demo Collection. And I do have some parameters in mind here. I'm going to set the grass density for this to be 15 the cull distances, I will simply leave alone. I am going to turn off the grid again. We will explore this in a later video. The use of the grid there I am going to change my scaling here from uniform to free, and I want to change my Z scale to be a minimum of 0.5 so they could be half assault. They currently are right now, and I will change the max to be to doubly is tall here I will say yes. Let's keep the random rotation. I will align the surface and I'm going to uncheck these two. This enabled density scaling will explore that in another video later on down the road as well. Case if I save this jump back into my level now you can see I've got some of those purple heather clumps in there as well, and you can see how we can keep taking this a step further in a step further. Let's go ahead and add another grass variety. So I'm jumping back into my LG Grasso one. Let's scroll to the top at another grass ride year by clicking on this plus button scrolling on down. This is gonna be element to and for this one I want to slot in. Let's put in some buttercups. Bu tt er sm buttercup patch that this is also in the kite Demo, the Open World Demo collection, and I'm gonna set the grass density for this to be 20. Feel free to fill around with ease after this video, By the way, use grid. I'm going to check that off a swell. I'll leave the cold distances alone. I'm gonna set. We'll leave this scaling to be uniform. And I'm just gonna set thes scale X to be 0.5. And when I hit enter there, we register that and I'm gonna set this to be 0.5 in the X y end the Z and random rotation . Yes. Aligned to surface. Yes. And we will uncheck these two. Let's say this one more time. Come back to our landscape And now you can see some of those buttercup type flowers populating the landscape as well. So just to give you a demonstration to as to how you can ultra pure density here cause this is maybe a little sparse Go back to your LG grass and maybe I say, I want my field grass to have a grass density of Let's double it. Let's go. 600. Say that out. Jump back in and you can see there is a thicker concentration of grass. Feel free to play around with those values. I'm going to set it back to 300 for now, save. And that is all well in. Good. Now, this is a decent enough way to add some different meshes to your landscapes. Um, some foliage, if you will. But it is one of three ways that we're going to explore in this course as to how you can add foliage into your landscape. Now, there are a couple drawbacks to this particular approach in our landscape grass type of here. There are no rules that we can set pertaining to. Hey, can this particular grass mesh grow on a given slope type? We can align to the surface normal, but we don't have any rules that say, Hey, Onley applied to an angle up to 45 degrees in not any higher than that. We also can't set any rules here in terms of the height at which these are valid grasses to apply. For example, maybe grass doesn't grow once we reach an elevation of 3000 unruly units. You see that a lot in nature where there is, say, a tree line where trees only grow up to a certain elevation, but not above that using this approach, you don't have rules like that. You can set in your grass type. So it's good to know some of the positives and negatives to using grass types and hooking them up right here in your landscape material. But it is a cool approach nonetheless. Alright, guys, that is going to do it all for this video. We will see you in the next one. 46. Grass Creation #2: Welcome back, everyone In this video, our goal is to further explore how we can go about adding grass. I'm using air quotes here in order to make foliage meshes appear on another landscape layer . It doesn't just have to be applied to grass. You can apply this system to your rock. Layer your snow, layer your path, layer your mud layer. It doesn't matter. Okay, So what we're gonna do is come under our content landscape, foliage, grass types, folder. I'm gonna right click in some empty space here. We're going to come under foliage landscape, grass type. Select that and we're going to name this new grass type LG Underscore path underscore 01 and I'm going to double click on it to open it up, and I will dock it across the top here. Now I'm gonna be adding to grass varieties here, so I'm gonna click on this plus button once and twice and let's go ahead and expand out these two array elements here. And for this very 1st 1 I'm going to be slotting in some dead leaves, the S m dead leaves and you can see the pathway There it is in our kite Demo. Siris of folders. Okay. And for some of our other settings here, I've got the grass density. I want to set this to be 15. I am not going to use the grid here. We will leave the cull distances alone. For now, let's see Scaling. Let's do locking of the X and y so as the tool tips tells you the exit, why will be the same random scale? But the Z will be another. So I'm going to set our X scale to be between 0.5 as amen. And a maximum of three. Same with the why I 30.5 and three and the Z scale I'm gonna set between a men of one and a max of two. I will leave these two checked random rotation and will align it to our surface. However, I'm going to uncheck the decals in the dynamic shadows. These air gonna be lying on the ground. We don't need dynamic shadows. No, we don't. All right, Next one, our element one, we're going to set our mess here to be this one is field Skay Biest. And this is also in the kite demo. It's gonna just take a moment to load in there. All right, let's go. Our grass density is going to be 10. Pretty low density, no use of the grid. We'll leave the coal distances scaling. We will leave. This is uniform. However, I am going to change the Z's scale to be a minimum of 0.5. I'll leave the random rotation and alliances surface, but here, too, I'm going to say cannot receive decals and no dynamic shadows for you. Let's go ahead and save this right away and let's jump out of here back to our main level editor here. And if I've got my landscape selected, I can access my landscape material by simply clicking on here to browse to that asset in our content browser. Good trick to know. Then, of course, we can double click on this to open it up again. Those of you that took the landscape material shortcut you're working with that material I'm gonna double click on are created material here, and we added this note to our landscape material in the last video. Now we can add Mawr grass types right here. By clicking on this plus buns, we're gonna click on this and of course, is going to say now we've gotten input missing. Just exit out of there, expand out this new array elements, and here we got to give this a name. Now, again, the name here does not really matter. Although I recommend that you name this exactly the same as your landscape layers so that you don't get confused. I will call this path and the grass type of want a slot in here is going to be applied to our path layer eventually. So I'm gonna slot in our LG path that we just created. And now, just like I did up here, I have to create right click, do a search for landscape. It is going to be this landscape layer sample. You select this and now the name that you apply in here does matter. So this one, I am going to give it the parameter name of path. And this is what is going to link our path paint layer to the grass type that we assign in here. Okay, so now I'm gonna go ahead and save this, and it's going to take a little while to re compile here, so I'll save and join you in just a moment. Okay? Our landscape material has finished re compiling. Now I Here I am, back in the landscape mode got my pain tab selected, and I don't actually have any of my path layer painted anywhere in this landscape. So I'm gonna make sure I've got path selected here. I'm going to increase my brush size and I want to zoom on down here so I can see what I'm doing and see some of these meshes appear. And now, if I left, click and start applying Cem path, of course Shader Zehr going to re compile because this is a new layer for my landscape blueprint brush level there. We've got some path applied in here. It looks kind of similar to my mud. Really. And you'll notice that as we apply this, if I zoom on down, you can see some flowers in there. Let me just minimize my brush size here as well. What? See? A little bit too far as well as some clumps of leaves right now. Obviously it takes a lot of fine tuning to make this look how you wanted Teoh. If I jumped back into my grass type here, my LG path. And let's just say I wanted to really overdo it with the field, scabies, those purple flowers out there. I could crank this up to say 500. Let me jump back into here and you could see you got purple flowers galore. Now maybe that's what you want on your painted path layer. Maybe not, but it's a really simple means of adding some meshes no matter where you paint in your landscapes. And now you've seen this work not just with grass, but with the path layer, and you can do this for all of these different layers. Maybe you wanna have some scattered rocks wherever you paint your your rock layer. Maybe whenever you're painting your snow layer around you want little chunks of ice Wherever you paint snow in your landscape. You can all do this using the exact same method that we just followed in this video. I'm going to set my fields, gave us here back to 10 and click Save and guys. There you have it, our landscape grass creations, a really easy way to make it so that wherever you paint a layer, you have some meshes that are automatically applied on top guys. That'll do it all for this video. We will see you in the next one. 47. Fields: Welcome back, everyone. In this video, our goal is to demo how we can create field in our landscape through the use of our landscape grass notes inside of our landscape material. Now I am going to be demonstrating this inside of my landscape blueprint brush level. You can be within any level that you really want. Doesn't really matter. But the important part here is that we come under our landscape foliage grass type directory. And just as we did before, we're going to right click create a new foliage landscape grass type and this one we're gonna call LG Underscore field underscore 01 Let's double click on this guy to open it up Docket across the top And we're just gonna add one grass variety year. Expand this out. Now, I don't have a corn stock type of measure. Anything super field like so we're just gonna use r S M underscore Bush that is found in the starter content. Feel free to use whatever you want. Here, slot that guy in our grass density. I'm gonna set this down to 50 and now this is the important part to make fields this use of the grid we do want this checked on. However, this placement jitter we wanna left click here and crank this all the way down to zero. This is on a 0 to 1 scale. If you want to have a fine looking organized, symmetrical rows, set this down to zero and we can actually play around with his value in just a little bit so you can see what that's gonna dio. Okay, that's really all we need to do here. Although I'm going to check off receives decal in cast dynamic shadows is well, I'll leave the rest of these settings as normal. Let's just save this. And now we can jump into our landscape material again. You can find these under your landscape materials folder. I currently have em material created, slotted in my landscape actor. Some of you may have m underscore landscape if you took the material shortcut. Okay, I'm gonna double click out in my landscape material Here. Here is where we have been adding our grass types just going to zoom on up here. Let's go ahead. And with that node selected, we're going to add another grass type to our array clicking that plus button we click down here. You see immediately. It says, Hey, there's an input missing. Yes, we know that. Let's exit out of there. And this time we will name our input here. We'll just call it field. I feel this fine. This name again does not really matter. And I will slot in our grass type of fields. Okay, Now the important part comes with how we name this next note. I'm going to, right click here again. Do a search for landscape. And this is where we want to slot in a landscape layer sample. Okay, Now I want our field to populate our mud layer. So right here with this node selected in the details panel, I am going to put in mud Enter and I will plug this into our fields again. Here. This note is where we define which layer we want to apply. Our grass type two. I want field to be on layer mud. Okay, I'm gonna say this out, and it's gonna take a little while to re compile. So I will join you when this is finished, okay? And we are back now. Prior to shooting this video, I went ahead and went into my landscape mode paint mode, and I selected some mud here and painted that on to my landscape. So now if I zoom up in on my mud layer, you're seeing the grass appear all around the edge. You can see that I have bushes all in a fine, fine row. Now let's just play around with some of these parameters here to see how this impacts things. So if I go back into my LG field, let's just say I changed my grass density here to 10 hitting. Enter. Jump back into my level and you can see how you've got more spaced apart crops, so to speak. We'll call these bushes crops. I'm gonna set this back to Let's go to something in the middle here, like 25. Now this placement jitter again. If you want those nice, neat rows, you set that to zero. If I was to changes to something like 0.5 and a look back in my level, you can see how it's not in nice, neat rows anymore. So if making fields is your goal and you want them to be perfectly symmetrical, you want this grid on and the placement Jitter to b'more toward zero. If you want the rose to be less perfect, you can scale this mawr towards the one side of the spectrum. This is with the value of 0.8 and you could see that doesn't really look like Rose at all. So very have it, guys. That is how you can create some fields. Just slot in a grass mesh use grid placement. Jeter down zero. Assign it to your grass note here in your landscape material and Wallach guys, that is going to do it all for this video. We will see you in the next one. 48. Region Selection Tool: Welcome back, everyone. In this Siris of videos, we're going to be talking about our region tools. These region tools are going to be found under your landscape mode, sculpt tab and under your list of sculpting tools, we've got these guys with at the very bottom selection copy and paste and mirror, and this one specifically, we're going to be talking about the selection tool. So our goal in this specific videos to demonstrate what the selection tool can do Now this tool can be used to define areas that other tools can or cannot affect our sculpting and paint tools we're talking about. For example, we can select an area of our landscape that we want to make immune to any sculpting or painting you can think of. This is a safety guard of sorts and this tools also going to prove useful in our next video , where we talk about copying and pasting a defined area of our landscape. But we will deal with that then, okay, I am in my map sculpting map. It doesn't matter what map you have open, although I do recommend for playing along that you do have some terrain sculpted years something like a little mountain range is gonna help you see what this thing can dio and again we are in the landscape sculpt mode and we've got our selection tools selected And just like a lot of our other tools, we have a brush size here that we can make bigger, smaller brush fall off your does not really matter. And what I'm gonna do is I'm going to left click to add a selection. This white area is my current selection, and I can release left, click and then select again to add to that selection. I can hold down the shift key while left clicking to erase from my current selection. Okay? And I can also clear my region selection by clicking on this button right here. So that's going to get rid of my selection and I start back from scratch. So let me just make a selection here and show you what this thing can dio Okay, so this is my current selection. And now if I change my sculpting brush here to be, let's go drastic. The erase tool. Let me just crank up my brush size. Now if I was to left click and he raced my terrain. It is going to erase everything except for my selection. Let me just go on down to a ground level here and you can see how it's basically saying Nope, sorry. You raised tool. You cannot impact me now that works for all the sculpting tools as well as your paint tool . Let's just say I've got my paint tool selected here and I'm going to choose. Let's go with a snow layer and I'm gonna try to paint that on. Of course, it's going to take a little while to compile those shade er's because I currently do not have any snow painted on my landscape and you do it. See it appear here, and once I try to apply it on top of my selection, it won't take now. It's a little bit tough to see because my selection is a white colored and so is my snow. But if I scroll on up, you can see even in my paint tools, I've still got this clear region selection. That selection stays active until I clear it, and as you can see no snow now, let's do the opposite effect. Now let's use this selection tool to help us define areas that we do want to be able to sculpt and paint. And in order to do this, we've got to come under our tool settings here in uncheck this negative mask option. So when we do that, our entire landscape here turns white, and now when you left click, you are essentially poking a hole in this mask. And what this does is it allows you to select a different tool from our region. Selection to let's go to sculpt tool and, with my tool strength, crank up here. It makes it so I can sculpt in this area, but not outside of it. You can see how there's just a wall there. Let me just do control Z to undo that quickly. And likewise, if I move over to my paint tools over here paint tools, I will select, say, my snow and I left click. I can paint some snow in this hole, but not outside of it. You can see that when I clear the region selection and I recheck negative mask. Now you can see how I am restricted or was restricted. I should say to just painting snow in that area, but not outside of it. The guys that's gonna do it all for our sculpting region selection tool Hope you learned a lot. We will see you in the next video. 49. Region Copy / Paste Tool: Welcome back, everyone. In this video, our goal is to leverage our newfound knowledge of the region select tool in order to copy and paste areas of our landscape that we'd like to easily duplicate now beforehand. Before recording this video, I went ahead and made sure sculpted my mountain here just a little bit higher. And I painted some snow in some mud on it as well, because I want to demonstrate how, when you use this copy and paste tool, you can copy over not only the height data but also the paint data as well. Okay, let's firstly come under our A landscape sculpt mode. And in our list of tools, I'm going to start off with the selection tool. And just like we did in the last video, we're going to make a selection. I'm just going to left click here and turned some of my mountain here, this white ish color that's going to be my current selection. And with that selection in place, I'm now going to come back to my list of sculpting tools on Lee. This time I don't want region selection tool. I want the copy and paste tool. Now you'll notice that when I select this, you'll have a little yellow box out in your landscape and also you have in the world out liner your landscape dismal actor is highlighted. You may have remembered that when we created a landscape once we created that landscape. Suddenly we had this landscape gizmo actor in our world outline er, and we mentioned that we would talk about this later. This gizmo actors purpose is for the copying and pacing of areas of our landscape. And the way you access this to truly copy and paste is under the sculpt region. Copy and paste tool. Okay, so we've got our selection here in place. Now we've got a list of buttons over on the left hand side for our tool settings. I just want to make sure I check this gizmo copy and paste all layers. I was doing some testing before this video, and that's why it was unchecked. So make sure all your settings here are at their defaults, and we're going to fit gizmo to selected regions. We just selected this region right here white. So let's 50 gizmo to the selected region, and our yellow boxer is going to expand out, never going to copy this data to our gizmo. And as soon as I click on this button, you're going to see kind of a pulsing mesh if you will take place in that yellow box. And now all I gotta do is dragged my gizmo over to the left or another part of my landscape . I've currently got some snaps settings on. And if I do control Plus V, I will pace that selection in my landscape and you'll notice that it not only pasted the height data of my selection, but also the paint data as well. Now, I'm just going to do control Z here and un select that because I want to talk about a few other things that can occur. So let me just ah, clear my region selection here and clear the gizmo data. I'm back to normal here. Let's make another selection, shall we? I'm gonna go back to my list of region tools, make a selection here. I'm gonna go up and down the mountain range. All well and good. Let's go back to our region Selection copy and paste tool. We will fit gizmo to selected region. We will copy the data to the gizmo Onley. This time I'm going to say that I don't want to do gizmo copy of all layers. I'm gonna uncheck this and then I'm also going to uncheck this Use smooth gizmo brush so both of those unchecked tool strength for this tool doesn't really matter. You could just leave that a default. Move this over. And when I do control V to paste, you'll notice a couple things. One that it did not copy over my painting. Because I've got this Give gizmo copy and paste all layers unchecked. And also and this is probably hard to see with his use. Smooth gizmo brush turned off. You'll have sharp edges for anywhere. I did not select my landscape right here. Let me just fly around and see if I can detect any areas where there is a sharp drop off right there. Sharp drop drop off in my mountain range because I did not have this use smooth gizmo brush turned on. Okay, so that's all well and good to know. I'm just gonna do control Z to undo that quickly. Something else I want to do while I have this all copied to my gizmo. If I was to drag this over, say, half of my landscape actor right here and do control V. What you'll notice is when I move the gizmo off to the side, it doesn't add landscape components to ensure that my entire selection there is copied over . It just cuts it off wherever my landscape actor cut off. So that's good to know. Do another control Z here to undo this. Another thing to note about this is that you've got this pace mode over in your tool settings. Right now, it is set to both meaning it may raise and lower your landscape from whatever you copied. I'm just going to sink this down into my landscape a little bit. So now some of my copied selection here is below my current landscape, and some of it is above. So with my pace mode set to both, if I do control plus V to paste this selected mountain range and I moved my gizmo off to the side, you'll see some of it. Some of my terrain is raised and some of it is lowered. Now again, I'm seeing this sharp drop off here because I did not use a smooth gizmo Brush blend here, but some of it is raised in. Some of it is lowered. Let me do control Z there to undo. Now I'm gonna move my gizmo back in place only this time going to change my pace mode to raise meaning that now if I do control plus V to pace and move my gizmo out of the way it made it so that Onley my terrain here can raise it cannot lower for my copy and pace. Likewise. I'm just gonna do control plus Z one more time. Move this back into place. If I set this to lower and do control plus V to paste, move my gizmo out of the way, You can see how it does not paste on over anything that would raise up my terrain. Now, in order to use this copy and paste tool, we do not need to make a region selection like we just did here. So let's explore how we can do this without making a selection. I'm just going to do control plus Z to undo my pace. I am going to clear my region selection in your noise that once I do this, I've cleared out my selection of my mountain range Over here. I'm also going to clear out my gizmo data, which is going to empty out all the copied data there in my gizmo. And so now the other way that I can go about making a selection here is to simply move my gizmo into place of whatever I want a copy and note here I could use my skill to I'm just hitting the space bar now so I could expanded out this way or in any of the three cardinal directions. Also, you may have noticed that in the world outline er if I select my landscape gizmo actor, I can actually modify the width and height from here as well. Although I like to just do the space bar and manually move it like this. OK, once we have that, all we need to do is copy data to the gizmo. There is copied over, always takes a moment and I'm just gonna move my brush on over. And now here's another handy trick to it doesn't have to be this exact same size as my current mountain range. I've copied that data. But check this out. I'm gonna hit my space bar, and I am going to grab kind of in between my ex and why values here. And I'm just going to shrink this on down a little bit. I'm gonna turn off my snap settings here for this scale. So there we can shrink it. Little bit like that may be shrinking a little bit like this. I can even rotate it like so. And then I could do control V to Paste. And now, if I just move my gizmo out of the way And of course, I've got pace mode set to lower. Let me just do a quick control Z to undo that. I want to set this to both. And now, if I do control v to pace, move my gizmo out of the way, you can see that I essentially copy that mountain on over. Although I did chop off the top there a little bit. That's my bad, but I just kind of re scaled it and turned it around to create a similar looking mountain range in another area of my map. Pretty sweet guys. That is the copy and paste tool under the landscape sculpting tools, guys, that is going to do it all. For this video, we will see win the next one. 50. Mirror Tool: Welcome back, everyone. In this video, our goal is to show how to use the mirror tool so that you can quickly and easily make symmetrical landscapes, if that is your intent. So here we are. I'm in my map sculpting level under the landscape sculpting tabs and in our list of tools over on the left hand side, we can find our mirror tool at the very bottom under our region tools. There it is. Let's go ahead and select that guy. Now, what I've currently got going on in this landscape is a simple mountain range, and all I want to do is mirror this mountain range so that I have a mirror image of this over here. Now you can see that once I've access to the mirror tool, this green mesh wall has occupied my landscape. And this is letting you know where my mirror point is and in which direction I am going to mirror. Currently, my operation here for mere ing is set to negative X two positive X. So this is my negative X up here and my positive X over here, and it's showing that at this green point right now, if I was to click the supply button I would mirror from up here to down here. So essentially a flattened landscape to right over here not can actually drag this arrow around like so to redefine where I want to mere from like in this case, I would be mirroring all of this over to this side. Now, this is currently the wrong orientation for what I'm going for. And you can see that as I move this around I am changing my mirror point values up here. So I need to change my operation here. I want toe mirror along the y axis and I am looking for in this case, positive. Why? To negative wide Just based on how I am currently viewing my level. So I've got positive why Over here currently negative while we're here and you could see the green arrow indicating a Y axis and yeah, I want to split this right down the middle. So if I click apply, there we go. I have simply mirrored my landscape. Now I'm just gonna do control Z here quickly to undo that. I just want to demonstrate how if I was to move this, let's say I'm going to split this about right down partially down the middle of my landscape mountain range here and now I apply. You could see how now I've mirrored it from that point. Now, the reason this is showing up all black over here is because it's trying to copy some stuff over here that doesn't really exist, so to speak. So that's why it's showing like that. Now, I'm just gonna do control Z to undo this quickly, and I'm gonna set my mirror point back to its A defaults. And by setting it to default, I actually set it to 00 which is not what I wanted to do. I believe it was 5 12 by 5 12 All right, and I'm gonna click, apply to mirror here, and then I'm going to change my operation here from Let's go positive X two negative X swinging over here. So I'm gonna kind of have a four quadrants that are sort of mirror images of each other. So I click apply, and you're going to see how this now mirrors over on this side. So one thing to note here also, we've got this smoothing with If you've got any sort of rough transitions here Between your mirroring, you can try playing with your ah, smoothing with value to smoothing out these sections. So let me just undo this quickly, Control z, I'm gonna crank up my smoothing with year to say 20. Now I'm gonna apply and you can see how, in this case, it's trying to create a little bit more of a smooth, gradual transition between these mountain ranges. Contrast that with Control Z to undo my smoothing with where I had it all the way down to zero and then apply where it's just got this sharp dip. So that's something to keep in mind as well, because that mirror and can cause some harsh transitions. Well, there you have it, guys. The mirror tool An easy way to mere one side of your landscape to the other. That'll do it all for this one. We'll see you in the next one 51. Material Instance Creation: welcome everyone in this video, we're going to show how to create and apply a material instance to our landscape. Now, up until this point, in our course, we have created a landscape material some well. Some of you took the shortcut, and you've simply applied it to your landscape actor, and that's been all well and good. It's allowed us to paint different texture layers onto our landscape. But as you may have recalled, when we make any change inside of our material and then we click, save or apply, it causes shade er's to re compile. That is, it's going to re calculate how this particular material looks in your landscape, and that takes forever, and it's annoying and it's no good. Isn't there a better way to do this? Yes, there is. And that's through material instances. So I'm gonna jump back to my content browser, and we're gonna create one of these now. It doesn't matter if you are using your M material created for those of us that created this landscape material from scratch or if you took the material shortcut and have em underscore landscape to create a material instance, it's super easy. We're going to right click on our existing landscape material and in the right click menu at the very top. We've got the option to create a material instance. Let's go ahead and do that. And it's fine to have it exist here in our content landscapes, material directory. And I'm just going to call this m underscore material created and well, I am actually super happy with that name. Underscore inst at the end. So I'm gonna hit enter and then I'm gonna double click on this to open it up. Now, what we've got here, if I doctors across the top, is we can see that our parent material, the material it derives from is listed right here are m material created and now up above, you're gonna notice that we have access to a bunch of scaler parameter values that are currently great out. Where did all these come from? Well, when we created our material or if you took the material shortcut. If you look inside of your current landscape material, we added all of these scaler parameters Thies killer parameter nodes. When we created our material in this case, I have one that I named Mud tiling, and I'm multiplying it against my landscape layer. Coordinate note here in order to control the tiling for this particular texture sample. I'm currently multiplying a value of one by my mud tiling skill or parameter of point to. And I did this for each section in here, down below I've got my grass. I've got a landscape layer Coordinate note being multiplied by a scaler parameter node that is currently set 2.2 to control the size of my grass section. So now what this does is if I activate any of these different skill or parameter check boxes here, and I'm gonna check my path tiling right here. Now, this gives me easy access to control the size of my path layer in my landscape. Now, before I demo this, I'm just going to go back to my level editor here, and I'm gonna make sure that I slot this m material created instance in for my landscape actors. So here we go. Just drag and drop it on in there. There, it's applied. You know, you may have noticed that prior to this video I have painted a bunch of This is my path layer I painted a bunch of that into my level here. And what you can see right now is I've got a decent amount of tiling going on now just to go back into my regular material, let's find our path here. Here is my scale or parameter that I now have access to in my material instance currently, value of 0.2. Now I am breaking up the tiling effect by adding all of these nodes down here. Kind of adds a splotchy look on top of my path layer, but you can still see back in my level here you can see all these tiny sort of squares that make up my path texture layer here, not these giant yellow square with those tiny squares. So now if I jump into my material instance created and I'm just gonna break this off, I'm gonna break it off so we can kind of bring this into a side view here so I can see my layer here, My path layer I've got my path layer my path tiling checked on its currently value of point to But if I changes to be something like Let's go all the way up to, say one. Notice how those path layer tiles have suddenly gotten very tiny and they may help if I zoom on up now. Contrast this where if I change this to, say, 0.1 in hit enter, suddenly those tiles have gotten much bigger, so smaller values equal, bigger, bigger values equal smaller. And now here's the really cool thing. I was able to update this right here in the editor, like so, and you don't see any message down here for Shader is re compiling, So this is a much quicker way to build out a landscape material in such a way where we've exposed some parameters that we can easily adjust here in our landscape. Material instance. And we don't have the shade er's compiling again and again because that gets annoying really fast. So I'm gonna set this back to its default value, and we will save this quickly. But that is how you create a landscape material. Instance. It's a great way to expose some scaler parameter values or just f. Y. I. You can have vector parameter values exposed here as well, and then you can easily decide which of these you want to adjust. Adjust him accordingly and you don't have to re compile. Shader Zit will make the updates automatically back in your landscape. Alright, guys. Well, that is going to do it all for this video on creating a material instance, We'll see you in the next one. 52. Surface Types: Welcome back, guys. Now, I wanted to start off this video by showing you a little bit about what we're gonna be doing in this next section. Now, the focus of this course is to learn how to use the various landscape and foliage tools available in unreal engine. How to sculpt out of paint. How to add fully is that kind of thing. But I thought this course would be a little bit incomplete if we didn't talk about how you could add different footfall effects as you're traversing your landscape. And I thought we'd watch a video from a Legend of Zelda Breath of the wild here just to see and hear the difference As link is traversing a top different landscape layers Here we go. So obviously traversing across them grass Nelson path grass again going to approach the rock And one thing you'll notice there is that the sound is different when links foot is stomping upon grass versus that path layer versus on that rock. Now we're going to take it a step further than just kicking off different sound effects. We're gonna make it so that we can not only kickoff different sound effects depending on what landscape layer our characters traversing upon, but also leaving a footprint as well as a particle effect on each foot fall. All right, so that's what's gonna be in store over the next few videos here. I'm gonna exit out of this and we're gonna jump back into our engine because this all starts with creating surface types. So the goal of this video is to create a list of defined surface types that we'd like to create by defining surface types. We can eventually add some script to our game to check which surface type are player is interacting with and then play a sound or spawn a particle accordingly. So this is gonna be super useful to fire off all those effects that we want to. Now, where do we create these surface types that you're talking about, Mr Wandera? Well, these are done in your project setting so right across the top of your toolbar. Here in the editor, you've got your settings. There is the project settings, and along the left hand side, you're going to navigate to a part called physics under the engine category, the Rio Physics. And if I scroll down a little ways. You can see we've got a whole bunch of different surface types that we can label. And currently there is up to What are we at now is 62 all of them are just waiting for you to type in a label. So we're going to create some of these our first surface type label here. And let me just bring the son closer here. We'll call mud. 2nd 1 we will call Grass, and I think you can see where we're going. With all this next one down is gonna be gravel. Next one down is path. Next one is rock. Next one down is snow in. Lastly, we've got Kabul Stone. Now, while we're creating seven surface types here, we're only gonna make use of a few of these to demonstrate how they're used. And once I walk you through how it's done, the rest is gonna be up to you to try hooking up on your own. So this is gonna be spread across a few videos here, getting these different surface type effects to kick off. Okay, Next thing we need to do Oh, you don't have any save button or anything here. You can simply exit out of your project settings. But we actually need to restart the editor, because in our next video, we're gonna be creating these assets called physical materials. And in order to set those surface types inside of these physical material assets that we're gonna be creating in the next video, you must restart the editor, So save everything you're doing and go ahead and restart your editor and I will see wall in the next video. 53. Physical Material Creation: welcome everyone in this video. Our goal is to create a few new assets known as physical materials to our project. Now these assets can be assigned one of the surface types that we created in the last video . Now, upon finishing the creation of these physical material assets, we can then assign them to our various landscape layer in full objects so that each layer knows what it's designated label is. And then we can do some script accordingly to change what happens when we step on each different layer. All right, let's come under our content browser in Under Our Landscape Materials folder. Let's right click and create a brand new folder and I'm gonna call this one fizz material. That's a fine name and writing side of our folder here. Let's right Click. We're gonna come under the physics section and here in our fly out menu is the option to create a physical material. We're going to be creating three of these. So with our 1st 1 created, it's gonna ask us to pick a physical material class. We only have one. Go ahead and select that and click the green button. I'm gonna name this PM Underscore will go gravel, Enter there and then with this asset selected, you can right click on it and duplicate it. Control plus W is the hot key for that. If you want a hot kid as supposed as opposed to right clicking and duplicating it this next one I'm gonna call PM for physical material, mud and then doing a control plus W to duplicate that one. I'm going to do physical material snow, so we'll have three different physical materials here. Let's start off with gravel. I'm gonna double click on this guy to open it up. And this is what you see in your physical material details. You've got some different properties here related to friction and restitution and density. Typically, these physical materials are applied to physics objects, which is outside of the scope of this course. And you can set how much friction that, uh, that physics objects has how bouncy it is. That's restitution and even how how heavy it is. Even though I know density is not really heaviness per se, but it will make it seem heavier in this case, we're gonna be using these physical materials for a different purpose. and that is simply to hold what surface type we want to assign to it. So for a gravel here, let's change our surface type to be gravel. Go ahead and save and close this out. Next, let's open up our mud and I'm not even gonna doctors across the top. I'm gonna change these surface type for a physical material to be mud. And again, this list this surface type list that I find right here this is populated. Let me just say this quickly from the project settings surface types that we just created in the last video and then restarted the editor. And again, the reason we restarted the editor let me double click on my P M. Snow here was in order to make all these service type options appear. If you don't restart your editor, these options will not appear. So I'm gonna make my PM snow obviously be mapped to snow. Go ahead and say that and exit it out. So, guys, that's literally All we wanted to accomplish in this video is to create some physical material assets and then inside of each of these, assign what surface type is going to be linked to them. All right, Mawr fun to be had in the next video that's gonna do to offer this one, see, when the next one. 54. Assign (Physical Material) to Layer: Welcome back, everyone. In this video, our goal is simply to assign our physical materials that have now been assigned a surface type to our landscape layers. Here are the three different physical materials that we created in the last video. Now we just need to assign them to our landscape layer info, objects. What am I talking about? Well, if I jump over to landscape mode here and go into paint mode, you may recall that when we created all these painting layers, we had to create these things known as landscape layer in full objects. Now, if I click this little icon right here that little magna fast magnifying glass icon, you know, jump me toe where these assets are located in the content browser and I want a link these physical materials to three different layers. Firstly, I've got my snow. Let me just bring this on up a little bit. I'm gonna map something to my snow layer info that's assigned to my snow right there. I'm gonna double click on this. And when I open it up under this I can see a slotting for a physical material. So let me just find my snow and there's some in here that are located in some of the engine content. Let me just do a search for PM, underscore snow there is mine. And it is in my pathway right there. My physical materials folder. Okay, so that's all I need to do here. Save that out in close it. Next, we're going to assign it to our mud layer info objects. So double clicking on our mud layer Info object right there under physical material. I mean, just type in PM, underscore mud that is slotted in Save it out, exit out of there. And lastly are gravel layer the one assigned right there. Gravel, air, physical material. Which one do we want to assign to it? Gonna type in PM underscore gravel. And there it is. So now let's understand what we've got going on. We've created some surface types in our project settings. ALS were simply the label. Then we assigned those labels will service types to our physical materials that we created . And then we assigned those physical materials to our different landscape layer info, objects. Let's say this out. So the last three videos have all been a set up for us to now create some script where we can detect which surface which of these landscape layers are character is traveling upon and then firing off different sound and particle and ah, football effects based upon that. All right, guys, that is going to do it all for this. One more goodness to come. We'll see you in the next video. 55. Footfall FX Script #1: hello and welcome everyone in this video. Our goal is to write some script to make use of our set up here. Now, just to recap, we created some surface types inside of our project settings under engine physics and here are different labeled surface types. We then assigned a service type to each physical material that we created. We've got PM gravel, some mud, some snow. Let's open these up and you can see that we assign surface types within these mud, gravel and snow. And then what we did is we assigned a physical material to each landscape layer in full object. And here I've got my different landscape layer info, objects. And inside one of these, for example, we assigned a physical material. Okay, so now you may be noticing that Hey, this project doesn't look exactly like the one we were just working in. What is going on? Well, the reason for that is because I am in a previous version of the project that I made in preparation for this course, and I just wanted to show you what we are driving towards what we're looking to make. We're gonna make it so that when our character is stepping on these different surface types here that we're going to be playing a sound. We're gonna be spawning a particle effect, and we can also leave behind a footprint. So I'm just going to jump in and play again. This is my tutorial playground here that I do in advance of making this project. Here we go. Okay, let me just full screen this quickly. Okay? So I sped up my character a little bit as well. You can hear that sound. You can see those, like little particles of snow that he's leaving on the ground right there. That's on my snow. Currently, this is a mud layer. I'm gonna step on now. This is an interesting particle. I just wanted to show off something different where it doesn't have to be spawned at his foot placement. Perhaps this particle is set to spawn basically at the impact point, but the particle itself is pointing up a little bit higher. So it all depends on the type of particle that you want to spawn. And then we've got our gravel layer here, spawning some explosions with each footstep. And you can see I'm leaving a trail of footprints behind. So, guys, that is what we are driving towards in this video. So I'm going to jump out of here and jump into my riel project that we're making for this course. Okay, back here in our project, our landscapes project. The first step we're gonna need to take is to find our third person character. You confined this in the content? Third person BP blueprints folder That is this path right down here. Double click on your third person character to open him up. And what we want to do in here is access our mesh component. This is if I click on the View port Tab, our mannequin man right here. And what we want to do next is jump into our Annam class. Your third person and, um BP underscore. CIA can browse to this asset in the constant browser by clicking on this little magnifying glass icon. There it is. And then I want to double click on this. You can see the pathway for that right there. By the way, content mannequin animations. We're going to double click on this to open it up. And this is where the magic happens. for ensuring our character is playing a running or jumping animation. When we wanted to know that this is very involved, we can access our characters skeleton. From here, we can view some animations. We got this thing called animation blueprint where we scripts, um, logic, a lot of areas of this part of the editor that we're not going to dig into. We're just going to keep things focus here. And the first thing we want to do is access different animations that our character is planting his foot down, namely our run in our walk. And we want to flag those moments that our character has the right or left foot down. So right over here. Ah, we jumped to this blueprint tab right away. Once we clicked on this asset back in the content browser, you can go ahead and double click on your third person run animation right down here in your asset browser. Just double clicking on that. That's gonna jump us over to the animation tab and you can see it is playing our animation here in this viewer. I'm just gonna hit the pause button right at the button bottom down here and Then I'm gonna drag this little timeline slider to the left into the right. And what I want to do is find out where my character is planting his foot down. So right about here is where he's planting his right foot on the ground. I don't have to be precise with this. And what I want to do at this particular moment in time is add something called an annum. Notify now, when an animal notify is is we can use these Annam notifies to kick off some script to have things happen like spawn a particle effect, play a sound, etcetera. So right up here in our notifies area, I'm going to right click. We're going to add a notify. We're gonna add a new notify, and I'm gonna create one call right foot. Okay. And then I'm gonna scrub my timeline slider to about the point where our character is planting his left foot. Right about there again. I don't have to be perfect. I'm gonna right click up in the notifies area. Add notify new notify, and we will call this one left foot. Okay, so we've got some notify set for our run animation, but We also want things to happen when our character is walking as well. So let's double click on our third person walk animation down here and do the same thing. So I'm gonna scrub our timeline slider, right about to the point where our characters got that right foot planted down. I'm gonna right click. And this time, when I add a note if I'm gonna do a skeleton notified cause we just created some new notifies and last one, we'll call this one the right foot. Then I'm going to continue on here. Scrub our timeline Slider. There is about the point are left foot is down, so we will, right Click add notify Skeleton notifies This is going to be the left foot. Great. Now, with those done, what we can do is we can move on over to the blueprint tab up here, and you're going to see some nodes out here that are already existing and without getting too deep into the weeds. This is helping to determine which animations should be getting played. We're just gonna find some empty grass base here. So this is our third person an M B P event graph and if you got lost somewhere, you could just click on your event graph over here, and that will jump you to this graph is well, And what we can do is we can right click in some empty space and do a search for right foot . And here is an event and, um notified. Right foot. So this event is going to fire off whenever that animation notify in our run or walk fires off. Okay, What we want to do offer this is drag out aware and typing in the line trace by channel. We want to shoot out an invisible line from the location of our character down to the ground so we can see when we are impacting the ground what surface type we are on. All right, So the way we're gonna do this is we're gonna right. Click. We're going to get player character, which is us. We're gonna drag aware off of that. Do get actor location. We want to find out where actor is located and for our return value. Here, we're gonna plug this into the start of our line trace, and this is essentially going to be at the midpoint. The crotch area of our character. That's where we're going to start the line. Trace. Now we got to determine where we gonna end this line. Trace. Well, we simply want to shoot a wire straight down into ah, line trade straight down, if you will. So we're gonna drag aware out of this Do a search for a vector minus vector node, and we simply want to subtract 500 in the Z direction. That's the up and down direction. So that is going to be our endpoint. So we're going to starting a line trace from our characters Midsection year shooting a line 500 unroll units in the negative Z direction here, and that is going to impact the ground. Okay, Our trace channel here. We do want to be the Visibility Channel, but our draw debug type we want to be able to see these line traces. So let's set that to be four duration and the rest of this Ah, let's let's click this little drop down arrow right here as well. We can see a trace color and draw time. Five seconds. That's not gonna be well and good. You can play with some of your colors here and how long this debug draw line is present. Okay, so once we have shot out a line trace from our characters location down to the surface, we want to extract some information from our hits. So drag aware out of here, and we're going to Well, actually, we don't even have to search for, because once we drag and release right here is what we want. The breaking of the hit result that is going to provide us with all kinds of information. And I can click this drop down arrow to reveal a lot of different information. Things like, What is the actor we hit? What is the impact point? The location that we hit etcetera. Okay. But we also want to do something else out of the outhit. Here, drag out a wire and type in get surface type. So this is what is going to provide us with what surface type did we impact? Remember, In our project settings, we labeled different surface surface types such as snow, mud, gravel, etcetera. Now, one more thing I want to do out of our return value of our get surface type is to right click on this pin, and we're going to promote this to a variable. And as soon as we do this, it's going to prompt us to give it a name. And I'm gonna call this current Serve this and this is gonna come into use in a few videos time here. So this is why we're going to set whatever are impacted line trace determines is the surface into a variable so plugged that in like, so make sure you got all your wires hooked in thusly. 56. Footfall FX Script #2: So the next thing we want to do next is drag off of our setting of our current surface, and we're going to play sound at location, okay? And what sound we want to play. Well, that is gonna be depending on what surface type that we're on. So what we want to do is drag aware out of our get surface type here and do a search for a select node if Aiken spell select correctly, What this is going to allow us to do is take our return value in here and plug it into the sound input of our play Sound at location. Watch what happens to our select note when I release this. Now, what we've got going on here is depending on our surface type that we returned from our line trace We can play weaken, select a different sound to play. So this will spit out a surface type and say it's oh, I don't know mud. And in this case, if it is mud, we're going to slot in a sound called Start Simulate Que. Now this is just an engine editor sound. If you don't find this, you can make sure you've got your view. Options show engine content turned on because this sound if you see the path there is in the engine content, this is just a placeholder sound. It doesn't actually sound like our characters running on mud. But this is where you can import sounds of your choosing toe have a more realistic sound. Okay, so if it's mud, we're gonna play that. If it is gravel, we're going to play. Let's go with end simulates It doesn't matter if you put it in the sound waiver sound Q. This is also in the engine content and then for the snow. Let's put in, Let's put in compiles actually got that backwards for the gravel. Just to make sure I'm following along with my notes the gravel. I'm going to put in compile success. I'm just being absolutely particular. Now that is also in the engine sounds after the snow, we'll put in end simulate. Okay, so this is how that set of works Depending on the surface type, we're going to be playing different sounds Now. We got to feed this a location. Where we gonna play this sound? Well, weaken, grab our impact points and drag aware from our break hit results impact point all way over to our location. And then I can bring in a couple reroute notes to sort of snake this around. And that will be our sound when we walk upon those different surface types now hearing that same sound effect, play again and again and again it's gonna get really grating. So let's add a little variety here. If we click this little down arrow in our place, sound at location. We can't expose our volume multiplier and our pitch multiplier and what we can do to add a little variety here is dragged backwards off of one of these and do a search for a random, afloat in range node. And this will allow us to give some variation to the volume. I'll go a minimum of, let's say, 0.7 maximum of 1.3, and then I can control C and Control V this node and plug this into our pitch multiplier and for men will go a little bit more strict of arrange 0.9 to 1.1, and that will give us a little bit of volume and pitch variation, so it is not so grating. Okay, so that's all good for our sound effect. What about a particle effect? Wouldn't Happy Sweet? I think so. So what we can do is get a zoom on out here a little bit. I'm gonna drag off of our get service type one more time. We're going to search for another select node. We'll bring in a reroute or to hear reroute node. And what we want to do next is right. Click and do a spawn emitter at location. Make sure you've got this execution wire plugged into our spawned emitter at location. And now what mirror image or do we want to play? What particle effect? Well, that will be determined on whatever our surface type index here is for our select notes. So we plug this into our emitter template. Watch what happens to the select note. Boom. Now I can slot in the appropriate asset type. You can see in the little tool tip there. It knows that I should be slotting in a particle system. All right, so what do we want to slot in for each of these? Let's just do ah, gravel right here just to keep this shorter You can see now how this is all done. I'm just gonna put in the explosion for gravel P explosion. That's in the story content. And in the interest of time, I will let you fill out these other ones. The mud and the snow. I'm just gonna do the explosion for the gravel. And of course, I need to be this a location as well. Where do I want to spawn this? Well here, too. Why don't I use the impact point so I can simply extend off of this reroute note Plugged that into the location there, and that is all well and good. Okay, so this is all good for our right foot. What about our left foot? What could we do about that now? It might seem obvious to get a left foot playing a sound and playing a particle effect. I could simply plug in an annum, notify left foot right above this, and snake this into our line. Trace. However, I am going to have separate left foot and right foot decals Those footprints out in our gravel in another video here. So I'm not going to do that right at this point, so Instead, What I'm gonna have to do is I'm gonna copy and paste this whole bit of script here. All we've got here so far gonna hit control C to copy it and then down below, I'm gonna hit Control V. And the only change that I'm gonna make to this bottom section is instead of this custom event, because we can only have one of each event. It did not copy over that right foot. I'm gonna delete that out, right? Click into a search for left foot and let's bring in our event, Annam, Notify left foot. Okay, I'm gonna bring out a comment box for each of these. So if I zoom on out left, click and drag tap the sea key, I'm gonna call this my left foot script. It's a pretty big common box here. And then if I come up above left, click and drag tap that Seiki, This is going to be our right foot. Enter. Of course, you should compile to make sure your script is all good and save. And if I jump in and play here, you're going to notice something here. We g o there is my character. You see that line Trace the red line going down from my character. This is me on my gravel air mud layer where I've got the fields going on and ah, we're for it Got some snow going on And what you'll notice is that everything seems broken And the reason for that is because it is. However, this is not my fault. You saw this working in the last video. Currently, As of this recording, I'm just gonna bring on this bug report that is a known issue. As of today's date. Epic games knows about it. They've got 72 up votes on this particular issue that currently the landscape service type is always returning default. So when you are doing this video, this should be fixed. They have a hot fix plan for it. But if it is not, know that there is currently a bug that exists for this As of this recording, however, all is not lost. We can still test that this is still technically working. How can we do that? Well, back in my map here, I have gone ahead prior to this video, and I have placed a static mesh out in my level. All I did is in my modes panel. I grabbed a cube, place it down in my level, and I size it up. Then one I did is over in the details panel, I slotted my physical material of the physical material gravel onto it. And so what will result here is as I play now, you can see that I've got explosion particle effects going off, and you can hear that sound playing. So note that this whole surface system should be working for your landscape. Currently a bug. It will get fixed by the fine folks at Epic game soon. Anyways, guys, that is going to do it all for this one. Our football F X script. In the next one, we're going to add our Footfall Decals script where we're going to leave some footprints behind. We'll see you there 57. Footfall Decal Script #1: Welcome back, everyone. In this video, our goal is to add a footfall decal that is a footprint specific to whatever landscape layer our player is traversing upon. Now note I'm not gonna be doing this for all our differing surfaces here, but I will walk you through how you can set this up for one of our landscape layers. And then you should be able to take that knowledge and go from there. Now, in order to make these different footprints appear in a service type we need to spawn in a decal. And right now what I've done is I've placed what is known as a decal actor into our level just to kind of give you an idea of what we will be spawning in. So these decals actors, they take in something known as a decal material and all it is it's a projection. Down onto a surface, these congee projected onto vertical surfaces f why I and you can see with my decal actor here place into my level. I could size it up if I wanted to. I could rotate it. I could do all kinds of things. And the way these detail actors work is you can kind of see my green bounding box around it . So long is that is intersecting a surface. It will show up if it is off the surface. And I know those green lines are literate. Hard to see. You won't see them. So what we're gonna be doing here is creating some decal materials and then spawning them in. Okay, I need to pause the video here and destroy some of the decal materials that I've made just to show you what these are so that we can create those from scratch. Be back in just a moment. Okay? First things first. We need to import some textures. At this point, you should find these textures attached to this course. The ones that I am talking about are these t underscore gravel. Underscore footprints. I've got some left and right foot versions here, both an underscore D version that stands for Diffuse and the underscore and which is the normal version? I'm just going to left click, hold down, shift and left click over here to select these four textures, and then I'm going to bring them into this location in my content browser. My content landscapes, texture folder, And it's a simple as dragging and dropping them into your content browser after you have downloaded them. Now some of these will look kind of terrible and streaky. And what not in your content browser. That's okay, that's not going to affect the look of them in the game. Let's go ahead and save all right away. And now what we want to do is we want to create some materials. We want to create a left footed version material and then a right footed version material specifically a decal material. So the way we can do this quickly is I am going to right click on this left foot, Underscore D. We're going to create a material, and we will simply call this decal underscore gravel underscore. Foot prints underscore left and then I'm gonna double click on it to open it up. And you can see because I right clicked on that. And in my right click menu, I chose to do a create material. It automatically hooked up our texture sample here to the base color. Now I actually want to bring in this texture as well. So if I left click and drag it on in here. I will bring in our normal texture sample as well for the left foot. Okay. And that's what a good thing to do. What? Undocking here. You can kind of drag these things into the material graph. Now, with those in, I'm simply going to dock this across the top just to give me a little bit more screen real estate here. And what I need to do is I need to check if my material over here is set to the to the proper material domain. And by default, it is not when we want to spawn in a decal. We need to change our material domain here from surface over to deferred Dickel. And again, you could do this by clicking on your master material note or having no node selected than over in the details panel. Select material domain. Now you're going to get a little error here saying our blend mode needs to be translucent. That's fine. We're going to change our blend mode to translucent, and then we see no error so we can exit out of there. So you should have differed. Decal. Translucent measure. Blend mode. All right, we can hook this texture sample up to our normal input right away, actually. But before we do that, I'm going to drag off of our RGB right here and bring in a power node. And I am going to have this power node have a constant exponents of three. And the reason I'm doing this is just to kind of pump up that little bit of depth effect when a plug that into the not the opacity Rather sorry, the normal input. And then with our texture sample node, we're actually going to unhook this way. I'm gonna hold down the cult and left click to undo that, I'm gonna bring in a multiply no would hold down the M as in multiply and left click to bring in a multiple. I note, Let's bring in our rgb through the A We're going to multiply this by a constant be value of three. Rather let's go a 0.3. I miss read my notes there and then we're gonna plug this into our iMessage color. Lastly, we're going to take the a value here that is the Alfa Value and plug it into our opacity. And now, in our view port here. I'm gonna change our preview mesh to be a square cube. I'm just going to roll on back a little bit, holding down my left mouse button. There you go. It's a little bit hard to see against that building background, but that is essentially what we're going to see in our game is that kind of look, don't worry. It's just projected on a cube right now. It's only going to look like that once we get it into the game. Okay, So this is our set up here for our deferred decal are deferred decal material. We're going to simply save here, and then we want to duplicate this for our right foot because this is on Lee going to be a projection for our left. So the easy way of doing this issue come into where we've got this material created, I'm going to right click on this material simply duplicated. And we will just change this to B decal. Gravel footprints, right. Gonna double click on this guy to open it up. And the only thing we need to swap out here is our texture samples. So instead of gravel footprint left D will simply scroll on down and do gravel footprint right deep. Never mind those streaks. And then for our normal foot print. Right here, T gravel footprint left end. We'll change that to be the right underscore in preview mush on that cube there, mouse wheel back a little bit. And yeah, those air. A little bit tricky to see some time. Okay, We'll save that as well. Okay, now, currently, I have these two decal materials saved in my textures folder, and I like to be organized. I'm simply going to have both of these selected holding down control, selecting both. And then I'm gonna left click and move them into my landscape materials folder. It's gonna say, What do you want? Do Do you want to copy it here? Moving here. I simply want to move it here and now. We are all nice and organized with those two materials inside of our materials folder 58. Footfall Decal Script #2: time for us to do some scripting in our third person and, um, BP. And if you don't remember how to get there, you could come under your third person BP Blueprints folder. There is our third person characters. Let's open him up and then remember to select this mesh and then over in the right hand side, the details panel Over here, it's going to show us the anim class, and if we click right here, we can browse to this asset in the constant browser, and you could see it's in the content. Mannequin Animations folder. Let's double click on this to open it up, although I already do Have it opened up. There is our third person and BP. And again, you want to make sure that with your various tabs across the top here you have the blueprint tab selected. So let's expand out our script here. We're just gonna extend it a little bit from the end of our right foot script and are left foot script. We'll start with our right foot, and what we're gonna do is drag off our surface type. You are getting of the surface type after our line trace we're gonna bring in another select node. And let's position this way over towards the end of our right foot script. I'm not gonna worry about putting in Reroute knows right now for this wire, and then we're going to drag off of our return value here and type in decal spawned decal at location is the function old were looking for. And as soon as we did that, it changed all of our options here in our select node to be a material interface object, which is essentially looking for one of those decal materials that we just created. Okay, let's go ahead and make sure that we've hooked up our execution wires over here. And let's feed this a location right away. And the location is gonna be the same as our other effects here. That's gonna be the impact point of our line Trace. I can extend aware off here, plug it into our location. Now our detail size through some trial and error. I have some decent values here. So I've pre planned this ex size of 100. Why? Of 25 z of 25 again? I got that through trial and error. life span. We gotta do determine How long are these decals going to exist out in the world before they go away? Let's go five seconds. You could see from the tool tip here. That zero equals infinite meaning. It'll just stay out there forever, which I don't recommend. Then we also need to feed this a rotation and by default, it's got negative 90 for the why Now, I do have a rotation figured out ahead of time here. So the way we're gonna do this is we're going to right click. We're going to get our player. I'm typing and get our player get player, character and then off of this, we're gonna drag out aware we're gonna get our actors rotation, our player characters, rotation. Then we're gonna drag aware off of this, and we're going to break the rotator into X, Y or Z. And what we want to do is are yaw rotation here. That is, if we had a line straight down through our character's head down to his feet, rotating around that access, we're gonna drag off of this hit the plus button we're gonna do afloat plus float, and we're going to add 90 degrees here plus 90. And then we're gonna drag off of the output of this and we're going to make a rotator, and it's gonna be automatically plugged into our X here, which we don't want. So I'm going to hold down the altar key left click here, and we want to make sure that this is plugged into the Z. That is what we want to make as our new rotator, our current rotation plus 90 degrees. And also I want to respect this negative 90 degrees that's currently in our spawn decal at location off already. So I'm gonna put negative 90 in here, and then I'm going to plug this into our spawn decal at location. Now, I had originally hooked this all up with just doing to get player character, get actor rotation and plug this into our spawn decals at location. And I did not get the results I was looking for. So just know that through some fiddling of the rotation that I've done ahead of time, I've determined that this is going to give us the proper decal rotation. Last thing we need to slot in our decal in our select notes. So under gravel, let's click this drop down and let's type in. And decal, this is going to be for our right foot. So let's get that in there. Okay, so now we got this bit of script added onto the end of our right foot. Now let's go ahead and copy those nodes. We got one, and I'm gonna hold down. Control left. Clicks like 23456 and seven nodes. Those seven nodes right there. You can pause the video if you need to hear to ensure this is all accurate. I'm gonna now hit control C to copy, and then we're going to come down under are left foot script and I'm gonna hit control V right about here will move this up into position and let's make sure that we've got this execution wear plugged in. We need to make sure that we've got this get surface type plugged into our select node. So whatever surface type we yacht, it's going to give us a different decal. And of course, I need to change this decal because currently, this is for the right foot decal. So let's search for decal again, and I got to make sure I spell it right. Decal. This is going to be for our left foot. Everything else here can stay the same. So if you need to pause the video right here, now is a good time to do so. To ensure everything is looking good. All right. And with that, we will compile. Make sure our script is good and save. And then let's go ahead and play this and see how we did. All right, So I am currently on a gravel surface. Of course, you will not see any footprints appearing here because of that bug that I showed you in the engine last video. However, remember, I did apply a gravel surface material. Sorry. A gravel physical material to this ecstatic mesh. Q. So our footprints should be showing up on this surface. Here we go. Is there you go. You can see some footprints appearing. And after five seconds, they are disappearing. So that is proof it is working. All right, guys. Not too shabby. We've got some effects going off for when our left foot and right foot are impacting the ground. And we're also leaving behind a decal when our characters. Foot impacts the gravel. Let's see if you can do that for all the different service types that's gonna do it all for this one. Guys, we will see you in the next one. 59. Character Movement Script: Welcome back, everyone. Well, just to recap once again, where we are at so far we have created some surface types here in our project, settings under engine physics here are labeled different service types. So we've done that. Then what we did is we assigned a surface type to each of the physical materials that we created, and we confined our creative physical materials at this pathway. And here is my physical material for gravel. That's where we assigned a surface type that we called gravel. And then we assigned a physical material to each of our landscape layer info objects here in our landscape paint mode. So here I've got my gravel layer info object. And with that opened up, you can see how I have assigned a physical material to that. Now we're doing line traces every football to determine what surface type are. Player is on. With that done, we can now make modifications to the way our character moves, depending on what surface type there on, because we know what service type they are now on. So the goal in this one is to modify how are player moves atop each surface, type so to do this, we're gonna need to come into our third person character blueprint. And you could find this guy by coming under your third person BP folder, Double click on blueprints. There is your third person character Double click on him to open him up and lead this tab open because we're gonna reference back in here in just a little bit. But for now, you want to come under mesh. We're gonna want to come under our Annam classes. Third person, An M V P. Click on that little magnifying glass icon to browse to where your third person and, um, BP is in the content browser. And then you can double click on this to open it up. We're gonna be doing some or scripting here in our blueprint tab. This is the third person anima BP event graph. We've got our right foot left foot scripts in here. We're gonna be adding a little bit more down in this region. And then when we're done with that, we're actually going to add a call to a custom event at the end. Are right foot in left? Would scripts here all ride? First things first. We're going to right click in some empty space and we're going to add a custom event. Just type in custom and you confined the option for add custom event. And we get to name this right away. I'm just going to zoom on up on it quickly, and I will just call this a just movement because we're going to be adjusting. How are player moves a little bit. Okay. And with this added, the next thing I'm going to add is a reference to our current surface. You remember back up in our left foot and right foot scripts. We had it so that when we were doing our line trace, we were getting the surface type. And then we were saving that to a variable, and I mentioned that we were going to need to do that for a future video. This is that future video. So now that we are storing our current surface type, we're gonna drag that into our graph here. We're gonna get that and off of this. We're going to drag out, aware and type in switch, and that's the one we're gonna be looking for is switch on physical surface. So depending on what are current surface type is here. We're going to fire out of these different pins and I can click this little drop down arrow right here to reveal all of our different execution out pins based on are stored surface type here. Now, what I'm also going to do is I'm gonna bring in a print string note because I want to be able to print out to the screen what surface type that we're actually on. So if I drag out of adjust movement, we can type in print string and we're gonna adjust movement, print, string, make sure our execution out wire is into our switch node. And then out of our current surface here, I'm just going to left click Drag aware out of there and plug it into our string. It's gonna bring in a conversion node to convert that e newme to a string. Like so Okay, the next thing we want to do is we want to affect some of our player characters movements. So the way we conduce this is by right clicking, typing in get player, character, get player, character, that we're going to drag off our player character and typing character movements. And at the very bottom of this ah, search bar here you confined get player, get character movement. Rather now, how did I know that this was even a thing? Well, if we were to jump into our third person character blueprints right here, we can see that we've got a character movement. Components. That is how I knew I could find a reference to this component here in our third person. And, um, BP. Likewise, you could access any of these other components through that same a method. If you wanted to talk to your mesh, for example, you could drag a wire out of your get player character and type in get mesh. And just to show you this, quickly get mesh at the very bottom of the list, You could get a reference to your mesh. Okay, Now, why do I want to get my character movement component here? Well, if I jump back to my third person character with my character movement components selected over in the details panel are many properties about the way my character moves that I can effect. There are some, such as jumped Z velocity that determine how high my character can jump as well as ones like Max walks be. This determines how fast my character moves in the level. So I want to adjust some of these different properties here, depending on what surface type my character is on. So here, back in my third person and, um, BP now that we've got the player character and we've got the character movement component we can drag aware out of this and find those various properties. So if I type in Max walk speed, you can see that I can drill down into that movement component and get or set the characters. Max, walk speed. In this case, I want to set the characters Max, walk speed. I'm gonna affect how fast my character can move when on different surface types. So I'm gonna be bringing out a few of these different properties here. We're gonna affect the max walk speed, gonna drag out of my character movement again and type in jump Z velocity. I want to set jump Z velocity. I'm just gonna make a row of these across the top here like this. I'm going to drag out of the character movement again because these are all context sensitive properties. The reason that these air context sensitive is because they live within this character movement component. If I was to simply right click in some empty space here and search for these, I would not find them, their context sensitive. It's a drag aware, out of character movement again. This time, let's type in ground friction. I want to set the ground friction. That is how sticky or slippery, the surface of the ground. Maybe it's a drag out of character movement again. This time we're going to do a search for breaking. It is called Braking Deceleration, Deceleration Walking. I want to set braking, deceleration walking And then last but not least, I'm gonna drag out of my character movement components and type in max acceleration. We're going to set Max acceleration. All right, You want to make a row of these whips like so you can bring these all little bit closer together if you want to. And I'm gonna plug in some values here in just a little bit. But we're going to affect three different surface types. Here are mud are gravel and our snow. So what I'm gonna do is with all of these five notes highlighted, which they currently are. You could go like that left, click and drag out a marquee selection to highlight them. All will do control. See, to copy. And I'm going to control V and paste once and twice. Now. The kicker here is you see, the target for all of these nodes needs to be hooked up to character movement. So I'm going to do that here quickly. Off camera. I don't want to bore you with that. And also, I need to make sure that I've got my mud hooked into this first set. My gravel plugged into this second set and my snow plugged in to this third set. So I'm gonna pause a video here, hook up my character movement to all these different targets, and I will rejoin you in a bit, okay? And we are back here. As you can see, I've got my character movement component hooked up to all of these different center nodes. And I also made it so that I plugged in some values into each of these center nodes. So let's just recap and make sure there were all on the same page with the values being set . So if I scroll over to the right here, you can see all these centers on the screen. So for mud, I've got the max walks P to 200 jump Z velocity of zero ground friction at eight. Braking, deceleration walking and max acceleration at this 2048 value. I believe that is the default value. Gravel Max Walk speed at 600 jumps. He also at 600 ground friction at eight. That's the default value here, and also the braking deceleration Walking is a 2048 the max acceleration is at 500. Then, lastly, for our snow settings. When Ron Snow we want our Max walk speed to be 600 jump Z at 600 ground friction at zero. We want to be very slippery and are braking deceleration at zero and Max acceleration at 500. Now why these particular settings? Well, my goal is to make it so that when we're on mud, we're going to hamper our characters. Speed and jumping ability. Gravel. These settings are meant to be just normal, navigating per normal and snow. We want to slip slide around so through some trial and error. These air some settings that I found. We're pretty good now. What I've done here is I created a custom event to lead off this bit of script. Now I need to add a call for this custom event. So this is called a just movements. All I need to do is at the ends of our left foot and right foot scripts. I'll start off with our right foot Skip script come way to the end. So after we spawn the decal, we're going Teoh call for the adjust movements, custom events to fire off. So there it is, a just movement that's going to make a call to start our custom event. And then down here is our left foot. Adjust movements. There it is. So that's gonna make a wireless call if you will adjust, move into this custom event. Let me just left click and put a comment box around this left click and drag tap to see key . And we'll call this a just player movements and, as we should do, is good designers we should compiled to make sure our scripts are good to go and they are, so we'll save that right away. Now, to test this out again, There is that bug that I showed you a few videos back where some of the line tracing and detecting of the surface types on the landscape is broken at the moment. But we can testis out our map again, applying a physical material to some cube shape out here. So if you want to test this out, I recommend that you place you jump into your modes panel here plays a basic cube out in your level. And currently whoops. I'm went up instead of forward with this cube in the details panel, I have set our physical material gravel on top of this. So when we navigate a top gravel, our characters movement should be as normal. Let's go ahead and test this out quickly. Changing direction. Okay? Nothing in particular. Interesting happening. Okay, jumping per regular. Okay, so now you can see it's kicking out in the upper left that I am on a gravel surface. Time jumping. Everything seems fairly normal. Okay, Next, let me select my cube here, and I'm gonna change my physical material. Let's try mud. There is my physical material. Mud. Let me just jump back in and play. So as you can see Aiken Jumper Normal. But when I am now on mud, my character moves much more slowly. And if I try to jump, I can just kind of hop. I can't really jump. So that is how we can affect our characters movement if the service type we detect is mud next, let's go ahead and select our Q B. I'm gonna change the physical material over to Snow now. And if I go ahead and play now, I am a top snow. And if I try to change direction, you can see how he's just kind of slip sliding around before he gains traction and is able to accelerate in another direction. Pretty cool guy. So that is how we can go about making it so that different surface types affect how our character moves. All it took was a little bit more script, and here's that full script that we added inside of our third person an M B P event graft. Well, guys, that is going to do it all For this video, we will see win the next one 60. Spline Overview: Welcome back, everyone. In this series of videos, we're going to learn about landscapes, blinds and all the cool things that we can do with them. The goal in this video is to simply give you a quick sneak peek as to what spines aren't, how they can be utilized in your landscape. Firstly, let's talk about what is a landscape spine. Well, landscapes. Blinds are a flexible system for creating any linear feature that needs to conform to a landscape, and it could even push and pull the terrain to better facilitate building those features. So these were going to be created within your landscape mode. There is a special spine tool for this, and I'm here Teoh here to show off some of the sample use cases. I'm just going to toggle my G key there. Ah, with my geeky toggled on you can see if I tap the geeky on and off, I can go in and out of what is known as game mode. In this view, with all of my icons turned on, you can see all these little mountain icons are determining my spine pathway, and right now I'm using a spine to build erode or pathway streets. Spines can be used for that purpose. Now, let me just hit the two key. I've got some bookmarks set in my level here. Let me just tap the geeky to hide those icons. You can also use landscape supplies to build something like a fence, and you can see how it conforms to the different contours of the landscape. You can also use spines to build out a row of trees or some other type of foliage like you got here with my Rohit trees. And lastly, spines can be used for flowing bodies of water. You know, Rivers, streams, etcetera. Alright, guys. So that is a sneak preview of what's to come. We'll see you guys in the next video where we'll get started. 61. Spline Layer Setup: Welcome back, everyone. In this video, our goal is to create a brand new map. And then we're going to set up a landscape layer that is thes layers right over here in our landscape mode, that'll just contain spines and Onley spines. So with this layer in place, we can make it so let's blinds can be added to their own nondestructive landscape layer. Of course, we could add a layer here in our map sculpting, but let's start fresh, shall we? We haven't created a new map in a while here, so I'm gonna come under file in the upper left. We're going to create a new level, and then my little pop up here, I'm gonna choose the default level because, you know, I like a pretty sky and I'm going to select our floor here, this floor mash we're gonna hit, delete, and then let's do shift plus three. Let's practice those hot keys shift plus the three key that will jump us directly on over to the landscape mode. And I'm gonna be fine with all of these default settings down here. Although I need to make sure this is absolutely critical that you enable at it layers, so make sure that you check that check box also for the material here. Let's slot in our landscape material right away. So I'm going to come down under landscape materials. Those of you that have created ah material instance, this is a good spot to go ahead and slot this in. And once you do that, you're going to see this layers with a drop down triangle right here. You're gonna want to slot in these different landscape layer Info objects is well to do this properly, and I've got a few different grass options here. That's the proper pathway. My gravel. Yes, path, not the infinity blade path. I want that. I'm looking at the tool tips for knowing which landscape layer info object that I truly want. Rock that is, There's my one in the landscape materials folder Snow. That's the proper one. Again, I'm looking at the tool tip to determine the proper pathway of my landscape layer info, objects and cobblestone. Okay, so with that on place again, please have enabled edit layers checked. Very important, we can leave all these settings out here. We're going to simply create this here landscape And of course, I get a nice row of Bush is everywhere because we've got in our paint mode are mud layer. We have, uh, we have some mud going on where we had the fields going on with our bushes. That's fine. No worries for that for the time being. Okay, First things first. We need to add ISP line layer currently in our enable At it layers, we've only got one layer. How do we add another one? Simply force blinds. Well, we can right click on our list of layers over here, and it doesn't matter if you're in sculpt mode or paint mode or management. It doesn't really matter. You can simply right click on this, and you can create a brand new layer. So let's go ahead and create a brand new layer, and this one is gonna be called layer number one by default. But I'm going right click on it, and we're going to rename it, and I'm going to call its blinds because we are eventually going to reserve this layer for just spines. Now, this is going to be our base layer are currently labeled layer layer, so I'm going to right click on this one, and I'm going to just simply rename it base. And next thing I am going to do is right. Click on my spine's layer up here and you can see in the drop down. I've got an option to reserve four spines. Now note something. This is my currently selected layer, my spine's layer. I'm gonna go into sculpt mode really quick and yeah, sure, I'll just use my sculpt tool. I'm simply going to sculpt some landscape here, so no, I've got my spine's layer selected and I've simply sculpted some of my landscape. Now what happens is if I try to right click on this layer and reserved for spines, I'm gonna get a little bit of a message here. It's gonna say, reserving layers. Blinds for last year's blinds will clear its content, and no addition will be allowed. So if I click yes, here, what's gonna happen is going to get rid of that sculpting and any painting I would have done there as well. When you reserve a layer for spines, which you can see now shows up in parentheses here that will get rid of any sculpting or painting that you had done specifically in that layer. This layer is reserved only for spines. And as you can see right now, I'm in sculpting mode with my sculpt tool and my brush is red saying, Hey, you can't do this. You're not allowed. Same with And if I try to click you can see I get a little message. They're saying it's reserved for spines. Same thing if I go over to paint so long as I've got mice Blinds later selected here. I cannot paint on here. I will get a message saying, Hey, it's reserved for landscape spines Now Note are untitled level here currently has two different layers. If I want to do sculpting or painting, I need to select my base layer here and here I am allowed to paint some grasp. I wanna paints and grass. Or if I want to sculpt, I can sculpt on this base layer. However, with the split lines layer selected, I cannot sculpt. I cannot paint. Okay, we're in a good position here. Let's go ahead and save our new level here. I'm going to click this save current button up here. It's gonna ask me where I want to say this? I do want to save it within my landscapes. Maps folder. So I'm going to simply call it. Ah, I'll call. It's blinds. Yeah, just blind would be good. Blinds will click, save. And with that saved, I'm gonna jump into my project settings here. And you can access this by going settings, project settings. And I'm going to select my maps and modes option right here and my editor startup map. I'm gonna change to be split lines. And that way, the next time I open my editor here, it will open automatically to the spines layer, so I don't have to open it manually. Nice little trick. All right, guys, that is going to do it all for this video. In the next video, we will cover some of the spine tool basics. See, there 62. Spline Tool Basics: Welcome back, everyone. In this video, we have three goals. Goal number one is to show where to access the spine tools. Gold number two is to demonstrate how to Addis blind to your landscape and goal Number three is covering some of the spine tool controls that you will want and need to know about . All right, first things first. I just wanted to let you know that between videos, I just did a little bit of painting updates to this spines map Here. I cleared my mud layer by coming under landscape paint. I right clicked on my mud layer and said, Clear that layer. And then I also cleared my grass by coming under that same landscape paint mode, right? Clicking here, clearing that layer. But I filled this all with some grass by right clicking on my snow layer and choosing bill there. Why snow? Well, why not know the reason I added snow is simply because, Ah, when I add a spine here to our landscape, it's gonna add a nice little contrast and make it easier to see. Okay, So how do we access the spine tool? This is under our landscape mode. Although It's under the managed tab. And with your managed tab selected under list of tools, you're gonna want to come all the way down under the edit spines tool the last one down. Okay, Now, before we start adding a splint to our landscape here, I want to make sure that I do this in my spine layer. I've reserved that specifically crisp lines. My base layer here I've seen. I'm saying I can paint in here. I can sculpt in here, but I cannot add. Well, I could add some splints to it, but I don't want to. I'm going to reserve this specifically for sculpting and painting and spines. You're gonna go in my spine lair. Now, this is just good to know. You can reorder your layers here. If I left click on my base layer here and I dragged up to the top. You see that little line up there that's going to reorder my base layer atop my spine lair . So boom, releasing left. Click. There you go. Now I want to be adding these blinds to my spine layer, so let's make sure that we select that now, adding a spine to your landscape is really simple. We simply hold down the control key. And while holding down the control key weaken left click to add is supplying control point . It's a little mountain icon down there And by holding down control, Aiken simply left click again and again and again. I'm just gonna loop this around into a circle. Now I've got this spine control point selected right here. How can I add this or join this to another control point here? Well, with this guy selected if I continue to hold down the control key and left click on this control point, it'll join it just like so Now if I control Z that undo that, I could actually join this to any other control point out here. Let's say I wanted to join it to this point way up here. Simply hold down control and left click, and I would join it like that and you would get this funky shape Don't really want that. So I'm gonna control plus Z to undo it, and I will join it to this one by holding down control and left clicking. Now it's important to note here that we're not adding anything of substance to our landscape. Yet, in fact, if I was to hit the G key G as in game and turn off all those icons, you can see that I truly don't have anything added to my landscape yet. I'm gonna tap the geeky again. This is my spine. But I don't have any meshes assigned to it. Not yet. That will come in future videos. The currently would have got here is a spine that's comprised of control points and segments. And you can see these little mountain icons or what is known as control points in over. With this selected over in the details panel, you can see a little label here called control points. These spaces in between these mountain icons are what is known as segments. So you've got control points and segments that make up s climb. Okay, So you saw how I added spine points supplying control points and you saw how I joined them . Is there a way to join multiple control points to a single control point? Well, yes, there is. So what I'm gonna do here is I'm going to click off of my spine here. Simply left, click right in the middle here, and I'm gonna add a brand new supplying control point right in the middle by holding down control and left clicking. There is a mountain icon right there. Now, if I wanted to join multiple things to this particular control point like, let's assume that this is, you know, a freeway encircling a city. And I wanted to have several ruled roads flowing into this point. How could I do that? We're gonna select the control point here, and I'm gonna hold down the shift key and select a control point here. Now, I've got two of them selected. They're both highlighted. A yellow color might be a little bit hard to see, and I'm gonna hold down the shift key and select of this control point down here. So I've got 12 in three selected. Now, if I hold down control and I left, click right here. It's going going to join all three of these control points to this center control point. Here we go. Boom again. There are no meshes assigned to this blind just yet. I just tapped the g key there, kept it again to make it all reappear, But that is how you can get multiple control points to join a single control point. Let me just hit control Z to undo that. Okay, So what about these different Sline segments years? There a way that I can split these and add control points in between them? Well, yes, there is. First way is if I don't have any control points selected, I'm just going to click in the middle here. And in fact, I'm gonna delete this control point right in the middle. I don't need it. All I did was selected and tap the d key. Let's say I wanted to add a control point between these two right along this segment with nothing selected. If I hold down the control key in left click Boom, I just added one. And so now if I select this, you can see I I've got my little movement widget there. You can see how it is attached to these two other control points, so that's one way to do it. Another way to add a control point along a segment is to select one control point. And if I hold down the altar key, all turkey left, click on a narrow here and drag. I can add another control point like So Now, one thing to note about any of these different control points is that you've got this translation widget enough, I tap the space bar. You can see that Aiken cycle between movement mode, rotational mode, and with this mode, I am actually able to grab these tangent handles and influence kind of the shape of the bend, if you will. So let me just go to movement mode here. And if I move, one of these control points up, you're going to notice that the landscape tries to fill in underneath and I can try that with a few of these, like so and I can actually tilt incur these as well. So if I tap the space bar, I could rotate this a little bit. Move that on up, and I could, of course, bring out the tangent, handle their shape shifter, if you will, and you can see how I move an end of my change and handle here, in and out how that can influence the shape of my track. Now, in future videos, we could explore how this having the landscape fill in under our spine. You're automatically how we can make that not happen. But for now, it automatically happens. And that is fine. All right. So I believe we have covered everything I wanted to cover in this video. In fact, we have. So that is going to do it all for this video. In our next video, we're going to be exploring Sline control points that are these little mountain icons a little bit further. We'll see you there. 63. Spline Control Points: Welcome back, everyone. In this video, our goals are to discuss the difference between Sline. Control points and segments were going to demo how to go about selecting control points. We're going to demo how to assign meshes to control points and then we're going to demonstrate how to delete unwanted control points. So, firstly, I should let you know I am within my spine's map. Here is the pathway for that content landscapes, maps and, of course, in order to edit our spines. Do anything with our landscapes clients here. We need to be in our landscape mode. I've got the manage tab selected, and then over in our list of tools, we've got the edit spines option selected. Okay. Also want to point out that I do have my spine's layer here selected. That's where this plying currently exists on our spines layer, which is reserved if I right click on your it is reserved exclusively for spines and I can choose to remove reserved for spines. But I do want this layer just for my spine's. Okay, so we're going to discuss again the difference between control points and segments because it is so important. I know I talked about it the last video. But these points here, these mountain icons, these are control points. These are the points that determine the various bends in your spine. These areas in between these control points are segments, so spines are made up of control points. These little mountain icons and segments the space between those mountain icons. Now how can we select these different control points? While the easiest way is to simply click on these different control points to select one? That is simple enough. And we demonstrated that in the last video as well. How can we select all control points? Well, there are two ways to do that. One way is to select a given control point like I have one selected here and with one selected, if I do control plus A, that's going to highlight and select all of them, that's a really handy way to make it. So if you wanted to raise up your entire spine here, you could do that like so I'm gonna set this back down. There we go. Now let me just click off because that's just one way to do it. The second way to select all control points is simply to select either a control point or a segment. Right now, I've got a segment selected. Now I've got a control point selected and having either of those selected over in the details panel. I've got this option to select all connected boom control points. So if I click this button, I now have every control point selected. Okay, so that's all well and good. Now let's get to the fun stuff. How do we slot in some meshes at each control point? Well, that is simple enough. I'm going to start off by selecting one single control point here. I'm gonna tap the space bar here to bring on my three a road movement widget. So with that guy selected down in the details panel, we've got this section labeled Mesh right there. So this is where I can slot in a mesh of my choosing. And if I top type in Scott Pine, these are some trees that are located in the kite demo pack. I'll go Scot Pines one. I'll slot that in after it takes a little while to figure out what this mesh is gonna look like. We're going to see a tree sprout up right here at this control point. And now that mashed took an absurdly long amount of time to load in. So maybe you don't want to load that one in Ah, if you can avoid it. But there is our tree. None the less so you could actually slot in different meshes per control point This one control point over here, he could still like that. And right over here, maybe you want to put in your S m underscore Bush and boom, You do have a bush down there. It's a little bit hard to see, but if I tap the g key, you can see a tiny bush down there and let me tap the G key again to toggle my spine back on. And you can see how you can place different things at control points all along your spine right here. I'm just going to undo this and I am going. Teoh, have my one control point selected here with the tree on it. Now, how can we select our sets? It meshes to all control points so simple enough you could just select one control point up here in your details panel weaken. Then select all control points and with all of them now highlight and selected Weaken, Scroll down and you can see our mesh now list that we have multiple values. And the reason it shows multiple values is because we have a tree set for one and nothing set for the others. So if I was to now said this to my Scott Pine tree slot that in now you could see I've got trees at every single spine. Control points. All right, so, um, other things to know here with given control point selected here or multiple control points elected like I've got If we tap the r key that'll just auto rotate are supplying to make it have smooth transitions from control point to control point. So let me just hit control Z to undo that. You can see how there's a little bit of a bend here. In fact, let me kind of accentuate this a little bit. A little bit of a sharp turn right there. If I then control a to select all, I'm gonna tap the are ours and rotate key or rotate and a tap that are key. You can see how it automatically rotates my spine to try to smooth out some of those harsh edges. Now, how can we delete out a single control point? Well, that's simple enough with nothing selected. All we gotta do is select one of these. And if you hit the delete key, you know, then ask you You've got two segments attached to this control point. A segment here and a segment here. Do you want to join those two? Simply select. Yes. And it'll join it together appropriately. And then, lastly, how do we delete out an entire spine? A mistake I often sees students make is they will select one of these control points, hit the delete key and think that that's going to delete out the entire spine. That is not so. You need to select all control points. So again, with one of these selected, you can do control plus A to select them all or select one and then in the details panel, select all connected control points and once all of them are highlighted and selected there , then you can hit the delete key and you will get the message saying control point has to who segments attached. Do you want to join them? In this case, we're going to say no and boom, your entire spine is gone. Now I'm gonna hit Control plus Z because I don't want to have to recreate that spine. But guys, that is a quick primer about spine control points. We'll do it all for this video. We will see win the next one. 64. Control Point Mesh Settings: Welcome back, everyone In this video. Our goal is to explore the various mesh settings available to you when you have a control point of your landscapes. Plein selected first things first. Let's make sure we're all on the same page here I am within my spine's map and that is located in my content. Landscapes, maps folder. Then I am in my landscape mode up here. Under that, I have the managed tab selected, and under that I have the edit sly ins tool selected. And then, if that's not enough, we are currently focused on editing are split lines layer here that is reserved exclusively for spines, not our base layer our spines layer. Okay. In the last video, we explored how we could slot in different meshes for each of these different control points, those different mountain icons again, these control points determine the overall shape, the bends, if you will in your slime and you can see I've got a few different meshes assigned to my different control points. I've got a tree, a chair and whatever this little artifact is from the Paragon props packed. So let's explore some of the parameters that we can adjust about each of these. I'm going to select my tree here. And one thing you'll notice if you look down in the details panel here is I've set the mesh scale that is the size of this mesh to twice its usual size. Now, I don't have to scale this uniformly. I could make this, you know, four times as big in the X coordinate and that will stretch it out. But it's an easy way of adding some variety. So if in fact I had its blind filled with trees, I wouldn't have to make them all the exact same size. In fact, this tree in the background is four times the usual size. Okay, next thing I want to talk about is this Materials override property here, and I brought in this chair to help demonstrate that with this material overrides, you can assign a different material to that mesh by default. It's going to slot in whatever material is assigned to that mash. But if you want to override it, you can just click this plus button and then you can find a material of your choosing. So if you wanted some steel, you know you could find some metal steel in boom. You got yourself a steel chair. All right. Next one we're going to explore is this cast shadow. Not everything in your game has to cast a shadow. In fact, if it is kind of a lower profile object, it's probably best not to have it cast shadows because shadows can cost performance just to demonstrate here. If I was to raise up the z parameter of this chair to say 20 that's gonna make it a little bit taller. You can see my chairs shadow there in the background. By checking this off. You can obviously see there is no shadow. Next one here. We've got this collision profile name. And honestly, I am not sure what this one does at the moment. It says name of the collusion profile to use for this Sline. Now, this is to suggest to me anyways, I can override the collision associated with this blind. And in fact, if I was to type in no collision here, I would assume that I could pass right through this. And how do I know that? Well, because in my settings, project settings, if I come under my Where is a collision section? Right over here. I've got different preset channels, one of which is called no collision. You can see exactly how it's spelled. And with this setting, objects should have no collision. That means I can pass right through it. However, if I said this chair mesh to the collision profile name of no collision and then I jump in and play and turn my character around here. There is a gigantic chair. I don't exactly pass right through it. So unfortunately, at this point, I am not able to figure out. And I haven't found anything online that tells me what this particular property does. But there you go, guys. There's a quick primer on some of the different properties you have available to you for your control points on your spine, guys, that is going to do it all for this one. We will see you in the next one 65. Spline Segments: welcome everyone in this video. Our goals are to review the difference between a spine control point and a segment. We're going to demo how to select segments as well as how to assign meshes and how to delete unwanted segments. So this one is all about segments. The last couple where about control points were on two segments. Now again, let's make sure we are on the same page. So I am in my spine Zmapp, located in my content landscapes, maps, folder of my content browser and then over in the modes panel. We've got our landscape mode selected. The managed tab is selected under that, and I have my edit spines tool selected underneath that And last but not least, we are working in our spines layer, not the base layers to make sure that you have your spines layer selected. Okay with that again, a quick review control points are these mountain icons. They indicate the various bends, the points that make up your landscapes, plein. The segments are those pieces between your control points. Now you just saw me click on one segment. That is how you can select a single segment to select all segments. You've got a couple of options. With one selected, you can hit control plus a as in Apple, and that will select all of them or just gonna click off there. If I select one segment over in the details panel, I've got a button to select all connected segments right there. And by clicking on that, I now have all segments selected as well. Okay, let's talk about how to slot in a mesh for a given segment. I'm going to start off by selecting just one segment right here and over to the details panel. We've got an area called the landscapes. Plein meshes there. This is where you can slot in a mesh per a segment, and it got to do it by clicking on this little plus button here. And if I expand out this triangle, it allows me to slot in a mesh. I could put in my Scott Pie in there like we did before with our control point, and I can see I had to Scott Pines fill in that segment. Now why is that not compiling Shader is there? The reason is because depending on the length of that segments, it's going to slot in. However many meshes it needs to fill out that given segment. Now, this is all well and good. However, if I was creating a row of trees, I might just assign them to my control points instead. So I know exactly how many are going to be spawned in for something like segments here. I I usually like to slot in, like, pieces of track for, like, a road, something like that or a pathway. So I'm gonna change my mess, your to floor 400. Now, in another videos time, we're gonna be actually slotting in a race track sort of thing. But this will get the idea across. This particular mesh is in our started content folder. And if I slot this guy in, you can see how it actually brings in a few different static meshes of a flat panel, if you will, to fill in that entire segments. And, of course, we've got material overrides here where we could override that material, huh? All right. I'm just gonna quickly undo this a couple times. It controls the once hit Control Z twice, and now we've got no spine meshes the sign in fact, I'm going to do the trash can here to remove all elements there. Okay, now let's try assigning meshes to all of our segments. Years I'm going to select a segments that I'm going to select all segments by clicking on this segment's button right here. They're all selected now under our landscape. Supply meshes. Let's add in element. And this time I'm gonna slot in something a little bit difference. This one is in the engine content. It's called cursor. I got Will actually got to select this. First, let's do a search for cursor pointer. There it is. It's kind of this cone shaped looking thing. This is in the engine content. And if you don't see this, you can come under your view options and make sure that engine content is checked on. Okay, gonna select this. Now you can see I've got a whole bunch of these cones kind of pointing one way. That's kind of cool. Mtel, maybe use that for a sort of decoration. Right now, you can actually flip these spine segments, make sure that you've clicked in your window here, and I just right click to activate it and move around a little bit. If I tap the f f isn't flip key, I can flip those meshes around toggle um, left and right. That's a good message to kind of demonstrate that. And now, lastly, if you want to delete out any of your spine segments, it's just a matter of clicking on that splint segment hitting the delete key in Boom. That slyness segment will be gone. Oh, you want to rejoin it? Well, remember, it's a simple is clicking on a control point and then holding down control and selecting another control point. And you'll feel that right back in. All right, guys, that is going to do it all for this video on spine segments. In the next video, we will explore the mesh settings for our different spined segments. We will see their 66. Segment Mesh Settings: Welcome back, everyone In this video, we've got a couple of goals. The first is going to be to add a vehicle advanced content pack which we're gonna be making use of in this video. And then we're also going to explore the various mesh settings available to you when you have a segment selected. So first things first, let's add our vehicle. Advanced content. We could do that straight away from our content browser. Here, we've got this green add new button. Go ahead and click on this. When we dio, we want to come up to the very top, which is at a feature or content pack. Click on that and then you're going to see this little pop up window. We want to add a blueprint feature. It's this vehicle advanced feature. We're gonna add this to our project. Go ahead and click on this. And what this is going to do is it's going to add a couple of folders to your content browser and you see them down here. We've got vehicle advanced and vehicle advanced. B P. Okay. We're gonna be making use of a couple of those assets here shortly. Okay? Next or weaken. Exit out of this. Add content. Two. Project now Roger with that. Next, let's make sure that we're all on the same page under your landscapes. Maps folder in the content browser. We are within our spines map, as we have been for the past couple videos, and then we've got our landscape mode selected. Managed tab. We have our edit splints tool per usual. And of course, we're working in our spines layer. You're gonna have that committed to memory by the end of this section. Okay, so let's talk about some of these segment mesh settings. Um, we're going to add mesh settings for all of our segments here, So I've got one segment selected right there. I'm going to select all segments by clicking on this button in the details panel. There they all are, and I'm going to slot in a new landscapes. Plein mesh. Click this plus button, and if I expand out this element zero here, we can slot in a new mesh, and the mess that I want to slot in is called. I believe there's one called Quarter that works out just nice this straight quarter. It's a piece of race track, and it's found in one of those there folders that you just added. So if I slot this in, you can see that now we're going to have a nice looking a race track. Of course, the materials take a little while to load in. But don't let that freak you out right away. And now let's notice something here. I've got two different materials, essentially, that are making up this straight quarter mesh piece. In fact, I'm going to navigate to this mesh piece. Here are content browser by clicking on that little icon. There is my little straight quarter located at that directory. If I double click on this and doc it across the top, you can see that this piece of track has to materials associated with it this red grid right there as well as this black grid, which is essentially the racetrack itself. We can actually override that back here in our spine mesh settings. So there's our spine match. We've got this straight core. Let's override the materials here. I'm gonna click once, and I'm going to click twice because remember, there are two materials associated with this. So with my 1st 1 here I am going to slot in. I had something in mind. Let me consult my notes. Oh, let's consult the steel M steel. That's going to change my my little railing there, if you will. And then for this element one material override. I'm gonna change that to be, um, type in the word pulse. There is this tech hex tile Paul set my students always enjoy using. When that's going to do is instead of a normal looking racetrack, as soon as this loads in, you could see how we've got that honey comb look everywhere. That's kind of cool in a weird sort of way. Okay, next thing we're going to explore playing with here, we've got this centre adjust a parameter that we can play with. And what is currently going on is we've got it set. So we're centering horizontally. However, if I uncheck this, you can see how it offsets it to the outer edge here of my control points checked on, checked off with this checked on. I can also adjust this centre here. If I was to set my ex to say Let's go to Sorry, 200 something like that. You can see how I've offset it from the center quite dramatically. Has to is not gonna do much anything. It's got to be a much bigger value, like in the hundreds to see something. So zero is essentially your center points and then you go from there. Let's go. Why? I try, like, say, 300 and you can see how you just raise that up into the air, adjusting it from the center. I'm going to set that back to zero. Next, we've got this scale to with in scale parameter right here. So if scale to with is unchecked, uncheck it now then the with of the the with will match the mesh with So in this case, it's matching the with of our straight core mesh piece of track. However, we do want this to scale with the with of the actual spine itself. So checked on it will make that as wide as our spine. Now, obviously, we can adjust this as well. So if you want to make a portion of your spine narrow, you can In fact, I'm gonna select just a single portion a single segment of my track. Now watch what happens I'm gonna just my ex scale here down. See how it kind of squishes things, right? Set that back to zero. Now, I'm gonna Sorry. Toe one that I'm gonna set my Why here to a much more narrow piece, huh? Can go like that. Looks a little weird, but if you want to go with something like that, you are more than welcome to. And of course, you can affect this more than just one segment. In a time, I'm gonna hit control plus a year to select all my spine segments, and I can affect these all at once. So I'm gonna set my wife here to be, like, say, 0.5. And now I've just narrowed my track quite significantly. All right. Mixed. We have some rotational adjustments. The Ford access in the up access. Now to do this one justice, I'm gonna bring in a different mesh than are straight quarter. I'm gonna bring in ramp large. There were G O. Now we've got ramps just kind of making up our spine here, and I'm gonna undo my material overrides here. I just want that yellow ramp back like it is Okay. Now our forward axis here is essentially which access of our mesh do we want pointed forward in this case, I know we want the X axis. How do I know that? Well, if I was to click on this little magnifying glass to navigate to a ramp large in the content browser, let's double click on this guy to open it up. Gonna zoom on back a little bit if I show our pivot point right here. This red line right here indicates the X axis, and this is going to help you out as well. There is our X axis. Green is the why and this bluish purple that is the Z. So we want that to be our Ford axis. You can see if I was to change. This is something like the why access for forward access. You're going to get something terrible, Terrible looking like that. Set this back to X. Ah, the up access is obviously which access You want to be pointed up. Um, as you saw when I showed you the mesh ramp right back here, let me actually just double click on that again. Show Pruitt we actually do want our Z axis pointed up you. You know, if we set it to something like, why are up access? Yeah, you're going to get something that looks non existent because oh, yeah, Everything has sunk into through the floor. That's lovely, right? You want that? No, You don't get a set that back to Z. All right. And last but not least here for our landscapes. Plein mesh segments. We've got this cast shadow parameter again. You can turn on or off shadows by default there on. But if you wanted to, you can simply uncheck this cast shadow box. And the shadows will not be cast from your landscape. Spine meshes. All right, guys, that is going to do it all for this video. We will see you in the next one. 67. Spline Road: Welcome back, everyone. A little bit of a recap in this video. We're going to put everything together here to create ourselves a spine road kind of like you saw in the last video. But we're gonna be doing this from scratch just to recap everything that we've learned so far. I am in my spine's level, my spine's map, if you will. And just as a little f y I If you come under your file menu up here in the upper left and you come under recent levels, that is how you can quickly access any level you've recently been on. Also, I'm within my landscape mode. Got the manage tab selected. Of course, I've got my edit spines tool selected, and I'm working in my spine's layer. All right, now, before we build out Ace Blind, I'm going to destroy this one, and this is going to be simple, as simple as selecting one of our control points here, Then selecting all of our connected control points over in the details panel so that they are all now highlighted. Now I'm going to press the delete key. It's going to say, Do you want to join the two segments attached in this case, I do not want to join them and boom, my entire spine has gone away. Now the reason I destroyed this blind is because I wanted to demonstrate that we can build spines, landscapes, blinds not only in our perspective view, but also from any of our Ortho graphic views. Namely, the top Ortho graphic view is a winner. I'm gonna choose the top Ortho graphic view. And now, if I must wheel on back, I'm looking at our landscape actor here from a bird's eye view so we can adds blind points directly from here. I'm gonna zoom in a little bit and holding down control. I'm going to left click once left, click twice, three times and just keep going around like this. And now it's gonna be a little bit tough to see that last control point. I can actually hide my landscape actor over in the world outline or here. Of course, if you do that, you're going to hide out your landscapes, blinds as well. So probably a bad idea, and I'm going to hold down control while I select this last control point. And there you have connected them. Let me go back to my perspective view. And there is my little race track, if you will. Now again, you can raise up any of these individual control points. You will see the land kind of filling in underneath it. You can lower them as well. It will sink it into the ground. You can bank them should you want. I'm gonna have hit the space bar here to make it so I can bring out my rotation tool right . And you can make your track in any shape or form you want. Let's say I want to add another control point again. Hold down the altar key with one control point selected and that'll add another control point. Okay, so now that we've got our spine in place, let's go ahead and add some pieces of racetrack to this Also, this can be done by simply selecting a segment here, a space between to control points. And I'm going to select all segments by clicking that their button and the down in the details panel. We're going to come under landscapes, plying measures. We're going to click the plus button here to add one array element and could expand out our one array element element zero here and the peace that we want to slot in is this straight quarter piece of track. This comes from our vehicle advanced pact that we added, Ah, while back of a few videos back. So I'm just gonna slot that in here and you can see we have a nice track. It's a simple is that guy's slotting in a piece of track. If you wanted to make this say, a cobblestone road, it would be a simple assay changing out your mess. Year two. Let's try that floor 200 floor, 400. That's sorry, That's the one we're looking for. Floor 400. This is in your starter content, and now we've got floor pieces everywhere. This is not the most ideal mesh because it is 400 unruly units by 400 unruly units. You get a little bit more of a square shape. The thinner, the peace, the mawr. It'll be curved with your spine. Okay, now again, let's say I wanted this to be ah, you know, a cobblestone road, for example. I can override my material, hear clicking this plus button and let's do a search for Kabul. Stone. Let's go. Cobblestone rough here. That is in your started contents. And then once this loads in, you will have yourself a nice cobblestone road. Now you can see there are parts up here where the landscape is actually cutting through our path. We will look for ways to fix that. In fact, there are ways to fix that in upcoming video. But there you have it, guys. That is the straight skinny on how to create a spine, road or path to do it all for this one. Guys, we will see you in the next. 68. Spline Fence: Welcome back, everyone. In this video, our goal is to use the landscapes plein tool to create a spine fence. And we're gonna start this video off here in our epic games launcher because we want to add some content to our project. Ah, so if you haven't already done so let's make sure you've got your epic games launcher open . That is this guy right here. You can find it in your search bar down here and then once you've got your epic games launcher open, you wanna make sure you've got your unreal engine tab along the left hand side selected along the top. The marketplace is where you want to go, and we're gonna adding some free content. Here, do a search for advanced advance and I apparently cannot spell advanced village hit. Enter there and this is one you're looking for. The advance village pack. You go ahead and click on this. Now, if it's some a point in time, this pack is no longer available. There are other packs that contain fence like meshes. This is just the one on this date, so don't Don't lose your cool. If this one is not available for you when you are doing this course, there's plenty of other content packs that have fence meshes in them. Let's go to add a project, add to our project here. And I was gonna say, which project do you want to add this to now? We have our landscape project right here. If for whatever reason, your project is not showing up here, it could be because it is no longer supported by the latest version of the engine. At which case, what you could do is go to add to project and then show all projects up here, and that will show any other project that is currently deemed not compatible with this version. But then you will be allowed to install the latest version of that acid pack. So that's just an F. Y I. In case you don't see your project here, click that show all projects. But here is my landscapes project we're gonna add to our project, and that's just going to take a little time to add to my project. So I'm gonna pause video here, and I will rejoin you shortly. All right. And so the Advanced Village pack has finished being added to our project. Here. You see it down in our content browser. And I am currently within the advanced village packed meshes folder. And within this folder, weaken C four fence mesh is kind of nice. We're gonna make offense out of those, but instead simply swapping out our road here with some fence pieces. We're going to actually create a brand new spine. So make sure you're in your spine zmapp again in the landscape tab, then have the managed tab selected underneath that, make sure we've got at its blinds here selected and again, we're going to be working in our spines layer. So, yes, you can have more than one spine in your spines layer. So this is going to be as simple as navigating to a different portion of our map. See, right over here, I'm going to hold down control and left click once, twice, three times. Let's do a few clicks here. Something like that is gonna be good, Okay? And what I am going to do next is with a Sline Control point selected. I can choose. Even with the control points elected, I can choose to select all segments. I'm going to select that. Now I've got all my segment selected. And then down in the details panel, we see our landscapes, blind meshes. We're going to click this once, twice, three times and four times because we want four different meshes to populate our fence here . Okay, we can expand these all out by right clicking here on spine meshes and saying, expand all. And you see how it is expanded out the parameters for all these elements. There's three there's too. There's one and they're zero and some now, first step we're gonna take is slotting in each of these meshes into our list of spine measures. Come on here. Suddenly my engine has decided to freeze. Let's go drag this guy on over there. There we go. And don't worry. I know those fences look huge. For starters, we're gonna fix that up in just a moment. So that is my mesh zero. This is going to go into my mesh one slot. This is going to go into my mesh to slot, and this is going to go into my mesh four slot. Now, I noticed that these are gigantic. That is not lost on me, but one thing I want to make you aware of right now is that we are showing in our spine here different meshes. So what it does, is it randomly pick meshes in your mesh array Here, your spine mesh array. Unfortunately, you don't have any control over which goes where. But in a case like this where you just want to create offense and have different pieces in that fence to create some variety, this is how you do it. Just have a few different meshes. Ah, lot it in. Okay, Now let's fix this problem where the messages are showing a gigantic what do you do? Well, there is this scale to with parameter this check box here and it says whether to scale the mess to fit the width of ah, the spine. And currently it's set to true And that's why it is so huge. We're going to uncheck these boxes scale toe with for each of these skilled toe with skill to with scale to with uncheck it and lastly scale to with uncheck that. And now if I am to zoom up in on our fence, you can see that it looks a lot more reasonably sized. And now what I can do is with any of these control points, I can bring out my little translation, which it here, raise it on up. And, of course, the terrain will terra form to its Move this over here like so maybe I want to dip this down a little bit lower. Like so. And there you have yourself a very nice spine fence. You can wrap that around the outside of a race track. You can fence in some animals, all kinds of good stuff, all done here in our spines. Layer the guys. That is how you do it. That is how you can create a spine fence here in unreal engine. They'll do it all for this video. We will see you guys in the next one. 69. Control Point Spline Settings: Welcome back, everyone. And in this video, our goal is to explore the various sline settings available to you whenever you have control points, not segments selected. So this is going to be a cool one. And then it's going to allow us to fine tune how certain areas of our spine are shaped. Currently, I've got this road out here and you know, it looks all uniform, if you will. But maybe you want to make a road that is skinny in some areas, fatter and other areas. How can you control that? Well, first, before I show you how to do that, let's make sure we were all on the same page. I've got my spine's level chosen up here. Of course, I'm in landscape edit mode. Got my manage tab selected here. I've got my edit spines tool selected over on left hand side. And of course, we are working within our spines layer. So the parameters that we're talking about here are available whenever you've got a control point here selected over in the details panel, we're looking at these parameters underneath art landscapes. Plein. Now some of the more common ones you will want to fiddle with Here are your with, for example. So currently, I've got just one supplying control point selected here. And as you can see, you can slide this to the left or the right to make that B is wide or is narrow as you want it to be. And I'm currently controlling this for one control point. However, if I reset this and I select all my control points, I can then a justice all at one time. So instead of a width of 1000 I could set it to be a width of ST 500 hit enter. And now you got yourself a skinny track. Okay, I'm gonna click off of that right away and click back on my single control point here to explore a few other options here. We've got this side fall off. We're gonna skip this layer with ratio. For now, we're gonna go to the side of fall off. And as you can see, if you increase the size of this and then release your left mouse click. You've got a gentler slope leading up into that. That's the fall off that we're talking about here. And currently it is uniform in terms of how much it falls off on left and right hand side. But you've got this left side and right side fall off factor that you can adjust fungus, said the left side factor there to say 0.3 in the right side factor. I consent to something like 0.6. So you got different slopes that you can set on either side of that. I'll reset those Aziz well, uh, left side and right side fall layer fallout factor. We'll talk about those in another video is Well, let's talk about mesh vertical offset Here you can see sometimes Well, you saw in previous videos where the track was kind of buried underneath our landscape. And you saw that when I had instead of the quarter straight quarter mesh applied here. If I had the floor mesh applied. Now, depending on what mess you have applied here, you may or may not see your landscape itself kind of clipping through these meshes. But you do have a way of fixing that quickly and easily here in your landscapes, blind setting. So again, I've got a control point selected here. I'm going to select all control points and this mesh vertical offset allows you to offset all the mesh is applied here. So if I was to set my mesh vertical offset to something like 200 press enter kind of lives that track up off the ground all over the place. And of course, if I want to set this down a little bit, I could set this to negative 500. And what's gonna happen is suddenly your track is well, it's mostly buried beneath your landscape. Let me set that back to default. Here. Now, this end. Fall off value here. We're not really going to see this too much with a circular spying here, but we can test this out with our fence here. What I'm gonna do is I'm gonna click on our control point for the end of our fence mesh. I'm gonna raise it up into the air like this and you can see how currently, if I do that, the landscape does not to form all the way up to the edge of. And that's because I've got my end fall off set to 2000. If I was to set this 20 you can see how it's going to go all the way to the edge here and then create a sharp cliff, if you will. So that is, if you got a straight spine, it doesn't connect on one another. How sharp you're fall off here is going to be at the end. Alright, guys, that's gonna do it here for some of the common parameters. You want to change with your selected control point or points, We will see you all in the next video. 70. Deformation Settings: Welcome back, everyone. In this video, our goal is to explore the landscape de formation settings available when you've got a supply in selected. Now with these, you can set rules regarding if the terrain under a spine is allowed to automatically fill in underneath your slime. Now we can also determine if will automatically apply landscape painting directly beneath our spine as well. That's pretty cool. Now what are we talking about here? These landscape de formation settings? Well, firstly, here I am, in my spine's level underneath my landscape editing mode got my managed tab selected, and I got the edit spines tool selected over here. And of course, I've got my spine's layers selected, and we can see that with its blind control point here selected in my level over into the details panel, we've got these parameters right here called Landscape Deformations. This is what we're gonna be talking about in this one as well as if you check over in the modes panel. We've got a few different tool settings here, and we see the words deformed and landscape. We're gonna be covering a couple of these in this video as well. All right, for starters here. Check out that I've got one control point selected here. My landscapes, plein. And with that selected, you can see over in the details panel. I do have access to my landscape de formation check boxes here, the raisin lowering of the terrain. That doesn't matter if I have one control point selected or if I select all control points by clicking on that button, those parameters are available. However, these parameters don't really matter for whether or not the landscape is going to deform underneath our landscape. Slime. What really matters for is if we have these check honor off for our segments. So now I'm going to select one segment in my landscapes Blind. You can see I've still got access to these landscape de formacion. Check boxes to raise and lower the terrain. It doesn't matter if I have one segment or all segments selected here. I do have access to them now. Currently they are checked on, meaning that when I move this landscape spine, upper down, I want the terrain underneath it to deform automatically. Whoever there's going to be a problem that I'm gonna expose here in just a moment. So when I'm going to do is I am going to uncheck my raise terrain here with all of my segments selected. So make sure you've got all segments, selected segments, very important. I'm going to uncheck, raised to rain, so the landscape should not deform automatically. Now I'm going to select all my control points so that I can raise up my landscapes, Plein here, all together. I'm gonna tap thes space bar once to bring out my little movement which it here and now. I said that all landscapes, spines, segments should not automatically deform when I move this up, however, I'm gonna be exposing a problem here. So dragging it up, dragging it up, dragging it up, and as a release, it deformed underneath it. Well, what what just happened? I thought you said with all segments selected here and I just click that box that we were not going to automatically raise the terrain. Well, the problem here resides with the fact that I've currently got my base layer on top of my spine's layer, meaning my base layer is still deforming and it's showing that de formation. However, if I reorder my levels here, my layers I should say in that levels. I'm gonna drag my spine's layer left, click and drag on top of my base layer. And now what you'll see is it does not show it raising up of the landscape to meet my spine . So let me go ahead and select a segment here and let me go ahead and shoes to raise the terrain. Now, for this particulary segment, you can notice that I've just got one segment selected, or if I select all my segments, I can say yes, Let's raise it up for all of them. Boom. Now a few things to note As you're working your way through this again, make sure you've got your spines layer on top again. Make sure that you are modifying your segment, raising and lowering terrain check boxes. But beyond that, there's also some other things to keep in mind here. I'm going to select all my segments here, and I'm going to uncheck my lowering of the terrain, which means that I don't want my landscape to automatically deformed if I lower my landscapes blind here. So let's see what happens now If I select all of my control points, I got all selected here. I'm just going In fact, let me just select one control point. I don't have to select all of them gonna press the space bar. And I'm just gonna move this one down just a little bit. And it did to form what just happened there. I thought we just said that we didn't want to deformed if we lowered the terrain. Well, if I move this all the way down, I'm gonna move it significantly down. You can see that it does lower it. But on Lee to the base level, it did not lower automatically once I sunk below that base level. So that's something to keep in mind as you're working your way through this stuff. Just because you say I don't want it to go lower doesn't mean it can't go lower. It just means it's not gonna go lower below that base threshold. All right, so let me go ahead and raise that back up. I'm gonna select all my segments once again, I'm gonna say yes. We're going to allow you to deform automatically if we lower the terrain as well. Okay, Now, let's talk about thes landscape layer names currently it says, No, no, no, no, no, no. None for every single segment we've got selected here. Now, these air cool because they're going to allow us to specify a type of layer we want to paint underneath the surface of our spines, such as dirt or gravel or whatever we want whenever we deformed this upper down. So I'm gonna put in a layer name year, and I'm going to put in the layer name of rock now, a couple things to keep in mind here. If you want to see this magic happen, you've gotta have the exact name If I jump on over to landscape paint mode here that we have for one of our different paint layers here, and I do have one called rock. Also, we gotta make sure that we've got some landscape layer info Object for that particular layer is Well, now, if I go to move a few of my control points here and let me just go back to my manage mood and I'm going to select all my control points here and just maybe move this on up just a little bit and I'll let me jump back to my pain mode. You'd be like, Where is the rock I don't see in Iraq. Well, if I take my base layer here back in landscape paint mode and I change my Alfa from one, I'm just gonna slide this on back to say 10.1. And now you can see I've got a bunch of red here because I am currently back in payment. Let me jump back to manage mode. Now you can see I've got a little bit of a rock layer that is Mawr exposed underneath it now rock. And this is all snow out here. Probably a little bit too closely related. So let me just jump back into my settings here. I've got a control point selected. Let me select all of my segments and I'm gonna change this from rock to Let's go. Maybe something mawr drastic Like grass. Yeah, and I could see we've got grass appearing underneath our landscapes blind as well, so that's kind of a cool way to make it so that you don't have to manually paint right underneath there. Some other things to note if you're going to paint your landscape layers in such a fashion , is that if you got your control points selected here, and I got that by just going to select select all connected control points. You got a few parameters here that you can play with one of them being with another being side fall off. If I was to adjust the with here of my landscapes blind, I'll say maybe 3000 and let me while that was kind of crazy. Let me just undo that quickly. Let me change my side. Fall off. Actually, I'm gonna go with that to be 3000. Maybe that will be a better demonstration. That is a better demonstration right there. You can see how that kind of fans out, that particular layer underneath it. So it's not quite so sharp now. Obviously, a perfect example is to when you might want to do something like this is if you got a road like this. And maybe you just wanted to have some gravel underneath it. If you look out at Rhodes in your everyday life, it's usually erode on top of gravel. And actually, I'm just going to select one control point here, and I'm gonna just the width of this one control point like that, make that kind of fat. There you can see how it automatically adjust. There is well, the painting underneath. If you modify just a single control point to b'more, skinny or fat. And finally, before we wrap this up, what about these deformed landscape to spine buttons over in our tool settings? Well, these only come into play when you don't have the layers system enabled for your landscape . So in order to show these off, what I need to do is I need to jump back into place mode. I need to select my landscape actor. I need to undo enable at it layers. I'm gonna uncheck that and I will break our layers here. Yes, whole sad day and jump back over to our landscape mode here again. We've got the managed tab selected over your make sure you've got at its blinds selected over here. And now if I was to raise up a single control point pressing the space bar gonna raise that up, you're going to see nothing has filled in automatically. So now I'm going to select all of my segments here, over in the details panel and now the weight they to get this to raise up to fill in underneath is by clicking this Onley selected button, so click that it will fill up. But it's on Lee going to fill in for my currently selected Sline. Now, I could fill this in for all spines, so let me kind of read. Demonstrate this by having a control point selected here. I'm gonna raise this one up. Nothing is filled in yet, and now I've got this fence spine over here. I'm going. Teoh, raise up a control point here and here and here. Now, if I come back here and select my one control point and I choose to select all segments now and I'm gonna try to frame it so you can see that there and this gap right here. If I click all spines, you can see it's now field in over here, but over there as well. So there you have it, guys. Some controls on how you can deform your landscape automatically to fill in underneath your spines whether or not you've got the layer system enabled or not and whether or not you wanted to automatically fill in if you've got your control points raised up or going below the base level of your landscape. Actor here as well, Guys, That is going to do it all for this one. We will see you in the next one. 71. Spline River: Welcome back, everyone. In this video, our goal is to use a pre made slime blueprint, not our landscapes plying tool to create a flowing river. Now, to assist with this, we're gonna jump to our epic games launcher. Let me just open up this guy right here. And you got your unrealized engine tab selected over on the left hand side and across the top. Make sure you are in the marketplace because we're gonna add on a content pack here that's got this sort of river supplying tool that we're going to add to our landscape. This particular pack that we're looking for is under the free, the permanently free collection. And if you do a search for it, it is going to be called Pro Siege. A role, nature, a pack. And it's procedural nature Pack Volume one. Go ahead and click on that. That will lead you to where this particular slime blueprint is. I'm gonna added to my project, hear clicking on this ad project button and again, if it's some a point in the future this I'm gonna click. Don't adhere. Just for the time being, it shows are supported engine versions, all the way up to our current latest one, which is four dot to four. If this ends support at some point, you can still add it to your project by going to add project. And if you don't see your project within here, you can click on this button to show all projects and add the latest version of the pack to your project. But we're all current up to date. Now. Here is my landscapes. Project four dot to four I am going to add to project, and obviously that is going to take a little bit of time to add it to my landscapes project here. So I'm gonna pause the video and rejoin you when this is finished. Okay. Welcome back, everyone. As you can see, the procedural Nature Pack Asset pack is finished being added to my project. I simply right clicked on it and change the color of this folder to yellow just to make it a little bit easier to identify. I'm a quick word about these different acid packs that we have been adding into our landscapes project. You probably want to avoid adding on to many of these to your unreal engine four project the mawr that you add, the longer it is going to take to open up your ever every time you're going to work on your project. Truth be told, there are a lot of assets in all of these added on acid packs that we're not making any use of. In order to keep your project as lean as possible, you should Onley add on those packs that you're gonna make some heavy use of. I've been okay with it in this particular project because this is all for educational purposes. But just know that going forward. All right. Where is this river blueprint that you talked about, Mr Wandera, where it is located in procedural nature pack slime blueprints. And right here we've got this Master River Sline blueprint. I'm just going to double click on it to open it up, and it's gonna take us to a tab with some scripting done on it. I'm just gonna jump to the View port here quickly. Now, really, this blueprint is nothing more than a spine. It simply got a spine component. And the way this works is through all the scripting in variables done in here. And I'm not gonna go through this at length. We can essentially extend out this blind, determined its shape, and the river will kind of just automatically generate. So I don't know who put this together, but they did a fine job putting together this blueprint. But that's essentially what this blueprint is going to enable us to do. So let me just jump out of here back to our level quickly. If we're gonna be creating a river of source, we need to dig a little bit of a ditch first. And as you can see right here in my landscape mode, I am in these sculpt tab with my sculpting tool selected. I currently seem that my brush is red in color and that's because I am in my spine's layer , which is reserved for spines now is reserved for landscape slides, not these blueprints that consists of a spine components. So in order to add this particular river spine, I need to work within my base layer here. So I'm going to jump into my base layer, and now you can see my sculpting brushes back to its white ish color. So I'm gonna come over to the corner of my spine's map here and I'm just gonna dig a little bit of a ditch. So holding down the shift key, I'm gonna left click. And I'm not gonna be super great about this for the sake of brevity. OK, there is my little ditch in now I can bring in my river splint. I'm gonna drag and drop this in here it is there. But in order to work with this properly, I need to jump out of landscape mode and into place mood. And there we go. Let me, ah, tap the f key to focus in. It's not going to allow me to tap the F key to focus in on this particular asset. Let me select my river spine. There we go. Bring us above the ground here. There. If I tap my f key, I can focus in up on it. I'm not sure had that selected there before. OK, so the way this works is I want to spin this around, hit the space bar, spin this guy around these numbers that you see right there that indicates the number of supplying points to generate this river. Going to back this up kind of towards the end here, and I'm going to drag out a fume or spine points. So I'm gonna select this endpoint right here in the way this works is if I hold down the altar key and then left, click and drag. I can add another spline points. And I've released the old key and my left mouse button. But again, I'm gonna hold down the bulky left click drag release Old Key Left click, drag release like so old key left click, drag release. And now you can see as I am doing this, it is showing numbers at the various spine points alot. From this perspective, they look backwards, but 01234 etcetera. Those numbers are useful because I look now in my details panel in a scroll down just a little bit. I can see these River Sline points. It's adding to this array of different spine points that I'm adding, and I'm currently up to six spine points. Let me add one more here, So I'm gonna hold down the multi left click drag release and I could see with everyone add it adds more spine points down here. I'm gonna right click on my river scales blind points I'm going to expand all. And now you can see underneath each of these different spine points. I have a river scale associated with it that I can expand out. So 0.0 is way and back over here. If I set the scale to be safe four. You can see how it has widened that out quite significantly, although not quite enough. Let me expand that out to I don't know, 10 times as much. And so I could set this for each of my different points here. 10. 10. I'm not even sure if tens enough 10 again. Maybe I wanted Teoh collapse down to I don't know, five times a scale at 50.4 in 0.5, you know, maybe five times a scale. So you can actually determine how wide your river is here. Depending on the scale values that you give it Now you can actually select these blind points and move and rotate them around a little bit. So if I fly down to spline point number five year, I can select that I could move it to left or right a little bit. I can hit my space bar. I can rotate that a little bit this way or that. However, if I do bring out my scale tool and try to skillet on one axis or another like I'm trying to do, it's not going. Allow me to do that. So the only way to scale this particular river is with the's River Scale values down in the details panel. Note that you can not Onley move this spine point left or right, you can actually move it up or down to, and you can see how, just based on how this River ISP line blueprint is created, it's making the water white in areas it could detect our change in elevation. So that's pretty cool. That's why when it's flat here, we don't actually see any white water. However, if I start sloping it down, I do. And obviously you want to create a sensical river so that it would be, you know, flowing down all the time. But that will be up to you to creates. Okay, so again, I'm not gonna make this perfect. I can fill in, you know, make this is wide. Is I need to to kind of fill in my ditch here, but I'll let you worry about that. Okay, Let's explore some of our different parameters here, Over in the details panel. Ah, one of the most prominent that you'll want to deal with is the water tiling parameter. Currently, it's set to 2.25 So smaller values equal. Kind of like bigger tiling. So, actually, let me create kind of a more dramatic slope here. We can see this stuff a little bit easier. I need to raise up this one, or actually, lower it down a little bit. Let me lower this guy down a little bit. I just want to create some white water here that we can actually see. I'm gonna not tilt that one so bad. Okay, Something like that. Okay. So you can see how my water tiles suddenly look a lot bigger. Where is if I set this to 11? However, if you were to set this to a value of something like, Oh, let's try by 1000. Suddenly you're Waters air going to start looking a little bit rockier. That is, that is quite the rapids there. Good luck navigating that right there. Said this back. Actually, I'll leave this at 1000. Pronounce this test. Elation, tests, elation, fade distance. I don't find to be all that useful. This will essentially determine how much this river spine looks. Test. Elated. That is the undulations from a distance. So I'm gonna try to life far away from it. Okay. Test elation, fade distance currently two. We see a little bit of undulations there. If I said this is something like 500 you see a little bit of a change in terms of how much it looks like it's undulating, but I personally just leave this one of default. Don't really like to mess with that one. A whole lot. Let's see. Next one to change your Ah, the river speed minimum. I'm going to set our test elation scale back to default. Here. This parameter note that changing it will impact the overall look of your river and it may impact how you go about tuning the other parameters. So this is kind of one of the most not the most important parameter to change here. So river speed minimal. I'm gonna changes to something like 10. You can see it's looking like it's flowing a lot faster now. Just set this back to default. I got some numbers here. I want to try out. Let's try the water. Horizontal scale of, say, 3.3. Test elation scales. Try 300 and River Speedman. So now if I set this to something like 10 flowing pretty rough like that. If I said it to something like five, something like that. So you're noticing that the faster I speed this up, let me go. Something like 25 something crazy. The test elation is gonna look rather extreme. So not that this one kind of works in tandem with the test elation scale to a degree where the more you speed up your river, the more it's going to affect how much you river test relates. Wow, that is, um, Rocky seas. All right, so I'm gonna set this all back to its default. Very a Have it, guys. That's pretty much our spine blueprint for a river in a very general sense. Now, if you just kind of wanted to know how this particular blueprint words if you open it up, most of the scripting done for making this work isn't something called the construction script and this is basically determining some parameters eyes to how it's constructed and what is available for you to adjust right from the editor. Things like a river speed minimum water tiling, etcetera, way beyond the scope of this video. But that is very quickly kind of how that is set up. Alright guys. No shame Using some other blueprints here to kind of flesh out your landscape. The river sline here is a good one. Let me point you to another good one out there on the Interwebs. If you go back to the epic games launcher, there is a nice constant pack in the marketplace called River Water Tool. Let me just do a search for a river water tool with flow buoyancy. Here it is. This one, however, does cost money. That's why we didn't use it in this course. I don't want you guys pay anything extra here. But as you can see, this particular river water tool can do things like adding a little bit of whitewater around various objects placed within your river Looks very, very nice. Might be worth checking out is well alright, guys. That is how you can easily add a spine river to your landscape. That'll do it all for this one. We will see you in the next. 72. New Landscape: Welcome back, everyone. Well, up to this point in the course, you should be pretty well versed in the various landscape sculpting and painting tools. We've also edited some spines, added some of those to our landscapes as well. But we haven't actually talked all that much about what is all available in our landscape managed tab over here. In fact, if I select this selection of tools over here, we have done some work in our edits blinds. But we haven't really talked too much about what else we can do here in this particular menu. So in this video, our goal is going to be to demonstrate how we can add another new landscape actor to our level. Now there is another way known as world composition, which will cover in a later section of videos that will allow us to add lots of landscape actors to our level. But the way I'm about to show you in this video is great for particulate er situations like these. So let me just show you some screenshots here. There are some games that have, you know, some floating islands in them. Something like this. Now, this is a scenario like in this screenshot right here, where you might want to have a few different separate landscape actress if I jumped back to unreal right now, you can see that in my map sculpting level. I currently only have one landscape actor, but we can have multiples. And that would be good for a situation like this. Where this floating island could be its own landscape actor, This floating island could be its own landscape actor. Another possible reason you might want Mawr than one landscape actor in your level is for a situation like this. Now this is from an old Sega Saturn game called Nights Into Dreams, and what they did is they had a landscape kind of sandwich with another landscape on top. They literally had a landscape flipped upside down in many levels, and your character would kind of fly between these two landscapes. So imagine this one being a landscape down here and then another one up top that's just simply flipped upside down creates kind of a cool effect if I do say so myself. All right, so how do we add another landscape to our level here? And that's an important distinction. Distinction to make. This is our map sculpting level, but within this level we have one landscape actor. Well, the way to do this is to come under our landscape manage mode. And in our list of tools over on the left, we actually want to select new landscape up at the top. It's gonna prompt us to ah, slot in a material I can slot in my material instance right here. But that will cause me to need to slot in all my landscape layer info objects. I'm just gonna keep this simple for now and just type in grass, not with three s is And there should be my m ground grass material in my starter content. But of course I can enable at it layers for this as well. And I'm gonna leave all these different quads and section sizes here, etcetera, and you can see it's showing me a preview right here as to how big my created landscape would be. This is one that is currently smaller, but that's fine. So just to show you you can create landscapes of different sizes. I'm going to create this by clicking this create button, and now you can see, I've got my default landscape, which is just known his landscape. That's the one with the mountain. And then I also got my landscape one. And if I select this guy, you can see how it's kind of showing. Well, you can see with my selection tool here how it is showing the different areas of that landscape that I can sculpt upon. So let me do something here. I'm going to I have my landscape, my default landscape hidden here. Just gonna hide that by coming under my world outline or hiding that. And now you can see that landscape that I just added. So that's a really easy way to kind of visually see. The difference here is in your world outline, or you can show and hide each respective landscape. And what I can do is I'm gonna change the location of this current landscape. I'm just gonna raise it up. I don't know, maybe 5000 unreal units, probably even taller than that. Something like 10,000 raise that way up. And now if I show the other landscape, you can see how it is risen above. Now where this really gets to be a little tricky is knowing that when you're working with your different landscape editing tools here, you need to pick which landscape actor you want to effect. I've got my landscape one which is this current top level and in my landscape, which is the bottom level. Let me, AH, rename this landscape 01 to be landscape, underscore our underscore top, and you can see how that name has changed over here. So with my sculpting or painting tab selected over here, I can choose which one of my landscape actors I want to effect. So if I want to affect my landscape top, I can then come under and use my sculpting tool. You can see how the brush works on this landscape actor, However, I do not see my brush a top, my other landscape actor, and then I can simply left. Click adds the mountains here, let me jack up my tool strength here, right and increase my brush size. Something like that right creates a nice looking slabs like so, and that's how I can affect just that landscape actor. And again, you might want to hide out your other landscape to work on one at a time. Same thing can happen if you are painting now again, I don't have for this particular actor my landscape material associated with it. But if you were to apply your landscape material to this, you could come under paint mode and paint this particular landscape actor separately from your second landscape actor. Now, in order to do something like Flip one landscape actor on top of another, like we saw in that nights into dreams Image I showed you a moment ago, the easiest way to do that would be to come into placement mode. And once we're in placement mode, you know you can select your bottom landscape actor. You can select your top landscape actor here, and once you've got it selected, you can hit the space bar wants to bring in your rotational tool, or you can select that button right up there and then you could simply rotate this ah, 180 degrees like So Now you're not going to see the bottom side of this landscape because this is currently not a two sided material. However, if I lift this up and then let's go on down a little bit, you can see, we can now see the underside now. An interesting phenomenon to note about this is if you have done something like I have done here by flipping one landscape actor around. If you then go to sculpt it, I'm jumping back into my landscape sculpting tab. And I've currently got my landscape top as my landscape that I want to edit now the controls here going to be a little bit reverse. If I left click, it is going to sink it on down, and if I hold shift in left click, it's going to rise it on up in the reason that those controls air seemingly flipped, is simply because I flipped around the landscape actor. Alright, guys. So that's a really easy means of adding some or landscape actors to your level. It's under the landscape manage mode under new landscape. And just note that once you have added another landscape, you then need to specify Doesn't matter if you're in, manage, sculpt or paint which landscape actor you want to effect with your various tools? Alright, guys, that's gonna do it off for this video. We will see you in the next one 73. Add / Delete Tool : Welcome back, everyone, Into this video, Our goal is to demonstrate how we can add or delete landscape component in order to fine tune the size and shape of our landscape actor. Now, to demonstrate how to do this, I am in my map sculpting level down here. You can be in any level that you have at least one landscape actor. Of course, we have landscape editing mode selected up here and in order to access the add and delete tools, you need to make sure you're over in the manage tab over on the left hand side here and then underneath that right here is our list of options. I'm gonna be skipping over these selection tool for the time being. I'll get to that in the next video. We're gonna be talking about these add and delete options right here, starting with the ad option. Now, with that selected, we have only just one setting. Here are brush size and this is set to a brush size of one, meaning that we can select or I should say, add one component at a time. And as I am mousing over the edge of my landscape actor here you can see a very faint green mesh. In fact, that's so hard to see. What I'm gonna do is I'm gonna hide my sky sphere right here. That's just gonna make things a little bit darker. And now you can see that green outline a little bit easier to add a landscape component. All you gotta do is simply left click wherever you see that green outlines. So we added one there, left clicking their left, clicking there as well. And why it's doing that weird flicker whenever I click, I'm not quite sure. But as you can see, you can simply add landscape components like So Now I don't have to add just one at a time . I can change my brush size here to something like, I don't know, three. And now you can see if I mouse over my landscape. I now have a three by three size that I can add. Now, note that when I add this and I'm gonna highlight along the edge here, this is going to be this green box, the center of my selection. So if I must on out here a little bit, remember, I've got a three by three component area that I'm looking to add. If I click right here, I'm gonna add components here, here, here and then all the way around because I'm defining the center points. I'm gonna click right here and now you can see how it's added it all the way around cause it was adding my three by three section. I'm just going to do control Z to undo that now. Why? When I have a brush size of three, it on Lee shows my center component and not a three by three section. I don't know. I think that would be a nice improvement for epic to include, however, so that is adding simple enough. Now, I'm just gonna set my brush size here back to default, and you can probably guess what the delete tool does with that guy Selected. All I need to do is highlight a component I wish to delete and left Click it to make it go . Bye bye. Of course you can make any particular component go Bye bye. So if you want something a little bit more landlocked, you can do that here as well. Now, what are some possible uses for this tool. Well, let's consider this example right here you're add and delete tools. What if you wanted to make different holes of golf Course? As you can see, this whole from this artist's rendering is rather slender in nature. In this case, if you were trying to construct something like this, you wouldn't need a whole giant landscape actor. You could delete out various components, and you could make it run a little bit more efficiently because the more polygons you have out there, the worst your performance is going to be in general. The more cool stuff you have in your level, the less performance your game will be. Less polygons equals faster performance. Less objects equals faster performance. All right, I'm going to simply delete out these two and let's simply add these sections back to our existing landscape. And there we go. We are back to normal. So, guys, that is how to use the add and delete tools in your landscapes that will do it all for this one. We will see you in the next one 74. Selection Tool: Welcome back, everyone. In this video, our goal is to demonstrate how the selection tool can be utilized when working with your unreal engine. Four landscape actors. All right, first things first. I am in my map sculpting level. You can be in any level that you have at least one landscape actor present. Of course, you got to be in your landscape tab up here. We are working in our managed tab right now. And along the left hand side, we had skipped over how to use the selection tool. Previously, this one is going to be all about the selection tools to make sure you got that guy selected. All right. As you can see, I can select one component at a time. Currently, that is what this orange highlighter is. I can change this in these settings. My brush settings to be two by two components for example, or three by three. Or however big I want now, just as a quick reminder here if I select my landscape actor in my world out liner, my current landscape actor here consists of 64 components. That is I'm gonna change my brush size down to one eight across an eight down. And, of course, eight times eight is 64. So I've currently got 64 components out here. Now, how do you select a component? Well, it is a simple as left clicking, and when you left click a component, it remains white like that. If I hold down control, I can continue to individually select various components like this. Alternatively, I can multi select components by simply left clicking and dragging. So now all of these components I have selected now, to clear these selections, Aiken simply re click them. So I'm gonna click on this selected one right here It is now, once elected, I'm going to select this one right here. It is going to unsolicited it. So think of left, click as select and your de select. Alternatively, if I hold down control and I'm gonna start holding down control right here and then just left clicking and I'm holding down the left mouse button as well. I can uninsulated all those as well. And really, if I just left click in drag, that's going to select them all. I can left click and drag over them again to un select them all. I don't even need to hold down control. That was just a force of habit. So left, click and drag to select and left, click and drag over the ones who had previously selected to de select them. Now, if you have a whole bunch of components selected like this, you can also click this clear component selection button over in the panel over here to clear them all. Now, let's talk about some interesting things that you can do. Let me just select all these components right down here just left clicking and dragging. Once I've done that over in the details panel under my landscape actor, I have some landscape component overrides that I can play with. Let's play with his overriding of the materials, and I'm going to click on this override material straight away. Up here, there's an override materials down here that we will experiment with in just a little bit. Uh, I'm going to override this with Let's do floor basic this blue material like that. And now if I clear my component selection, you can see that all of these components have now been changed from using my landscape material to this override material. So maybe you got a use for this. Maybe you want this all to be water, some lake, water, something like that. That is an easy way that you can make every component immediately be lake water now gonna have to get a little sunlight on their in order to show that that is indeed lake water. Okay, now let's Ah, let's play with our override materials down here. Different array elements. I'm gonna click this 12 and three times. Then I'm gonna right click on this to expand all of these different array elements out here . And I am going to set different materials. Per L o D index, what does that mean? Well, let me set these in here first, and then I will bring in a visualize er to help demonstrate what we're doing here. And I'm going to set our first material here to be the lake water. Our second here, I will set to be gold and our third here. Let's set that to be the basic floor. That sort of drab blue Look. Now, I got these Elodie indexes of 00 and zero. I'm going to set this 201 and to. And now what you notice is that I've got different looks out here in my given landscape components. Let me undo this override material, right? Appears so as to avoid any confusion. I'm gonna set this one all the way back to well, actually going to set it back to default, which is none right there. Okay, So as you can see, I've got the drab blue basic floor showing out here and then gold up here. Now watch what happens as I fly. Nice in close now. What I've got going on is I could see lake water up close right here. Gold right here and then that drab basic floor right here. Why is this what all has to do with the current level of detail that each component is rendering it? If it is at a level of detail of zero meaning the highest quality, it's gonna show lake water if it is at an elegy index of one, which is the second highest quality here, it's gonna show gold and then to the next level, which is basic floor. So we've got Elodie level zero. This is in L A D. Level one and this is Elodie level to now. If I go under a lit mode, visualize er's landscape. Elodie is This is what we're gonna see. Gray, here is our lake water. That's Elodie zero. This reddish area is Elodie, one are gold and this green area is our Elodie to let me just switch this back off under the lit button. Visualize er's back to normal. All right, so that's kind of a fun thing to do. Another thing that you can do here with the selection tool is I'm going to select all these guys again by simply left clicking and dragging. And now over in my details panel, I'm gonna set the rotation. Let's set the X rotation for all these selected components to be something like 35. And now what you see is you rotated all those components 35 degrees now, which could dio and so I come over into sculpting tab with my sculpting tool active. You can actually sculpt it even when it's angle like this. I'm just holding down the left mouse button to sculpt, sculpt, sculpt away. I could hold down the shift button, too sculpted in the opposite direction by going down instead of up. And there's all kinds of cool effects that you could do. You could use a landscape actor here to be some sort of decorative item in your sky. You know, maybe you got the northern lights that she kind of got going on. And you've got ribbons of northern lights going through the sky simply by using a landscape actor that you have twisted and contorted and overridden materials, etcetera. All right, guys says, there you have it. That is the selection tool underneath the managed tab of landscape editing mode. That'll do it all for this one. We will see you in the next. 75. Move to Level Tool: Welcome back, everyone. In this video, our goal is to demonstrate how to move landscape components to another level for streaming purposes. Now, I am currently in my map sculpting level here, and I've only got one landscape actor president in my world outline. Er but you saw me do a few videos back where I had more than one landscape actor within the same level. So now just imagine if I had 234 these guys out here in this level, I could make it in such a way where certain components from different landscape actors are streamed in when certain other landscape actors are streamed in and vice versa. For example, I could have a 2nd 1 over here, and I could have half of it being streamed in whenever this actor is loaded in. And then the other half can come in through some scripting. Now, if all that is a little confusing, just stay right here and we'll show how this is done. Currently, I am in my landscape mode in over in the managed tab, I have this move to level tools selected now. Currently, it doesn't seem like we can really do much I don't see a curse or anything like that. And that's because we need to add a new level and then populate that new level with a landscape actors. So this is how we're gonna do it. First things first under your windows menu at the very top. Make sure that you have your levels window checked on. I have mine on right down here next to my content browser and it looks something like this . You're going to see some blue text that says persistent level. This is our persistent level right here. And currently it consists of my landscape actor. It's in blue, meaning it is loaded in, and it is my current level loaded and current. So we need to create a new level here and an easy way that we could do this directly from our level. Tab is right here from this levels. Drop down. Gonna select this. We're going to create new We're going to get this little pop up saying what kind of level do you want to create? Will create a default level here and it's gonna say, Where would you like to save it? Let's save it in our landscapes, maps folder right here, and I will call this. Let's call it landscape underscore to underscore stream, underscore in and then I will click Save to save that Now. As soon as I do that, you're going to see I have another level that has populated here in my A Levels browser called Landscape to Stream In its currently showing that this is the current and loaded in one because it's in blue text you could see down here. It shows that what level of my end, the persistent level or the landscape to stream in level I am currently within my landscape to stream in level. What does this mean? I mean, I'm seeing the same thing that I was before. This doesn't really make a lot of sense. Well, let's do a little experiment here. Currently, this landscape to stream in level is my currently loaded in level. Now I'm just gonna place a couple of cubes out here into my world one. It's way down there. Let me just tap the f key to focus upon it. And you know what? I'm gonna make this way bigger, so let me just bring on my scale tool and I'm gonna make this kind of giant or miss like so . And I'll just duplicate this by holding down the altar key and creating another copy and then creating another copy. So we've got these three cubes out here Now, if I was to hide this landscape level to stream in down in our levels browser here by clicking on this little eyeball icon, you will see that the cubes have magically disappeared. That's because I added those cubes to this landscape level to stream in. Now note if I turn this back on, they will show back up. But if I hide my persistent level back here, my landscape actor goes away. But my cubes stay in. And that is because in my persistent level, that is where my landscape actor lives. These cubes live in this landscape to stream in. So now what I'm gonna do here is I'm gonna delete out these cubes 12 and three and we're gonna actually create a landscape actor that's gonna live in our landscape to stream in now . It should be blue like this. That means it is the current level and it is loaded in and the way you can make it turn blue like this is by right clicking on it and making current the current level is the one that you are adding things to. So we wanted to be blue before we make this new landscape. So here we go coming up under our landscape tab, we're going to come under our managed tab, and we're going to create a brand new landscape. Ah, we can leave the material as such. We don't really need to enable at it layers, because we're not really gonna be dealing with that. But what the heck will check it on? Everything here is gonna be fine. We can see our preview out there. It's gonna be a little bit smaller than this other landscape. That's okay, let's simply create. And now we've got a second landscape to deal with right away. Let's go ahead and rename this landscape because we've currently hot two of them named the same thing. So I'm gonna select our landscape here. This is not the one that we want to select because this one has our landscape material instance applied to it. So that's this big guy. We want to select this landscape, and I know that that is the proper one right here, because you can see that I've got my landscape M ground grass applied to it when we created . So just to avoid any confusion, I'm gonna call this landscape underscore new. And then I'm gonna jump quickly end to placement mode, and with my landscape new selected here, I'm going to simply drag it off to the side. Something like that. Now, the next thing we want to do is jump on over to our landscape edit mode. We want to make sure that we are in the manage mode and of course, over all along the left hand side, we want to make sure that we have our move to level selected now, currently up here, it says, landscape knew that is the landscape that we want to work within. However, I still don't see any kind of landscape component cursor out here to select from a new landscape. Well, what is going on? Well, I currently still have my landscape to stream in set as my current level. What I want to do is I want to be able to move components from my landscape. Knew this landscape over here to my persistent level. So what I need to do is I need to make my persistent level be the current level. So I'm going to right click on this, make it current. So now that level is blue and now you can see that when I've done that Now my components selector is present on my new landscapes. Let me just fly on over here now give it a little bit better visual. You can see all those components making up my new landscape. So all I need to dio Teoh move these components to this landscape down here is to simply select them. Of course, I can change my brush size here to select a wider swath at a time. I'm gonna leave this at one. And so I'm simply just going to select, select, select and select. I selected those four in the lower right hand corner and now if I hide out my persistent level here, you will see that they are now a part of my persistent level and no longer a part of my landscape to stream in. Let me just bring that back here quickly. Now, for the sake of brevity, I just did a short camera cut here and I moved my player start actor much closer to those components that I moved to my persistent level here so I could jump in and play. And you will see that as I get close to the edge of my persistent level here and there's my mountain range off in the background, you can see that those particular components have been added to my persistent level. Now, just a quick note. When we did add our landscape level to stream in and we created that new level, we did add double of all of our different actors here. We did add a second player start a second skylight. A second skies here. Technically, you don't need all that. And in fact, after this video, I'm gonna clear all this out. But it's worth pointing out. Okay, now, anyways, what if I want to make my landscape to stream in this part that is all not visible when I click play? How do we make that stream in then? Well, what we can do is through script tell it to stream in. So currently I've got my persistent level in blue. That means it is the current level. That is the one that I am working in. And if I add anything to my level right now, cubes or spheres or whatever, it would be added to my persistent level. I can add some script to this levels level blueprint, and I can do that right over here with this little controller icon, I can open the level blueprint for my persistent level. That is, this level currently with the mountains and whatnot. So I'm gonna open this up and you thought we weren't gonna do any scripting. Shame on you. Well, first thing before we do any scripting inside of here, I need to add a trigger volume to my persistent levels because we can't really do much without a trigger volume. So I'm gonna jump back to my level here, and I'm gonna jump over to the modes panel and I'm gonna add a box trigger down around where my player spawned in. So here is a box trigger. I'm gonna police that into my level and make it Oh, significantly bigger. Let's see, our box extends here in the why I'm going to set that to be something like 5000 something big. The X will set that to be 2000. The Z. Let's make that B 2000 as well. Something nice and tall. It's essentially a wall of a trigger volume. All right, we're gonna just scooch it over to the side right here. I don't want my player to spawn in it, but rather I wanted to walk inside of it. Okay, so with this trigger box selected, let's go back to our level blueprint. And again, you can access it right here. Or alternatively, blueprints. Open level blueprint. And I'm gonna right click. We're gonna add an event for trigger box 01 We're going to do it on begin. Overlap now. I'm currently using 1/3 person character. So what I can do is I can drag out of this other actor and cast to third person character. When something overlaps this trigger box, it can output information. In this case that can output Well, who was the other actor and what this will do? This casting to the third person is it Will check was at the third person if it was will fire out of here. If it was not the third person that overlap me. Weaken, Fire out of here. All we want to do is if it was the third person character we're gonna drag out aware, and we're going to load stream level. There we go. And now we need to tell it. What level name do we want to stream in? Well, we wanted to stream in, and you gotta type this in exactly. Our landscape underscore to underscore stream, underscore in. And we want to make this visible after loading. So there's your script. Let's compile here, make sure it looks all good and it does. Let's save. I'm gonna jump in and play. And the trigger volume is somewhere in front of me. Currently, we see just those few components that we added to our persistent level that we move short, persistent level and as I get closer to the trigger volume boom, you. So it saw all that land extending beyond that added to our entire world. If you didn't see that, let's watch a little bit more closely. I'm gonna play again. Watch as I get closer to the trigger volume. You're gonna see some land appear out yonder. Here we go. There it is just kind of popped into existence a little bit hard to see from a low profile like this, but hopefully you caught them. All right, guys, what's a sample case for using this? Well, maybe maybe you have a set up in your level. Where said you're approaching the entrance to, say, a train tunnel that is present in the side of a mountain and you need to see the tunnel from a distance. Once you approach the tunnel, then you can stream in the other landscape level, so that could be a sample used for something like that. Alright, guys, that's gonna do it. Offer this one on how to move landscape components from one level to another. Coming up. Next. We got changing Component size tool. We'll see you there. 76. Change Component Size Tool: Welcome back, everyone In this video. Our goal is to demonstrate how to use the change component size tool. Now let me paint a picture for you all. Let's say you're a new designer. You've learned how to use the landscape tools here a little bit. You have sculpted yourself a gorgeous, gorgeous landscape filled with mountains, lakes, etcetera. Then you jump into play your game and your game is running at about 20 frames per second. A lot of stuttering going on. You've just spent all that time crafting a beautiful landscape, and now you're games. Frame rate is just not keeping up. What can you do? Do you start from scratch? Well, that's one approach. Or maybe maybe before you do that, you can look to use this change component size tool to resize some of your landscape components to make it run more performance. There is such a tool. So where does this tool exist? Well, it is in our landscape tab. Under that we've got managed and along our left hand side in our list, O. Toole's Here it is our change component size tool. I'm currently in my map sculpting level, and you can see that once I'd change on over to the change component size tool. I've got access to some of these parameters that we had when we initially created a landscape. Things such as section size sections per component, those look familiar, those air, the same things that we kind of saw under the new creation of a landscape. There's our section, size and section per components. Now, to kind of demonstrate how this tool works, I'm going to create a brand new landscape. And in fact, I'm gonna create a brand new map. So I'm gonna come under my file new level, and I will create a default level year. Just so I've got a sky out there and then I'm going to select my floor here. We're gonna delete that out and let's go ahead and create a brand new landscapes. I'm gonna jump on over to my landscape tab up here. I'm not gonna worry about enabling at it layers, because this is just for demonstration purposes here, and we're not gonna be doing any painting or anything. So having this material as M ground grass located here in our star content, that's gonna be just fine. And I'm gonna leave these default settings here is Well, all right, I'm just gonna go ahead and click, create and give that a moment. Of course. My brush sizes giant or miss here. So let me turn that on down. And before I do anything else here, let me just quickly save my map. In case any funny business happens, I'm gonna click under its safe current. We're gonna come under landscapes, maps, and I will just simply call this map change components sighs and safe. Now, there are a couple things I want to do with this landscape just to give ourselves a baseline before we start fiddling with some of the components sizing and one not I'm gonna come under my sculpt tab, your inner landscape mode, and instead of my sculpt tool, I'm gonna change over to the noise tool, And then I'm gonna ramp up my brush size here. I'm gonna punch in a value of 70,000 and if I hit enter, it's going to cap it at 65,000 and change there. Essentially, it's made my brush size huge here, and I'm just zooming on back here. The reason being is I want to make one click here in the middle of my landscape just to add some rough undulations to my map, I'm gonna have the tool strength at 10.1 noise mode of add. Everything else here is fine. And here we go. Just one click right in the middle of my landscape. There we go. We added some noise, and with that I'm going to reduce my brush size greatly. So you don't see that big white spotlight there And I'm also going to jump out of my landscape motive really quickly. Here. Go back into my placement mode and I want to find my player. Start actor. I'm going to select this guy. Tap the F key. It's currently located underneath my world, so I'm gonna hold down the shift key while I left, Click and drag this on up above and then I'm gonna tap the end e n d key. That's the one right next to the delete key to snap it on down to the ground and it snaps somewhere down there. So let me just tap the F key to frame up on it. So there I am. Now let's get a baseline As to what My current frame rate is now. This computer is about 3.5 years old, so it should run unreal for just find my frame rate should be pretty good here. I don't have anything complex out of my landscape. They're here. I am just going to jump in and play. And once I am in here, I can hit the tilde key. This is the one right next to the one key on your keyboard and that just brought in this little console command line at the very bottom of my play window. If I type in stat F P s, that will show me my current frame rate up there in the upper right and you could see let me just hit shift in F one to gain control of my mouse cursor. I can see up there. I'm running it about ah, 120 frames per second. Once I full screen it there, when I zoom in on down here, I get dead back down to about, you know, 40 frames for second, cause I'm rendering this as well as all that in the background there. So let me just full screen this and you can see Read a nice 120 frames per second, which is pretty good. All right, Just gonna exit out of here. And now let's jump back into our landscape edit mode here. Let's come under our manage tab here, and let's go ahead and find our change component sighs tool and lets fiddle around with this a little bit. Shall we? Now, what you're essentially doing when you're dealing with this tool is your changing the amount of each of the various squares that make up your landscape are I'm talking quads, sections, components and just as a quick reminder as to what all these different things are. I'm gonna bring on this visual here and you can see that I've got a little bit of a chart here to help describe what each of these different things are. And this is a little bit of a review Now, you may remember that when you create a landscape, you get to define something called the number of Components. Now, if this is our landscape creation preview here and we have a number of components as eight by eight thes components are these larger squares right here that I'm kind of mousing over . So you can see I've got eight across here and eight across year. That number is edible. For each components, you can determine a sections per component. That is what you see in this little waffle outline right here in yellow. Currently, in this particular image, my sections per component are two by two. You can set that to be to buy two or one by one. And for any of these sections, you can determine a section size that are these really tiny squares that make up each of these different sections in here. I've got a little cross section here showing that one of these tiny squares is made up of seven by seven. Now, what do all these things do underneath the hood? Well, they deal with landscape L O d ing and culling. And if you want a little nighttime reading, I'm gonna point you to the landscape Technical Guide. Here is the web address for that landscape Technical guide. This is the official unreal engine for documentation, you can learn a little bit more about the technical ramifications for your decisions. All right, now let me jump back into un really here. Let's start fiddling with some of these properties, shall we? Now? Actually, before I do that, I should explain what this resize mode is here. This was not present when we created a landscape. Now, when we go ahead and change our component sizing here, which will do in a little bit, you got this resize mode and you've got three options here Expand clip or re sample. So if you choose expand its going to round up the number of components to try to best match our current landscape size here. Now the landscape might get a little bit bigger, but by and large is going to try staying the same size expand tries to keep the current landscape, ah, number of components the same, but it might scale up a little bit. Now. Clip is the opposite of that. It's going to round down the number of components to best match our current landscape size , but the landscape might get a wee bit smaller. Now if you don't want it to get a wee bit bigger or a wee bit smaller, instead of choosing, expand or clip, you could choose re sample re sample means the landscape is gonna have this same overall size and components as before, but your resolution here may change. All right, So without further ado, let's try messing with a few examples. Shall we hear? Now, what I'm gonna do is I'm gonna change our section size here to be not 63 by 63 but seven by seven. And I'm going to choose to expand this. Now, you can see that when I've set this as such, we're changing our number of components quite dramatically. From eight by eight. A total of 64 to now. 5184 in general, the fewer the components you have, the better the more performance your landscape will be. So I'm gonna click, apply here and actually let me zoom on out and let's see. Far landscape does in fact get a slight bit bigger when we do this. OK, now click and apply. And this may take a little bit of time for these changes to take place. All right, well, you saw a little bit of a subtle shift here. I'm gonna click on my player, start actor here a couple times, just double click on it. Let's jump in and play right now. And you could see my frame rates look a little bit lower. Their at least from this perspective, let me do shift. Plus F one. I'm going to full screen this and now you can see. Whereas my frame rate was up to 120 frames before now we're down to e, sometimes 60. So you saw that that was not a positive shift. The more components that we had, the worst our performance is all right. So let's try changing this. Now. I'm gonna change my section size now to be 2 55 by 2 55 quads and you can see my number of components is being dropped from 72 by 72 to 2 by two. That is a drastic change from over 5000 down to four. Let me go ahead and click. Apply here. I do want to keep resize mode to expand. Give that a moment to calculate. Here you saw a little shift in the landscape there as well. I'm gonna double click on my player. Start, make sure it looks all well and good. Now let's go ahead and play and I'm going to shipped in F one here to gain control of my mouse full screen and you can see our performance is now back again at a robust 120 frames per second, which is fairly nice indeed. And again, that's because we reduced our number of components rather significantly again. The fewer components that you have, by and large, the better your performance is gonna be. Now, something else to keep in mind as you fiddle with some of these different settings here is it's not just the number of components that you want to be worried about as well, depending on how you change some of these things, that I'm just gonna change my resize mode here to say re sample and let's g o Let's due to buy two sections. You see that as I change that to to buy to re sample, my overall resolution here is going up a little bit is well, so in addition to components, you should concern yourself a little bit with resolution as well. One other good to know that you're gonna want to keep in mind if you're using this change component size, tool Any time you apply some, you actually applies in different settings. Here. You're gonna actually change the name of your landscape actor over here in your world out liner. This started off being called just Landscape. And then the first time we changed it, it changed its name to landscape one. And then we applied it some more changes. It is now called Landscape to. So if you got multiple landscapes out here Ah, that can get a little confusing. And a lot of people kind of get hung up on that. Like, Wait, what happened there? Renaming change. What now? Just know about that. Okay? So if all this is way too confusing Energis like, I just want to know what is a good size to make my landscape. Well, I'm gonna point you back to the unreal engine for documentation once again. And in this doc that I just pointed to earlier, they have recommended landscape sizes. Now, these have proven to be fairly performance to go ahead and try out some of these, and your game should run just fine. Now, again, results may vary depending on how powerful your computer is, but anything any desktop computer of any sort of quality within the last few years. You should be just fine. All right. There you have a guys. That is the change component size tool that will do it all for this one. We will see you in the next one. 77. World Composition Overview: Welcome back, everyone. Well, up to this point in the course, we've learned some pretty cool things about how to work with landscape actors. But we have not yet covered. How do we make these gigantic open worlds worlds that we see in games like Final Fantasy 15 like you see in front of you here? Or maybe giant open worlds like you see in Legend of Zelda, Breath of the wild. Well, over these next few videos, we're going to be talking about something called World Composition. And our goal in this video is to simply show and explain what world composition is in you before, and hopefully give you a sense of when and why you'd want to use it. So, firstly, what is world composition? What world composition is unrelenting in for system designed to simplify managing these large open worlds. Now this makes it an ideal tool for stitching together many landscape actors so that we can seamlessly edit them. The world composition also has the added benefit of easily managing how each of the landscape levels were about to include in our gigantic open world gets streamed in any time . You've got a huge open world such as this performance is of the utmost concern and making sure your game runs smoothly. You can't just have tons of beautifully rendered, high level of detail landscape actors out there without some kind of performance. It's so managing that is going to come into play. So you've seen now from Final Fantasy 15. I'm just going to jump out of here quickly, and we're gonna jump into a previous project that I've put together just to show off a quick example of world composition in practice. Okay, And here we are, back in a test project that I made in preparation for putting together this course. What you see in front of you here is actually nine landscape actors stitched together in this thing called World's Composition. I've got one in the middle here and then to off of each of these arms I built in sort of a cross or an x shaped pattern here. And I know you can't really get a good sense of scale from here, So I'm just gonna jump in and play, and hopefully that will give you a better sense of scale. I'll do shift in F one here to gain control of my mouth and full screen. This I did ample. My characters run speed so you could see me. Ah, traversing much quicker through the level. Never mind. I've got a day night cycle going in here is well, so that's why my son is rapidly whipping around my sky and you'll notice that as I am running, you're going to see a mountain. Ah, pop in in the background here in just a little bit. So keep your eyes forward and boom there you saw it poppin That is an example of one of these different landscape level tiles as well. Call it streaming into existence now. Obviously, I'm not trying to obscure that by any stretch of the imagination. But world composition will handle things like that where you are stitching together your gigantic open world with many landscape actors, and you get to decide when they stream into existence. So that's an important way to manage which landscape actors are loaded and which ones are not. So you can conserve on some resource is so here I am kind of at the top of a hill. You can see how much bigger this world is and you could make it much bigger. Still the guys, That is what is in store over these next few videos here. World composition that will do it all for this overview. We will see you in the next one. 78. World Composition Setup: Welcome back, everyone. Well, now that we've gotten a sneak peek as to what world composition is, this video is going to be all about setting up world composition. Some initial set up because this is gonna be a multi step process to get world composition working in full here. So here I am, back in my landscapes project. And the first thing we're going to do here is create a brand new levels to come under your file menu. Let's create a brand new level here. We will choose the default new level time. And once we have created that their brand new level, we're gonna delete out a few things. This floor right here we can select that and nuke that out. Go ahead and delete that. And we're also going to delete our sphere reflection capture. We don't really need that as well. So make sure that you've got a brand new level created and that these are the only remaining actors you've got up in your world out liner. That's gonna do us. Well, let's go ahead and save this right away. It So I'm going to click on this save current button. It's gonna ask us where we would like to say this to How about our landscapes? Maps folder. That is handy. Let's call this landscape underscore base. And I'm gonna go ahead and click Save right here. And we should now see landscape base down here in our maps folder. However it did not name it landscapes base up here on this tab, and that is always a little concerning Not sure why it is delaying on doing that. So let's go ahead and do file. Let's go. Recent levels. I'm gonna go to maps sculpting. I'm going to say I don't want to save this. And now I'm gonna go file recent levels showing off some other things you can do here. Go back to landscape base here and there. It says Landscape based, Don't know. Why didn't say landscape base the first time. Anyways, we are now in a position for step number two. We need to enable world composition for our base level here, and that has done over in the world settings tab over here. So if you do not see this world settings tab, you can come under your window menu right here. And that is where you can set on your world settings, and it's usually docked right next to your details panel. So in your world settings, you've got these this set of properties called World and right here is a check box for enable world composition. You must make sure that this is checked on. It's going to say world compositions going to auto, discover some sub levels which we will be dealing with in a few videos. Time. Here, just click. OK, next up we need to undergo is to make sure that you've got a levels tab open as well is a world composition tab. Now, I already have these open, so I'm gonna close these out as if I did not have them open at all. How can you get those two tabs open? Well, once again, you can come under your window option right here. And this is where you confined your levels tab. You're gonna need this and here you're going to see a list of other levels that we have created thus far. Just f y I We are currently within what is known as our persistent level. It is are loaded level, and it is also what is known as our current level, will talk more about what all these different colors mean for different levels here in future videos. And once you are within your level tab and so long as you have checked on your enable world composition over here in the world settings, you should be able to find this little button right here that says Summons world composition. Go ahead and click on that and that will bring on the world composition tab. You're going to see a green line representing your Y axis, a red line representing your X axis and this little triangle here that represents you flying around in your level. So if I was to right click in my view, poor right here and use my W A s and D keys to fly around, I'm not actually flying around a spaceship there in my world composition tab. That is just showing me my position and my angle of looking at in my world competition tab . So this is a top down view now. Eventually, what we're going to be doing here is building some landscape level tiles, and we're going to see from a bird's eye view how these are all laid out. But that is all for now. We are in a good position now to start adding some level tiles here to our Jain enormous open worlds. So, guys, that is going to do it all for this video. We will see you in the next one. 79. World Composition Level Tiles #1: Welcome back, everyone. In this video, our goal is to start creating are open world. First, we're gonna take a look at a basic design of our intended open world. Something that I whipped together in Google slides. And then we're gonna set out to create the very first landscape level tile that's meant to act as thes center, most tile of our open world. So let's jump out of here really quickly and into a quick Google slide mock up that I put together. Now, this is essentially what I'm gonna be aiming to build. This is from a top down perspective. Again, this corresponds this X axis going like this in this Y axis running down. That corresponds to what we see back here in our world composition tab. With this, why access running right there. And this X axis, The red line going right there. So are open. World is gonna consists of nine tiles here and you can see how I have labeled them Thusly are center. Most tile is going to be an exposition of zero. Why? Position of zero then x one y zero x two y zero. It said Ross. So hopefully this naming convention makes sense to you all. But that is essentially a quick overview of what I'm gonna be aiming to build here. Now, eventually, you can have this open world of yours consisting of way more tiles. Why? I am going in across pattern here. I don't know. I just felt like it. All right, so out of here, back into are unreal engine. First things first, weren't we need to create a sub levels folder where all of these landscape level tiles are going to exist. So let's jump on over to our content browser. And here we are in our landscape Maps folder. Let's create a sub folder in here for our sub levels. So I'm going to right click our Maps folder right here. We're gonna create a brand new folder, and we're going to simply call this sub levels. And now the next thing we're going to do is create a brand new level inside of this sub levels folders we're going to right click and come under level, and we're gonna call this land scape underscore X 00 underscore why 00 I'm gonna press enter here That is going to correspond with jumping back to our image. Here, this centre tile right there. Okay, I'm going to save this right away. Save all. Yes, we're going to save that their sub level. And now, if I jump over to my Levels folder notice that I called this landscape X 00 y 00 I still don't see anything appearing in here. Well, I need to just simply refresh this level. So if I come in her file recent levels and let's choose our landscape base all over again. Now you can see it appears in our list of levels. Now, let's talk about what these different colors and what not mean again. We've got our persistent level, which is what we are currently considered in in blue. Now, blue means that is the current level. And it is the loaded level. You can make a level current by double clicking on the level name that will load it and make it current. So if I was to double click right here on landscape 00 Now, let me just click off of that. You can see that it is in blue, and that is considered my current level. And also it is loaded in and you can see right down here in my view port. It shows me what? My current level isas Well, what this means if I was to add actors to my level right now, that is the current level that it would be adding actors too. All right, so that is what the blue coloring means. Now we've got this gray coloring for all these other levels here. What does that mean? Well, Gray signifies that it is currently unloaded. You cannot see unloaded levels. However, when something is in white, it is loaded. What I'm gonna do right now is change my current level back to my persistent levels. I'm gonna double click on that. But now you can see my landscape X 00 in y 00 is in white that is considered loaded. You can see loaded levels. Although this is currently an empty level and you can landscape edit loaded levels now currently again, this level has nothing in it. But note that you can edit it if you do have something there. So let's actually create something. Well, I want to create a landscape actor in my landscape. X 00 y 00 level, So I need to make that the current level again. I can double click on this to make it current, or I can right click on this and make it current. And again, that's going to set it to that blue cull aeration. Which means when I add stuff to it now it's going to add it to this level and again right here in my view port. It shows that that is the current level. So let's add a landscape actor. We're gonna come under our landscape mode and we do want to enable at it layers. Let's go ahead and do that. Our material. Let's put in the proper landscape material. Let me check that pathway there. There is our game landscapes material. That's not the one I want. I want to get my, uh, let me actually select. It's here, my content browser. I'm gonna come under materials and there is my instance right there. So with that selected, I'm gonna click this use selected asset from content browser, and then I'm gonna go ahead and slot in my layers here right away is well, grass. That is going to be, uh, yes, right there. Gravel and and rock and snow. Sorry. This is taking a little time here, but I want to make sure we do this appropriately. And finally. Cobblestone. Ah, the rest of this, we're going to leave all the same in terms of section size, number of components, etcetera. Let's go ahead and create this. All right? And with this created, we could see some of our bush crops, if you will. That right there are mud lair. I'm gonna create a second layer over here in our landscape mode right away. So under edit layers and going to right click, we're going to create another layer instead of layer one. I'm going to right click on this. We're gonna rename this. I'm going to call it split lines and case. We want to add some spines in the future there. And then I'm gonna right click on this, and we're going to reserve that layer for split lines. Yes, we will say yes to that. Their message. Um, let's go back, select our layer layer. And next thing I want to do is check in our world composition tab here. So let's check this out. And we're kind of zoomed up tight here. But if I use my mouth wheel and scroll on back, you can see that we have one landscape level tile now added to our world and showing off the position of our spotlight there. It doesn't update here in real time, but now you can see as I'm flying around in the view port, it's showing my position relative to this given landscape tile. Let's jump on over to our levels tab here quickly and you can see with our landscape X zero y zero. We've got a few buttons over here in one of them is to save the level. Let's go ahead and save this right away, and we can click on this button right here in order to do so. Okay, that's all well and good. Let's demonstrate something else here really quickly. If I right click on my landscape X zero y zero, I am going to unload this level, and you'll notice that when I unload that level, I don't see anything here. My persistent level is now the current level, but when a level is unloaded, we don't see anything. So now I'm going to right click on my landscape X and Y 01 more time instead of making this current, I'm just gonna load it right away, okay? And again, when you load a level, you're going to see the level name in white. I'll just select my map Seattle down here So you can see that now, in white. Now, our current level is still are persistent level in blue. So that means anything we work to add right now would not be added to our landscape. X and Y zero would be added to our persistent level, which is essentially empty right there. A level must be loaded or current in order to landscape edit it. So right now, it is not current, but it is loaded. So if I wanted to, I could come into my landscape mode, and I could left click and sculpt the terrain here a little bit. All right, I could do that. I'm gonna do control Z just to undo that. That showing I could do it when it's loaded. And also, if I make that the current level again, it's blue there. If I left, click it. I can also edit it there as well. So current or loaded, you can edit it. I'm just gonna do control Z to undo that really quickly. Now, one more thing I want to mention before we wrap this video up, you may have noticed that when we added our landscape x zero y zero to our world here over in the world Eyeliner. We've got something known as a level bounds actor. And if I select that and go over to the details panel, you can see that there is this option for auto update bounds. All this level bounds actor is it's used to calculate the size of a level. Now, if I was to add, let me just add a random cube random cubes somewhere to Currently this is my loaded and current level. So if I add a cube to my level here and I'm just gonna add it somewhere off in the random, either it's not even on the tile. It is way out here. It is actually going to bound change my level bounds to encompass that Q. Because my cube is way, way out here, and it's doing that automatically. That's what this level bounds is here for. Uh, you don't really need to worry about. It's just going to do it's thing in the background. But I thought I would make mention of it just so you aren't caught off guard. There is a level bounds actor that gets added for this is, well, gonna select my cue beer and delete that. And guys, that is all I wanted to accomplish in this video is just getting are very center landscape level tile in here. I'm just gonna do file, Save all that is control shift in s to save everything. Our landscape base, our landscape X zero y zero. We're off to a good start here with composing our gigantic open world That is going to do it off for this one. We will see you in the next room. 80. World Composition Interface: Welcome back, everyone. And in this video, our goal is to learn the user interface of our world composition tab as well as how to move around, select things, etcetera. Now, before we get to that, a day in real time has passed here, and I've just opened up Unreal engine and I have opened up my landscape base level. And of course, we don't see anything here yet because our landscape based level we deleted out our floor. We deleted out a reflection actor as well. This is all we have. We don't see anything yet, So this is a good time to review exactly how to get back to where we were in the previous video step Number one is We want to make sure that we've got our levels tab down here. And if you don't have this again, you can come under windows and levels to check that on. And here in our levels tab, we can see that I've got great out this landscape, X Y zero. This is the sub level that we created in the last video. That was our very first landscape level tile. Now, in order to actually view this here in our view port. What I need to do is right. Click on this and loaded in. And once that is loaded in, we now have a landscape tile and we can see this tile over here in our world composition tab in the way you can access this world composition tab. If you don't have it open as you can, click right here on your levels tab to summon your worlds composition tab. And here we are in our world composition tab. And now we get to the subject of this video, which is our world composition interface. So let's get right to it. Are controls here in our world composition interface. They're similar to our or thel graphic view Port controls. We've got the scroll wheel on your mouse, which will zoom you in and out like I'm doing right now. Left click can select things, so I'm left clicking off of my actor left clicking to select my one landscape level tile, I can left click and drag to bring out a marquee selection. So once we eventually have some or landscape level tiles out here, I can select multiples by left clicking in dragging and then Of course, if I right click, I can bring up a right click menu. Now, this right click menu is contextual based upon what you are right clicking on. So you just saw me, right? Click off of this level tile. And I only have one option here, which is to lock the tiles location that differs from if I right, click on this level tile. And I've got multiple options here. Okay, Next, let's talk about these different informational you I areas of our world composition tab. Area number one we're going to talk about is this area right here where it says uncapped ago Rise. We've got this plus button. This is a listing of are streaming layer names in a few videos. Time we're gonna learn more about thes, but that's what these are your streaming layer names. Area number two right here. This is our scale indicator. This is the length from end to end of this line right here to show how far that distance is in the world. Given our level of zoom Here, you see that number changing as I zoom in and I zoom out, shows it in kilometers. Right now, I will. I'll come back to this in a little bit of time here to demonstrates something else. But you can see how that line indicates this distance in our world. So this amount of distance right here from end a end equals 2.18 kilometers in our world right now. Ah, Section number three right here, where it's got this ex and why? And it shows the 00 This is our world origin. It shows the current position of our world origin. We can actually ship that around if you want to. Section number four right up here. This list the name of our current level landscape based by jump on over to our levels Tab. We've got our current level in blue right here, which is persistent level. That is our landscape base. You can see that currently it says in parentheses. Our landscape base is a persistent level. I was to right click on our landscape X Y zero right click and make this current. Now, if I jump over to the world composition tab, you can see it changes this as well. Right up here. This will show you the name of the current level area number five down here. You got this little mouse icon as well as some numbers that is going to show your mouse cursor position. This is your world position of your mouse cursor in the X and Y coordinates area number six down here, which you don't see me numbers just yet. If I left click and drag, that is going to show you the size of your marquee selection area number seven, This area right down in here that is your world size. This is the size of your world, calculated as the sum off all your level bounding boxes. Remember these actors right up here? What do you notice? Level bounding box. Our current world scale is 500,400. That is reflected down here because we only have one level bounds actor because we've only got one level tile. All right. Next, I'm going to scroll wheel way on back here, and you're gonna notice that when I do this you see this yellow box right here That is your world, bounds. That's how big you can make your world. If I continue to zoom this out, I can also show how this reflects our little measurement tool right here. And I'm gonna try to line that up just perfectly. There we go. So our world bounds here is actually 20 kilometers by 20 kilometers up and down, and this is again. It gives me a good chance to show off how this line right here shows our current scale given our level zoom. So this is 20 kilometers by 20 kilometers. That is the size that our world is restricted to hear. All right. Next, let me zoom back in and let's demo how we can move a level a sub level here in world composition. So I've got one level tile right here. I can simply left click and drag it to move it to a different location. And you can see now, in my view port it seems like it's gone away when it really hasn't. I've just moved it to a new location way out yonder. And if I didn't want to move this level tile back manually, I could simply right click on this Choose reset level position, and it will snap it right back to where it waas. Now, if I zoom way out again and I left click, and I'm gonna drag my level tiles very tiny here, outside of my yellow bounding box. Or here, I'm gonna move it way over here. If you do that, you can see how easy it is to kind of get lost here in your world composition. So if you were way zoomed up close, you like, where is my level tile? So a way to avoid making any silly mistakes like that is I'm going to right click on this. I'm going to reset this level position back to where it waas. And then I'm going to right click on this one more time, and I'm going to say I'm gonna lock this tiles location. So now if I try to move it, I can't. All right there, guys, you have a quick overview of your world composition tab that is going to do it all for this video. Let's get to creating some or level tiles in the next one will see their 81. World Composition Level Tiles #2: welcome everyone in this video. Our goal is to continue composing our world by stitching together mawr landscape level tiles. We've only got one in our world so far, so let's add some more. Let's make sure we're all on the same page here. I am currently within my landscape base level, although this level tile right here is coming from a sub level. If I go to my levels tab right down here, my landscape base is my empty, persistent level. However, my landscape X zero y zero is loaded in. That's why it's in white text here and you can right click it and load it in to make that show up in white text and also appear in your level. Okay, so this is all well and good in here in our world composition tab. If you don't have your world composition tab, you can click right here in your levels, have to open up world composition. We can see that we've only got this single level tile right smack dab in the middle of our world. What do we do if you want to add more tiles is really quite simple. And it's just a matter of right clicking on our loan level tile here. I'm going to right click on this in in our right click menu. It says, Do you want to add in adjacent landscape level to any of these directions? Negative X Positive X negative. Why were positive? Why? And those handy arrows show you where it's going to add things in. I'm gonna start off building to the left here. So going in the negative X direction clicking right there. It's going to say, What do you want to name this? I'm going to click on this existing a sub level that I have. Make sure you're within the same sub level folder. Gonna hold down control in mouse wheel up so you can see that name a little bit better. And this one is going to be X of negative 01 Why zero? I'm gonna click save there and you can see it's built a tile off to the left. Okay. And I want to keep doing this until I've got that cross section here. And essentially again. What I'm aiming to build here is this We can see I've got Xnegative one now and wives zero . I'm gonna build X negative two y zero, etcetera. And name them appropriately like So now I should point out here quickly. When I added this level tile up here in our world out liner, it added a landscape streaming proxy actor. If I select this, it will see that we've got this landscape level tile that we just created highlighted. Essentially, What this wants to know is, what tile did you want to duplicate while we wanted to duplicate this landscape actor This guy right here. So that's where that comes from. And this is what it is essentially saying, Hey, we want this tile right here to duplicate that right there. OK, so now what I'm gonna do is I'm going to right click on our tile right here. We can add another adjacent one right off to the left. Here. I'm going to name this similarly, although this is gonna be X negative too. And I'm not going to do this for every tile, hear, clicking, save. You can see it's built it off to the left right there. And I'm gonna do this until I've got that cross section that we see in this image right here. So I'm gonna do that now. And when I'm finished, I will rejoin you. Okay? And we are back. And you can see that I've finished creating all of those level tiles. And you can see if I jump into my content browser in my sub levels folder here they all are . Let me go ahead and save those all quickly. It's going to say, Do you want to save them? Sure, we dio And now over in our levels Tab, you're going to notice that they are all present and accounted for. Come on, here we go. There we go. You can see that they're all in white showing that they are loaded. However, I don't have the hierarchy that I want. Essentially, what I want is all of these other sub levels attached to my centerpiece here, so that if I move my center tile, they all come along for the rise. So this is going to be as simple as me clicking on this guy, holding down control and selecting all of my non 00 tiles here. So I'm talking about these eight and what I'm gonna do is with those eight selected and again I control click those I'm now going to left click and I'm going to drag and drop them on top of landscape tile X zero y zero Gonna drop him on top there and I could see it kind of collapsed it down into this hierarchy And I can click on this little drop down arrow to see that all these air now indented. So now if I was to go into my world composition, select my center tab here and move that around, everything comes along for the ride. Now we're gonna ignore these air messages for the time being. Will come back in the dresses that another time, But you can see how they all went along for the ride. I'm just gonna right click on my center tile here and I'm going to reset level position again. We're going to ignore that for the time being, and everything is back in the middle Now. It is worth noting here that while all these other tiles are attached to our center one, I could select any of these other tiles that are attached to center one and move them independently. I don't have to keep them all in the same spot. But I will move this one back so that it rejoins the others. Okay, a few other things to note here. One, obviously all of our other level tiles here being black is terrible. Let's go ahead and landscape paint them, shall we? Let's come under our landscape mode lets him under the paint tab and let's go with Should we go Gravel everywhere. Let's go Rocket, Let's go rock everywhere! So I'm going to right click on our rock right here. We're going to say Phil Layer, given a little time to register here, compiling Shader is that's gonna take a little while. So let me just pause the video here and I'll rejoin you in just a moment and we are back. And I am a terrible, terrible liar. I changed my mind while it was putting rock everywhere. I changed my mind and change it to grass. So I went in right, clicked and did Phil layer for grass. And now you can see it is filled in my entire open world area here with grass and I can see that reflected down here in my world composition. So now not only can we paint everything we can also sculpt as well. So I'm going to come under my landscape sculpting mode. Gonna break out the old sculpting tool, Give me a pretty large brush size and I'm going to zoom up on in on my open world here. And I'm calling this an open world because this is several landscape actors in one, and you can see I can sculpt. Let me crank up my strength here a little bit. I can sculpt not only the center tile, but my sculpting goes across tiles. And that is the magic of world composition is you're not just sculpting one level tile at a time. It kind of jumps across level tiles, so I can not only sculpt, I can paint is well, maybe breakouts some snow here, and I can paint that across different tiles. And that's the magic of working with world composition. Uh, let's see other things that you should know about here. Well, now that we've got if fine, open world, I would do control shift in s to make sure that everything is saved again. That's control shift in s now another little bit of tidbit of information. So you don't freak out if you close this out and you come back in If I was to come under file and it's just taking its sweet time your file, let's go to recent levels. I'm gonna reload my landscape base here and here I am back in world composition. Everything is grayed out. And if I jump over to my levels tab, everything is great out. And if I look around in my world, everything is empty. Don't freak out. If you see this, that is simply because you have not loaded in your sub level. So again I'm gonna left click here, hold down, shift and select all my sub levels that I'm gonna right click Load those in And there is our open world back once again. Are sculpting isn't act, Are painting is intact. If I goto world composition, we can see it all reflected there as well. Control shift s one more time. There we go, guys. That is how you can ADM or landscape level tiles to your open world That is going to do it all For this one we will see win the next one 82. World Composition Streaming Layers: Welcome back, everyone. In this video, our goal is to create and assign streaming levels to each of our landscape tiles. This will instruct our landscape tiles when we want them to appear and disappear based on how far away we are from that tile. Now, this is important. In order for our giant open world to run in a performance matter that is, our frame rate doesn't take too big a knock because we're trying to render so much stuff. All right, so let's talk about layers here now. Just actually back things up. Let's all make sure that we're on the same page. I've got my landscape base level loaded in here. I do have my levels tab open down here, and I've got every level loaded in here. With the exception of one of my sub levels that when I do not have loaded in and again too low these in all you need to do is right. Click on it and choose load. When it is in white text, it is loaded. When it is in great texts like this one is it is not loaded and we can see this all reflected here in our world composition tab, which you can access here. This level tile is not loaded and it is great out where the rest of these are loaded in. All right, so let's talk about layers here. All levels here in our world needs to know when to be streamed in. That is when they should be loaded and visible and went to stream out that is unloaded and not visible. A layer in world composition is really nothing more than a streaming distance that you specify name and then a sign to a level. Now, by default, all levels are assigned to a layer named uncapped ago rised. And the streaming distance for levels with this assigned layer is 50,000 unreal units. Now, I just mentioned that word uncapped ago, rised. I'm talking streaming layers here in our world composition tab. This is where we can create streaming layers, this little plus button right here and you can see that we've got one little tab here called on categorized. And as I'm mouse over it, it says, are streaming distance is 50,000. Likewise, if I hover over any of our level tiles right here, the little tool tip says that are layer name that is our streaming layer name is uncapped ago rise. That's the name of the streaming layer name. And the streaming distance is 50,000. So right here in our world composition to have this little plus button. This is where we can create streaming layers and we're gonna create a couple of them click this year plus button to create one. And when we do, we get a slot here for a name, and I'm gonna call this first name simply 50,000. And because I'm calling it 50,000 I want the streaming distance to be 50,000 and I'm gonna click, create. And now we've got a new streaming layer called 50,000 that we can assign to level tiles, which will do in a little mitt. And then I'm going to create a 2nd 1 hear clicking on that plus button, and I'm gonna call this one simply 75,000 and I'm gonna make the streaming distance be 75,000 unreal units and click create for that. Now, with ease streaming levels created, we can assign them to our various level tiles here. Now, something that should be noted is a level must be loaded in before we can assign it a layer . This one right here is not. But I'm gonna sign some to these other level tiles quickly. I'm gonna hold down control and select these three on the outer periphery here, and I'm going to right click on those. And in our right click menu, we can assign a layer and for these on the far edges were going to assign in these 75,000 layer. So now if I was to mouse over this, you can see it says are layer name is 75,000 and shows are streaming distance is 75,000. If I tried to assign a streaming layer to this guy by right clicking, I can't do it because that's not loaded in. So let's load that in going over to my level. Stab here, get a right click on that unloaded level right click. Let's load that in. Jump back over to world composition. Now I can right click on this. Ah, sign to layer. And I'm going to sign this to 75,000 now for the rest of these and I'm gonna hold down control in left click these middle five. I'm going to right click on those in a sign, the 50,000 streaming layer. And so now, if I was to mouse over these, you could see that it shows the appropriate streaming layer name as well. Now it could be a little bit annoying here to simply have to mouse over and view the tool tip to see what the streaming layer is assigned to each of these different tiles. So there is actually a different viewing method that you can use to see what layers are assigned to all of your various tiles, and that is to simply click on one of your layer names up here. If I click on 50,000 it will show all the tiles that have that given streaming layer assigned to it. And if I click on my 75 it's going to show all the ones that have the 75,000 streaming layer attached to it. Now, if I wanted to select both of those cause Aiken click one or the other, I can hold down control, and now I've got both of them on at the same time. So little little good trick to know there and you could see right now I've got nothing assigned to uncap Tego ries. Okay, let's see if I wanted to. If I wanted to delete a layer, There's no simple, straightforward way to do this right now are uncanny grise layer. I am not using this. How can I get rid of any layers that I'm not making use of? There's no, like, right click menu here and deleting. So let's explore how we can do that. And I'm actually gonna create a brand new layer here, create a new one, and I'm just going to call this not a sign. And it's not gonna matter what my streaming distance here because we're just gonna demonstrate how we can get rid of this. I'm gonna create that. And now what I can do is I can reopen my base level here and any landscape of not landscape . Any streaming layers that are not a sign are going to automatically be deleted out. So check this out. I'm gonna come under file. We're going to open up our recent levels here. I'm gonna reload our landscape base. Here we go. It's gonna say, Do we want to save all those because we assign new streaming layers to them. Let's go ahead and say that. And now you can see in our very zoomed up world composition year that not assigned streaming layer went away. Now this uncanny arised one year is always gonna be here. You can't get rid of it, but are other to streaming layers are present because we do have them assigned. Let's go back ahead and load our levels back in here by going to our level stab selecting that guy, holding a shift to select all of them. And then I'm going to right click and load these back in and give it a moment here and they are now loaded back in, All right? And so this is all well and good, but we need to actually jump in and play test sis to ensure that our landscape level tiles are streaming in when necessary. So this is what we're going to do in order to make are streaming a little bit more noticeable. I'm going to quickly sculpt some of our outer level tiles here, so I'm gonna crank up the tool strength and my brush size here. I don't just crank that up a little bit as well. So I'm gonna left click create a tall mountain right over there. And now, before I jump in and play, I'm actually gonna change my characters movement speed so that he can traverse through the level much quicker. I'm gonna come under my third person, BP Blueprints, open up my third person character blueprint here and inside of here. I'm gonna select the character movement component. And what I want to modify here is my max Walk speed. You gotta have this character movement component selected. I'm just gonna changes from 600 to 6000 and that's gonna make me move like the flash quickly, quickly. Save that. I'm going to jump in and play and check that we are not ready to play. As you can see, there's all kinds of a jumbled mess going on. And the reason for that is because I escaped out of here and ignore that message for the time being. Doesn't concern us if we go to our levels tab. That is correct. We are seeing all of our other levels here. In addition to our level tiles, we actually don't want to see any of our other levels here in our levels tab. So we're gonna move all these other levels here that I'm kind of mousing over to their own separate folder. So here in the content browser under landscape, I'm gonna create a whole new folder and get a right click here. We're going to create a new folder, and I'm gonna call these maps, tests like that. And here in our maps folder, I'm going to select everything that is not landscape base. So everything that is not my landscape base just holding down control in clicking everything that is not landscape base. I'm going to left click drag and move them into this map tests folder. Gonna say, Do you want to move it here? A copy here. We're just going to move it here is now here back in our maps folder. The only thing that we should have is our landscape base and our sub levels folder. Just going to take a moment to do this. And there we go. That's what we want. And if you look over our levels, have you can see it is now cleaned up to Onley show our landscape tiles. My bad guys. So now if I jump in and play, that is all we see are different landscape tiles. Now I had that mountain off in the distance again. We're testing streaming levels here. We don't see that giant mountain anywhere in the distance. However, if I speed this way, you see that giant mountain pop up in the background? There it is that is showing that streaming layer at play. As I get closer to it, it pops in. As I move further away, it pops out. Now all of my all of these tiles right here are technically doing that. Although the only ones we noticed with that was this distant tile right here because that's the one I had the big moan on. But guys, that is what? How you go about adding some streaming layers to your world. Very important if you're creating a gigantic open world also also, and I failed to mention this in the previous videos Any time you're making a giant open world here, you wanna have your folder structure in such a way here in your content browser that in your maps folder you got your landscape based, Remember? This is just an empty level outside of my sky sphere. Here in my skylight, my players start actor and then in this folder, your sub level of all your different level tiles. Any other tests? Maps you got going on? Move those to another folder. When you go ahead and play, you're going to see all those other levels, which is not what you want. All right, guys, that is going to do it all for this video. We will see you win the next one. 83. World Composition Level Tiles #3: Welcome back, everyone. In this video, our goal is to learn how to associate other actors to a given landscape level tile. Now the idea here is that we want given tiles to own actors that live upon it so that when a level tile streams in a rout, all the actors owned by that level tile stream in and out as well. Now this is a very important concept to understand, so let's jump right to it. Let's assume that are very top most tile over here, the one that I'm hovering over in my view port that we want to associate some actors with that tile. We want them to live on that tile. It is not enough to simply go into placement mode and simply place some actors like a cube or a sphere. Any of your static meshes on that level tile, and just expect them to stream in or out. When that tile streams in a rout, you have to make that given level tile your current level before you start placing items. Other actors in that level what do I mean by that? Well, let me come under my world composition here. I'm talking about this tile right here, X zero. Why? Negative, too. So I'm gonna come under my levels tab right over here, X zero. Why? Negative to that guy right here. And I can either double click on it in order to make that my blue current level. Or alternatively, I could have simply right clicked on that and shows into make current. You want to make your level tile current before you start adding in other actor types in order to associate those other actor types with that level. Okay, so now note this is in blue. I'm gonna fly up to that level, tile its way over here, and let's go ahead and place, um, different actors on here. I'm just gonna place a cube on here, and I'm gonna make this a lot bigger. It's very tiny down here, my view port. But over here, I'm gonna lock my scale and I'll make it, you know, 50 times is big. Something like that. Okay, hit the end key there. Um can come in my content browser. Let's add a particle effect, shall we? Maybe some fire. This is obviously going to be very small. Is well when I drag it into my level. But let's increase the size of that to be, I don't know, 30 times as big there. We got some fire and then maybe, Ah, let's see what else of prop here. Let's bring in art share Dragon, Drop one of these in our level. And of course I'm going to scale that up really large so we can see this from a distance. Let's go 40 times as big. Something like that. So we've got three different actors placed into our world here. We've got this cube, this fire particle and this share. Let me just rotate that around here nicely. All right? Now, if I go back to my Levels tab and I click this little toggle visibility eyeball, you will see that not only does that level tile disappear, but all the actors associated with that level have disappeared as well. All the other tiles are here and they're accounted for, but not that level. Tile. Let me go to my world composition tab right here, just showing you where that is technically located. It's technically that tile right there that we just made disappear. So now if I turn that back on, Watch my view port up here. You will see that those actor types every appeared as well. Now, something else to note here is I don't have to actually place these actors on top of that level tile. By that I mean, I could click on these, Gonna hit the space bar there, and then I'm gonna left click while holding down control to multi select these guys. So I got all three of those selected and let me just pull those way down here. So now it technically looks like they should be associated with this level tile, but not so. If I click this taco visibility, you can see that it's going to hide that out as well as all actors associated with that level tile. Now, let's just move these back. Kind of where they were on my previous level tile here just to kind of make that association look like it's a little bit more cut and dried, and I'm going to jump in and play. And remember, these far out level tiles are not streamed in right away. So now these actors that share that Cuban that fire particle effect, they should Onley stream in when this level tile that they're associated with streams in as well. So here we go. Let's jump in employ. And I got my frame rates showing here is well, I'm gonna do shift and f one to gain control of my mouth. Here's like in full screen this So I want to be running in this direction, I believe. And you just saw them pop into existence. Right there. There's my chair and my cube and my fire particle watches. I get farther away, that level tile goes away, which is hard to see the level tile go away because we are far away from it. But all the actors associated with that come in as well. Now what do you do if you've got a bunch of very nice meshes? Maybe you've got, like, a little village scene going on in one of your landscape level tiles, and you suddenly realize you need to move it to another tile. How can you do that? Well, let's just assume all these actors I want to move to a different landscape level tile, So I'm gonna select my flame, gonna hold down control and select all three of these Now I got three votes elected. All I would need to do is right. Click on the level tile that I want to move them to and shoes move selected actors to level . And now, if I was to hide out this level, it would make them disappear. And I believe that was the tile right behind my current tile and it waas So that is how you could move those from tile to tile again. This is a very important concept to realize, as you're going about building your open world, getting different actor types, whether it's a particle effect, whether it is a sound actor, whether it is a static mesh, all your different asset types, you need to associate them with a given level tile in the way you do that is you got to make sure that it is current. That is, it is listed here in blue. Before you added to your world guys, that is going to do it all for this one. We will see you in the next one 84. World Composition Q & A: Welcome back, everyone. Well, I thought we would wrap up this discussion on world composition by answering some questions that are likely to come up. So let's jump right to it. Question number one. I just loaded my base level. Where are all my level tiles in world composition, while have gone through this a couple times. But just to reiterate, here I am in my landscape based level, and it looks like I've got nothing here. Although if I go into world composition, I see some gray tiles, but not in my view. Port. What is going on? Well, the problem here is you need to load in all of your levels. All of your level, tiles, whatever. You see your tiles here in gray, that indicates that they are not loaded in. So if you go to your levels tab, here are all of your level tiles. You need to load them all in. I'm going to select our 1st 1 here and I'm gonna hold down shift in left, click. Then we're gonna right click and let's load them all in and give it a little time here. And once it's done doing its thing, you will see it suddenly pop into existence. And now, if you go over to your world composition tab, you will see it all not in gray anymore. But whatever color you have painted it, whatever landscape layer that you've painted on top of that. Okay, next question. Do I need to make a sub level current in order to edit it by sub levels Were talking about all of these different level tiles here. All these different levels that exists in this sub levels folder right here. All these different level tiles Do you need to make them current and by current, we mean doing we need to make it in blue. Here, you can right click on any level to make it current. And if you remember, when a level is current, any actor that you then add to your world here gets added to that particulate level. Such a static measures particle effects, etcetera. Now, in order to edit a given level tile that is to sculpt or paint it, it does not need to be in blue here. It does not need to be set as your current level. However, it does have to be loaded in so just to demonstrate this, I am going to go over to my landscape mode. We got our sculpt ab sculpt tool here, good strength. And currently, my middle tile here, which is X zero y zero. It is loaded, but it is not the current one. However, if I was to left click, you can see I can sculpt that just fine. Likewise, if I was to go over to the paint, I could choose Ah, little snow and I could paint some snow on there. So it does not have to be current in order to sculpt or painted. Okay, Next question. I created a new sub level. Why doesn't it show in my levels tab? Well, let's go through. This process is trying to create a new sub level. So I'm gonna come into my content browser here and here I am in my sub levels folder. I'm going to right click in some empty space here. Let's create a brand new level. I'm going to simply call this delete me because I want to delete it out afterward. And now if I was to go to my levels tab, I don't see any level called delete me Well, maybe I need to save that level. Well, let me go back to my little stab and I still don't see it. Well, the problem here is we need to reload our base level here. So if you come under file and let's come under recent levels, there is our landscape base. Let's go ahead and reload this once again. It's gonna ask if we want to save some of these sub levels here that I have altered. Let's say yes. And now, once we come back in in our levels tab, we can see there is our sub level. Delete me. Now, all of my other sub levels have disappeared because we have to load them back in, right click and load them back in. But that is how you can get a new sub level to appear now. This sub level we didn't have anything in there. It was a completely blank level. But that is how you could at another level in here, I could make this current. I could then add in a new landscape, and then I could see something else for this particular level. But that is how you can get it to show back up in your little stab here. I'm gonna go back into my content browser and just nuke this out because I don't want it to delete that. Gone. All right. Next question here, Why don't tiles update in our world composition tab after I sculpt or paint them? Well, let me just demonstrate this. I am currently in landscape painting mode. I am going to paint this little wing over here, which is the same wing down here in my world composition. Let's paint some snow, shall we? And you see that it reflects in real time here in my view port, but not down here in world composition. Now, if I just simply right click move around in world composition here a little bit and hit F five, you will see that update just fine. So again, F five little refreshing will make that appear down in world composition. Let's see. Next question. Can you please explain all of the other icons next to each level in the levels tab will Sure by this we're talking about here are levels have all these different icons right over here. The lock icon. When a level is locked, it's going to turn gray and it cannot be moved or edited. So let's go ahead and give this a shot. I'm gonna lock this x two y zero level right here. And if I jump over to world composition, we can see that that level tile is now locked. And I can't. I'm trying to left click on this and move it. I cannot do that. You can see that if I try to paint it, my brush won't even go on that level tab at all. It is completely locking me out from doing any editing. So it's go ahead and unlock that right away. Ah, the next icon over is our little controller icon. What that's going to do is open up a level blueprint for that particulate sub level. So just to show you what that looks like your it's your regular level blueprint. Nothing special. It is just associated with that particular sub level. Okay, next one over, we've got the little disk icon here. That is for saving a specific level. Any time you see this little pencil mark over it, that means that some and it has been made since the last time you saved it for me in particular. I painted some snow here on this. So if I click that it's going to save that sub level and then we've got this little color box here. This allows you to associate a given color to a level to help you identify it. So let's do this. I'm gonna check this right here. Gonna click on that, and I'm gonna change this. Teoh some shade of red. OK, so you see that that color of red right here. Now, the only way to visualize this is we've got to come under our show. Button up here in under advanced level coloration. You turn that on and you can see now that red color is highlighting our level tile right over here. Now, this isn't something I really used too much. But if you wanted some help identifying which landscape tile is which that is a way you can do it. So I'm gonna set this back to straight white, like I had it one one, and let me just go under, show advanced in, turn off that level coloration. And finally, what do I do if I get an error message like this? like what? Well, here I have in my message log in air message like this Something that says landscape streaming proxy has overlapping render components. What happened here? Well, you will see this sort of message if you are in world composition and you're doing something like this where you're taking one level tile and your overlapping it with another . Soon as I release there, it brought up this error message. So simply ensure that none of your tiles are overlapping. All right, guys, that is going to do it here for some world composition Q and A. These are the tools your world composition tools, how you can make massive, open worlds. Make sure that you are also making streaming layers and that you were assigning them to your various landscape level tiles. Teoh Save on performance, guys. That'll do it all for this section. We will see you win the next one 85. Landscape Visualizers: hello over one in the next, few videos were going to be talking about landscape profiling. End performance. Now, just as a doctor has some ways of assessing the health of a patient, UNWRA Engine four has some ways of assessing the health off our landscape. That is, to figure out how it's performing and why it may be performing that way. Our goal in this particular video is to talk about landscape Visualize er's to have some ways of visualizing our landscape so that we can gain that better understanding as to why is performing well. That is, There's little to no leg or not performing well. Our frame rate might be really poor due to our landscape hogging a lot of platform Resource is now. Before we get into any of this, I just want to make sure that we are all on the same page. So I am in with within my landscape base map, and then here my levels have I have loaded in all of my sub levels, and I simply did that by left clicking, holding shift and left clicking. And then I right clicked on here, and I loaded all these levels in This is my world that I created in the world composition portion of class F Y I. All right. So first things first year in my view port my perspective view port that I have enlarged. I have a view modes button right now that is currently showing a lip mode. We can change this if we come under here and come under landscape Visualize er's. We can see that we currently have four options were currently within the normal option, but we can changes to Elodie layer density wire frame on top. And actually, we can expand our number of options here under landscape Visualize er's by coming under the landscape tab. Now, if I was to access this, I come under Visualize er's. I say I see a few other layer options here under landscape Visualize er's. The first we're going to explore here is Elodie, which stands for level of details. Now. You could see once I kicked it into landscape Elodie visualize her mode. Here. I can see two different colors in my landscape, these different colors, and as I fly in closer, we're going to see even more colors represent our various levels of details that are different. Level tiles are displaying it, and they can display at different levels of details per component. So our best level of detail level of detail zero, as it is known, is gray level of detail. One which is our next best quality, is in red level of detail. Quality to is in green. Three is in blue level of detail. Yellow is four. And if I fly way out and I've got a hot key to fly way out, this purple that magenta, that is our worst level of detail now The reason we got green way out on this distant tile here is because I've been fiddling with some settings between camera, but pink is the lowest level of detail. Now you can see how this is transitioning as we get closer and closer. How can we influence this? Let's say, for example, that we've got some mountain and let me just jump out Teoh my my place mode here, and if I just simply go into place mode, it's gonna kick me out of my landscape. L d mode. Let's say we've got a mountain here and we absolutely have to see it in his highest quality level of detail. We can not afford these various polygons and make up this mountain to look all danke. And let me just show you how it could possibly look if if we were to allow it to go to a lower level of detail, I'm gonna select my center. Most tab here might center most tile rather. And you can see that this is known as my landscape actor here in the world out liner that is my center most tile, which all the other tiles are based upon, by the way. And down here, we've got this L o d. Distribution now. Long story short. The higher that I make these numbers, Elodie zero In other elegies, the better quality this tile will remain no matter how far away I get from it. Just to demonstrate this quickly, I'm gonna set my other Lodz here all the way up to 10. And it takes a little while for that to register here. I'm left clicking. I'm dragging it now, Azzam releasing You're seeing that update. If I fly far away, everything looks fairly nice, right? No changes whatsoever. However, if I was to change this all the way down to its lowest setting, and I'm left clicking and dragging this to left and updates. Want I release now? You could see that shift in the mountains quality and look at it. Now look at how terrible that looks. And if I changes back to 10 now, pay attention carefully. As I change this these two numbers back to 10 in 10 you can see how it upped its level of quality. Now you can do this on a per tile basis. However, you'll notice it as I change this middle tile here from 10 which is the best. I can make it all the way down to one. Watch what happens to some of these other tiles like that mountain out there in the distance changes back toe one and this other led back to one as well. You see that? It kind of crumpled it down. It's changed. Is level detail to a lower quality? What's going on here? Well, remember that all of our landscapes streaming proxies here these have. If I scrolling up a proxy actor that they're based upon, they're all based upon this center most tile. So whatever I am applying for the Elodie settings. For this middle, most tile is being propagated down to our various other landscape tiles. That's just something to keep in mind now. If you wanted to a justice for any singular tile, you could simply select that singular tile and then modify the Elodie settings here individually. Let me just set thes back to default for our center most tile right here. All right, so just to recap landscape L O D A great way to check out your various level of detail. Let's go on to our next one. And in order to see our next one that I want to explore, I got to make sure I am in landscape edit mode here and now, while in landscape mode, I can come under landscape visualize er's and I want to choose layer density this next one down. Now this one is kind of a heat map of sorts. Layer density goes from light green to red, as mawr layers are painted onto a component, so the lightest green shows very little landscape painting on it. The darker greens and into the red shows a higher concentration. Let me just jump out of I'm gonna go into paint mode really quickly, and then I'm gonna jump back into my normal mode and let's just paint on a few more layers here. So I'm gonna paint some cobblestone on here, and I'm gonna paint some rock and my engine is gonna chug as I'm doing this. But bear with me and let me get a little mud out here and I'll let my shade er's re compile as this finishes chugging and rejoin you in just a bit. All right, we are back. Let's come back under our view modes here come under landscape of visualize er's Let's choose layer density and take a look. Now, now we could see we've got some components that are in this hot red area that shows that we've got a lot of different landscape layers painted onto those components. Now layer information is saved per component, so the fewer layers you have painted onto a component, the more performance your game will be Now. This is one way to view this kind of information. However, there is another. If you come under your landscape, visualize er's Wilmore time this time come under layer usage, and when you do this, you're going to see some colors as well as some numbers. Now, if you remember back to where we just had those hot spots in our landscape that corresponds to these components right here. This is divided a per component, and this shows how many different paint layers we have applied to any giving component. This shows we have six different layers painted onto that component, and these colors that you see over in our paint layers correspond to what is present on that component so pink here. This, I guess, is purplish pink corresponds to mud. Where is our rock corresponds to this yellow color. So it's kind of got this color coding system that lets you know what particular layers painted onto that component. And then it's also got some numbers as well, showing you how many different layers are painted onto that component. Now why it shows four sixes here in one component. I'm not really sure that, but just know that this particularly component has six different layers painted within it. All right, let's go to our next view mode here under Lit Visualize er's Let's come under a layer debug . Now this is going to allow us to see layer waiting Now everything is black right now, but you may have known has said here in landscape paint mode we now have different check boxes here and this is going to allow us to view information in a red, blue and green manner. For example Let me take my grass layer here and I'm gonna check on are so this shows where grass is present in my landscape. Next let's g o What else do I have pretty prevalent out here? Snow, snow all color the green color So this shows a waiting between landscape grass in landscape snow wherever it is pure red. I only have grass wherever it is pure green. That is where I Onley have snow and you can see that in between Here I've got some that's not quite red and not quite green. That means that I've got different layer waiting going on The more read it is, the more I am weighted towards grass the mawr green. It is more I'm weighted towards snow. Now I could also apply. Um, let's see the blue. I'm not applying yet. Let's go gravel as blue it's and now you can see where I've got gravel applied and how that is weighted versus my various snow and grass layers as well. So that's a real good idea is to how much how prevalent given layer is where is 100% blue. It is just in dark blue, and we're kind of seeing this purple right here. That's probably about 50% grass, which is red and 50% gravel, which is blue, cause red and blue makes purple. All right. Next, let's go into our inner next visualize, er, we've got Let's go wire frame on top. Now, this is going to allow us to visualize all of the polygons and Vergis is that comprise our world, and we're gonna be able to influence this a little bit. So if I was to select my landscape actor here, that is my center. Most tile, you can zoom up close on it. By the way, it's a little bit tough to see. There you go, that blue mesh. Probably easiest. See over here, let me reduce the size of my brush so it's not taking up some screen space. So there you could see it Now if I was to fiddle with some of these Elodie settings. Let's changes down to say one and one. You'll notice how that has changed my wire frame on top. It shows where my polygons are and the Vergis is were. These verses are the intersection Points now. Contrast that where if I changes to 10 and 10 look at how many polygons and Vergis ease I have now, and I even have to zoom up in unclothed up in close on this to truly see how many there are . So that gives you a little bit more of a visual indication as to how many polygons inverted sees make up your landscape. Obviously, the more polygons and Vergis is, there are the less performance things are going to be because it takes it takes a little power to render all those polygons inverted sees. And lastly, guys, I almost forgot to talk about a brand new landscape, visualize er, and that is, under our view modes here landscape visualize er's layer contribution. So if I turn this guy on in my landscape sculpting tab, I'm gonna notice it. Portions of my landscape here turn orange, and that's because I've got my base layer selected here, and it's showing all of the layer contributions that I have sculpted into this layer. If I was to select my spine's layer, you don't see any orange because I've not sculpted anything here. However, if I go back to my layer here and I go to sculpt, it's gonna show everything that I've sculpted into that layer. Now, if I was to create another layer here by right clicking create, we'll just call that layer one by default. And if I was to sculpt a little bit now in here, it's going to show the contribution of Layer one to my world. Where is vice elect? This layer is going to show all the sculpting that that layer adds to our world. So it is a way to tell how much are different Layers here are contributing to the overall look of our world. Now I'm just going to simply delete out to this layer right now because I don't want it's let's delete it and hopefully, hopefully guys that has given you some insight into all the different Visualize er's available here in unreal engine again. In order to see all these, yes, should be in the landscape editing mode. But hopefully this will give you some greater insight into all the different things going on in your landscape. Guys, that is going to do it all for this one. We will see you in the next video. 86. Console Variables and Commands: Welcome back, everyone. Consul Variables and commands are the topic of this video. And so our goal is to simply show off some various commands, weaken input into our game to better visualize things and or check our games performance. Now, firstly, what are console commands? Well, you can think of these as a type of cheat code you can enter into your game, although instead of them providing some sort of buff for your character, they're going to give us deeper insight into what's happening in our level. So how can we find all of the difference commands in council variables available to us? Well, if you go into the Google or simply Microsoft Edge browser of your choosing, simply do a search for you. E four Consul Variables in Command There are several pages out there that list them all, and I'm just going to click on this one right here. You before council variables and commands, and what you've got here is a search box where you can whittle down the list of available consul variables in command because there is a lot of them now. We're focused on landscape right now, so let's type in the word landscape, and we've got a couple of check boxes here, whether or not we just want to search for council variables or council commands or all of them together. And this shows us some of the difference commands that we could input to gain some deeper insight into what's happening. All right, so let's explore some of these now back in Unreal Engine, and now there's actually a few different ways to access a command line down here. Way Number one is to press the till the key that is the one located next to the one key on your keyboards. If you press that you see that you've got this little area here where you can enter in a console command, if you press that tilde key again, it will go away. So that's way number one way. Number two is if you come under your window, option up here and come under developer tools and in the fly out menu, choose output log. You will have access to a command line right down here. Now it's saying, Enter in a consul command. So let's look back. Here in our window are lists of variables and commands as to what we can enter in. And let's try this show flag dot landscape. Now, this is going to allow us to show our landscape or hide it. Depending on what number we append to the end of our command Here, zero means the show flag will be off. One means that show flag will be on. So I'm going to jump back to unreal and type in show flag, and you could see it starting to whittle down the options as I am typing this in land. And now, even with just land in there, I can click on Landscape Now, At the very end of this, what I could do is put in a question mark and then with that question Mark, I'm going to put enter now. Any time you put in a consul command space question mark, it's going to give you a list of what things you can put at the end of that Ah, Council command. In place of that question, Mark what you can possibly do with it. So, in this case, instead of a question mark, if I would have put a zero the show flag, I would have turned off if I would have had a show flag dot landscape one. I would have had the show flag for landscape beyond. Let's show that show flag dot landscape and I will set this space zero now when I hit Enter Boom! My landscape is completely gone. However, if I want to bring that back show flag dot landscape and I do a space number 11 is going to force that show flag to be on when I press enter like that. And now the next thing I wanted to show off here was that in game we can input some console commands as well. So I've moved my players start actor atop my landscape, and here I am in here playing. And if I tap the tilde key, that's one right to the left of one Keefe. There you can see a command line appear, and if I type in a show flag dot landscape and I append a zero to the end of this and now press enter, you will notice that my landscape has completely disappeared. You may say ha liar. It has not disappeared because I see a lot of grass out there. Remember, that is not actually the landscape. All this grass is coming from our landscape material. So let's get our landscape back. So I'm going to press the tilde key one more time Will do, show flag got landscape And this time I will put a one in press enter and my landscape has since returned. Now some other really useful console commands to use When you're just testing out your game here one of them that you saw me using some of the previous videos. I'm gonna press that till the key. Once again, you saw me put in stat f P s. If I press enter, that's going to have a frames per second counter. I'm just pressing shift plus F one to gain control of my mouth. That's going to show me my frames per second counter up here and you could see it's humming along nicely at 1 20 That is a good one. Another good one is if I pressed the till the key again and I put in stat scene rendering that guy right there pressing the tab key to finish off the typing and then press enter. This is not one you're gonna want to leave up but a really good one. Here is your mesh draw calls that you see from your stats scene rendering. It's going to give you an average number here. Now a draw call is a command to render an object, and as a rule, less is better for performance. Now you're going to see this change pretty dramatically, depending on how you have your view. Port oriented, for example. If I take my view port and I just kind of stare at the ground, there's very few draw calls going on. You can see right there I met a solid 2 18 That's because I'm not looking off very far in the distance. There is not a whole lot to draw onto the screen. However, as I extend my horizon line here, you can see that the number of draw calls jumps up pretty significantly. Now, how many is too many? Well, really. That's gonna be up to you to decide, depending on how powerful your machinery is, how powerful your target platforms are, etcetera, etcetera. But again, less is better for performance. So I'm just gonna bring that awesome gonna do the tilde key once again, typing in the stat seen what? Stats scene rendering. And I just can use your arrow keys to go up and down. Then the tab key to, uh, sorry. The enter key to select stat scene rendering there and that'll get you off of that. So, guys, there are some methods for entering in some console commands. There's plenty more that you can experiment with and I recommend that you check out this website and give some of these world alright guys, that is going to do it all for this video. We will see you in the next one. 87. Engine Scalability Settings: don't adjust your screen. There is nothing wrong. Yes, my image here does look rather pixelated and ugly. And the reason this is happening is because I have adjusted some of my engine scalability settings. That's gonna be the topic of this video. So we're going to show you where you can find and edit some of these various engine settings now what these allow us to do with the just the quality of various features in our game in order to ensure a performance game on our target platform. As you can see in my window there, this is humming along nicely at 120 frames per second. Of course, it looks very ugly, but that's besides the point for this. All right, I'm just gonna exit out of here quickly and let's show you where you can set some of these engine scalability settings. These are set under the settings button in your toolbar, and you got this engine scalability settings fly out menu that gives you access to some of the more common things that you can override to instantly, uh, make your game or performance or less performance, depending on what you're aiming to do now. You've got some buttons across the top here that are going to set all of these down below to automatically be that setting. So if I click and this to be epic, it's gonna jump all of my settings here to be epic. And I can, however, override this and say, I want anti alias sing to be of medium quality. I want foliage to be of medium quality, etcetera, and you can see how this is updating here in the background. As I am doing this now, why would you want Teoh make some of your settings your lower? Well, depending on your target platform, Maybe you are aiming to release on Mobile. You want to down rez your game a little bit. Maybe you don't need to have epic foliage if we have epic foliage. In this case, we've got full foliage. However, if I was to set my engine scalability to have low foliage, watch what happens now? By the way, that is no trick. It's basically saying you don't get any foliage, so it's a quick, easy way to change the performance of your game. Now there's an easy way to fiddle with all these different settings here and somewhat play your game. Currently in my play menu here, I'm set to simulate mode. So I'm just gonna jump in simulate here. So I'm not actually playing the game. And if I click this possess button, I will jump into the game and you can see I don't see any foliage. Now, if I do shift in F one that would give me access to my mouse here and then I can come under settings, engine scalability settings and set the appropriate field. So I want some foliage back. So let me have some epic foliage. And now if I right click back my view port here, I can see I've got full foliage shift and F one again That's gonna give you control of your mouse cursor again. Let me come under settings, engine scalability, settings Ah, anti alias Sing Let's set that too low, showy And I'm gonna set my resolution down to something like 24 then I'm gonna right click back here. Now you can see how that cube there has got some jagged edges on it due to my low anti alias ing setting. And of course, my resolution is rather low as well. Of course, the upside is I'm running a 120 frames per second, but that is a trade off you gotta live with. All right. You can also have access to some of these engine scalability settings were just going to shift in F one. I'm talking these engines scalability settings right here through your consul command line here. What I mean by that? Well, if I was to simply hit the tilde key and type in something like our dot screen percentage, that guy right there. And I set this to a value of, say, 1.0 and hit. Enter. Oh, my Lord, that looks terrible, right? That is terrible resolution. Let me set this back by going, tilda r dot screen percentage. And this time I'll do 100 hit, enter and things are back to normal. So what kinds of council variables can you set there just to give you a few quick ones? There's our screen percentage. There's our dot view distance scale that is akin to our scalability settings of view distance. So that's another one. Another one is our dot post process. Let me just bring that in our dot post process A. A quality. This goes from a scale of 0 to 6 to set your various scalability settings. Let's see, what else have you got to your You have shadows you can try setting, and that can be done through a command of S g dot shadow quality. And if you set that between a value of zero or four, you will change your quality. Zero being low quality for being your highest quality. These air all akin, that is, they will do the same thing as your engine scalability settings Here is Well, now, if you want to have a quick cheat sheet as to all these things that you can change here in engine scalability, I'm gonna point you to unroll engines documentation here. If you just type in you e four scalability settings, you'll find this particular Web page. And this kind of runs through what we just talked about and some of the different command lines that you can actually put in here to change up some of your quality settings. In addition again, don't forget these consul variables and commands. I just typed in our dot here and this gives you access to a whole lot of commands. Ah, many of which I've never, ever used. But that will give you access to some knowledge of things you can input into your council command line. There, guys. There it is. Engine scalability settings. A really quick and simple way to change the quality of your game to make it run more or less performance based on your target platform. That'll do it all for this one. Guys, we will see you in the next one. 88. Foliage Mode Overview: Welcome back, everyone. Well, we have this very nice open world thing going on, but wouldn't it be nice if we actually populated it with some foliage? You know, some bushes and trees and rocks and that sort of thing actually made it look kind of natural. Yes, that would be nice, indeed. And that's where this next section of videos comes in. Talking about how we can add some foliage. This is going to give you an overview of foliage mode. Now you may be saying to yourself, but I already see some foliage in here. You've got some grass types in there. Isn't that foliage? And well, that is a way to add foliage to your game. And it's totally fine to do it through our landscape material. We did this through some grass types, a bunch of videos back, But wouldn't it be nice if we had another means of adding some foliage to our game? Yes, indeed. So here we are, in my landscape base level. I do have all of my sub levels here loaded in, and I did that simply by shift, clicking on them all in loading them in, and we're going to jump on over to a new tab here in our modes panel on its this one right here. The hot key for that is shift plus four. This is our foliage mode or it's more properly termed the foliage instance mesh system. Now, this is a way to quickly paint or edit a lot of props. It doesn't just have to be foliage, by the way, props in your seen things like bushes and trees, but also other nonsensical stuff like tables and chairs if you want to. So how do we use this? Well, the simplest way to use this is I'm just going to do a quick sampling here, and then we'll dig much deeper into the tools. I'm gonna come into my content browser and under my Starter Content Props folder. I've got this chair, the good old S M and share. I can left, click and drag and drop this up into this area that says foliage types is going to say it. Choose a location for this foliage type asset. For the purposes of this video, I'm just gonna put this in the same props folder. We're actually creating a what is known as a foliage type assets. I'm cooking. Okay here. And then as long as I have this foliage type here checked on like I do now I see a little bubble brush out here in my landscape. That is the area in which I can add some foley. And so I'm just going to increase my brush size here quickly. And if I left click, I can add a whole bunch of chairs. Now, it's gonna take a little while for the material to load in here. There we go. But you can see how we could do that with anything else I could. I could have done something like the bush that would have made a lot more sense. But you can add a lot of props here to your level things such as bushes and trees and grass very quickly using this foliage mode. All right, guys, that is all I wanted to show in this one. Just a quick overview. Now, the reason that you would want to use this tool is for performance reasons. Painted meshes are automatically grouped together by the engine into batches that are rendered using hardware. Insistent instance ing. Now, this means that many instances like are many incidents, instances or copies of this chair. They could be rendered with a single draw call, and that equals better performance. So there you have it, guys. That is a very quick primer of our foliage mode. Lots more to come. We will see you in the next video. 89. Foliage Types: Welcome back, everyone. In this video, our goal is going to be to create some static mesh foliage types. In the last video, you saw how to access foliage mode here, and you saw briefly what foliage mode can do for us, that is to populate our world here with a lot of different instances of chairs and trees and rocks or whatever we want to add in this video, we want to add our foliage types that we actually wish to use to populate our landscape here, things like trees and rocks and bushes and that sort of thing. So that's what this one is going to be all about. Now there's a few different ways to create foliage types, and we're going to cover all the different ways here. The first way you can add a foliage type is to click on this green button here within your foliage mode. And if you click on this, it's going to say, Do you want to create an actor foliage or static mesh foliage? Now actor foliage allows you to create the foliage types that's gonna be placing like a blueprint out there in this one. We want to be using static mesh foliage in our chair in the last video was technically a static mesh foliage. This is the foliage type that's going to use that mesh instance ing, and it's going to make it more performance for you. So let's go ahead and choose a static mesh foliage. It's gonna say, Where do you want to create this static mesh foliage? And we're going to do this under landscapes are foliage folder here and let's create a new folder within here. I'm gonna right click new folder and let's call this one foliage types. Click on that and let's give this first folios type a name in which one do we want to create? First year, I'm gonna flip over my page notes. We're gonna do F t for fully insight. Underscore Bush underscore 01 So that's the directory we're saving it to. That's our name. Let's click Save And right now we've got an empty foliage type, so this is simple enough to populate. Now you just saw me click on it and we could slot something in here. But let's find this in our content browser showy. So I'm gonna go into my content browser under landscapes, foliage, foliage types, and I'm going to double click on this static mesh foliage type. You can see the tool tip. It says what the asset type is. And then across the top here, where it says mesh, I am going to put in S m underscore Bush. This should be available in your starter content. I'm gonna go ahead and save this and close it out. And now you can see back here in our foliage mode are foliage type here is now populated called FT. Bush, and you can see that the mesh is the SM Bush. Now, our second way of adding a foliage type is gonna be like we did in the last video. And that is by simply dragging and dropping a static match from our content browser up into our foliage type area up here. Now for this one, I want to create a fully edge type for a rock. So I came under my content. Kite demo environments rocks ground reveal rock folder right here. This is a constant pack that we added earlier in the project, and I simply am going to left click and drag and drop this mesh and what you left click on it, by the way, it shows this plus foliage type appear and you release it up here and it's going to say, Hey, where would you like to save this foliage type asset? Because it's gonna be saving April each type asset when we do this. So let's come under our landscape foliage, foliage types, fuller and this one we will simply call FT. Underscore a rock underscore 01 and now we have a full year's type for Iraq. Next, let's go on to wait. Number 34 creating a static mesh foliage type for this one. I'm gonna come back under my landscape Foliage foliage types directory and down over here in the content browser weaken. Simply right click and in a right click menu. We've got foliage, static, mush, foliage. So three ways of doing this and here we are going to create when called ft underscore Tree underscore 01 And then I'm gonna open this guy up, docking across the top. Here, let's slot in a mesh. There is one in the kite demo pack called Scots Pine 01 Now you can feel free to slide in whichever rock, whichever tree. Whichever bush that you may find. I'm gonna slot in that one. Save it out. And then all I would need to do is simply add this up here, Dragon, drop it like that. And then lastly, we're going to be creating a couple mawr foliage types year, and I'm gonna take a little shortcut with my f tea tree highlighted here. I'm just gonna do control. Plus w we're going to duplicate that. Although I'm gonna change out the name here to be f t grass underscore 01 I'm gonna open up this guy and doc that across the top I'm gonna change this one to be field s m field grass . That is also in the kite's demo pack. I say that out. Clothes that out and then drag and drop this up to our list of fully and types. And then with this guy highlighted, I'm gonna do well, I'll show you the other way to duplicate. You can simply right click on it duplicate. And this one I'm gonna call f t underscore Fern underscore 01 and I will double click on that guy. And here in our mesh field, I will slot in S m underscore. Burn zero to that is also in the kite demo pack. Obviously feel free to slot in which ever mesh you want here. I'm gonna say that guy out. Make sure we say that. Exit that out and then we're going to pop this up into our list of foliage types as well. So now we've got five different foliage types. Good and ready to go and paint into our level. But guys were set up forcing videos moving forward here. That will do it all for this one. We will see you in the next year. 90. Foliage Paint Tool: Welcome back, everyone. Well, we have some foliage types created now In this video, we'll be talking about how to use the foliage paint tools so that we can apply these foliage types all around our landscape. Now, firstly, to get to this tool, we got to make sure that we're within our foliage mode up here in our modes panel. And by default, you should have your paint tab selected right here. This is your paint tools pain tab. So you've got it. Syriza tabs across the top here. And then once you're within your foliage tab, you have some or tabs running along the left hand side here and we'll be covering each of these individually. So your paint tool right here You've got some various settings right here and some various filters. How does this all work? Well, will break this down one step at a time. For starters, we need to make sure that in order to use the paint tool that we have one of our foliage types here selected, you can see that as a mouse over these some nail images. I don't have any of them selected. Now I've got this thumbnail view But if I click this little drop down right here, I can go to a list view as well. Personally, I like the list view because it allows me to see these checked boxes easier, but that is a personal preference. A check box on means that you will be aiming to apply that particular foliage type. So I'm going to select my rock here and now with rock selected. As I move my cursor out onto my landscape, you can see this little bubble appearing. Now we've got some filters listed over here in our pain tab, and these lists the valid surface types that we can apply thes foliage types onto. So currently it saying landscape Yes, we can apply Iraq. We can paint that onto a landscape, and you can see that reflected here with my brush. It's still showing that purple bubble. Now, if I uncheck this and I tried to apply my brush on this, I don't see it because it's not a valid surface. However, we've got some filters here for some other surface types. B S P that is this surface type right here, otherwise known as geometry brushes. So if you don't know where to add these to your level back here in our modes panel. I added this prior to making this video the geometry box brush. I place one of these, and so when we're here in our foliage tab, this BSP tab are check box here saying yes, That is a valid surface type. We've also got translucent. Now, this is a translucent surface right here, and you can see that as I mouse over it. I don't see my bubble just to let you all know where I grab that from. I just grabbed from their started content props folder. There is this sm glass window. I size this up to be really large. This is considered a translucent static mesh. And if I go into place mode, this is just an f Y I You can try to select it, and I can. But if you tap the t key and I'm going to select off and now try to select it, I can no, a longer selected t will title translucent selection. So there I can select that. That's just a good to know. Now, back in my foliage paint mode here, if I say I can paint now on translucent surfaces. Let me just peel this back. Now I will see my brush appear on top of that and that's a little bit hard to see gray on gray. But maybe from this angle you can see it a little bit better. Pretty difficult to see. We've also got ah, static meshes as a valid surface type. So I brought this bench out here to demonstrate that yes, we could. We can also paint different fully accepts here on static meshes. And we've also got foliage so you can paint, for example a tree on top of a rock and will hopefully demonstrate that a little bit later on. Now, you see this bubble out here the size of this is being determined by our brush size here. So if I increases massively like that, I've got a giant bubble, and if I shrink it on down, I've got a smaller bubble end. If you right, click here to kind of activate your view port, you can use your bracket keys. Left bracket makes a smaller right bracket, makes it bigger, and you can hold that down. That will increase it and decreases in size rapidly now. I haven't even demonstrated here how to apply our foliage type here with our paint tool. It is as simple as finding a valid service type like our landscape right here and simply left clicking. Bam! And you will add whatever your selected Foley's type or types here are to your landscape. Now that's a lot of rocks. And maybe you want that many. Maybe you don't. You can control Zito. Undo that, or, if you were to apply it, you could hold down the shift key. And with that same foliage type checked, you can then left click and erase it. Now, mistake that I see a lot of students make is they'll want to erase Iraq. But if they mistakenly say, Oh, I want to apply ferns, they'll then try to hold down the shift key and left click, and I try to erase that, but they can't. So just know that if you're looking to erase, you must have that foliage type selective. So here I've got my rock selected holding down the shift key, then left clicking. Then I can erase now, As you saw, that was a whole lot of rocks out there How can I increase or decrease that number? Well, you've got this paint density appear. This is one of two different places where you can influence how dense your painting is. I'll show you the other way in an upcoming video, but if I set this down, be something like 0.5 and then left click. You can see I've only got a smattering of rocks. Let me just control Z to undo that. Whereas if I set this all the way up to one and left click, it's basically rocks everywhere. All right, so that's a paint density does. I'm gonna set that back 2.5 erased density. A value of zero is gonna make it so that you're going to erase them all like, immediately. So let me just go ahead and paint some rocks out here. They're a bunch. Are. I will actually fly upon this a little bit. Okay? Now I'm gonna set my race density to something like 0.2, So I've still got my rocks here selected. I'm gonna hold down shift left, click, and you see that some of them go away, but not all of them. So that's a way you can make some of them disappear, but not all of them. I personally like to keep my erase density at zero. In that way, Whenever I want to erase that given Foley shape, I can hold down, shift left, click and say So long now you've seen the paint here, these rocks on my landscape. But just to demonstrate that I can actually paint thes onto these different surfaces, I can go bam Apply them here onto my BSP. I can go Bama, Place him here onto translucent. I can go bam and place them simultaneously there on a static mesh and my landscape. Let me just shift and left click to erase all that. Now what about foliage here? Can we place foliage on top of foliage? You mentioned that you could, you know, have a tree growing out of a rock? Yes. Although this is going Teoh force me to wade into uncharted territories here areas that I didn't necessarily want to get into now. So what I'm gonna do is I'm gonna kick this into single instance Mode Firstly now single instance Mode is great for those situations where you don't want to paint a bunch of these at a time where you just want a place one of these at a time simply by left clicking. So I'm gonna come on down to my BSP brush right here and in single instance mode. I've just got my rock selected so I could just left Click and add one rock at a time. And I'll just control Z there a few times. Undo that. It's worth noting here that in single instance mode, you've got two different options here, all selected or cycle through selected. So let me just check all of my different boxes here. And if I do all selected and I left click, it's going to try to plant everything at one time a tree. Iraq. There's actually some grass and firm that are buried inside of there. It did everything at once, and I'm going to control Z. Undo that if I set this to cycle through selected and now when I left click I get a tree like click Get Bush left Click Get fern left like get some grass left click, Get Iraq. It is cycling between these Let me just do control Z here a few times. Okay, let me go back to all selected. I'm gonna have just my rock selected year. And I wanna have a tree growing out of a rock. Now what I need to do in order to do this is I need access my foliage types here. And I got a click on my rock here. My fully type of my rocket got to go in the settings here, and this is again getting a little bit deeper than I wanted to get into this video. And I've got to set a collision. Preset here is set to know collision, meaning that if we were to places fully type rock, our character could run right through it. I'm going to set this to block all which adds collision to Iraq and save this. And now I'm gonna place one rock out here, Bam! And with that rock now place, I'm going to change this to a tree. And now I should be able to place that tree on top of my foliage type rock here. And that did not take like I wanted to hold on just a second. While I figured this out well and for whatever reason, it finally started toe work. Now you're seeing that when I place my brush over my rock You see that little bubble for the single instance mode on top of the rocket was not doing that before. Before, When I placed the tree, it was actually spawning it in the ground as opposed to on top of the rock. So I didn't do anything special here, finally just kicked in and started working. But you're foliage type here. Does have to have collision for it to respect this foliage filter here. So now with my trees selected, I can left click right here on my rock and bam, You can have that tree actually growing out of your rock, right, Going to control Z to undo that. All right, we're almost finished with this. Now again, a key distinction Here is a single instance mode where you place one of these at a time, or if you turn that off, you then have your brush size where you can apply over a wide area. Now it's worth mentioning here that with the single instance mode turned off and I do have my brush size at about I know, say, 2000 year, you could say Give me some Gonna turn my paint density way down here 2.0 five Going to say you know Give me Give me some bushes Give me some ferns Give me some grass No, no, no trees and just left Click here and you get a smattering of everything Gonna hit shift Undo that. Let's crank that up a little bit to something like 0.3 left, click and see So you see again, you get a smattering of everything. Now you'll notice that they are all about the exact same size in terms of like, all the bushes are the same size of firms are the same size, etcetera. We'll deal with those kinds of issues in upcoming videos. With that guys, That is just about going to do. I actually forgot one more thing. Hold on before we move on. We've also got one more check box here for place in current level. Now again, going over to our levels tab. This blue level are persistent. Level is what is considered the current level. If you absolutely want to place your foliage and have it associate ID with your current level, whichever one you right click and make current or double click on you can set it to do so by checking this box. Otherwise, as the tool tip says, it will just automatically be placed on and be associated with which ever tile it is placed upon. All right, guys, there is a quick rundown of how to use the awesome paint tool here in our foliage mood. Guys, that'll do it off of this one. We will see you in the next. 91. Foliage Type - Paint Settings: Welcome back, everyone. In this video, our goals are to discuss what foliage details are to learn how to access an edit, foliage details and then, lastly, to discuss and demo foliage paint settings. So, firstly, what are foliage details? Well, foliage details are modifiable properties specific to each foliage. Type in your foliage type list that is this list over here that are accessible to you now. These settings determine the rules for a mesh when it's applied to the world, and some things that you can set include the density of that foliage type when it's applied your world the size of that foliage type. When it's applied your world the angle of placement when their foliage type is applied, your world the culling distance in a lot more so next. How do we access or edit these foliage details? Well, there's a couple places to do this. Number one is to find your foliage type asset in your content browser, and currently ours are in the content landscape foliage, foliage types, folders Here are my five and weaken. Simply double click on any of these foliage types to open them up, so I'm gonna open up my fully. It's type of bush here, so you could see a bunch of different details that will be covering here in the next few videos about our foliage type. That's where number one way number two jumping back to our main level here is to simply a select a foliage type in our foliage list. So currently, let me just peel back my content browser here a little bit. Currently, I've got my Bush selected here, and I've selected on F. T. Bush. It is highlighted. So now I can see some foliage details associated with our foliage bush. And if you look very carefully, a lot of the same settings here selecting our fully side Bush in this details are the same as our details. Here. We've got some placement setting some instant settings similar to policemen settings, instant settings, etcetera. However, you'll notice that when you select your foliage type here within the foliage mode, we've got access to some painting settings. We do not have access to these painting settings here. When you select on the foliage type directly as you can see, there's no painting settings in here. Now the focus of this video is on those paints setting. So we're not gonna be working in here too much. We're gonna be working back in our foliage list. So let me just peel this back and again we're gonna be focusing on these painting group of settings right here with our f. T. Bush selected. Now, one thing that is worth noting here is you can hide or show these details here with this button right here. You've got this little tool tip that says hi details for our selected foliage type. So if you click on that, it'll hide. Um, if you want to bring it back, show him. I rarely ever hide them. I keep them shown most of the time, but that's a good little handy trick to know. Okay, let's discuss and demonstrate some of these foliage pain settings. And again, I'm going to be doing this with the bush. If you'd like to choose a different foliage type, that is gonna be up to you. Firstly, we've got under our paint settings here. This density over. Sorry. Let me just move this over to the side right here. Density slash one k you you. This is our foliage instances placed per click in a 1000 by 1000 unreal unit area. Now, this does get modified bar by our paint density setting. So this is a density setting for placing bushes. But we've also got this paint density setting. So in a way, you've kind of got to places to modify your density. When you're clicking here in your level, you've got your paint density that works in tandem with your density setting right here per fully insight. Let's play with this a little bit. I'm gonna set my paint density setting up here to be one. And it says, actually, as we highlight over this, that this acts as a multiplier for our individual foliage types. Density specify air. So this is currently set toe one. I'm gonna set my density down here for our Bush 25 I'm also gonna have my brush size here. Let's set that not to 2000. Set that to 1000. And now let me zoom on up. I'm gonna places on my some snow here because again, my grass over here, I've got some grass type in the material that's populating that automatically with some foliage. So I'm gonna be painting this onto a snowy surface here in my landscape base. So just one click right here and you can see how many bushes that has applied. I'm just going to control Z right here. That is, with paint density of one and a density one K u u of five. Now let me set this to 100 and now, if I click, you can see how there are many more bushes, so density that works in tandem with paint density to determine how much of that given selected foliage type you paint in your level. Now again, I could do control plus Z two. Under this or with erase density of zero, I can hold down the shift key and left click to erase my selected foliage type. All right. Next, let's talk about our radius year. This is the minimum distance between foliage instances. So with my settings here in my paint tab, the same as 1000 for brush size and one for paint density, I'm gonna set my radius year. Let's try a radius of 500. Now, when I click in my level, just one click you can see that they're all pretty evenly spaced The reason for that is because there is a minimum of 500 unreal units in between each Bush just going to control Z to undo that quickly. If I was to set, this is something like 50 and click you can see. It's guarantee that there's 50 unruly units between each of those meaning they can cluster together much more closely. So that's good to know about. Next. Let's go to our scaling setting down here. We've got a few different options will come back to this single instance mode override in just a little bit. But with our scaling, you've got a few different options. You've got uniform, you've got free and you've got different lock options. So let's explore uniform first with uniform. All accesses are uniformly scaled, according to a randomized men and Max value. So let's set our men value to be, uh, we'll say 0.5 in our max value to be se three. I'm gonna set our radius here. Let's go back to something like 2 50 right? Something like that. Let me click here. It's now you can see we've got some random sizes to our bushes. Some are small, some are big, but they're all proportionately scaled, their uniformly scaled. In this case, this Bush right here might be uniformly skilled at as to a 0.5 Skilling. And maybe this bigger Bush is uniformly scaled to be 3.0, they're somewhere in between 0.5 and three. All right, let's control Z and undo that quickly. Now let's go to scaling the free setting. This is going to expose X Y and Z Mini Max scale, so free allows you to set arrange for X, y and Z independently. Min. Max values again can be a selected per instance. So, for example, let's try an ex's Men of 0.5 a max of three. Let's do the same for the why scale 30.5 and three and let's try for skills E 30.5 and a max of three. So now when I place this in my level, you can see that they're not uniformly scaled is going to pick a random men and max scale value for the X. It's gonna pick him random mini max of scale for the why and for the Z, so they're not uniformly skilled, but they could be stretched and squished all kinds of weird ways. For example, this Bush that you see right in front of you right here that might have picked a Z scale of three. It might have picked a y scale of, say, Ah, one. And it might have picked an ex scale of save points. Seven. And that's how it's scaled all of these different bushes. All right, let me just do control Z to undo that. Lastly, for our scaling options here, we've got different lack options. Now, lock ensures that the men and Max values are locked on some access. The free access can have range, though. So what that means is, if I say lock X, why? And I set my skill X to be say, size of two for the men and the Max Skill. Why, that's gonna be 0.5 and 0.5. However, my scales e is gonna be 0.5 to 3. Now, if I click, it's going to ensure that my scale X in skill Why is the same? However, my Z scale can be different between 0.5 and three it's locked in to access is but randomize in my free access now. Last but not least under our painting settings. Here, we've got these new settings called single instance mode, override radius and single instance Mode radius. Of course, this one is great out, and it doesn't become active until we check this box for single instance Mode, override radius. Now, really, these Onley come into effect if we are in single instance Mode. So with my bush here selected, I'm going to kick it into single instance Mode and all selected here is fine, meaning it will do a single instance of everything selected. Currently, we just have our bush selected and with this single instance mode override radius checked, weaken, then specify a radius. I'm gonna punch in 500 here and you're going to notice a green bubble now appearing out in my landscape? No, to that, I've also got my scaling switch back to uniform. And my scale is on a minimum of 0.5 in a max, a mom of three. And what happens now with a radius there of 500 is if I click one time, you're going to see a bush appear right in the middle. And if I try to place another one saying right about here. And I'm currently trying to left click. Nothing is happening. And that's because this radius is overlapping. This bush and a recognised Hey, you've already got one there. However, if I was to go just outside of that radiance and left click, another bush would appear at a different random scaling. So what this does is kind of a protective bubble of sorts To ensure that you're not placing single instances of a given mash to close to one another. It is preventing you from placing them too closely. So again, here, I've got one right there. If I was to try to left click here. Can't do it. However, if I go just outside of that radius, even I left click here. One does appear so There you have it, guys. These are your paint settings with your paint tool that is going to do it all for this one . We will see win the next one 92. Foliage Type - Placement Settings: Welcome back, everyone. In this video, our goal is to explore the placement settings found within our foliage type properties. What do you talking about? Placement settings. Well, if I come under my different foliage types year located in this year directory, I'm gonna double click on my foliage type tree here. And I've already got this tab opened across the top right up towards the top. Here, we've got a Siris of policemen settings. Now, these settings dictate the rules for placing this foliage type in your level. We're gonna explore these all in just a moment, one by one. Now, I want to make a note here that here in our foliage, type these parameters, these settings are all present. And if I jump out of here and go into our foliage mode and I've currently got are trees selected down below, we can see our different details. And unlike in the last video, where are painting settings were present here, but not here. Our placement settings are available here in our foliage type list. Here they are for the tree as well as within the foliage type itself. Right there. Okay, so let's explore these different placement settings one by one, and I'm going to start from the bottom here. Currently, we've got this place been setting for height. This parameter sets the valid range the valid height that a given foliage type can be placed at. Let me just reset this year to show you what the default values are. It's got a very wide range by default, negative 262,000 and change for the minimum and a maximum value of 262,000. So that is a very, very wide range of valid heights that weaken plays this foliage type tree upon. However, if we look at a picture of nature here and I'm just gonna bring on an image from the Internet here, we can see that when trees grow in nature, they grow up to a certain elevation and then they just stop. This is called the tree line. Above this elevation, trees don't grow. The conditions are just not conducive to growing. So to help replicate something like this in unreal, it is really helpful to have a parameter like this that restricts us from placing it above or below a certain elevation now in preparation for shooting this video. I went ahead and I placed this cube out here in my landscape. And just to show you, I'm gonna jump out of foliage mode, go into place mode. So, like this cube and you can see over in the details panel. I've currently said its elevation to be at 1000 unreal unit Z value a height, if you will, of 1000 unreal units. Okay, that's gonna be essentially our tree line here. And I could probably thin this up a little bit more to kind of show you exactly where that line is gonna be. Can also jump back into our foliage mode, select our tree, and I'm gonna set our placement settings here. We'll leave that minimum height. But I'm going to say our maximum height at which we can place these trees. It's gonna be an elevation of 1000. Now, just to note my other parameters here, I've got a brush size of 1000 a paint density of one here in my foliage type settings. I've changed my painting density per one K u u down toe one. And now if I click below this line, that should be a valid height. Riken place these trees. So here we go left clicking and you could see I've got some trees right there. And if I hold down left click, you can see trees, trees, trees, trees, trees. However, once I get past that line and I was holding down left click, even up here it is not populating. And that's because I've said, Hey, trees, you congrats between these heights. So this is a good way to restrict how high oven elevation or how low, If that's what you want. Set given foliage type can be set, all right. I'm just gonna hold down shift and left click to delete these trees here really quickly, and then I am going to jump out into my placement mode. Select my cube there and delete it. Let's jump back into foliage mode and select our tree once again. All right. Next, let's explore this ground slope angle. This will determine the valid angles with which a given foliage type could be placed upon. So it's saying our minimum angle is zero degrees, so that is an extremely flat, perfectly flat plane up to a slope of 45 degrees, which is about the slope that I'm trying to trace out with my mouse cursor right here. 90 degrees obviously would be straight up and down. Now, to demonstrate this, I'm going to remove my height restrictions years. So let me set that back to default. Eso we don't mix and match parameters here. So now I'm saying I can go up to a 45 degree angle. Now, I'm not certain what my mountain angles are. Here. Let me make this a little bit more restrictive. I'm going to say we can place this up to, uh, I'll say up to a 30 degree angle, cause I'm pretty sure this gets more than 30 degrees. Okay, so I'm gonna hold down. Left, click now. Trees, trees, trees. There we go. They finally start popping in. And once we get to a 30 degree angle, I'm continuing to hold down left, click right in here. That exceeds a 30 degree angle. But then it flattens out a little bit because it is populating. I'm continuing to hold down left, click, and then up here, it's not populating. So it is allowing me to place trees on Lee between a ground slope angle of zero and 30 degrees. It won't allow me to go any steeper. And this is great for something like trees because typically you don't see trees growing out of super steep slopes. It's gotta be a little bit flat. So that is a great way it once again to restrict the slope with which he plays a given foliage time. All right, if you did wanna have trees growing all the way up to 90 degrees, that is a simple as changing your max ground slope angle to 90. And then it doesn't matter how steep your slopes. Here, you can go ahead and place some trees. All right, let's go ahead and shift and left. Click. I'm gonna delete all those that is the ground slope angle. All right, random pitch angle is next. This one's gonna be best to demonstrate. In single instance modes. I'm gonna check this box for single instance mode, gonna fly up to kind of aim or flatter section of my landscape here. This is going to give some random lean to your foliage type just to give it a little bit more variety. So right now, with a random pitch angle of zero. If I place one of these in my level and let me go to decently flat spot right about, they're gonna left click. You could see it's growing pretty straight. Left click Pretty straight, etcetera. What if you wanted to give this a little bit more of a lean? Let me control Z here a few times and I'm gonna go pretty extreme. Here's something like 45 degrees again, this is more extreme than I'd care to go. But for demonstration purposes now, when I left click, you can see it is going to lean that tree rather dramatically left. Click here to rather dramatically left. Click. Rather dramatic 45 degree angle controls either a few times. But if you want to have some random angle to your foliage growing out of the ground, that is going to help you add some lean to it All right. Going to uncheck that one for the time being. Random yaw, This one I highly highly recommend, and it is checked by default. This is going to set a random rotation around the Z axis when you place this in your level again. Here I am in a single instance mode. And if I just click three times 12 in three, you can see that they're not all oriented the same way. This lowest branches facing off the left. Here, it's facing off to the right here. It's facing a libit. Often left, they're just going to control the a few times. If this was not checked, what you would have is a carbon copy of each rotation as I place it. So watch one two in three. These are all placed at the exact same rotation that can be useful if symmetry is exactly what you're going for. But if you're trying to create a very natural look, I recommend having random yaw checked. Just gonna do control Z here a few times. Next, we're gonna jump up here to align to normal. So if you notice when I was placing these trees on our slope and I'm going to remain in single instance mode for demonstration purposes here, if I left click on a slope, you can see how it's kind of growing straight out of the slow perpendicular to the slope, and I've got my ground soap saying the slope angle set up to a max of 90 degrees so I can places on any slope that I want to. Now that does not look very natural. Trees don't typically grow out of the side of an angled mountain like that. They typically reach up more vertically, straight up towards the sun or the sky. So how do you set that to be more natural? Well, this aligned to normal is going to make it so that it does grow essentially perpendicular out of whatever surface they're trying to places on. If you don't want this sort of weird effect that I've got going on here, let me hit controls a year. A few times we can uncheck this, and now if I place a tree on a steep slope, you can see how it's trying to grow straight up. Now this is going to reveal some other problems here, and that is that even though it's growing mawr straight up, you do have the situation where it can have some branches penetrating through the sides, and also you see this sort of effect where your tree looks like it's not actually rooted in the ground. We'll talk about some ways to combat that here in just a moment. But that is how you can make it so that they reach mawr straight up. Let me just do control Z here a few times now to help combat that there is one thing that you can do And if you do have a line to normal checked here, you've got access to this align max angle parameter. This is Onley available if you have a line to normal checked. So what this does is it will try to influence this this angle coming out of the side of your slope Let me show you Demonstration seeing is believing. So let me set in a line Max angle here to be something like Well, say one now if I place a single tree out of a steep slope, I left click and you can see how it's trying to angle it nearly straight up. Now Contrast this where if I set aligned line to normal, true in a line Max angle to 90 now, if I left looking about that same sort of slope, it is going to make it so that it pretty much truly respects this. Aligned to normal is if I did not have this checked. So long story short here. The closer you have this align Max angle set to zero, the more it's going to influence this to grow straight up. The closer you have this to 90 the more it's going to respect a growing perpendicular. Out of that given Slope, I felt went with something like 45 degrees would probably have a happy middle somewhere in between. There's let me click right about here. You can see it angles it up a little bit, but not that much more. Just gonna do control Z here a few times. Okay, I'm gonna undo my ally in Max Angle as well. Now, this Z offset is perfect for setting. When you have instances like this where you can see essentially you're foliage is not rooted in the ground with Z offset. Will do is it will influence the placement of your given fully of CYP up or down between your men and Max angles. Let me show you what I mean here. I'm just going Teoh, let me erase this tree here. Pull down shift left, click and I'm gonna come down here, gonna go back into single instance mode and we're gonna fiddle with rz offset. So with rz awesome! Not changed at all. If I left click, you can see how it's pretty much growing straight out of the ground. Now let me set my Z offset here to be a minimum of 100 a maximum of 100. Now, if I left click, you can see how it is floating 100 unreal units off the ground. Obviously, that looks terrible and not very natural. So let's set ese offset to be negative 100 and then a max of negative 100. So I always wanted to be negative. 100 that is going to be rooted down a little bit further. Click into my landscape. So the bottom portion of my tree, which is very hard to see here because it's dark down here, is now shooting beneath my landscape controls. Either A few times now you can set some variants here so I could send my Z offset to be say , Oh, I don't know between negative to 50 and zero Now, if I was to left click in my landscape, sometimes it will be set at that depth. Sometimes it will be set at that depth, sometimes as deep as that. So you can see how you can really fiddle with how deeply rooted these things are Said If I really want to get crazier, you go negative. 500 to 0 left click. And now you can see how it is pretty much buried the tree into my landscape. This is a really good setting to use If you are trying to play some of these trees on a slope Now I'm gonna set my max girl on ground slope angle to 90. That's fine. I'm gonna do random yaw. Ah, I am going to uncheck this and let me set my Z offset here to be a minimum of, say, negative 200. Ah, and actually let me uncheck a line to normal as well. And a max Well, let me just try that. So if I try to find a steep slope and left click, you can see it's not quite is floating above the landscape is that once was before. I probably didn't set that quite enough Gun control Z to undo that. Let's go negative. 200 negative 100. And now if I left click you can see how it's starting to root it into the ground there. Now, again, you're gonna have to deal with issues like this where you possibly have branches shooting on through. But it's going to be a combination of playing with all these placement settings that's going to determine how realistic or unrealistic that's what your going forth, these look on your landscape. One final thing before we wrap this up, I mentioned earlier in the video. We have access to our policemen settings here in our foliage list, and also we've got access to our placement settings here within the foliage type itself. Now, here I am, within the foliage type itself, and you'll notice that these parameters are updated to reflect what I have here in our foliage list. So if I was to set my Z offset to be a minimum of, say, negative 500 press enter pressing, enter his key. Now, if I jump back to my foliage type, I can see that it is said it here is well within the full leaders type property. Likewise, if I was to change something here, let me set my ground slope angle to be a maximum of 45 press enter. Now. If I jump out of here and go back to my foliage list, I can see that I have set my ground slope angle to be a maximum of 45 degrees here. So just note that if you change it in one place and press enter, it changes it in the other place. Now, clicking save Year is going to set these settings by defaults. If you close out your editor, jump back in, you will have all these exact settings. I'm gonna go ahead and click, save here maybe settings or what I want. Maybe not, but that is going to finish up our demonstration of the placement settings. So once again, your placement settings set your rules for placing a given fully type within your level. You can mix and match these to your heart's content. Just take note that if you're trying to place given foliage in your landscape and it's not working, it could be because you're violating a ground slope, angle rule or a height rule. I see students trip up on that all the time, saying Mr Wandera, it's not working, and it could be because you have tried to place it on a ground slope angle That's not allowing you to or a height that's not allowing you to. All right, guys, that is going to do it all for this one. We will see you in the next one. 93. Day / Night Cycle: Welcome back, everyone. In this video, our goals are to add a simple day night cycle to our map. The reason for this is because it's necessary to show off some of our foliage instant settings. In the next video. We kind of need a moving mobile lights to do so, and also because creating a day night cycle is just plain cool. So let's go ahead and get started, shall we? Firstly, let's make sure that you have a B P. That is a blueprint sky sphere in your level as well as a directional light actor. Now, if you have followed along with me up to this point when we created our landscape based level here, we did this by coming under file new level, and we did this using a default level. If you did that, you should have a BP sky sphere and a directional light actor already existing. You'll know if you do by coming under your world outline, er you can search for these actors. So if you come into your world outline or tab and if you don't see this tab, you confined it under window world out liner. Make sure you got that checked on and simply do a search for sky. And there is my actor that I'm looking for my skies Here actor my B P sky sphere. If you cannot find this, you do not see this cloud and blue sky out here. You can find it in your engine content folders in your content browser. And if you don't see this folder, you can come under your view options right down here. Check on your show engine content option here and then with engine constant folder selected . Do a search for sky and this is where you confined your BP skies. Here, you only need one out here. And if you don't have it out here, you can simply left, click and drag and drop it out here in your level. So you see those clouds and that blue sky, so make sure you've got a BP sky sphere out there. Number two is we need to make sure that we have a directional light source actor out there and I'm just gonna type in directional. There is my directional light actor. It is called light source. Here it is in my level if you don't have one of these, you can come under your modes. Panel lights, tab and theories E directional light actor. Now, this is the actor that replicates the sunlight in your level And in fact, it works in tandem with your BP sky sphere Something you may notice right now if you're very astute is here is my directional light actor And there's this little white arrow kind of hanging off of this. This is showing the direction of the sun. If you notice my son out here in the background, that is basically the exact angle at which the sun is coming from Now, this is not a mistake here. That's because this directional light actor is actually tied to my BP sky sphere. What do I mean by that? Well, if I click on my sky back here, go ahead and do that. Your BP skies here Now down on my details panel. I have all the details related to my skies here and one thing that we need to associate with our sky sphere is a directional light actor. So right here under your details panel, you can click this little drop down box to find your light source. This directional light actor. Or if you've got multiple directional light source actors in your level, you can click this little I drop her icon right here and select your directional light source. Actor here to associate this light actor with your sky sphere. Now know something here through some scripting that we're going to do. We're going to actually rotate this directional light actor. And as we do that, it's actually going to change the position of the sun in our sky sphere. So let's set up this script that we need to make this day night cycle. For starters, let's make sure that we've got our directional light source actor selected here and with that selected and it's important we have it selected here. Let's jump into our level blueprint. We can access our level blueprint by coming under our blueprints button right up here, clicking on that and about midway down, we've got the option to open level blueprints. Let's go ahead and do that, and you should see a couple of nodes out here by default. One called Event, taking one event. Begin play. I deleted those ahead of time so I could add them from scratch just to show you how to do that, in case you didn't already know. So I'm going to, right? Click out here and type in event Tick. We're gonna need this event. No, this is an event that fires off every frame. Next, let's right click. And because we've got our light source actors selected in our level, we see this option to create a reference to our light source. Now, note you will not see this unless you have this directional light actor selected in your level. So that's how we can get a reference to this. That is so we can talk to it and do some things to it. Okay, So make sure you've got those two things in place. Next thing we need in place here is a variable. We need a variable to control the speed of our son. So right over here in my my blueprints tab, we're gonna come under variables. Click this plus variable button, and we're going to create a new variable called Son Speed. Now again, this whole courses not really dealing too much with how to create some script. I've got other courses available for that. This one's gonna assume, you know, a little bit of scripting. And if not, you can just kind of plough on through this. Just follow along. And ah, just assume that you can pick up some scripting at some other point time. All right? We're going to come under variable type right here. We're gonna change the type of variable here to be float. Now, float variable is nothing more than a number with a decimal point. We need to give this a default value. But first, we must compiled by clicking on this button up here. And I'm going to set our son speed to be 50 which in truth, is gonna be very rapid. But you can change this value as you see fit later on. Okay, so we've got all that in place now. What we want to do is out of our event. Tick here. We can drag out of this and get our delta seconds. Delta seconds is the time between frames. So if our game is running at, say, 120 frames per seconds, a delta second or a millisecond is going to be 0.83 seconds. That number of times 120 equals one second. I'm gonna drag out of this and type in the word float and I'm looking for a float times float note here. I'm gonna multiply our delta seconds by our son Speed by left clicking, dragging and dropping this right on top of this pin. And what I am going to do out of this is drag out of this output of this math and type in make rotator and by default, it's going to have this plug into our very first input pin here. I don't want to plug into the role, so I'm gonna hold down the altar key and left click and I'm going to read drag us into the pitch. This is going to adjust the pitch of our light source. That's what we're looking for, not the role. Okay, next, let's drag out of our light source actor here, and it's important that we drag out of our light source actor here to find this next context. Sensitive function notes. So drag aware out of this and then type in ad actor If I can spell right add actor local rotation, Local rotational world rotation add actor local rotation now something that confuses a lot of students. If you just right, click in here in type in ad actor, local rotation. Sometimes you will find these notes, and sometimes you won't. In this case, I wanted to drag aware out of my light source because I want this to be associating immediately with my light source actor here because that is the actor whose rotation I want to change locally. Okay, Next, I'm gonna drag out of my execution output if my event IQ plug it into my ad actor local rotation. And, of course, I need to plug in a Delta rotation. That is a change in rotation. Well, we want to change this. Based on this math, we're gonna change the pitch. The UAE rotation of our light source based on this math, last but not least here, what I want to do is I'm gonna scroll over is I want to talk to my sky sphere actor. So I'm gonna jump out of here quickly. I'm gonna select my sky there, have got it selected in the background. You can see I've got a selected because here in the details panel I can see it. I'm gonna jump back into my level blueprint. And now I can right click and create a reference to my sky sphere. I'm gonna click on that to create a reference to my skies here so we can talk to it and I'm going to drag out of this in type in update son direction. There is a function that lives inside of this blueprint that's called update Son direction . How did I even know about this? Well, back here in my content browser, if you double click on your BP sky sphere, which I have already done because I've got a tab up here, there is a function within this blueprint called update son direction. I did not create this the fine folks that epic games did. But here is this function that we are calling. Obviously, it's a lot of node that I'm not gonna go through all here, but what I'm essentially doing back here in my level blueprint is I'm wanting to update the sun direction. That's what's going to move our sun in the sky as we do this script. Okay, so there is your script in full here. Let me try to frame it up here so you can copy it. Pause the video if you need to. In order to see everything again. My son speed here is currently set to 50. Let's compile this to make sure that there are no errors in our script. Everything looks good and let's go ahead and save. And now there's just one thing left to do and that's to play. Let's see if we got a day night cycle going on some clicking play here and I don't see anything yet. And I think I think I know my error is here. Gonna hit Escape? Yes, that is indeed my error. As you can see, once I escaped out here, I got a lot of errors. And that is because, as my message here tells me so I did not set my light source to be moveable. My bad. So I got to come back here into my editor. I gotta select bi directional light source here, and here's a problem. It's telling me I need to change the mobility of this light source. Actor are directional light source to be moveable. Otherwise a scripting. I can't move that. So let's save our current level here that's going to save our level blueprint. Let's jump in and play again. And now you could see Ah, very rapid a day and night cycle taken place and, man, if see if I can find the sun out here, huh? It's whipping around somewhere. You know what? I do want to see that. There it is often the sky. You know, I'm gonna escape out of here, and I'm gonna go into simulate mode in simulate mode. I'm not actually controlling a character, but all my scripts should be running here. So if I right click here to activate my editor window here, hold on the altar key. And then the s key s isn't simulate. I can simulate this now. I can kind of fly around my level when I want simulating here. And I could see that signed very rapidly whipping around my level. There's a very rapid day night cycle. All right, I'm gonna stop this by clicking up here, and you can see this is in simulate mode. I'm gonna check this back into new editor window now again. That day night cycle is ridiculously fast. If you want to slow that down, you can come back here in change your son speed value for that variable. Now, I want this to be relatively fast again for our next video. So we are in a good position to go to our next video, which is on foliage type. The instance settings, guys, That will do it all for this one. We will see you in the next one. 94. Foliage Type - Instance Settings #1: Welcome back, everyone in this video, we're going to be talking about the instance settings on our foliage types. What am I talking about here? Well, back here in our foliage tab, I've currently got my foliage type bush selected in Down below, I can see are various settings for our foliage type bush, including the painting settings which we've talked about the place been settings that we've talked about and don blow. This are the instant settings. Now we're gonna be talking mainly about cull distance and the shadow options here. But I wanted to point out that not only do we have these settings available here in our foliage list, but also if I was to select our foliage type itself our foliage type. Bushy double click on that Here in your foliage type settings. You can see those instance settings here as well, and just like we did in the last video. If you change this in one area and hit enter, you will change it in the other area. So let's get right to it. What are we going to be exploring here first? Well, in our instant settings were going to be exploring this cul distance settings. Now the cull disses is the distance at which instances will disappear, thus helping to improve your games performance. So we're going to test this out by firstly placing some bushes into our landscape here. I'm currently in single instance mode. So let me get out of that. And with the brush size said to be 1000 my paint density here of 1.0, let me set my painting density. I'll set that down to I don't know, 10. And I've got my scale min and Max settings here. So I've got some small bushes and some big bushes. Let me go ahead and place a few bushes out here. So left click Bush, Bush, Bush Which Bush? And there we g o. Okay, So if I scroll down under my instance coldest in settings, if I fly away from these bushes, ignore these bushes over here. By the way, these are associate ID with our landscape material. Were Onley focused on these bushes. If I fly away those bushes pretty much just stay there the whole time. But we can influence at what distance they begin to disappear now Note. To start with Onley, the Max. Cold distance. Paramus. This one right here is gonna work at this distance. Foliage will instantly disappear. So let me set this to be a distance of, say, the flying closer with, say, 3000. Now, press enter there and you see a bunch of my fully just disappeared instantly. That's because I was 3000 units away from a lot of my bushes. They're not all of them. And so, as we get 3000 unruly units away from those, they instantly disappear. Actually set that up to something like 10,000 that's gonna be literate, more reasonable. So now, as I fly away from it, once I get 10,000 unruly units away, those instantly disappear. Now, what about this minimum setting? How do we get that to work? Well, in order to make the minimum cold distance work and to make these fade away, we have to set up the material for our mesh. In this case, are Bush with a per instance, fade, amount, node, and then multiply that by the Alfa value of a diffuse texture to make this work appropriately. So what do I mean by all that well will step through this process. And I chose the bush here because it is one of these simpler foliage types and the easiest one to do this for If you double click on your bush here that'll open up your bush foliage type, then within here we want to find our message. Click right here to browse to your bush and then double click on your static mesh bush that will open up this asset. And when we're within our static mesh editor here you will find the material associated with your bush right over here by clicking on this magnifying glass icon. And then we want to double click on this m underscore Bush Asset to open up the material associate ID with our bush. So all this to make it so that we can set up our call distance to respect that minimum value their that this one right back here. So we've got to set up this material in such a way. So how do we do this? Well, the first thing we need to add is we need to add a note in here called a per instance. Fate amount notes. If we right click in some empty space, let me Just create a little bit more room here, right? Click and type in. Per instance, you'll find a per instance Fate amount Note. We're gonna add this again. This course is totally not about the material editor, but in order to help show off this particular parameters this kind of necessary to do Okay , I'm gonna move this normal texture sample down here to give us a little space and out of the A value that is the Alfa value of our bush texture sample. I'm gonna drag out a wire and then type in multiply. We got math multiply that's gonna be plugged into the A value. We're gonna take this, per instance fade amount, plug us into the B value and the output of this We're going to plug this into opacity mask so that are set up. Looks like this with is done, we can go ahead and save, and once that is saved, we can now set in a minimum value. Four are foliage type, and this will make it so that instead of those foliage types just popping away, they will fade away. So let me come back here into our main editor and I'm going to set a cold distance minimum to be. Let's go, Let's go! 5000. Actually, you know what? I'm going to set the men to be 10,000 and we're going to set the max to be 15,000. So now is I start flying away from these bushes that are placed on this snow right here. You can see how the bushes in the background like fading away. They're not popping away. That's a much nicer look. So if you want your various fully insights to be fading away as opposed to hard popping away, and I could get that hard popping again if I set the men to be the same as the Max now when I fly away, that's the hard popping. But to get that smooth transition, you got to set up your material in such a way. I'll set that to be a minimum of 5000 where it will fade away and again just to show off. That material here was are set up. We had to do the per instance, fate amount. We multiplied it by a texture sample unemployed that into the opacity mask Justin settings . Let's go ahead and erase our bush foliage here. I'm just gonna hold down the shift key left click, get rid of all of our bushes. And we are going to go on to some of our shadows settings here. And for this I'm going to uncheck are Bush. I'm going to check a rock than select our rock. So, Aiken, the working with the instant settings of a rock, and I'm going to place a single instance of our rock out here. So I'm gonna check single instance mode, and I'm gonna want to make this pretty big. So I'm gonna come under the rock paint settings the scale X I'm gonna set to be a minimum of 10. That's going to set the maximum to 10 is well, and let's find a good place for a rock hero Left click right about Boom there. So we got a giant enormous rock, okay? And we got a little bit of a shadow there is. Well, perfect. All right, let's come under our rock instance settings and we've got this cast shadow option currently in his checked on. We see a shadow out there. If I check this off, we do not see a shadow that it's simple enough. Now you can see that when I turn this on, we have these other four parameters here that turn on. So this is kind of like your master switch here. This is on you have access to all of these options. If you have this off, you don't have access to all these options. Okay, so now we're going to try playing around with a few of these different check boxes just to show what they do. Firstly, I'm gonna turn my shadow back on here by checking that box. And now I'm going to jump out of our foliage boat here just momentarily, cause I want to add another directional light and you'll see why in just a moment. So we're gonna come back to place in the mode. Let's come under our lights panel. We're gonna find a directional light. Just you can have multiples of these out in your level. I'm just gonna drag and drop one of these out here and tap the F key just to fly up on it. I want to make that I can a little bit bigger so I can identify it easier in my level And so with this selected, I can come under the details panel and set my editor billboard skills, something larger. I'm gonna set two, maybe three times the original size. And if I simply rotate this, I'm gonna try to cast more of a shadow. It's kind of projected downward. Let's go the other way. With it like that. Something like that. Okay, now I can sort of see two shadows being cast year, but we'll talk about what that is in just a little bit, or rather show what that is in just a little bit. The reason we have two shadows going right now is because we technically have two directional lights in our level with one that we just added is causing this where it says preview shadow right here in the one from our actual sunlight. Way up there with which are other directional light is associated with is casting that shadow out here. Okay, so we got that directional light actor out here again. It doesn't really matter where your place is. It's all about the angle at which you place that we're now going to build our lighting. So come under your bill button up here and you click this little check box right next to it . You've got this option to build lighting on. Lee, go ahead and do that. That'll take a little bit of time, and I will join you when this is finished. 95. Foliage Type - Instance Settings #2: all right and are letting has finished being built. So let's jump back into our foliage mode here. I'm gonna make sure I've got my rock foliage type selected coming back down under our instant settings where we've got our shadow settings. And let's toggle some of these settings here and see what has resulted. Now that we have built the lighting. Well, obviously, if I uncheck by cast shadow option, we would expect that the shadows would go away. Right? Well, partially half of them go away. The other half stays. What is going on? Well, let me just toggle this back on quickly. We actually have two different types of shadows being cast. Now, remember, we've got two directional lights out here. We've got this directional light that we've just placed out here. Let me select that. I gotta jump out of foliage mode in order for me to actually select. That's I'm gonna jump into place mode momentarily. So there is the directional light actor that I just added, and if I scroll up in the details panel, we can see that this is set to be a stationary lights. Now our other directional light actor and let me just do a search for it in the world outline. Er it is known as our light source Directional lights that light actor Faisal. Like that one, this is set to be a movable light. This has an impact on the different shadow settings that we find here in our foliage mode. Coming back under our rock instant settings cast shadow our light source with one that is set to be moveable, that is casting what is known as a dynamic shadow. So if I toggle this off, the shadow from that light will disappear. And I actually got that backward. I thought originally, when I added this light actor that this one was casting this shadow actually had that backwards. Where the sunlight, the light source directional light actor is casting this shadow. And this shadow out here is being cast by this directional light actor. Okay, so if a directional light is set to be mobility of movable, that is considered a dynamic light toggle that on and off a static show is being cast from this stationary light right here. Now, if I toggle it off, you're like, Well, why isn't it going away and the reason is because we baked are lighting into the scene any time we have a stationary lights such as this light actor right here and then we build the lighting is going to bake that shadow into the scene, meaning that even if you try to toggle it off, it is going to stay out here. Now the way you could fix that, if you truly didn't want this shadow is you could have this turned off. And now if I was to rebuild the lighting again, what would happen is that this shadow that is coming from this light would disappear next. What I'd like to do is to simulate our game that is, to run our game without actually running our character around in our level just so we can see how our shadows are behaving here. Given our settings right here now, to simulate your game, you can come under your play button sub menu, this little drop down arrow right here and you've got the option to simulate your game by clicking right here. Alternatively, by doing the ault in s hot key And if we go ahead and select this what you'll see now out in our environment is okay. We are running the game, that is, all scripts are being run. We're not controlling a character, although we can move around the camera a little bit and you can see we've got our static shadow being cast out here. That's the one that got baked into our level from that directional light actor that had its settings, its mobility setting statue stationary that was existing right about here. And then we've also got our dynamic shadow which were seeing moving dynamically as the sun moves around the sky back there. Now, this was from our light source directional actor whose mobility was set to be moveable. So the dynamic shadow is coming from this light source. Let me just stop that again. Dynamic shadow is coming from this light source This light source who has its mobility said to be moveable and our static shadow is coming from this direction. A light source that has is mobility said to be stationary. Now, One final thing I wanted to talk about here in our foliage types instance settings was this collision preset. We currently have a rock foliage type in our level and you would expect that if we were to jump in and play here, that my character would collide with it. But that's currently not the case. And that is because our current collision preset for our rock Foley's type is set to be no collision. Now, obviously, the fix here is to change your collision preset to something other than no collision. You've got this little drop down here, and I'm going to set this to B Block all now with its set to block all. If I click this little drop down era right here, you can see that. What is that? To block all it is going to block all of these different types of actors, these different channels, if you will. So currently, our third person character that were controlling in our world is considered a pawn. So with is set to block all it is saying, Hey, we want you to block the pond now. Just a quick note here. If I do have this set to be no collision, you'll still see it says, ah, block the pawn. But the collision enabled is set to know collision. So that's why you still don't get any collision we're gonna set this to block all now gonna jump in and play. And now if I run my character into that rock boom, he will collide against it. Now, that seems simple enough. But I do need to point out one thing In order for this block all collision preset to actually work. Your static mesh itself must have collision on it. What do I mean by that? Well, let me show you a couple of different static meshes here. There is one in our starter content started content props we've got in our story content Props folder This s M rock. I'm gonna bring this guy open, Dr. Across the top here. And then I'm going to find our current rock mesh out here this ground. Reveal rock located in this directory. Get a double click on this guy and open it up. Now, we are currently looking at each of these through their static mesh editor. And there's this collision option up here. So if you show simple collision complex collision that is on our ground reveal rock down. I'm gonna do the same on R S M rock collision. She'll simple show complex. Well, you see that it has complex collision, but it does not have simple collision. Now, that's a problem. Because if we were to have made this mesh for are fully type rock be our static mesh rock from our starter Constant. We're talking this guy right here. Our character would go right through that rock because currently are sm Rock does not have any simple collision on it. Let me just turn off the complex collision for the ground Reveal rock. So the simple collision is denoted by this green wire frame. Now, if I wanted to add collision two R S M rock here, maybe that's the one that you wanna set as a foolish type out in your level. You've got to make sure that you've got simple collision shown on here, so you will be able to see it when we do at it. And then you've got this collision option up here. You've got different types of collision that you can add. I'm not gonna get too deep into this for the time being, but if I just do ah, let's do add 26 deal P simplified collision. This is gonna be very inaccurate. But you can see how it now adds collision around that rock so you can collide with it. All you need to do then is save your static mesh with that collision, and that would make it so that when you do create a full leads type using that static mesh and you do said it's a block all it will respect the block. All All right, guys, that is going to do it for this discussion on instant settings for your foliage types. Do it all for this one. We will see you win the next one. 96. Density Scaling: picture, if you will, that you have created a beautiful landscape filled with trees, grass, bushes, ferns and it looks gorgeous. However, you may have gone a little bit overboard. Maybe you've added to many foliage instances. Maybe it's hurting your game a little bit. Maybe it's just a little bit too much for your character to navigate through a little too crowded. How could you go about erasing some of these instances quickly and easy without doing a lot of manual work? Well, that is where the density scaling option for a foliage type comes in. And that's what we're gonna be exploring in this video, the foliage scalability system. So between videos here, what I did is I painted some snow out into my landscape, and then I simply went into my F T grass, and I'll just share with you the settings that I applied. The reason I applied Ah, snow to my landscape is because if you remember right wherever we are, painting grass were automatically painting some different grasses if you will. So I wanted to automatically or rather manually paint this grass onto my snow, even though it's not very realistic. Looking to demonstrate this foliage scalability system. Alright, so I've got my grass, my sm field grass. I've set the desi to be one k u U of 50. I set my skill Xia men of one in a max of five and then I just simply scaled up my brush and painted some of these instances out here. Now, if I scroll way to the bottom of my fully ist types of details, we have this check box to enable density scaling. Now we do want to check this on and it is a good idea to check this on for small foliage types that don't have collision things like grass, flowers, ferns, etcetera. It should be disabled for foliage types with collision such as trees or maybe rocks, that kind of thing. Now, when this check box is checked, what you can do is come under your settings button up here in under engine scalability settings. We've got foliage settings that we can apply low, medium, high epic cinematic etcetera that will change the quality of our foliage for which, ever fully a types we do have this check box checked for. So I do have it set for my grass here. So if I come into your engine engine skill the ability settings and set this from epic down too high and then click off of this, it actually reduced the amount of meshes out. There may be a little bit hard to tell, but it did reduce it a little bit. Let's try the next setting down settings. Engine skill, ability, settings. Let's go to medium now Let me click off this, and you can see how it reducing even further. Let's go settings, engine scalability settings and go too low, and now you can see that they've all disappeared. Now, if I was to uncheck this box, it all comes back. So basically this check box again is saying, Hey, do I want to respect my engine? Scalability, foliage settings And again, you want to set that to true for the likes of your grass, your firm's, maybe even your bushes. Anything you don't want to collide with. This is a really quick and easy means of changing the density of your foliage types out in your level without having to do it by hand. All right, guys, hope you found that one useful. That'll do it all. For this video, we will see win the next one 97. Foliage Reapply Tool: Welcome back, everyone. In this video, our goal is to show how to access the foliage. Reapply tool. Explain what this reapply tool does and then discuss and demonstrate how to use the foliage . Reapply tool. Now, currently, up to this point the course under our foliage mode, we've only explored this paint option. There are other options along the left hand side here, starting with this reapply option. What this does is re applies settings, two instances already placed in your level. So in order to reapply settings, we need to actually have some instances in our level. So I've got my grass selected here. I'm gonna maintain my our position here in paint mode. Gonna set my destiny to be 200? Uh, k you you got my brush size. It's 2000 paint entity here said toe one and set my scale to be one and one for the men. And Max, we're just gonna paint some grass out here, like so. And if we fly up to it, that looks okay. If rather uniform in size Now, it's said some point in the future. Here were like, Man, I really wish we had given our grass Mawr variety in terms of how it's scaled. So this is where you'd want to use your reapply tool. So it's like, select our reapply tool. And once we're in here with our grass still selected, we got a series of check boxes of things properties that we can choose to go back in and change. And the one I wanna changes are scaling settings. And by checking this on, um, saying yes, I do want to reapply some new settings to this. I'm also going to check on this scale X saying yes, I do want to apply some new settings to this. And so now I'm going to say I want to set our men to be one and our Max. Let's say to be 10. Okay, so now I've still got my brush bubble, if you will, out in the levels a little bit. Hard to see, because kind of like purple on white here. But it's out here. There it is. You can see it on the green out there. Way off in the distance. Okay. Let me actually just probably shrink the size of my brush. Weaken, Hopefully seat a little bit easier. There it is And so now if I left click in my level I am reapplying settings to my grass and on Lee the area where I am left clicking my brush Now if I was to simply do control Z, I can undo my last brushstroke, etcetera. Now, I could do this for all kinds of settings, not just my scale settings. And I'll demonstrate this with ah rock. Next Let me just go back into my paint mode. I'm going to delete out my grass instances here, Hold shift. Bye bye, grass. And let me just place ah rock out here. Let's go, rock Check that on. I'm gonna unchecked the grass and let me do Do do do do set the density way down Let's go Something like one for that. Let's place it. Whoa! Hey, way to big. That's because I still have my skill except crazy high. Ah, let's go like that And we have a few rocks out there. That looks nice. Okay. Again Going into the reapply tool this time. What do I want to change? What? I want to reapply here. Well, I could say I want them not toe have random yaw. Currently random you is what? Rotating them all to be different angles. If I was to check this and uncheck this now, I could reapply those settings to my rocks. And it looks like it looks like aliens have now come down from space and decided to place all those rocks uniformly. All right, maybe I want to change your mind. I'm going to check that back on, reapply by left clicking in my level and it re applies random young. So, guys, that is a real quick look at the reapply tool. There are many other things settings that you can change about. Your place meshes very handy tool. I use it a lot, guys. That'll do it all. For this video, I will see win the next one. 98. Foliage Select Tool: Welcome back, everyone. In this video, our goals are to show where to access the foliage. Select tool. Explain what the foliage select tool does. We're gonna discuss in demonstrate how to select and de select foliage instances. Then we're going to discuss in demo select foliage Instance actions and we're going to explain the differences between using this tool and using placement mode to move around foliage in your landscape. So this foliage select tool, it can be found here in your foliage mode and it is not the first tab, not the second tab, but the third tab down. So go ahead and select that guy. Now, in preparation for this video, I did play some foliage out here in my landscape. I have some grass, just a few rocks and a few trees. Now what this tool allows us to do it allows us to select individual instances of our foliage down here so that we can move them, that we can scale them, delete them, etcetera. Now we need to do something first before we can actually use this tool. With this tab selected, we've got a few different action buttons that we can try to use right here. If I select all, I don't actually select any of my individual instances here. And the reason for that is because currently were showing that all of our foliage types have a count of zero in our landscape. Well, that's not exactly true, because we don't exactly have zero of our bush grass etcetera in our landscape. This count is not showing the count per your landscape. It is showing the count of these instances on any of your given levels. So we need to come down to our levels tab down here and currently are persistent. Level is our current level. That is what we have as our persistent level. But we did not actually apply these mesh instances, these foliage types to our persistent level. They live here on one of these sub levels. Which one? Well, if we come into world composition, this tab right here, you can see that I painted my path. This material back here on this given landscape tile landscape, X zero. Why? Of negative one. So I'm gonna come back to my level stab. And here is X zero. Why? Of negative one? If I right click on that and make it current. We can now see that in our listing of foliage types, we have more than 9000 grass, three rock and three trees that exists on this sub level. So it's important to note here that when we were adding some foliage to our landscape, we were adding it directly not to are persistent level, but to our landscape level tiles themselves. It automatically associated those foliage types to any of these individual tiles that they were placed upon. Okay, so now that we have a count down here and it shows that we actually have this selected as our current level we can work with are select tool. So how do we go about selecting foliage instances? Well, there's a few different ways here. Way Number one is to simply select a given foliage type. So I've selected my rock here. You could see I could move it left and right up and down, etcetera. I can select my tree. Sure, I can even select an individual clump of grass, so that's how you can select just one of the time now. Obviously, if you want to select multiples, you could hold down the control key and click around. In that way, you could move around a few different instances at once. However, if you want to select all, you could simply click this select all button up here. When I click on that, you can see that it highlights everything. Everything's got a yellow outline around it. The rock, the trees, the grass, everything. So it's important to note that with this select all button, select all foliage instances, we don't have to have these chuck boxes checked here like we normally do when we are applying our painting or reapplying these foliage types, the select all doesn't care. If you have these checked or not, it will select them all. So obviously, if you want to decent like them all, you can simply collect or select this de select all box like so this select invalid is a little bit hard to just talk about. So I'm going to move this rock temporarily off of my landscape child, I'm just gonna have it float off here in the distance and then I'm going to click off of it now. Select, invalid. When I click on this, you will see that it is highlighted it's got this yellow outline around my rock Select invalid basically highlights anything that is not on a given level just floating out here in space that is considered in valid. Next, let's talk about all the different things that we can do once we have a given foliage mesh selected here. Well, I've got my rock here selected, and as you saw me do before, you can move it in any of the three major directions left right up, down. You can also tap the space bar and rotate this in any direction. You can hit the space bar once again, and you can scale it in any direction. And if you hold down the altar key, highlight any of these given arrows left, click in dry. You can drag out copies of this Now, with one of these up in the air, you can also press the end key That is the E N D key found next next to the delete key that will snap it on down to the floor. Now, there is a little bit of a caveat here when you do this and I'm going to do it again with this one you saw how auto rotated it down when it snapped down to the ground. It's trying to make itself flat or flush with the given surface. So that's one thing to know about. The next thing to know about is this trick. Pressing the N key to snap it on down to the floor will only work if you try that when we are trying to place it within the tile it was originally placed in. If I was to say move this way over here into the adjacent level tile in press the end key, that trick will not work. So that end key trick on Lee works if you're trying to place it within the same level that you originally had it placed in now I'm also going to show you another trick here with a few of these grass instances here, I'm just going to select one, hold down control and select a few others like So I'm gonna drag these above this slope till here, like so. And if I was to press the end key at this point, you can see how it automatically rotates it so that that grass is placed flush with the contours of our hill. That is pretty cool. Last thing I wanted to show off in our list of select actions here is this Move to current and this button is going to do what it says. It is going to move the selected foliage instance to our current level. Not currently our current level Is this one down our level SAB in blue are X zero. Why negative one. Let's say I want to make this rock be associated with this sub level out here. This is the X zero. Why negative to all I would need to Dio is double click on that guy to turn it blue. Alternatively, I can right click and make it current like that. And now that that is the current level and I have this rock selected, I could say move to current level and notice what happens to my rock count down here. I now have one in here because this guy is technically associate id with that sub level over there. All right, now I want to show you some of the differences here between our select mode right here in our foliage tools with the placement mode, because when we are in place mode, you're still able to select your foliage, albeit if I click on this grassy clump right here. I don't select an individual instance. I'm selecting the whole shebang, and this is currently known as instance. Foliage actor. It's selecting all of this foliage that is associated with this sub level. This x zero. Why negative one sub level? You could see it did not select this rock over here, because that is technically a different instance. Foliage actor, actor. So if I says select this group of foliage right here, you could see I can't individually select any of these individual pieces of foliage. If I was to try to scale it, let's go. Oh no for in the why and four in the X and Z ears like Where did it go? It went somewhere out yonder way out there, so all kinds of awkwardness happens when you try to modify. Move whatever your static mesh foliage instances that you have place in your landscape. Now that's not the way you wanna work. Any time you're looking to move your foliage instances you want to go into foliage edit mode, don't come into place mode and Then select your full ege and try to move from there. It will be a nightmare. All right, guys, that is going to do it all for this one. We will see win the next one. 99. Foliage Lasso Tool: Welcome back, everyone in this video, we're gonna be talking about the foliage lasso tool. We're going to show where to access the lasso tool. We're going to explain what the foliage lasso tool does. We're going to discuss in demo how to last a select foliage and then we're going to discuss and demonstrate actions we can perform on lassoed foliage types. So, firstly, how do we access the lasso tool? You got to make sure that you are in the foliage mode right here and then along the left hand side, we're moving our way on down. We just finished up our discussion on the select tool. The next one down here is your lasso tool. Now, the lasso tool is a lot like your selection tool. Although, like in other programs, other computer programs, it allows you to get more specific about the types of things that you are selecting now. As you saw with the select tool, you have these options these actions to select all select invalid de select all etcetera. Those same action buttons are present over here in your lasso select tool, you can select all select invalid de select all etcetera, so let me just like all. And you can see how it highlights all my different foliage Here I can de select all Just as before I could even select invalid And I did place some foliage off of my landscape here just to prove that that in fact will select an invalid foliage. It's not placed upon anything until that's all the exact same as your selection tool. Now where the lasso selectable really comes in handy is in selecting specific instances that you're trying to lasso win. You got your bubble brush out here and this is what allows you to select specific foliage instances. Now, how does this work? Well, unlike the select tool where it didn't matter if you had anything check box over here in the lasso tool, It does matter what you have selected. You are basically saying I only want to lasso or that is select it given a fully ist type. So if I check on my f t grass here, you can see I've got my bubble Now by left click, I'm Onley selecting my grass types. I'm not selecting my rocks or my trees and I can get very specific about which specific Foley is type grass. I am selecting. I'm not selecting this over here. Just what's highlighted in yellow. I'm going to de select all here. I can select multiples if I want you So let me check on The rock is well so I got my grass and my rocks And now if I left click you could see that I'm not Onley grabbing my grass But also any rock instances that I am moving over now left clicking will select things If you hold down shift and left click that will de select Okay, now we've got some other filter check boxes up here and I prepared some stuff ahead of time in recording this video to demonstrate these you see have got filters for landscape foliage , static mass translucent and B s P. Now this is going to filter what you can lasso select here based upon what is checked and what's not. Now this is considered our landscape out here, so this is checked on. So it's basically saying yes, you can lasso select any foliage instances on a landscape. Now also, I've placed a b spg aama tree brush out here. This is this gray box out here. And just to make sure you are understanding what this is if I go back into policemen mode under the geometry tab, I placed the geometry box brush out here, skilled it up in size. And that is what is known as R B s P geometry. So I placed I play some foliage grass on top of this and with this check box check, you can see that I can left click and select the grass place upon this Be as p geometry brush I've got have grass elected Here is well if I control Z and undo that and uncheck my grass and rocket could see I I don't even see my bubble out here Let me turn my grass back on You can see I do have my bubble back But if I check off my BSP my geometry you'll see that I still won't get my bubble even though I've got grass elected. I'm basically saying here that hey, I cannot last will select any foliage on my geometry. So that's why you will not see the bubble in this case. Okay, Likewise, this out here, this yellow ish thing This is a static match. This is actually one of the tables in your starter contents scaled up to be rather large. Now I've currently got my static mesh is set to be true That I can last will select grass that is placed upon a static mesh. So I will see my bubble here, and I can left click and grab some of these instances here If I let me de select all here. I uncheck this even if I've got grass elected, you can see now. I don't see my bubble brush out here, and I can't select those instances. Okay, Let me just check these back on. I'm just going to run through the BSP and static measures right now. Foliage in translucent. That'll do the same thing if you've got any of those sorts of things with meshes placed upon those. But I just wanted to drive home the point that these filters are specific to those types of things. Okay, Next, let's talk about the different actions that you can take once you have lasso selected something, So I'm going to go ahead, jump over here lasso, select left, click some foliage and you can see that I've got my little my little wiggy out here in. If I left click on this, you could see that I can move this to the left. I could move to the right in any of the directions. I could bring it up into the air and then I can tap that end key to snap it on down to the ground. I can also hit the space bar here. I can rotate it. I get the space bar again. I can scale it. And lastly, if you wanted to, you can also duplicate this. So if I go back to my three arrow widget here by pressing the space bar holding down Ault left clicking and dragging that will also bring out some duplicates of what you got selected there. Alright, guys. So that is going to do it for our lasso selectable. Very similar to the select tool. But it allows you to get a little bit more specific about what you're selecting. Guys. Donald, Dude off for this one. We will see win the next video 100. Foliage Fill Tool: Welcome back, everyone In this video, we're going to be talking about how to use the foliage fill tool again. This could be found in your foliage tab in along the left hand side. It is the last tool that we have yet to talk about. It's known as paint bucket when you hover over it. But it is a fill tool like in so many other computer applications. So what this does is it will fill a given surface type that he got selected here. And I'm gonna be demonstrating this firstly on our static mesh surface type here, it's currently checked on meetings. Yes, I want to fill this surface type with whatever Foley's type I have selected here. So let's go ahead and demonstrate this. I've got my grass selected saying that's the police type. I want a place and I want to fill a static mesh like this giant table have got selected out here. Now know my density setting is pretty high right now, So if I just click one time on my table down here, boom, it's going to be filled with grass meshes. Just gonna do control Z quickly to undo that. I'm gonna set my density down here to be much lower. I'm gonna set it to one. And the reason I'm doing this is to demonstrate that now, if I go to fill my static mesh table here, I got a few grass meshes out here, but it didn't feel it completely just because my density is really low. So your density here does matter. However, you can click again and again and again to keep filling that surface. Type a valid surface type with Maura of your selected fully step gonna just do control Z here a few times to undo that. Now, I've also plays a few mawr static mesh tables out here at various angles to show off another property that is important to know about. I'm gonna set my density back here for my grass to be rather high. Let's say 100 and the property that I am talking about is down in the placement settings. It is the ground slope angle. So currently I can fill any static mash that is at a slope of zero degrees. Like this table is flat. That is at zero degrees, up to a 45 degree angle and That's it about this angle that I have my mouse cursor kind of tracing out. Now this table is at a 90 degree angle, so if I try to fill this vertically standing table left, click it. You'll see a few meshes trying to populate. And that's because it's finding some weird angles along the edges and one not to try to fill that. That's not exactly what we're going for here, so I'm just gonna do Control Z to undo that. I'm going to send my ground slope angle here to be 90 degrees. And now if I go to fill this table, you can see that it builds it rather nicely. Not completely. But it does. Okay, so if you want to have, you know, grass growing on your walls, that's a way to accomplish that. Now, just doing control Z to undo that, you can see that this one is placed at a degree that is greater than 90 degrees. So I try to left click on this and I Philip a few of these edges around the side, but it didnt Philip the table fully like I hoped to do some, so I'm gonna do control Z, and I'm gonna set my ground soap angle to be 180 degrees. So now if I try to left click on my static mesh, you can see that it fills it up in full. So if you set your ground slope angle here to be a max of 180 degrees, you're pretty much cover any angled surface that you have. All right, Now, you saw me try to fill a static mesh. What about B S P? That is a geometry brush like this guy out here. So if you're trying to fill that at that for the time being, as of today's date, I'm left clicking on here and nothing happens. Well, I did some research behind this. Why is it's not working. There is currently a bug in that is reported to epic games that this Phil for BSP for geometry surfaces is not working it maybe working by the time you are viewing this. But know that that is currently a bug that has been submitted to epic games. Now these other surface types here translucent. This would be something like in your content browser starter content. Ah, this s m glass window down here. If you were to enlarge this guy right here, this is something that would be considered translucent. You can see through it. So that is a check box that you'd want a place for something like this. This foliage check box If you see the tool tip here, it says, place foliage on other blocking foliage geometry. Now that's something we have not yet talked about. But we will talk about it when we talk about procedural foliage in some upcoming videos. Otherwise, guys, that is a quick run through for the foliage feel tool. It is a quick way to fill any of these given surface types outside of BSP. Currently, with a selected foliage type or types, you can have multiples selected here as well. Guys, that'll do it all for this video. We will see you in the next one 101. Foliage Q & A: Welcome back, everyone. In this video, our goal is to answer some common questions that arise about the foliage tools after students have been introduced to foliage mode. Question number one. This is a good one. What happens to my foliage if I attempt to sculpt the landscape and it already has foliage placed upon it? Well, I have that scenario right in front of us. I've placed in foliage here on our landscape, but have not yet sculpted it. So let's see what happens. I've got my landscaped sculpting tabs here selected. I've got my sculpting tool selected with these settings and of course, I've got my layer selected here. And let's just go ahead and sculpt underneath. Let's see what happens. It looks like the foliage doesn't pop up. It all does it. But when I release my left mouse button click, you could see I'm covering up the rock, thereby sculpting it when I release my sculpting. Then you will see the foliage place atop your sculpting, so you shouldn't have to worry Here. The foliage does the best job it can to be placed upon your sculpting as appropriate, but you may need to go into your foliage. Select or lasso tool to fine tune some of the placement there, but in general, you before does a pretty good job when you sculpt the landscape beneath it in terms of placing that foliage atop your new sculpting. All right question number two. If I had just some foliage type properties inside of my foliage type asset, will that affect the properties of that foliage I've already placed into my level? Well, let's try that out. I'm coming under my content Landscapes, foliage, foliage types folder. Let's go ahead and double click on R F. T. Bush. 01 here. Now, you can see already got some place out here. So you should make sure that if you're playing along at home, that you've already got some of these place out here and let me actually select my bush over here so you can see some of the settings I've I'm gonna have down here that will click on my bush. So here are my foliage type assets settings. And here is my settings that appear for my f. T. Bush over in the mesh list. Now, as I go about adjusting some of these settings in our FT. Bush Feliz type asset. These changes will be reflected immediately back in our level. Let's give this a try. Let's change our match from an S M. Bush to let's try the chair. And so you can see I've changed to its share here. And if I jump back to our level, you can see all of our bushes have now been replaced by chairs. And you can see that change reflected right down here in our mesh list details as well. So that's one that you will see updated immediately. Just gonna change that back to a bush here. Quickly. Another one that will update immediately is under our instant settings. We've currently got this cast shadow check on. So if I were to check in a level right here, we could see that our bushes are casting a shadow. If I was however to check it off and jump back to our level, you can see that that is immediately reflected as well. Okay, let me go ahead and check that back on. Now, when it comes to your Foley, it's types, placement settings or your foliage types paint setting these and group of settings right here. You must come through your reapply a tool to adjust that for these instances out here. For example, if I was to go back into my f t. Bush asset right here and say, Hey, I want my Z offset to now be a minimum of 500 which is gonna change the maximum to 500 but jump back here into my level. I don't see that they are now 500 unreal units off the ground. That change does not apply immediately. However, I'm just gonna set this back to normal here. If I was to jump back here and then go into my reapply tool and say, Hey, Bush, I do want you to have a Z offset of 500 and then I go ahead and click. You can see how those bushes have jumped up into the air. Let me just control Z that a few times. So your placement settings and your paint settings the on leeway to update those once they've been placed in your level is through the reapply tool. However, in the asset itself, you can swap out the mesh in some of these instant settings and those will update immediately. All right, next question. Is there a way for me to specify which landscape layers my Foley's types can be applied to ? For example, can I make it so that rocks can Onley be applied to path layers? The answer to this is yes. Yes, I can. Although this is a little bit of a hidden thing. So this is awesome to know about. Glad this question was asked. I'm gonna exit out of my f T. Bush here and when I open up my rock my f T rock here, let's open up this guy. And if you come under our placement settings right here, we've got this little drop down arrow here to show advance. If I click this open, I have an inclusion landscape layers option. And I've also got an exclusion landscape layers as well. I'm gonna click this plus button for inclusion of landscape layers and all we got to do here is named a layer that we would like this to be applied to, or that it is valid to be applied to. It's going to set this to path. And again, this should be the exact name as we find over here in our landscape paint mode. We're talking these layer names right here. Mud, grass, gravel path, rock, etcetera. So we're saying, Hey, rock, you can be included on a path layer, any path layer that is at least 50% path by that we're talking. If there's any intersection between ah, path right here and say snow, as long as it's at least 50% path, a rock can be applied to that. Okay, so with that inclusion landscape players set to path, we're going to save that. And let's test this out. Well, actually, it's not restrict its not allowing me to save right now. That's an issue for off camera. And so I've got a rock selected over here in my foliage mode. We're going to say, we want to apply that. I'm gonna uncheck the bush and let's try going into paint mode, not reapply mode. We're going to single instance and let's see, I want to do some large rocks so we can see this. Let's go a minimum scale of 10 make it rather large. We can see it. So here is a path layers. If I left click here, I should see Iraq boom and we do now. We got snow over here. So can I apply rock? I am left clicking, and I am restricted from doing so. However, if I am to come right about where we'll see if I'm guessing right about here is 50 50. If I left click boom, I can't apply the rock. Let me control Z if I come a little bit more to the left a little bit Mauritz still 50% path. Yes, yes. And at some point right about there I cannot. So it's not detecting 50% path there as well. So it's just good to know this is saying yes, we can include it on the path layer. And this is showing the waiting. It's got to be at least 50% path in order for me to place Iraq so you can do that with any of your different foliage types here. All right, guys, that is going to answer some of the common questions that I get as it relates to foliage. Hope you learned a lot that will do it all for this video. We will see you in the next one 102. Procedural Foliage Overview: Welcome back, everyone. Well over the last few videos, we have explored the foliage tools quite significantly, all the things that we can do to hand pain foliage all across our open world landscape. And these are some really, really cool tools. But as you have seen, even as efficient as they are, it would still take a while to populate our entire open world landscape here with foliage, painting it by hand by using these tools, is there another way? Well, in fact, there is another way some tools known as a profuse procedural foliage system in unreal that can also populate our open world with foliage. So what is this procedural foliage and unroll for? So again, this is another way of adding foliage to your levels in a less labor intensive way. Now how this works is you determine in area a volume, you'd like foliage to be president, and then we're going to specify rules per foliage type that exists within this defined area . For example, we're going to be able to specify things like the density of a foliage type in a given area , the age of a foliage type in a given area age determines its scale, how tall it is, what layers a fully inside can grow upon, say, grass but not rock, for example, and you can even specify if a certain folios type can grow in shade or not. And then, once you have set up all these rules, all you need to do is click a simulate button, and you can immediately see all your procedural foliage results or make adjustments and re simulate once again. Now that sounds really cool. Stay right here. What we need to do first is we need to enable this procedural foliage system as of today's date. These are in the experimental tools in our editor preferences. Maybe at some point in the future they will no longer be considered experimental. But as of today's date, they are. So let's enable this very cool system. We're going to come under our edit menu at the very top left of our editor, come under editor preferences and in our editor preferences. Let's just type in pro see general, and you can see as I'm starting to type it in, it whittles it down. Procedural foliage allows uses of the procedural foliage system. We want to just check this on is a Yes. Yes, we do. And that is all we need to do for this video. There's no save button here. It's checked on. So now we have access to it. And now we can go about starting to explore this procedural foliage system. Well, guys, that's going to do it all for this quick overview. Let's get started in the next one will see their 103. Procedural Foliage Spawner: Welcome back, everyone. Well, now that we have the procedural foliage system turned on in our editor preferences right here procedure of foliage we got that turned on. We want to go ahead in this video to create a procedural foliage. Sponder Asset in this video are also going to talk about what a procedural foliage Sponder as it does and then discuss and demonstrate briefly how the procedural foliage Sponder works. So first things first we have to create this foliage Sponder assets and we're gonna do so here inside of our content landscape foliage folder. And we're gonna right click in some empty space over here and in our right click menu. We're gonna come under foliage and we've got this procedural foliage Sponder option available to us now. Know this option is Onley available? Because here in our editor preferences, we turned on the procedural foliage system. If I had this turned off and I right click and win under foliage, I would not find that asset type. So let's turn that back on procedural foliage in our editor preferences. And then we're going to right click foliage procedure fully of Sponder, and I'm gonna call this as that P. F s for a procedural foliage Sponder underscore Boris. All right, So what we can do with this asset type is we can place this actor into our level. Let's go ahead and do that. And when we do that, we will see that we've got this little yellow volume out here. So what we essentially did in placing a procedural foliage Sponder out here is we actually added a procedural foliage volume to our level. Now you may be saying Wait, What? What's going on? This is a procedural foliage Sponder Asset. We just added a procedural foliage volume. How does that compute? Well, if I scroll down in our list of details here, we did in fact, at a procedural foliage volume. The game is the engine is smart enough to know that that's what you were trying to add and it populated it. It filled it out with a procedural foliage sponder that we had created. Now this is the easy way to go about adding a procedural foliage volume to your level that is populated with your procedural foliage. Sponder. But you could also in your modes panel search for pro see General foliage volume and add one of these guys to your level. Like so So here I'm essentially adding a second procedural folio volume. But this is an empty container. As you can see with this procedural foliage volume, it doesn't have a foliage sponsor slotted in. So if I wanted to, I could slot this in here. But I really only want one of these foliage volumes out here one time, so I'm just gonna delete this one. So that's just ah, handy trick to know when you go to place your procedural foliage Sponder into your level, you're actually adding a procedural foliage volume to your level and populating its details with your procedural foliage Sponder now inside of this bounds volume that we get to set and we can set that right here in our brush settings Let's set that right away, Shall we? X value of 10,000. I'm gonna go not super big go 10,000 for the wine. Let's go. 10,000 for the Z. So that is the volume in which we want to procedurally spawn some foliage. Inside this bound volume, we can specify the foliage types We'd like to be president side and inside each foliage type, we can specify the rules about where and how that foliage type should spawn and grow. All right, so now we need to populate our procedural foliage Sponder with some foliage type. So we need to double click on this asset, and that's where we can specify that. So right up here, under our list of folios types, we can add some foliage sites. We're not gonna cover any of these settings for the timing. Just gonna click just one time. And for our first folios type asset, we're going to add Let's do Let's do our tree. Where is our tree? Right there it is. There's our tree. Note that we 10 add multiples right here. I'm just going to do one for the time being, but you can add multiples. I'm just gonna delete that guy. Delete that guy. We're gonna save it out. And currently, a procedure of foliage Sponder is just going to spawn in the tree. Now we've got this all set up, but I still don't see any trees that are procedurally spawned. What is going on? Well, with our procedural foliage volume here, selected under our details panel right underneath where we've got the foliage Sponder We've got this re simulate But now if I click this you will see we have now procedurally spawned some trees inside of this volume. If you didn't see that, I'm just gonna do control Z to undo that. What may have been your problem is that your volume here might not have been intersecting the ground. If it is off the ground like that and you try to re simulate you will not see anything. It has to be intersecting the ground. So just like that, Urry simulate and you will see some trees. Now, obviously, this is a very dense forest. It's not exactly what I want, but that is where these different rules that we can set up for our Sponder come in. That is going to be coming up in the next videos. But that is gonna do offer this one, guys, how to create a procedural foliage Sponder and added to your level. See you in the next video 104. Procedural Foliage - Placement Settings: Welcome back, everyone. Well, we now have a procedural foliage Sponder Asset created And when we added this to our level that created a procedural foliage volume and it populated it with our procedural foliage Sponder Then what we did is inside of our procedural foliage Sponder we added the foliage type of some trees. Now we're gonna be doing over the course of these next few videos is exploring some of the settings that are available for our foliage types. And there's just kind of building out our spawn er step by step. Now, some of these steps are going to seem like they're redundant with what we covered in foliage mode. But just for the sake of being thorough, I'm gonna be going through them one by one. Some of the settings in future videos are going to be very specific to the procedural foliage system. So we're gonna start off here talking about our placement settings Are placement settings in our foliage type again. Remember, a procedural foliage. Sponder consists of different foliage types that you tell it to spawn. So we're going to be working inside of the loan foliage type that is populating our sponsor right here. And that is our tree foliage types. I'm gonna come under my foliage types folder right here. We're gonna double click on R F Tea Tree, and we're gonna be talking about the placement settings right up in here. Now, we did cover a lot of these when we talked about foliage mode. Z offsets. I currently want to set this back to default. That's going to change how much the foliage is set off. Set off the ground, if you will. Between a random arranged a minimum maxing out of negative 501 100 things like random. Ya is going to change up the rotation randomly, if you will. Ground slope angle is the rules for determining valid grounds slopes that it could be placed upon. So in this case, I can't place it on a slope that is 62 degrees or anything I should say higher than 45 degrees and then our height restrictions that restrict how high or low in elevation trees can be populated upon. So the foliage Sponder will respect all of these settings up here. Now I should collapse this arrow right here. We do have some advanced placement settings right here that you can click right down here. And I didn't tell you before the inclusion landscape layers. If we were to add one here, we could specify what landscape layer this can appear upon. Onley that landscape layer. But I want to go the opposite route this time and do the exclusion landscape players. I'm going to specify a layer name that I do not want our trees to be spawned upon with our procedural fully its partners. I'm gonna add an element, hear clicking on this and it doesn't make sense for trees to grow out of rock. So I'm going to type in Runk and again this down here is the exclusion layer waiting. So this is essentially how much does the landscape have to be? Rock. And this is I painted some rock out here ahead of time. How much does it have to be? Waited in rock for me not to have it. And I'm gonna say, yeah, even if its 0% for action suit 50% rock, if it's 50% rock, we're not going to have it out there. So let's go ahead and say this. And now we're gonna jump back to our level. And when we need to do is we need to grab our procedural foliage volume right here. That's this yellow box. You want to make sure you're in place mode when you do this, If you're in, you know, foliage edit mode, and you're trying to grab these bounds. It's a little bit, uh, deceiving thinking that you can click on it when you can't Do you want to be in place in mode, click the bounds of our procedural foliage volume. Let's drag and drop it over over our three different layers here. So we've got this is a path layer out here, this brownish one. Then we got a rock. This is a grayish layer, and then I've got a little bit kind of bleeding over onto this grass so you could see as I move this layer the trees don't come with. But with this selected, if I come under the details panel under a procedural foliage right down here, there is a re simulate button. So as soon as I press this, you can see that we now have trees that are spawning on my path lair, my grass. But not my rock, because in my placement settings, I said, I am excluding the rock excluding the Rocket. Dwayne the Rock Johnson? Yes, indeed. All right, guys, that is going to do it all for our foliage type placement settings here for our procedural foliage volume in the next one, we're going to be covering some foliage type instant settings. We'll see there. 105. Procedural Foliage - Instance Settings: Welcome back, everyone. Well, in this video, we're going to be taking the next step for flushing out our procedural foliage volume That's gonna be dealing with the instant settings, the instant settings or where you want to go too often. Fix up Ah, lot of the performance issues with your level as it pertains to foliage types. All right, before we get started in earnest here, I'm gonna increase the size of our procedural foliage volume. So here in placement mode, I'm going to select the procedural foliage volume here, and I'm gonna find my brush setting area. And I'm gonna increase the X bounds to be 50,000 the wide to be 50,000. And you can see how that stretched out my yellow box out here. And then I'm going to click the re simulate button to make it so that we have a whole forest out there. Okay, with a giant forest of densely populated trees, I am going to jump in and play. And while we're planned, you can see in the upper right here that my frame rate is stuttering big time, about 10 frames per second. If you don't remember how to get on that frames per second counter. All you gotta do is tap the tilde key. That's the one directly to the left of your one key in type in stat F P s. Now, because I haven't turned on if I hit enter and do this council command again, it turns it off. But I do want it on. So I'm gonna take that in one more times that f p s f p s and enter and so you can see we're running at a strong 10 frames per second at best. So that's issue number one issue number two is if I try to run my character into a tree, I am just passing right through it. And, yes, my game is stuttering bad. That is not your camera. All right, so it's escape out of here and fix this by coming through our foliage types. Instance settings. Now, remember our procedural foliage. Sponder asset has one foliage type asset in it. Currently, we're gonna ADM or in future videos are tree. I'm gonna click right here to browse two or tree in the content browser, and then we're gonna double click on our tree to open it up. And as you remember before, with our foliage types down here we have some instance settings. Now let's address that. No collision is issue. Currently are collision. Preset is that's a no collision. So let's set that to be block all. And then again, a really easy way to get some performance back is to turn off shadows. Shadows are always expensive, So if I just turn off our shadows here, that should get us some performance back. Now, I realized that this is ridiculous, that you normally do want to have shadows for trees. I would, anyways, but this is just for academic purposes. However, for things like grasses of flowers, bushes consider turning off your shadows. All right, With these changes made, I'm going to save. We're gonna jump back into our level and I'm gonna hit play and you can see now we're up about 40 frames per second. You may have, um, a different frame rate, depending on the power of your computer. But you should see an increase in performance, and you can see that I am in fact colliding with that there tree. Now, another setting that you are going to want to set for any foliage type included in your procedural foliage. Sponder is the cull distance settings. Right now, I am far away from my forest here. Now you can see even if I zoom way out here, those trees still appear now. Trees are probably a full each type that you do want to see from a far distance, but things like grasses, trees, bushes, etcetera. You do want those two fadeaway to be called off, the further you get away from them so you can keep your games performance running high. Now again, I'm doing this just for academic reasons. I am going to set my trees to eventually disappear at a given distance. So let's come under our foliage type tree and let's set our cold distance something other than zero because zero means it's just gonna always be there. Set the men distance to be something like 10,000 and it's going to set my max to be 10,000 as well. And so now you can see that a lot of my trees have already disappeared with ones that are more than 10,000 unruly units away from my camera and as I kind of hold down the right mouse button and use the WS and D keys to fly around here, they start to fade into view. Now this tree, it's material is already set up in such a way that it will fade in at a given distance. Kind of like we manually had to set up for our Bush's material. Okay, so that is another way that you can improve your procedural foliage Sponsors Performance is ensuring that you're setting that called distance for any foliage types you have set in your procedural foliage. Sponder. For now I'm going to set my trees call distance to be a minimum of will say 30,000 and a maximum of 50,000. All right, I'm gonna go ahead and say that. Let's see what this looks like back here in the editor is like kind of zoom far away. You could see them starting to peel off, the further they get away again. You know that's not perfect. But again, for academic purposes, that's not too bad. All right, guys, we are knocking out our procedural foliage Sponder. One thing at a time. Here, in our next video, we're going to talk about the procedural foliage sponsors, foliage types, cluster settings. We'll see there 106. Procedural Foliage - Cluster Settings #1: Welcome back, everyone. In this video, our goal is to expose and explain the various procedural cluster settings available in each foliage type. And then we're gonna demonstrate how they can affect our procedural foliage. Sponder simulations Now the cluster. What are we talking about? The cluster. Well, this is the cluster, right? Here are cluster of foliage are trees. Right now, we've got a fairly dense cluster of trees. These settings that we're going to be exploring will determine the rules for how these given foliage types are clustered together. Now, I'm gonna be bringing on a new window here so we can watch some statistics as we update our cluster settings. So it's come under window and let's come under this option statistics and this is going to allow us to view how many of a given instance in this case are Scots Pines are present in our level going to dock this down here right next to where my world composition tab as we're gonna and we're going to be referring to this from time to time. Now, let's go ahead and jump into our foliage type tree. Come back to our content browser. There's our foliage type tree double click on this to open it up, and these cluster settings we should be able to find in a new section down here where it says, Procedural, You've got procedural collision clustering and growth. We will be covering all these in some future videos. Right now, we're just going to be concerning ourselves with these cluster settings. If you don't see these settings, that may be because you don't have the procedural foliage system turned on. Maybe you stepped away for a while, came back to this video, and you don't remember where he left off. If that is the case, make sure the back here in the main editor under Edit editor preference is that you do have doing a search for foliage. You do have the procedural foliage system turned on. With that turned on foliage types will have these procedural settings available to you. Otherwise you will not. All right, so let's talk about these clusters settings. Clustering uses a number of properties, such as density age proximity, to help determine how the specified mesh. In this case, a tree should be placed or grouped and spread around inside of our of our procedural foliage Sponder. We're gonna be covering these one by one. And I'm gonna go a little bit out of order here because they're all kind of co related to one another. In a sense, we're going to start off with initial see density, this parameter right here. This determines how many seeds are initially planted in a 1000 by 1000 unreal unit area. So we're gonna keep this set to one for the time being. And actually, just for the sake of demonstration, I am going to undock this from the top. Kind of leave it floating out here, come back to my main level editor, and I'm gonna try to kind of tuck this over along the left hand side here because we're gonna update some of these settings and then re simulate our Sponder to see how it effects our simulation. Okay, so we've got our initial see density sets of one. And with all these settings, as they were initially, this was our results. You can see how many trees we've got out here. Now I'm gonna set some of these other values down to nothing because it is actually influencing how many trees appear out here, I'm gonna set are numb steps to zero for now and again, I'll explain all these parameters upcoming shortly. And I'm going to set our seeds per step down 20 as well. That has to do with essentially how many seeds are spawned from our initial seeds and so on and so forth. We're gonna leave our average spread distance in spread variance, as is for the time being. So this should be your set up. Zero initial see density of one and then 51 50 000 Can't go ahead and save that. And then we need to make sure you got your procedural foliage volume here selected. And let's re simulate of the results. That is about how many trees you will see out in our foliage volume with these settings again, I've got my fully volume said to be 50,000 by 50,000 by 10,000. Now, let's go ahead and play around with this number some, but actually, before we do so, I wanted to just point out that if we come back to our statistics tab and now hit refresh, we can see how many hardware essences of our Scots pine tree that we have out there Currently. We've got 1483 trees out there. That's quite a few. All right, let's go ahead and change up our value here. I'm gonna change our initial see density to a smaller value. Let's go point to hit, enter and then let's go ahead and re simulate our procedural foliage volume. And you can see we've got far fewer trees out in our procedural fully volume and again here too. If I come under our statistics have hit refresh. We can see how many hardware instances of our Scots pine do we currently have. We have 66 so quite a few less. This is a parameter where small changes can have grand results. I'm gonna leave it at 0.2 for the time being. All right, Next, we're going to explore this numb steps parameter here. This numb steps is essentially the number of simulated years of growth. For the given foliage, Type zero essentially means it's like a brand new tree. So if I was to set this toe one that would be basically be simulating one year of growth to would be two years of growth. Three would be three years of growth and so on. And we do eventually get to determine how much are fully type can grow. But that's gonna come with our growth settings a little bit later on. So let's just explore this. I've currently got this set to zero, and you saw what the simulated results were with that Let's changes one at a time here by going to numb steps of one and let me check all my other parameters here to make sure that they're all good. I want to make sure I'm following my notes. All right, let me actually zoom up in on my trees here a little bit closer. Let's go without any grass in the background. Okay, so I've changed my numb steps to one. Let's go ahead and re simulate this, and you can see how my trees just got a little bit bigger. If I said this to to and re simulate, they get a little bigger still. And if I set this to three and re simulates, they get a little bit bigger still. Now they won't just grow to the sky. You do get to set some ranges for how they grow. But that is essentially what that number of steps framer does now. An important thing to note here that as we were adjusting our number of steps are number of simulated years, if you will. We did not have any more trees get spawned in here, were essentially saying, Hey, let's simulate three years of growth in a forest. And as I re simulate, all we did is we made the existing trees get bigger. We didn't actually spawn anymore trees in our simulation here, How can we do that simulate that sort of effect? Well, that is where seeds per step this parameter right here comes in. This is the number of seeds per year that a particular instance that is one of these conundrum up every year and thus has a chance to grow. And I say a chance to grow because it doesn't mean if you set seeds per step here to some value greater than zero, that it will grow. Why not? Because if this tree was to drop a virtual seed in our years of simulation here, it would have to deal with these collision settings that we will also talk further about in another video. But essentially, when we set a tree to drop mawr than one seed per year, it will kick off a seed, if you will, and then it will see, Does it collide with another instance it with another instances radio. And if it does, it will automatically destroy that seed. If it does not, then it can grow. All right, let's go ahead and play around with this setting. I'm gonna set my number of sets steps back to zero here, initial see density is going to be 0.2 and I'm going to set all this paranormal. So let's go ahead. And recently that's just once again to see what we got there is kind of a baseline. Now we're going to set our number of steps to one. That is, we're going to simulate one year of growth, and I'm also going to set our seeds per step to be one. So what we're seeing now is what would happen if we were to simulate another year of growth , which each tree spawning one seed, possibly being able to grow again. It's not definitely going to be able to grow possibly being able to grow. Let's re simulate this now and we can see that this tree actually spawned that smaller tree down here. And the reason that oneness smaller is because this one is now a brand new tree. This tree has had an extra year of growth. Let me just undo that here quickly. I'm gonna set this back to zero. Let's re simulate that kind of back where we were. Now I'm gonna set seeds per cept back to one again. Let's re simulate and you can see how it spawned off a tree. If you look around, you will see now a lot of trees next to other trees like their and there because we added one seed per step. All right, let's see what we have got next year. Let's try. Let's go even further with this. So we're gonna leave? Ah, one year of simulation. Our number of steps is going to remain one. But now we're going to say that each original tree conspire on up to five seeds. So this is essentially the amount of trees around the mother can increase greatly. Let me just zoom on up here a little bit gain a better viewpoint. Let's go ahead and simulate this, and now you can see we're starting to get individual clusters. Let's try even further. Let's go Something like I don't know 10 and really simulates You can see got even thicker clusters, etcetera. Now you'll notice that these clusters are all pretty pretty tight together, and that is because of our average spread distance and spread variants. This is going to have an effect on how close these trees are huddled together. But I'll come back to those two parameters in just a moment here because I want to explore one MAWR stimulation here as it pertains to our seeds per step in conjunction with our number of steps. Now let's say we just wanna have one seed per step that is, each tree can Onley possibly drop one seed per simulated year? But now let's say we're going to simulate three years. So now if I re simulate what you're going to see is something that looks somewhat similar. But what just happened is that one tree spawns one seed, and then those newly spawned seeds kin spawn mawr seeds because we're simulating three years, so every year, when a new tree gets added, they can add more trees as well. So it's really kind of playing with these two numbers. Seeds per step and number of steps. Number of steps is a simulated years. Seats per step is how many seeds are spawned by each foliage instance per simulated year. 107. Procedural Foliage - Cluster Settings #2: All right, let's come back to these average spread distance and spread various parameters that I just talked about a moment ago. Average spread distance is the random distance in unreal units from the parent that a seed will be spawned at the distance from the parents. The spread variance is the distance, plus or minus from the average spread distance that a seed could be spawned. It So as an example, if the average spread distance is will say 100 and are spread, variance is 50 then possible seed spawned distances will be between 50 and 150 from the parent foliage. All right, let's explore this a little bit further because I know that was kind of a mouthful. Let's put in a few different clustering samples here. I'm gonna punch in some numbers. We're gonna try Number of steps of zero. We're going to go initial. See density of 0.1 average spread distance. Let's do 500 50 for the spread variance Seeds per step is one. And let's go ahead and re simulate this. They could see we've got some good spacing between our trees. Alright, let's try now. If we go a number of steps set to one. That's the only thing we're gonna change here, and we're gonna re simulate you can see how they're still maintaining a pretty good distance apart. All right, Now let's go with a spread average spread distance of go 1500 and I'm not gonna have any spread variance. None whatsoever. And with those settings set, if I re simulate, you can see how the distances here are now very consistent. 1500 unreal units between Mama Tree and Baby Tree Mama Tree in baby tree. And we got mama trees and baby trees all. It's like the exact same distance. 1500 unreal units apart. And then let's try this, which is doing a spread various now of 1000. So our average bread distance is 1500 but we can plus or minus that by 1000. Now. If I was to simulate that and where did I? Did I just click off my simulation volume here? Let's re simulate that so you can see these are a little bit further part. Those are a little bit closer together. These two little bit closer those air, maybe a little bit closer. Still and yeah, some are further parts. Some are closer together. All right, so that's going to do it all for our spread variances. Next, let's talk about distribution. Seed distribution, see, determines the randomness pattern that occurs upon simulation. Note that you can change things like the number of steps and the seeds per step on the pattern of the spread will remain the same. So long as you don't change. Distribute distribution seed value. However, if you'd like a different pattern, then you can change this value. Now. That may all seem very confusing here. So let's try out a few different scenarios. And you said my number of steps here to zero initials C density. We're gonna go point to I will leave these spread distances per the They're what they're currently yet seeds per cept. We're gonna set to zero and distribution seed, which is what we're talking about. We're gonna leave that zero. Let's go ahead and re simulate our volume here. That is our baseline. Here. You can kind of see our results. The pattern, if you will in fact let me do number of steps and increase that to you. Let's say two. Let's re seeming like that again. Want something? Ah, and let's do siege per step to re simulate that you get something a little bit more clustering. Okay, Now the distribution seed is going to essentially change up the pattern. So let's set a distribution seat off one and re simulate. Let's set it to two and re simulate. Let's set it to three and re simulate. Now you can see the results are pretty much the same between those different simulations in terms of how many trees, how far apart their space, so on and so forth. This is just a way to keep that sort of volume of trees, if you will. But just deciding which pattern you like best. Now here's something to note. If I was to change my distribution seat to to and re simulate, and then three and then re simulate pay special attention to the patterns that you're seeing, pattern to is always the Samos pattern to pattern three is always the same as pattern three , the distribution seat. So take note. We are currently a distribution seed three and we've got this clustering of trees right there. I'm gonna set this back to two and re simulate. And now when I said this back to three, you should see that same clustering of trees right there. Three and re simulates and see. There is that exact same pattern. All right, Next one we've got is Max. Initial seed. Offset. This gives an offset to the distribution seed. All rights. Let's explore this one a little bit further. And I do have some settings here to try and my I'm going to try setting our number of steps here to zero initial. See density 2.2. We will leave those spread variances. Number of seats per step. We're gonna leave at zero. Distribution seat of zero max initial seat offset to zero as well. That's gonna be kind of our baseline for testing out this parameter max. Initial seat offset. And let's re simulate to see what our initial settings are here for our trees. Okay. And now, if we set our Max initial seat offset to something like, say, 1000 pay special attention to how this is going to adjust the position of our trees here. Once I re simulating, here we go. It's re simulate. I can do control Z to undo what it was before control wide to show you what it was when we had simulated control Z so it just sets an initial offset. Personally, I don't use that one very much, but I guess it is good to know about. All right. Before we leave this video, I do have some settings that I want to set for our trees more, more permanently, if you will. I'm gonna step my number of steps here to be 10. My initial. See density of 0.2 average, spread a distance. Let's go. 500 spread variance of 400 seeds per cept I am going to go one. I'm going to save this right away. Then let's re simulate this and I am currently in the forest. So let me jump up high here. And so I've got a smattering of trees, if you will, doesn't look too shabby. Now, One thing to note I will leave you with before we end this video. These cluster settings are very much co dependent on one another and even other settings here in our procedural settings such as seeds per step being somewhat dependent on these collision settings, a seed could be destroyed if a qlogic than other trees radius, for example. It's just gonna take a lot of playing around with these values to really get a feel for him . But hopefully you've learned what they all do and have a greater sense of what you need to do in order to get the results. You are looking for guys that'll do it all. For this video, we will see when the next one 108. Procedural Foliage - Growth Settings: Welcome back, everyone. In this video, our goal is to expose that, explain the various procedural growth foliage type settings and then demonstrate how they can affect procedural Sponder simulations. Now, these growth settings you will find in your foliage type assets we're gonna be working in our tree in this once of double click on that guy to open it up and then in here, underneath your procedural section of parameters, you should find an area called Growth. This is where we're gonna be working in in this video. Now, if you don't see any of these procedural, uh, parameters here, make sure in editor preferences that you have procedural folios turned on. If you do not, you will not see these parameters. All right, let's get right to it. The gross settings determined the rules surrounding our foliage types growth things such as where it can grow and how big it can grow now the where it can grow that has to deal with these two parameters up here, Can it grow in shade doesn't spawn in shade and even, ah, this overlap priority. Now, these three parameters right here, since they are so closely interrelated with the collision settings up here. We're gonna hold off on those until the next video. But we will talk about the rest of these parameters. Okay? The 1st 1 we will talk about is going to be this one called Procedural Scale. This is probably the most important one. This one determines the size scale of foliage based on its age. So the men size here is the size of ah foliage when it is aged zero, when it is first born in your zero, if you will of our simulation and then this Max size is the size that are foliage are trees here should be at our set Max age. Now you can see we are simulating 10. I've actually got my 10 simulated years set to also max Age of 10 I guess for simplicity. Reason. So I'm essentially saying at year 10 our maximum size here of our foliage is going to be three. And at year zero, it is set to be one. Okay, I do want to change these primaries, so I'm gonna set my procedural foliage scale to be 0.25 So if I was to just to numb step zero, I would see all trees at this scale of 00.25 and we have set my max here. I'm gonna said to you 1.53 is rather large, and I'm actually gonna peel this off, like so. Bring this over to the side so I can kind of update this all at once. Rights. Let's peel back that parameter or that panel siding right there. Okay, we've got our procedural scale 0.25 in a maximum of 1.5. Let's go ahead now and re simulate this and we should see our trees shrink quite significantly. And they do now again, we are simulating 10 years. So any tree that is deemed to be essentially 10 years old is going to be our maximum size of 1.5 times are meshes normal size, the brand new trees, the ones that are virtually just responding like maybe that guy that might be at our 0.25 setting right now. Max. Initial age right here. This allows new seeds to be older than zero. When created, new seeds will be randomly assigned in age between the range of zero and our max initial age. So let's set. I'm gonna set t do. I'm gonna set temporarily at my number of steps down to zero, and I am going to set our max initial AIDS to be Well, let's let's start off with that it zero as well, so you can see the difference before and after. So I'm gonna re simulate this quickly And you can see I've got a bunch of very baby trees out here because I only have zeros years of our simulation, we just have very baby tree said it point to five. Now, I'm going to set our max initial age to be equal to our max age. Now, when I re simulate these trees can be anywhere between arm in scale and our max scale. So it allows newly spawned in trees to be bigger than baby size. When initially born, I'm gonna set us back to where I had it. So I don't screw up my simulation here Set that back to 10 For the time being. Angry simulates Where did I clicked off of my volume? There it is. Re simulate now maximum ages. Essentially how quickly are we gonna go from our men? Scale here to our max scale. So in this case, I'm essentially saying we've got 10 discrete steps I wanted to progress, going from our minimum to our maximum size. The smaller the max aged less steps, so to speak. You'd have going from your minimum to your maximum size, the larger the max aids the mawr steps it would take to go from the minimum to the maximum size to demonstrate this. Actually, let me let me destroy my current settings here Would set my number of steps to be, uh let's go one. And I am going to set my max AIDS. To be one is Well, let me re simulate and you can see I've essentially got two sizes of tree out here. I've got baby tree Whoopsie baby tree, which are these guys? That is my minimum procedural scale. And then it spawned us. Ah, Then it Sorry, I've got baby trees that were just spawned by mother tree. These are the ones that are one year old and after one year it has already achieved the maximum age. And so it is at the max end of the scale. Whereas the baby trees, the ones that were virtually spawned after year one are now at the minimum scale. Let me change this to B. Let's go now with a maximum age of state. 10 now, would you should see a soon as I re simulate here. This should not be giant. It should not be at the maximum end of the skill right away. Recently, you can see it is essentially just the next size up from Armin Scale. If I was to set this to something like five, you can see it's bigger yet, but essentially you're Max. Age is going to determine how quickly or not quickly your foliage is going to go from its min scale to your max scale. Smaller numbers will mean it will go from Min two max very rapidly. Big numbers will mean it'll take a while for it to go from minimum size to maximum size. I like 10. I think 10 is pretty good. This last growth property I wanted to talk about a hat to full screen are fully edge type here to really do it. Justice is this scale curve property. Now what this scale curve does is it determines the trajectory of growth for our foliage type. Think of it like this when a tree is newly spawned in virtually it is going to start off at this end of the scale. Year zero, it is newly born is going to come in at 0.25 its size. So that is newly born when it reaches its max age, which for us is currently 10. It will be out here that consider this max age of 10 in which case are trees will be at 1.5 times its normal size. As you can see, we've got linear growth. Your year zero your 12345 Right about there 678 all the way up to your number 10. Now, just as many teenagers experience, we have growth spurts. Maybe we want to make it so that this tree has a growth spurt. So let's test this out. I'm gonna right click in my graft down here, my scale curve and I am going to add a key. These are known as key frames. These little dots right here and you can select it and move it around. And if I was to have a gross trajectory like this, are tree would go grow very rapidly in its 1st 2 years of life and then just kind of taper often on Lee get little bit a little bit bigger by year by year. What I'm gonna do is I'm gonna make it so that our tree is not very tall. It all for its first, I don't know, nine years of life and then at the very end, is going to shoot up and get bigger. I'm also gonna right click on this key change my key interpretation to be auto. So it's got a little bit more of this curve. You look to it, something like that. And now for the rest of my procedural settings here, if you're playing along at home, I'm gonna change my number of steps here back to 10. Everything else here looks good. I'm going to save this jump back into my level, and I'm gonna try re simulating this and what I should see Re simulates. There we go. We've now got a bunch of little trees and Onley. A few have hit their growth spurt so you can see that growth scale curve in effect. All right, guys, that is going to do it all for our growth settings here. Hope you learned a lot. Hope you enjoyed it. We will see you in the next video. 109. Procedural Foliage - Collision Settings: Welcome back, everyone In this video. Our goal is to expose and explain the various procedural collision settings available in each foliage type and show how they affect our procedural foliage. Sponder simulations. Now, to properly demo this, we'll need to have two or more foliage types added to our Sponder. Currently, we've only got that their trees. So let's go ahead and change that. I'm gonna come under my landscape foliage folder. We're gonna find our foliage Sponder right here. Double click on that guy to open it up and there is our lone tree. We're gonna add another foliage shape here by clicking this plus button, and we want to find our rock and it's down here. The F T rock Great. Let's go ahead and save that. And as should be pretty obvious by now, and adding mawr foliage types to your sponsor, it's just a matter of clicking this plus button and then adding in new Foley's types, of course, it gets a lot more tricky balancing out to one fully type versus another. The more foliage types you add. So you've been warned. All right, now to make sure that we can see these collision settings that we're gonna be exploring again. You have to make sure in your editor preferences. And again you can access your editor preferences at it editor preferences that you have the procedural foliage system turned on. All right, let's bring on our fully IDs type rock right away. Have that guy open. And why not have your tree open as well? We're gonna be dealing in both of these, so I'm gonna be peeking into our rock first. And these procedural foliage collision settings are right down here. Now. This collision section determines which foliage types should be removed when two foliage types are competing for the same spawn location based on this year. Number of steps fram in our cluster settings. So when a virtual seeds collision radius as it gets, you know, virtually spawned overlaps and existing collision or shade radius from another. Foley's types virtual seed, the virtual seed will be replaced or killed Base on which fully type has a higher overlap priority down here in the growth settings. So as you can see and if I haven't made that clear by now, a lot of these procedural foliage settings are kind of inter related So let's talk about this right here. Collision radius, now radius. What is radius for those that have failed in math, that is half in objects diameter. So from a center point, you extend a line out X number of under units and then we would make a circle from that to to figure out what the radius of our rock would be. Now, what I've done back here in the level ahead of time is I've placed the actual static mesh version of both our tree and our rock into our level in a good way that you can see how big you should make some of these Collision radius is and we're not ready, I should say is to go into your Ortho graphic views. And here is a side view of my rock. I'm gonna expand this out, make it bigger. The middle mouse button is your measure tool and that number that you're seeing beneath that white line that is how many unreal units it is from end to end. So if I was to approximate are Centrepoint here and bring it out to an end, that is 187 and yeah, about 187 or so. So that's how you can go about figuring out how big you should set your radius to in your foliage types. Your collision radius. Just go in into a north a graphic view after you place the actual static mesh, the static mesh of Iraq or tree, or something like that into your level. Now a point here that is worth making collision scales with growth. Thus, if a tree has a growth scale like ours does off going up to a maximum of 1.5 than the collision radius for that tree would go up is well, so just is a quick point. The collision radius for our tree is currently said to be 100. If we were to be in a max size of 1.5, this collision radius would actually read as 150. It scales with the scaling of our actual mesh as well. Now a shade radius, the one right below collision radius. This determines the size of the foliage is shade canopy. Now this is going to work in tandem with this setting down here, growth can grow in shade. It ignores a shade radius. If a seed spawns there, all right can grow and shade Yes or no. So are three somewhat related collision settings down here in the growth area, we've got Ken grow and shade. It must be checked in order for a spawned seed to grow in. Other foliage is shade. Radius spawns inch, and this has to be checked in order for spawned in shade. To even be eligible for you to edit, uh, determines the sponsors. Shane is going to determine if a c despond exclusively in shade, and we'll show that off here in just a little bit. Now it's worth pointing out that this particular simulation happens in a second pass. After all, types that do not spawn and shade have already been simulated. That's a separate past. And then again, this overlap priority that we skipped over in the last video. When two seeds of different foliage types try to spawn in the same area, they overlap. This determines which one is going to take priority. The higher number does, and we will get to see this at work here in just a moment. Now there's no better way to learn about this than to play around with it. So let's go ahead and get started. I actually want to start setting things up over in my rock. So with my tree here, I'm just gonna uncheck This grows in shade for now. Say that out. Let's jump on over to our rock. And as you saw me dio back here in the editor, I was trying to kind of measure What is the radius for my rock here and get I'm not going to be perfect here. I'm gonna ballparks a 1 70 So I'm gonna set my collision radius for my rock to be 1 70 This doesn't really have a canopy, a shade radius of sword. So I'm just going to set that to be 1 70 as well. While we are in here in our rock, we're going to set up not just our collision settings, but all of our other settings here is well, so I'm gonna jump on up and adjusting on my placement setting is going to set the Z offset to be negative 20 in the men and a max of zero so it could be embedded in the ground a little bit. I'm going to set a random pitch angle to be thirties that could be rotated here a little bit. Landscape layers, the included layers. Let's just say there any types I want. Well, let's just say I'll say I want to include this on grass. Sure. What else? Let's save rock and path. I don't really need to do this since those are the three that I am going to be spawning it upon just where my foliage Sponder is placed right now. So I don't really need to do this step, but, um, I will discreetly say yes that those are the ones that I want to add. Um, okay, what else do I have here? Um let's go, Ungerer the growth settings. I'm going to say this can grow in shade. I'm gonna come under the age. I'm going to say it smacks. Age is going to be one I'm gonna say initially spawned in it is going to be one is well, overlap. Priority l said that to be one procedural scale, I'll say anywhere from 0.252 point seven now. So I'm essentially saying that when we're going to be simulating and spawning in these rocks they're gonna be anywhere between that size and that size because I set my max age of my initial age to be the same. Oh, I did forget the clustering steps. I'm going to set the numbers steps here to zero the initial C density. I'm gonna set to be quite high 25 the average spread distance. I'll set these 20 I don't really care if he's air kind of penetrating through one another. I don't need him spaced apart. Seeds first. Step again. I'm not really spawning any virtual sees here. I just want a high density in the beginning. And then under our instance, settings down here, I'm going to set our cold distance for these rocks to be 10,000 for the men. Yeah, sure. That's fine. Cast shadow. Um, yeah. Yeah, Well, we'll leave that on for now. I may turn that off eventually. A collision Preset rock. Oh, we have to have you blocking all, don't we? All right, so my set up here just to just to go over it one more time. It makes it so that rocks do not spawn virtual seeds. I don't have any number of steps. Any seeds per step at all. It's that I've set my initial see density to be quite high. Um, and that I just want a bunch from despondent at random sizes here between my min and max. So let's go ahead and save that. Are rock is done. Let's go ahead and set our tree over in our foliage type tree. I'm going to set our collision radius here to us. I'll leave that at 100. The diameter of our tree trunk is about 200. Let me just jump back here. Verify? So there is my tree. Yes. Yeah, I'm being generous here. I'll leave it at 100. The shade radius. The canopy is gonna range in with here, depending on if I'm looking. I should look at it from a top down angle anywhere from, you know, 1700 to 1200 for the diameters there. So I'm gonna set the shade radius for my trees to be Ah, go 600. All right. And I'm going to set the overlap priority for my tree to be greater than my rock. Currently my overlap priority for my rock is set toe one. I'm gonna have my tree set to to so that if it spawns a virtual seed which my trees will be doing, I've got 10 10 years of age going on here with each generation spawning one seed. Per instance, I want trees toe have higher priority than my rock. Okay, so with all this in place saving that, let's go in. I am going to face the camera the proper way and we should start to see some rocks here after I select my procedural foliage volume and re simulate. And there we go. We've got some rocks of varying size out there, some big rock, some small rocks. And we do have some less trees as well. We could see we've got rocks on our path as well as our rock surface as well as our grass service. Excellent. Let's try flipping things around here. Currently, my tree has a higher over a lamp priority. Let's try making it so that our rock has a higher overlap priority. So I've just changed camera perspectives here to make this a little bit easier to see. When we re simulate, I'm gonna jump into my foliage type rock, and we're gonna set our overlap priority here to three because currently are overlap. Priority here in our tree is set to two. And this will make it so that when the trees and the rocks try competing for the same A space the rock is going to gain dominance over the space that a simulated tree may be trying to plant a new seed in. So I'm going to say, this gonna jump back in. We're gonna re simulate this now with rock with the higher priority and you can see what this does to our simulation rocks now dominate. And that shows the power of how changing just one value in your procedural foliage settings here can really, really influence the results. So I'm just gonna do control Z to undo that quickly. And I'm going to jump back into my rock and set that priority back toe one because I don't want my rocks to be dominant. But I do want to change one more parameter here with my rock before we finish up this video . And that is this one here, the spawns in shade. Currently, we're saying rock skin grow in the shade. But if we check this spawned in shade, this will make it so that when we run our simulation once again, rocks are going to spawn and be exclusively in the shade and currently are shaded. Area is provided by our trees. Here. We've got a shade radius around her trees of 600 unreal units. So let's jump back into our level here. Let's try simulating, re simulate and you could see as I fly around here. Now rocks are present, but they are only growing in the shaded area. That 600 unreal unit area of shade that I specified for my trees. So maybe that's the result you're looking for. Maybe not, but that is showing how that works. All right, guys, that is going to do it here for this video. We will see you all in the next one. 110. Procedural Foliage - Simulation Settings: All right. Welcome back, Everyone In this video, we're going to explore our procedural foliage sponsors Simulation settings were talking in our procedural foliage. Sponder Asset These settings right up here now between videos here I did modify the size of our procedural foliage volume quite a bit. I've made our x be 60,000. Why? 150,000 z 20,000 I re simulated. And these air the results I'm currently getting now. I also did fiddle with my tree settings a little bit to make my trees a little bit more dense. I will show you and share with you those settings later on in the video if you want to play along Exactly. Now what you may have noticed is that after I set my procedural foliage volume to your bigger size here and I re simulated, you can sort of see some patchy nous going on here. You can almost see these discreet little tiles out here in our simulation and in fact you do. And you do have control over this in your procedural foliage. Sponder Asset. We're gonna explore these settings up here now in our procedural fully responders. So if you wouldn't mind opening up this asset Double click on that. Our first thing I want to talk about here is this random seed. Now, this is essentially the pattern with which it is populating our spar me and you can determine a different number to get different results. So currently, random seed 42 which will I don't know why 42 is the default number. Given all my other settings. This is the pattern that it has decided to go with. Now, let's experiment with something here. I'm gonna change that value here in just a moment and let's take some notice. Year of you know, this whole tiled area of here's got kind of ah, bold spots spot right here in the bowl splotch right there. I'm gonna go into my forest settings here, and I'm just gonna set that to be a different number. Let's say 43. Okay, Hit. Enter, then let's re simulate. And efforts had a time to think here thinking, thinking, thinking You can see that we now have a different pattern of trees. It's is still the same rules as determined by our various foliage type of rules that we have set up but it's just populating our full did simulation with a different pattern. So that's what that random seed is by changes back to 42 and then enter and then come back in and we will re simulate. I should see that same pattern that we had before. Okay, so now let's explore these different tiles. You could sort of see again these discreet little tile. There we go. Our simulation just went back in. That is pattern Number 42 here are fully of sponsors. So that is how you can set different patterns to your simulation, given all the other settings. All right, so you see these discreet little tiles out here? Well, I shouldn't say little these air rather big now you can change the size of this tiling cause this could become a little noticeable here in our procedural foliage sponsor. And it's this tile size right here. So currently it is set to be 10,000 and you can see correspondingly we have number of unique tiles. Right now, it is generating 10 unique tiles. Now, let's take a look back here in our landscape. It almost looks to me and I could be wrong. in this that this tile right here in this tile right here are pretty identical, cause you can see sort of the bald spots here in a bald splotch here. So let's firstly try increasing the size of our tile instead of 10,000. Let's G Oh, I don't know. 20,000. Instead it enter. Let's jump in and re simulate. You should see these discreet sections get bigger. It may take a little time here because this is a rather large bounding box I've got here for our procedural foliage volume. And there we go. Now, you could see that these sections are much bigger. Okay, I'm gonna set that back down to 10,000 here for the time being. 10,000. Let's go ahead and re simulate once again. And we should see those the same discrete boxes that we had before we had. What? Random? See, Number 42. There we go. This tile again looks very similar to this tile. And if you're seeing too much of similarities from one tile to you the other you can change this number of unique tiles I'm gonna change. This is something like, I don't know well up into 20 hit. Enter there. Let's try re simulating here and see what kind of difference we can get to our simulation. Of course, the bigger your procedural foliage volume, the more time this may take. Okay, so now you can see we got a little bit more random ization here and change this tile from that tile. They now look a little bit different. So it's gonna be a combination of modifying some of these values up here. The random see the tile size and the number of unique tiles with additionally all of your slotted foliage sites. Now, this minimum quad tree size. I have no idea what this parameter doesn't have not been able to find any documentation on that. So if you do find out what that is, please let me know. Otherwise I am going to set this back to where I had it re simulate one more time up. Did I just psych you out there? I think I did. I almost forgot to share my foliage type tree and rock settings here for you all. So you could have the same sort of simulation that I just demonstrated there in that video . So again here is my forest. I've got my tree and my rock Foley's type slotted in And for my tree settings I can let you pause the video here. If you need be, you can see all of my different settings. If you really want to know what I changed from the default settings, you're gonna be looking for these yellow arrows, anything that doesn't have a yellow arrow. Such is the height setting here. I left that a default. All right. You're seeing the growth settings down there allowing you to pause the video here If you need to let me just scroll on down a little bit further. And there you can see my growth settings and my instance settings that for the tree. Okay, hopeful you pause the video there if you needed to and have seen everything. Let's move on over to the rock here. My current rock settings? Yes, indeed. Here I did include the rock on my grass and path Lair. Probably didn't need to do that, Um, because really, it would have spawned there anyways, but I had it set there. Collision settings. Shade rate is the same as my collision radius. I just have an initial spawning of my rocks here. There's no rocks spawning other rocks coming down under the instant settings and the growth settings. And there you go. So those are the two settings I had in my procedural foliage Sponder Forest. Alright, guys, Now that will truly do it all for this one. See you in the next one. 111. Procedural Foliage Blocking Volumes: Welcome back, everyone. Procedural foliage blocking volumes are the subject of this video. We're going to show where you can find one of these actor types. We're gonna demonstrate what it does and why you want to use it. Firstly, in order to find this actor type this blocking volume, we need to make sure that you have the procedural foliage system turned on. By that, I mean here in our editor preferences. And if you don't remember how to get to your editor preferences come under edit editor Preferences. This is where we turn on a procedural foliage system. Now again, at some point in the future, you might not have to do this step. But as of today's date this recording epics requiring you to enable this system in order to access some of these asset types okay, back here in our main editor with that procedural foliage system turned on here we are in the modes panel policeman mode. Just do a search for pro, and you're going to find procedural foliage volume, which is what we currently have out here. This guy are procedural foliage volume that is populated by our procedural foliage spawn er and then we've got procedural foliage blocking volume. What this actor type does is it will block foliage from being spawned in a defined area. Currently, I've got no foliage. I should say no trees being spawned on my rock pathway here. And the reason there are no trees spawning within my rock layer here is because here in my foliage type tree, I said I don't want to be trees if I am excluding the them from being spawned and growing in the rock layer. So that is one way to ensure that you have a clearing within your procedural foliage volume . The other away is through these procedural foliage blocking volumes. So I'm just gonna left click and add one of the used to my level. My level is stuttering pretty bad now because I re simulated with a bunch of trees out here to better show off what these blocking volumes conduce. Oh, never mind the low frame rate. So currently, I've got this small, tiny wire frame box brush with this actor now added down here in the details panel, I can define how big this brush is. I'm gonna set my ex value to be 10,000 my Y value to be 10,000 and I will set the Z value to be Let's go 2000 hit enter. And now if I kind of pan on up here, I can see this yellow volume is now encompassing a bunch of my trees, but they're not going away. And the reason for that is because I need to re simulate. So I'm gonna select my foliage volume up here, find my re simulate button. Let's check that. And now we can see once it's finished doing its thing here, There we go. No trees, No foliage of any kind is growing in this defined area. Not important thing to note here, whereas our procedural foliage volume this yellow box out here with the fully of Sponder inside of it. Whereas this had to be intersecting our landscape in order for it to spawn foliage on the landscape, this blocking volume does not need to be penetrating through the ground here. In fact, I can lift this up off the ground so you can see that the yellow boxes up off the ground and if I re simulate the results will remain the same. In order for a block. Ah, foliage blocking volume toe. Work it on. Lee needs to intersect the procedural foliage volume. So let me just jump out of my perspective. You here. I'm gonna go into Ah, this Ortho graphic view here should be nice. So you can see my blocking volume here in this pink is intersecting my foliage volume here in the yellow. Now, if I was to lived my blocking volume outside of the bounds of this, then click on this and then let's re simulate let's check our perspective of you once again Any time now There we go. You can see it's now populated with trees. Whereas if I put that slightly back down intersecting just barely now just barely going to select my folios volume Let's go back to our perspective. You here, Let's hit, re simulate. And after a moment of thinking here, there we go are clearing is back. Now, Another thing to note here is that you do not have to have this procedural foliage blocking volume be square shaped. You can decide what shape you would like it to be from this drop down list right here with your blocking volumes selected in the details panel brush settings. You can set your brush shape. Let's say, for example, you wanted to have a little, you know, roundish shape clearing for I don't know, campfire, something like that. You can come underbrush shape. Let's set this to be cylinder. And as soon as you change it to a different shape, it is going to make it really small. So I'm gonna tap the f key to fly up on it. There it is. And I am going to set my outer radius here to be something like 5000. Make it much bigger. I can kind of come on up there it is, sort of the stops. She stop sign shape, and I'm gonna places over my actual Foresti area. I'm also going to change my number of sides here from age because I don't want it to be Stop sign shape to be, I don't know, 50 And the Z, that is the height of this volume. It's currently set to 200. Now, again, this doesn't really matter. This blocking volume on Lee needs to be intersecting this foliage volume. I'm gonna set this to be 2000 just to make it a little bit easier to see. Kind of poking up through the trees. Yeah, I got a slow frame rate going on right now because of so many trees out there. All right, let's select our procedural foliage volume. Once again, let's re simulate. And after it has a moment to think. He, uh There we go. We have a nice clearing in the middle of our forests. Now, this is pretty cool, but let's take it a step even further. Let's change up our foliage blocking volume to be hollow. There's a little check box here, underbrush it. I'm gonna set this to be hollow. And as soon as I do this, inner radius property becomes available. And you could see we've kind of got what looks like a bicycle wheel of sorts in our level. We can now set our inner radius here, and I'm going to set this to be Let's go 2500. And now we've got a shape like this. So now this is what we're defining anywhere. There is this yellow donut ring we're saying we want to block all fully is from growing inside here. However, inside here we can still have some foliage. So let's try re simulating with this setting re simulate And after a moment of thinking here you can see we now have a clearing with trees in the middle as well, and I probably overdid it with adding trees inside of my foliage type tree settings. Because, man, my frame rate is really stuttering. But still, guys, this is a demonstration how you can use these procedural foliage blocking volumes to ensure that foliage is not growing in certain areas. Great for interesting situations. You may wanna have like this. I'm clearing in the middle of your force, guys, that'll do it all. For this video, we will see win the next one. 112. Foliage Summary: well, I wanted to add one final summary video of sorts here for all the different ways that you can add foliage to your landscape. Because throughout this course, we've discovered three different ways that you can go about adding foliage to your landscape, and we see them all on display here. I've got some trees out here that we added with a procedural foliage spawn er over here on our hillside. I've got some grass being spawned, and this is all being spawned onto my grass layer through our landscape material. And then, lastly, I'm just going to demonstrate this one by hand. I am in foliage mode right here. I can left click and add foliage using the foliage mode itself. So those are the three different ways that you can add foliage to your level one through the material, our landscape material. You remember we added these grass types here, and we assigned these different grass types two different landscape layers. Grass path, mud. That's way number one we never to. That we explored was our foliage mode. So if you want to ads grass or any other type of foliage here, you simply select it and with your paint tool, you can left click in your level. Teoh, add that foliage type Hold down shift left click to delete that fully site And then way number three was through our procedural foliage spawn er up here the procedural foliage Sponder again allows you to slot in certain foliage types. And once you add this to your level, gonna go back to my selection motor here. Once we added to our level, we can define the size of this brush and how much area it encompasses. Now, what is the right solution for your open world? Honestly, the answer is going to be a combination of all three. How I like to work with it is if there is some layer that I know I want tohave foliage always on. I'm gonna probably come into my material in a sign a grass layer to it so you can see I've got grass time a science you might grass layer in. It results in this sort of grass populating my mountainside looks fairly nice. Likewise using that grasses, um, in my material, I also have this kind of crops system going on. Dr. Got Rose a field off bushes. Why? I feel the Bushes. I don't know. I assigned my field grass type to my mud layers. Wherever I paint mud, my field grass type is going to populate it. So it's great for situations like that. Now for the foliage mode up here, I typically like to do This is kind of a last pass. I like to do this when I want to add, you know, maybe a rock up here. You know, maybe I'm like, OK, I want to add a random Iraq on my hillside. I'm gonna do single instance Mode and bam! There's gonna be a rock right over here. I wanna make this big, actually, so I can see it. Single instance Mode. Let's go 10 and then just bam, boom! You got yourself a rock, right? So something like that now for the forest or I should say, a procedural foliage volume. The one thing I find with this is this is great for adding clusters, if you will, of a certain foliage type and against great for something like trees, so you can have clusters of trees kind of growing throughout your landscape. Now, the real trick with procedural fully volumes I find is that the more foliage types you add , the harder it is to work with because in your foliage type settings, remember, you've got thes collision settings, and this overlap priority were when you're running this simulation number of steps basically 10 years of simulation with each instance spawning one seed. You're essentially making it very difficult on yourself to determine how this is ultimately going to play out in your simulation, because you don't know what is going to stomp out what and how popular, densely populated things are going to be. You may make some assumptions, but this overlap priority is extremely powerful, and I find that the Mawr feliz types you adds a procedural foliage Sponder, the more difficult it is to work with. So just to recap, I typically like to come through my material to create an assign some grass types to a given surface type that I always want to have some fully John. Then I usually like to have a procedural foliage Sponder with maybe one, maybe 21 should say one, definitely, maybe to fully types in there to create some kind of a forest. And then lastly, I like to come into foliage edit mode here, and this is where I can paint in some detail. So if I want to add some grass to certain areas of my level because, you know, maybe I want just a grassy edge around the side of my forest here I can add that in. And it looks all well and good guys a lot of different tools. A lot of different ways to add fully. It's to your level. You'll find your own style. I'm sure as you gain experience with the tools. Alright, guys, that'll do it all for this one. See you in the next one. 113. Fog: Welcome back, everyone. In this video, we're going to be talking about how to add some fog to your level. Now there are a couple of different falling actors that we're gonna be touching upon. And let's talk firstly about why you want to add fog to your level. Your open world, your landscape. Well, reason number one is simply because it is really it. Add some realism to your map. There is fog in the real world and you may want it in parts of your map. Reason number two is to aid in obscuring foliage. Culling. Now, if I just kind of used my right mouse button here in my W A s and D keys, you can see how we're calling out our trees in our foliage Sponder volume right here and it looks kind of horrendous when they just pop out of existence like that, with some fog added to your level, that kind of helps obscure that's going on in the background, thus helping prevent the breaking of immersion. All right, so how do we add some fogs to our level? Way Number one is through something known as an atmospheric fog actor. Now Manny moons ago when we created this landscape base actor, we did so by coming under file New file, new level. And when we created our landscape base using a default level, it came in with some default actors, one of them being this atmospheric fog actor. Now, with this guy selected, you have some properties down here that you can adjust and the main ones are your fog multiplier. So if you left, click right here and moved to the rights and to the left, you can see how that can add some fog to your map. And also you've got this son multiplier value that if you move that left and right, that kind of helps enhance the fog. And then you've got some settings like distance scale, where if you move this left and right, you can kind of set the distance at which this kind of appears that and then you got your altitude scale that can modify the altitude for it, and so on and so forth. Now I typically don't play with the atmospheric fog actor too much when I add a fog to my level, I usually leave this mostly at its defaults. I like to add something known as an exponential height fog actor. Now you can add one of these actors by coming onto your modes panel coming under the placement mode and typing in fog. Now there is that atmospheric fog actor. And then here is your exponential height fog actor. Now just going to drag and drop one of these guys into our level and you can immediately see some fog is added. Now, just for the sake of making this icon bigger, I've currently got this actor place down in my world. I'm going to scroll on down the details panel. There's something known as editor Billboard scale Right here. I'm gonna crank this up to be, I don't know, 10 times as big. Let's go 25 times as big. There we go. This just sizes up the size of that icon, so it makes it a little bit easier to spot in my level. Now, with this actor selected, you can see that as I move it up or down, I am essentially influencing the placement of that fog. So note that that is important where you are placing this, I'm just gonna place it kind of down on the top of my surface right here and with this guy's elected over in the details panel, we have some fog parameters that we can play with. The most obvious of these that you will see a change with is going to be your fog density again. You can grab this little slider here and move it to the right into left. Now, you can see that as I crank this up all the way to the right, it shows that my maximum of value is 0.5 That's if I'm sliding into the left or right. However, I can actually punch in a value that is bigger than that. So if I typed in, say, 10 it will accept that value. Of course, you're gonna make for a very foggy day indeed. So set that down 2.5 Something like that. Now this fog height fall off here. This is going to control the density. How the density increases as height decreases. It's a smaller values. Make the fog a transition larger. So let me just slide this to the right here. You can see how it kind of compacts the fog. There's kind of congregating in my lower areas where if I make this fog value be smaller, you can see how it kind of extends it up into the atmosphere. Essentially kind of it squishes it or expands it. This is expanded. This is Mawr squish. So I'm just gonna set this back to its default value for the time being as well. Now, this second fog data, we're gonna come back to this in just a moment. Fog in scattering color. This is obviously just the color of your fog. So I don't know if you want to have some poison green fog out there. Obviously, you can set it to be something like that. Wow, that's rather rather dangerous looking, is it not? Let me set that back to its default Fog Max. Opacity. Now this is going to control the maximum opacity of the fog. Obviously, a value of one is gonna be is going going to mean that the fog will be completely opaque, while zero means that the fog will essentially be invisible. So that's another way to kind of adjust. How much fog did you have? Fog density is kind of a lever as well as fog max capacity. So you kind of got to means there of changing how much fog you have being displayed. Set that back to one for the time being, uh, start distance. This is the distance from the camera that the fog will start. So I'm just going to zoom on down a little bit. I'm gonna set. This is something like, Let's go 10,000 and I can see there's really no fog in front of me until we get out to about 10,000 units and we can start to see it appear. If I set this to be, let's go 20,000. That makes it so that all all surrounding you again there's no fog into to get out about 20,000 unruly units. I'm gonna set that back to default for the time being. Fog cut off distance. This is the distance that the fog reaches. Essentially not let me set this to be 20,000. And now you can see that kind of shows the range with which the fog reaches from the position of my camera. So start distance is the area from which we're starting that the fog will begin. Fog cut off distance is the distance at which it cuts off. It ends. All right, so I got a couple lovers for that. I'm gonna set that back to default for the time being. Now, let's talk about this second fog data because this allows us to do some rather cool things . It allows us to add a second layer of fog to a scene such as this now ahead of time. Here. I made it so that I curved out some levels. Some some undulations, if you will, into my landscape. I carved out a little bit of a ravine here, a low spot. So what I'm gonna do is I'm gonna set my second fog density here to be a little bit. Hi. I'm gonna sit that probably. I'm gonna set it all the way. 2.5 for the time being. Then I'm gonna set my fog height, fall off here to be Let's crunch it down a little bit. Like so. Actually, to really do this justice, let me zoom on back here. You know, I'm gonna let that be its default value for the time being. Let me set that back to the default value than fuck. No, I mean, I'm gonna set that to to for the time being, fog height offset is basically going to determine at which heights do you want this to settle in it so you can see as I'm raising it up. I'm kind of rising up the side of the mountain here, whereas if I'm lowering it, I am lowering it down into the low spots. Let's go even lower. Yes, you can go negative numbers, and that's the effect I'm trying to go for. So with a secondary fog data implemented here, you can make it so that you've got some fog everywhere that being determined by these fog parameters. But this second fog gator essentially adds us allows us to add a second fog in low spots or high spots if you really want it. Now, you don't have fine control over having your second fog be a different color. Anything like that, if you change the color of your fog here to something like green, that's gonna change it to green in your secondary fog data as well. But some nice controls here over determining a second fog layer, which I think is pretty cool and brings to life some of these low spots. All right, guys, there you have it. A couple of fog actors, your atmospheric fog actor and your exponential height fog actor that you can add some fog to your level. Both to add some realism, Alex. Kind of nice as well as to help obscure foliage culling as you're moving towards or away some foliage that's going to do it all for this one. Guys, we will see you in the next one. 114. God Rays: Welcome back, everyone in this video I'm gonna show you how you can add some God raised to your open world landscape. Because, hey, who doesn't like God raise? They look absolutely fantastic. Now, if you haven't already done the last video where I showed you how you can add some fog to your level, please make sure that you've gone through that one first because it's gonna be important to show off. Ah, some of the techniques for adding God raised here, I'm gonna show two different ways that you can add God raise to your level. All right, let me jump out of full screen mode here by tapping F 11. By the way, F 11 with a particular view port selected. That'll full screen or run full screen your view port. Okay, first things first. What you need to do is you need to locate your directional light actor. And if you have trouble finding that, just type in directional in your world outline er up here that will help you spot it and let me actually find mine. I'm gonna go ahead and double click on it to fly right to it. Now, a few things to note in order to really do these God raised justice thing number one you're gonna want to do is to rotate your directional light source again The directional light source actor that is essentially your sunlight This white arrow hanging off your directional light source actor here that is showing the way the direction that the sun is shining. So make sure that you have pivoted that to be some sort of an angle. But you probably don't want to do top down here if we're trying to do God Rays Ah, thing number two that you should note is once upon a time, many videos ago. We actually associate ID are directional light actor here with our BP skies Here, let me just clear my search box up here. If I was to select my sky Now I've got my BP Sky sphere here selected We have actually associated this directional light actor with our BP skies fear What I mean by that is if I was to select my directional light actor here just pivot the sun here a little bit You're like Well, you didn't pivot the son you just kind of pivoted the angle of the light? Sure, let me just pivot this up 20 degrees and I'll select my sky sphere. Click this refresh material button that is actually going to update the position of the sun . So again, the process there was Select your directional light actor. Decide which angle you want the sun to be at, select your sky and then select the refresh material button here to reposition the sun. So with that, all out of the way, go ahead and select your directional light source. Actor here and in the parameters of the details. The way I got these God raised to show was way Number one is I checked on this light shaft occlusion check box. Now let me come back down into my tree area so I can see some of these God raise because we're going to compare and contrast a few different results here. And where did I put my? So where is my son? There's my son trying to find the son. Okay, Come to an angle such as this. So light shaft occlusion here and you got this occlusion mask darkness and you can fiddle around with as well. Although I usually set that to be default. This is what is known as God. Rays through darkening were kind of darkening out these areas that are being occlude. That is including our light source. Okay, that is way number one to add some God race. We number two, and I'm just gonna uncheck this and you can see once I uncheck it. No, God raised way. Number two is to check this light shaft bloom check box for your directional light actor. So we're gonna check that. And our bloom is rather high right here so we can lessen our bloom scale. Or we can blow it out. And you can see this is kind of God raise any different manner is I kind of move the camera around there. We get kind of get that God race or look, this is essentially God raised through brightening. So again you can modify your bloom scale to really kind of get the effect you're going for . Maybe you want, like, morning sunlight. Blow that out like that. So we've got God raised through brightening like you have bloom. I'm gonna uncheck that and then God, raised through darkening light shaft occlusion, I tend to prefer the light shaft occlusion option, although note that you can do a little bit of both Something maybe like that. If that's something extreme you want to go for, it's all about fine tuning your sub parameters down here as well. Of course, one of the options that you have under bloom tears you can set a different color if you want to. Your God raise as well, which can be kind of cool, especially you're going forward. Kind of like an orange morning sun. Sort of look something like that. Yeah, all right. Now, things worth mentioning about doing either of the light shaft occlusion or light chef Bloom methods to add some God raise this sort of method that I'm demonstrating here on Lee works with directional lights, and it does have a rather high GPU cost. So just know that there are some tradeoffs with using this method. I'm gonna set these all back to default here, so we're not going to be doing God rays through our directional light actor here. We're going to go about this another way. Now, the next way, I'm going to show you how to go about building God raises useful for instances like this, and I did some prep work ahead of time. I just plopped down a couple of walls into my level. I didn't even care to align them. And I just have this archway kind of like a big window. Right there is my son. I've positioned it down in the sky a little bit. So I have changed the angle of my directional light actor. So that is essentially going to try to be shining in through this very makeshift window that I've created. And right now you see that there's no stream of light beaming through. Okay, We want kind of a God Ray effect of a beam of light streaming on through. So the next way that we can go about building this is we want to select our fog actor, our exponential fog actor. So up here, my world outline, I'm going to do a search for fog, select my exponential height falling actor. And with that selected, there is a check box here for a volumetric fog. You want to check this and as soon as I do, you see a little bit of a God Ray streaming on through now, essentially what you're doing with volumetric fog is you are lighting up that section of the fog. That light is streaming through in its lighting up this fog. Now, let's take this a little bit further here, so I'm going to make this more extreme by doing a search for our directional light source actor. There it is. Let's go ahead and select that. And in order to make sure that this works with that volumetric fog check box checked, you should make sure that here in your advanced light settings, I just click that little down arrow there. In case you missed it, it was right here under the lighting settings. There's a little drop down arrow. You should make sure that atmosphere, fog, sunlight is checked on which it is, and that cast volumetric shadow is checked on. And that is Aziz. Well, and then, with that all in place, you can modify your light intensity here. I'm gonna try cranking this up to, let's say 50 and that's really going to do this justice. I think by default, this default value was, I don't know, 10. And then you know the value of 50 you're going to show that up much brighter. You've also got this volumetric, scattering intensity setting. If you were to up this a bit, that's essentially going to increase. The intensity is well, so you kind of have, like, two levers here. I'm probably gonna set this back to 10 and we'll keep our volumetric scattering intensity higher is Well, I kind of like that. That kind of enhances that effect coming from our directional light. Now, one other awesome thing about let me just bring on our fog actor. Here are exponential fog. Having this volumetric fog check box turned on is you can also apply other lights to do in effect such as this. What I mean by that is I'm gonna come under our lights section of our moans panel. I'm gonna bring in Let's do a spotlight, but know that it will work for any of these lights. I'm gonna bring in my spotlight here, and you could see that while we have kind of this shaft of light coming from our directional light, it is not happening with our spotlight. And that's because in order to make this have the same sort of effect I need to have cast volumetric shadow turned on. That is a check box here cast volumetric shadow that is going to be under the advanced settings as well cast volumetric shadow. Let's turn that on O. K. So you gonna want to make sure that you turn that on in the advanced properties under the light category and then where it says volumetric, scattering intensity right here. One is not enough. And if you tried to crank this all the way up to the right, it's going to max it out in a value of four. But know that if you select it, you can actually punch in a higher value. I'm gonna punch in 500 here and now you've got a shaft of light coming from your spotlight , so that is pretty cool as well. Now let's up the level of coolness even more because streams of light kind of illuminating Our fog here is pretty cool. But you can also have particle effects, illuminates your volumetric fog here as well. If you have the advanced village. Paige, this is going to be a little bit bonus tip here. So there's our advanced village pack. Let's do a search for the word fire and you should be able to find your p f X fire camp. Go ahead and left. Click and drag one of these out into your level. Okay, you can see that I am illuminating. Some of fog is well now a way that you can modify. This is by double clicking on this selecting your light category here. Your module right here. And you can see that what I did ahead of time I did this prior to this video is I set this modules volumetric scattering intensity to be 250 was not said to be this before. So you can actually modify modules within a given particle effect the light module to make it so that it illuminates your fog. If I was to set this down to zero, you can see now how I just have a flame. If I set my campfires emitters module, the light module. If I sent that to be let's go crazy home 1000. Now you can see how much it is illuminating the fog. So guys, again, the key to that is the exponential height fog actor having this volumetric fog check box turned on and Then, when that is checked on with any of your various lights or your particles light modules, you can just make sure that they have their volumetric scattering intensity cranked up and have their cast volumetric shadows. Ah, turned on as well. All right, guys, some pretty cool effects and God rays and just illuminated fog is Well, I'll do it all for this one. Guys, we will see you win the next one.