Canyon Road Environment | Unreal Engine

yo what is up what's up stanton so today uh as the title suggests i'm going to try to make a canyon road environment for or in unreal engine i'm going to be using the brushify canyons pack which is in the um description should be if you wanted to try to follow along and also mega scans um just released a bunch of new rocks essentially which i i'm usually excited about and this is actually going to be hopefully as long as it goes okay is going to be the monthly map quote unquote for cinetracer where i'm trying to make at least one at least one uh completely pre-made environment for cinetracer uh with every kind of monthly update so it's a double duty for me will this be uploaded later yeah it'll be the vod should stay up unless like something terrible goes wrong or something like that but yeah usually this will just stay up so this is very much to me just documenting my process of making maps for cinetracer but it would be the same thing for uh any virtual set any updates on the houdini uv troubles from yesterday so yeah actually um let me switch to this so before i go to this thing i did find the correct way to go about it and i i tweeted it just this is like i use twitter now just to follow like three companies and i don't know sometimes to share this kind of stuff so i basically watched this tutorial which i get all of it except for spheres are weird um spheres are always hard so it's basically this problem of unwrapping this and he does this is from a while ago but i guess this is like fundamental i i had most of this stuff figured out it's like he's gonna convert to nurbs then you're going to uv texture uh and then convert back to paulie's on the way out and he does it on both sides uh the difference is and we were kind of like getting at it but i didn't know how to do it exactly it's on the uv note itself if you'll write it down uh so this is it so on the line essentially we were like oh okay so like somehow we have to get the arc length of this curve and uh essentially scale use that as the scale for the for the uv and this is how you do it so it's within this uv texture note he rotates at 90. so that's where the uv rotation is happening is here in a sense uh this is an older version of houdini as well we're on 18 this is 16. so he basically calls arc length of this curve which is above it um and makes that the scale so the actual length of the um of the line or the spline becomes the scale because it's been normalized to one already so then he multiplies the actual length to get it and does the same thing on the other side so this is the piece of the puzzle i didn't have was to within uv texture arc length use arc length um which i have not implemented this yet on my curve wall but um i will eventually but yeah that's that's that's the solution i believe and that's the solution i'm going to try uh next time i hop back into the houdini world for me houdini is like blender something i should learn but it's so illium what's your what's your background john carter is it 3d at all so we're going to jump into so i was doing a bit of houdini uh experiments again with height fields uh to try to make this map happen but my issue is sending something like this back to unreal engine it's very blocky and bumpy so i need to work on the settings so i couldn't get it to do what i wanted it to do though houdini is in the end how i want to be generating my environments uh for the most part should i keep this open and like maybe because here's the thing i'm gonna try to make the road today i was gonna make it in either maya blender or houdini whatever it doesn't matter they're all the same um maya is my strongest like i know i can brute force it into and discard i know i can brute force into maya working but yeah so we're using let me see so we're gonna we're gonna use this brushify kit i'm using all of the brushify kits for cinetracer and you're gonna see that these canyons and these type of like details that are provided to us those are really hard to generate in houdini and have the resolution look good because it's a landscape and landscapes really don't in unreal engines don't look that great when you build them like super huge they just stretch and distort so they're not the best for this type of thing it can be done it's more like a maya or rendering in houdini it would be fine but bringing it to unreal um from my result i didn't very much like that so this is the kind of vibe we're going for it's it's pretty similar to what i did for the mountain the winter mountain road which has been a very successful map in cinetracer a lot of people have been testing it and making cool things happen in there and so the the ones that i kind of like the vibes for this feels so 80s to me i don't know why this means there's like gold filter or color correct uh something like this i guess this is like a famous thing grimes can't i've never heard of it uh i don't live anywhere near this but these are the kind of vibes that i'm going for here so this like a curved road right kind of gives you a reason to be there some structure another reason why i haven't i haven't done this in houdini yet is like i'm not exactly sure how to do spline roads in houdini um so i'm just not going to for now i also like this path here where she is like on a road again but completely surrounded by the rocks so those are kind of different right this is like a much bigger thing versus that it's like kind of like this could be a tiny map because it's just these huge canyons versus this is like you would see very far and then i guess this is a famous location and we could recreate this like very very easily uh in unreal um [Music] yeah so this this is like the winter map i made except it loops back on itself and the same same principles going into that and this one's less cool has a lot more bushes i wasn't really going to do as much foliage in this case um very much just looking at brushify the canyons map and then mega scans that's a bunch of rocks so i was gonna build something with it that'd be fun i'm used to c4d tried max but houdini never touched yeah so cinema 4d if you're doing um it depends if you build objects in it or not like that's what i did for like three years i'd built like procedural objects in it using espresso that's like houdini light and a lot of cinema 4d users who end up going like procedural they eventually quote unquote graduate to houdini it's a very common thing if you're like in the cinema 4d threads like in the high meta it's like it's like oh why am i even using cinema i should use houdini that's like the real version but honestly cinema 4d has so much like good user interface stuff built into it and so many smart objects built into it it's um it's worth staying for like a lot of the stuff so i am in actual cine tracer today this is the actual project so it's a little bit nerve-wracking always i'm currently dealing with an issue if you want to see it that is about 250 errors on load uh it's because i cleared the cache and now i can't find this one struct anyway this is programming stuff it can't load this struct it doesn't stop the game from running it doesn't stop it from packaging it's just this i have not found this one struct can't load it run time and uh at loading it's like eh it's sad about it so that's more from the game developer side of things so where am i keeping the new maps this is the question oh yes here we go must stay on the horse of creating it's it's very easy for me i would say even me someone who does unreal engine a lot that if i don't open up cine tracer if i don't open up these projects and continuously work on them they become scary and daunting like i get scared let me make sure i'm on the right screen i am yeah okay so we're on ct map o5 we're gonna call this canyon it's just canyons whatever and i'm gonna start from scratch and we got the source controls live i'm looking at perforce right over here today is all art so it's not like i could really break the game but you never know how to jinx it you never really know but it's more like when you start messing with logic or like you you know for whatever reason like deleted a class which is like pretty shouldn't do you're like oh no no no we really needed that class and it broke everything then or like something that was deep logic that should not have ever been touched you reverted in perforce in case you didn't have your coffee that day so first up we're going to do i was going to generate the landscapes in houdini i spent about two hours messing with it couldn't get it to the point where i was happy with it so it is something i'm looking forward to do long-term incident tracers everything is going to be made from houdini but you know we're working on you got to work up to being able to make everything in houdini it doesn't just happen ah that quickly i don't know what the shared data cache thing is i know that started throwing me thrown that to me at 4.25 i have not really investigated it so i'm going to go for a 127 127 uh and we zeroed it out and the scale i still don't it's not like a trust thing i'm still not comfortable using the houdini plugin i just i don't i don't like dependencies that's the main thing so we're going to just do um we'll just do like regular lighting in here i'm not going to use we're not going to use the station and we're not going to use the cine tracer light just to keep this kind of generic where is it there it is okay i was like uh i don't like looking in staring at black area so we'll bring this back to here centered where are you there you are been using maya for a while c40 is dope what's up aldo i like c4d someone's uh comment got held for review it's a raid that's a twitch thing you can't rate on on youtube can you can you rate on youtube i don't think so how would you compare this to something like cinema 4d compare what compare houdini to cinema 4d or what if you're getting used to it you don't want to miss the node based system has lots of effects had to learn nuke yeah nuke yeah yeah the future is node based um and visual scripting in my opinion like that's just like i think the so what makes unreal engine strong is the blueprints i don't really do blueprints on stream very much but uh you know visual scripting blueprints and visual scripting for modeling and character animation and things like that in houdini it's just it's just more extendable and it's powerful and you can like send you can like package up logic and modeling logic and send it to someone and then they can use it it's like houdini you're just always building a plug-in where in maya it's like oh how'd you model that castle it's like well i have 12 hours of destructive modeling and you know beveling and all that stuff it's like you can't really share that with anyone whereas if you built like a castle trim generator in houdini while you were doing it you could then send that to someone else like hda assets i think are like hda library should be a thing i guess there's not enough core houdini users to make that needed yet but should be because that's that's what i would want it's like just give me the hd library for like sony some huge company i'm sure they just generate everything like super nice it's a business i thought about so sky sun we'll just use again we're just gonna use some stock unreal engine stuff here this guy atmosphere boop where are you the old startup i need to do this like constantly or i forget it and then it gets scary i'm just like i haven't done it for like a week i don't remember how this works i built a lot of like uh i did a lot of cine tracer programming which is probably relevant to only game developers who would care about that but i wrote i've been writing a lot of components so a lot of like core logic at run time for the game you would need this for virtual production to eventually but like a lot of the core features of synetracer have been condensed into actual actor components and then modular almost interface-based soon modular ui panels so it allows me to add features to any actor which i i couldn't do that before it took me a while to learn how to program that anyway we're doing art so we're going to plop down on this uh do we do it now sometimes it's easier to sculpt without it sometimes it's easier to just sculpt right on this before you drop the brush if i thing on there it's a pavari starting new from scratch on this software any links you suggest which software are we talking on your la what what's i think we're talking unreal engine honestly just go on the unreal engine youtube channel that's that's the way you ever stream coding stuff uh i i used to i for the first year of synergy i streamed the whole thing and just failed face rolled through learning how to program um now i kind of know what i need to get done i don't stream it that much usually now we're not going to use houdini for the landscape um i just can't get it to look the way i want it to and i think you're supposed to really use the hda plug-in i just don't i don't in cine tracer i'm trying to really limit dependencies for multiple reasons um just trying to not have to rely on that plug-in yet yeah so we're gonna just hand do this in uh in this one and honestly i think it's better uh i can get better results from it let me just check my perforce make sure everything's looking happy so far okay perforce likes it and not that we've done anything but i'm superstitious once we're in an actual project so okay so the question is kind of blocking and i'm gonna make the road which should for all intents and purposes be just a plane but you know it could be harder than that i'm not so sure so the question is like is it going to be like this where like this is a very small map or could i do both of them doing both probably means i'm not going to hit scope today like i won't finish it versus something like this i've already done this for the mountain so it should be very similar and maybe i can do it faster i'm not sure uh so is it like is it kind of like a flat road where's the other vibe that's kind of like it i don't like that one as much i think that's that famous one or it could be like this like this is pretty cool it wasn't exactly what i was planning on today but there's like this thing where like the road goes like up and down or something like that's kind of cool i don't know how to actually get that done but basically this would be like a pretty much a flat environment and all the all this stuff is mesh this is all just meshes and there was a new thing i could make i could make a quick one in houdini and try it but there was a quick thing i saw in the new and in the new landscapes for unreal that was created from a height map but then give it layers so then you can sculpt on top of it non-destructively i haven't tried that and we're in synergizer so i'm not like in a very daring mood so to speak but um here i can plot one of these down and i'm not gonna use the hda plug-in so i'm really not getting the full benefit and we're using brushify because i don't have all day like brushify you'll see like once you put you put the brush fly material on and you're like we are done i don't have to set up all the grass materials and whatnot but i can cut i'll show this like real quick of what i was real quick in houdini uh so we have zombie for scale is important and oh no i just built right in this whole long weekend actually that's that'll be okay for right now uh we're not gonna do like a real sub network setup for this no no uh what's it called we're not doing like distributed rendering or anything like that so we're in this and like this is pretty quick it's a height field boom this is like your landscape oh it's big it's a big that's just gigantic and so there's like some predefined sizes uh real quick i used i had them out here ue4 landscape height map size yeah that's i was googling this is it so these have to be a certain size i mean this is relevant for anything really this is like kind of the cheat sheet and i'll make a little one so 2017 by 2017 it's a performance thing you just have to stick to these i don't know why that's big that's a big map actually but that's like a 128 128 that's what it compiles to but it kind of the heights i don't get the heights so there's this is a big dock just like when you're learning static mesh protocols it's like you just do it a lot until it works so maybe i'll go for the smaller one [Music] i'll do the 1009 1009 because that's pretty close to this and that's still gigantic for me i don't you know but that's what the houdini is supposed to be from is that like it's not so overwhelming because the whole thing is procedural look at tommy he's this tiny dot in here anyway so just to keep keep that in scale i'm not even going to save this hdh so don't crash over that i'm just gonna pump out a uh a height map from it and then we'll be done just to test it i'm probably not gonna use it though so we're gonna do height map noise because i'm i don't know any of the other ones height field noise apparently and landscape and we've landscaped now where is tommy he's in here here he is so here it is um there's a lot you can do it from here but it gives you this nice kind of um you know well beyond like you just apply to purlin noise to the whole thing it's it's much nicer than that and has amplitude and you know everything's scaled up pretty nicely i cannot get back i cannot get this back into unreal engine in a way that's like nice in a way that i like it tried gaia from landscapes i haven't tried any world creators and something like that that would probably get you there much faster but i'm like trying to get into houdini and be like i don't need marvelous designer i don't need world creator i don't need this i'm trying to make it all happen here and i've been trying that for like a year so it's gonna take time but world creator seemed really good for me from what i've seen joe garth had one for brushfire too should i get into the hf stuff yeah the height feels heavy yeah yeah with the new he2 v2 you can splines create an houdini and then use them back in you e4 oh yeah are there tutorials on that i would i will look at that that's i would like to do everything kind of here uh and then just send it back over and it's just like unreal engine just does like the populating and then the um what's it called i don't know it's just the final map you know but like do a lot of the proceduralness out here because there's a lot of procedural tools coming to the landscape system it seems like but for unreal engine but it's it's just not houdini obviously houdini's like this is it's full like bread and butter anyway so i don't want something this tall because the thing is when you send this back to unreal engine depending on the resolution which maybe i just need to learn the settings this is blocky as hell right because like this landscape it's just i don't know there's something that you have to change with the settings and stuff i just can't get it to work so i'm gonna i just need to tweak it to death so i'm gonna bring this thing like way down i'm gonna try to use this as just kind of a bass uh which is gonna be an issue because i was gonna put a road through it but say you just wanted to do this right like this is this has value because it's like to go hand plop these down i mean you could do it with the big brush that joe gives you but it's it's different in in and to me i i get bored and i start just being like click it just it doesn't like look good so this gives you kind of like a quick uh base of just like kind of noise on the ground and even this i think is going to come out kind of blocky so we can change like element size to 250 yeah that's the wrong direction actually uh we'll do 750. i'm just mellowing this whole thing out but giving us like a bunch of like bumps you can change the scale too this looks like okay and there's roughness which uh again so if we like bring it down that's for this specific noise setting we're calling it um well it's of the sparse convolution they're calling it hybrid terrain i used to i used to know more about these you can just straight pick you can just straight pick a purling noise if you wanted to and it would look like you could make this you can make this in substances either then in like a couple seconds but uh you don't this won't look good in unreal you would need like a massive resolution on the landscape so like i'm looking for more just like let's just noise up it's kind of like a noise floor for the landscape and then we'll do everything on top of it but i don't know if i can then sculpt onto it and i think i'd rather do the roads in houdini there's a lot more there's a lot more control here it's just getting it hooked up to unreal requires the plug-in normally so i'm just not trying to use that plug-in just yet it is slightly a cost thing for every workstation has to have the plug-in so i would just need to buy i have about three workstations running unreal engine right now so i just need to go buy two more licenses and i'm like and i have to keep them updated i don't wanna keep plugins updated like versus what i'm gonna do i'm just gonna export this as a height map we could do a um height filled mask by feature no no it's what is it it's a height field uh clip so we could clip the bottom and flatten it out a little bit to make it a little bit more usable but maybe that's like two video gaming i don't know lots of things to think about so this will just i mean this is such a mellow map already but this will sort of this will clip everything at zero so there's no okay that's that destroys it so here let me just bring up this thing a little bit this is where i was at before and export it and i put it in unreal and i was like don't like it but that's me just not knowing how to do it probably so i'll bring this up a little bit maybe maybe i killed the roughness too much yeah that's see like that much noise that's it looks dope here but you can i i think you have to be a lot more mellow with um where's amplitude how come it's okay so it's clipping it in kind of an interesting way so i'm gonna do like a pretty strong offset of this noise uh element size oh that'll do it too so if you go too small again the landscape doesn't have the resolution to hold that i don't think i don't think that that will look good and things that are like this big basically need to be a mesh until i learn how to do this better i don't know how you smooth it either that's probably like i guess that's what roughness kind of is uh oh yeah that's definitely what roughness is okay uh we're not gonna send out i'm using brushify so all the paint layers are gonna be based on the geometry i'm not gonna do the and i'm not gonna scatter geometry it's really easy actually just like scatter height field and then you just tell it like what meshes to do later but i'm not gonna do any of that here i'm gonna really rely on on brushify so i don't even think i like like it's i'm not i'm not really sure how to use this just yet it would be cool if i could then sculpt onto it but just have a little bit of break up is kind of nice i'm just worried that it's going to look like this it's going to have this like a lot of bumpiness in it but it's kind of why if you live link the hda or whatever they call that for this new version you just you just do it here go back to unreal go back and forth and you don't have to do this whole exporting shift and i'm gonna do this very slow it's a bit slow anyway so i'll do something like this i'm not sure that i even care about the the clip i mean i'll just i'll just not clip it i can see where we would have gained flatness but i'll just keep it unclipped for now i'm just going to pump this out as uh what's it called just a um a black and white map like the real hacky the real it's the simple way it's the non-plug-in way so i'm gonna say height output where'd it go and we'll go right back into unreal engine because i could get stuck in the hood you need one slider for like an hour um okay so i think i have a folder for this already we do okay so we're going to call this one t i suppose landscape wrong landscape one now this is gonna go into synergizes i should think about the names like a tiny bit but uh whatever png except uh we'll do rgb sync we're gonna do single channel it's gonna be height we're going to auto remap normalize zero to one and that's what the tutorial said to do so that's what i've been doing uh the resolution was like what is it it's 1009 or something like that not that one and this just you just pop this into the height field and it works where did my dock go yeah one thousand nine weird uh saved a disc it studied for a second so i think it did it um now so what we can do then is instead of like having to sculpt this which is fine which is what i'm probably going to end up and go back and do you can import from file this one's the one we just made isn't it no it's landscape one the other ones are landscape this is landscape i liked how this one came out to be honest but it's big it's a big one so you select that from houdini okay so you can kind of already look at it it's uh it's a mess it's it's insane so you the scaling they have a dock on it that's oh i was looking at it and i don't quite get this and they're talking about like real world values and i'm like i don't i don't know i'm going to make it 50 like they did that's that's how i know how to do this so it auto selected the the right amount of quads and stuff like that i'm gonna make this 50 and then maybe make it like i think i made it to like 10 at the end of the day something like that what's up hamilton you can use mask mask blur and of course increase the resolution okay yeah there's definitely some sort of work there's more work to be done with it i don't know the workflow now it says enable edit layers does that mean i could then sculpt on top of this because that would be such a cool workflow as to like just let's just throw some noise onto the ground but then sculpt on top i don't i don't mess with this i haven't done this yet and i don't know if that's like an edge i don't know if that's going to make me recompile every single landscape i have in the game so i don't like do stuff like that so uh the height map seems to be 8-bit png 16-bit is better oh so that was 16-bit hold on this is 32-bit what that's 32-bit that's a 32-bit maybe this can't be png what can it can it do exr what was the file format see this is what this is the reason i shouldn't go to houdini this could be like years um what's the accepted file format is it tiff is png only eight that's okay we're not gonna really use it anyway i should have exported as exr or something 16-bit anyway we're going to go boom import so we get this kind of interesting looking thing now landscape and i'm going to plop the where is my we don't have a player star hold on let me throw a player start in here we're not using the cine tracer framework so i don't even remember what's gonna fire at the moment if i hit play i don't know what default game mode is it's probably i don't know i don't know what the default game mode is for center tracer i use my i use a custom one of course anyway i'm going to go plop a brush if i uh landscape material on this thing i need to fork fork i need to dupe my own i need to duplicate my own version of this and simplify that down a little bit give it a minute no compile really you're not not compile i guess there's no um oh there it goes yeah okay there we go i was expecting the it's black when there's no data for it so we're doing desert and that's the only thing i'm not gonna blend it and so each one of these has its own whole ecosystem inside of it versus in when you do it the hda way you are specifically using the paint layers you kind of unpack one of these and you do like a slope one and you do it not like this this you could probably but this one's a lot more um dense each one of these is kind of its own ecosystem yes that's fine so let that compile yeah so it's cool you know we get we get this kind of like free noise i try to keep it kind of mellow again like not get too like like too jagged or else you just it doesn't look right it doesn't look good uh unless you do something with the resolution of the landscape maybe like you scale it down you can sculpt on top of it i'm afraid can i sculpt on top of it now even without that i guess i'll try it in a second but let me let's see what default player control is going to be ah it's a whole lot of nothing of course it is okay so we'll use the symmetry as a game mode oh it's going to throw a ton of crap at me but uh or not a time but it's not gonna load properly game base yeah again even as the designer of this system if i'm not continuously making maps i'm like what the heck is this game work okay first compile give this give it a second it's gonna bake all the logic into it too gotta load it up for the first time okay so here we are uh pretend that's the third-person blueprint player walking around and you know same thing i just haven't changed from my project uh yeah so there's like some weird stepping happening because you can see the slope material it's very stair-steppy i'm sure there's a setting to sort that out but this is where i got to before and i was like how do i make this look better like what the hell like oh look at that but anyway so like there's a couple issues but you know i didn't hand sculpt all these mountains and there's value in that and there's also just this kind of like even noise across the whole thing so it's not like hey there's a perfectly flat area and then i clearly brushed this part so it's kind of like for me like it's kind of like walking into like a real environment i'm like oh there's some parts i like there's a parts i don't like and then like um we have some randomness built into it so i'm seeing the like fastening of the landscape do i scale the landscape lower do i go more mellow on like the i could scale it down even more actually i think on vertical on y like that's 10 i'll do i'm sorry that was 20 this is 10 so are we below the player start now is it looking for player start i forget i have to look at how cinnatracer wants to start up it's i wrote it a while ago and that's how i've been doing it i don't remember the logic it's in the player controller that i could go find it okay you handle yourself you get all recompiled or whatever is happening revocalizing okay so i just scaled it down to 10. it so it's even more mellow we just like compressed you know the peaks in the valleys essentially and this is just you know just i mean wait a minute the um [Music] there's either like a gray foliage no no some of the foliage is not compiling we're getting world worlds uh world material on like the clovers or something i look at that but anyway this is a way of getting like a quick base noise floor i would call it and i think it does kind of work let's see if we can actually sculpt on it though that would be dope like without having to do the layers and then so like if i erased it it would come back to this maybe i'm not sure i've never done this um sculpt so is this at zero zero hold on let me do one thing oh don't click the source control button oh my god terrifying no we're not at zero we're zero just for fun right okay so we're like a bit in the air we could bring the landscape up or i could bring the player started down whatever i'll just do this this going to collision check it does okay so here's zero right just so i can find my way back if i need to and so if i go to landscape and say we'll do flatten oh you can flatten this oh my god you can just sculpt it on this okay this is what this is great i don't even need the layers so here's the thing if i smooth does it go back to what it was i believe that's the behavior that's awesome i'm glad i messed around with rodini now that's awesome that's great okay i'm just gonna flatten a little bit i mean a little bit i mean that's a lot but um that's so cool yeah i'm glad we did the houdini thing real quick then okay so let me check this out nope okay so we flattened this out and the rest of it is like uh houdini houdini height field uh it's a bit you know sharp here at this transition and there's not much of a slope material on this uh really i guess it's a bit rockier with some i mean there's a foliage change and then there's some grass on the top i might kill this grass um that's really easy i just i might just take all the grass and those clovers that haven't had their shadows i'll just take that out of the grass type for canyons or whatever the material is called okay so there it is there's some noise for you could have also just taken like the alpha brush and like click like like a bunch of times but you know this this gives you something to start with and if you get you know as you get better or i get better at houdini you can start to do more features right you can like you can there's all these like like six layer erosions and all sorts of stuff you can do i mean like this is how they build uh environments for like real video games is done this way uh typically uh in world creator is kind of like a simplified focused version of what you could do here um if your only goal is essentially the height map and sometimes like the material blending but the the integration of who do you need to unreal is kind of like un unmatched by any dcc i've never seen anything like as dense you just start adding attributes down here and unreal engine picks up on them and like all of a sudden you're like calling what blueprints and all this other stuff i haven't gotten into yet but that's that's cool it's something to like kind of work towards so we have this right so i'm gonna pull out a bunch of the assets that we're gonna work with and i'm just gonna from my mentality why i use those over trying to get this landscape to be like spires it just lays i don't think that's the move um and i imagine the way that joe created these we're gonna talk about the big ones and then we'll bring in some new brushify ones pressure 5 mega scans ones uh i'm pretty sure he just made them a world creator or uh houdini and then you just you bring them in at like um a good resolution where i just don't have resolution control so i'm going to open this first let it compile okay right like this is basically like that's height geo from like the world from somewhere like the the the demo most people do when they're learning houdini and i've done this but forget it is you go get geo data from the grand canyon and there's a plug-in for it and you have to have a license or something i wonder if i'm still paying for that i hope not paid for this like license to have like geo data and then you plop it into houdini as a height field then you um to apologize however you want to uv it throw on your material and then you can tile it uh houdini has like a built-in take my landscape and tile it and i guess world composition is coming soon which is pretty awesome support for unreal engine world composition so it's kind of like this i mean you could kind of see how like the data i the crap not crap but like the very basic data i brought in from houdini it kind of looks like this but this has a lot more like you know specific cuts through it hey let's get big right so these are like for the background these are not for uh what's up with the skylight it's got that's messed up um this is our one of our background meshes right but it's very cool because joe and the value of um of russia 5 is that he has like pre-art directed it for you a bit like he's already found like a kind of interesting part whereas like let me tell you when you start um sifting through geodata you're like oh yeah i can just like get geo data from anywhere in the world it's going to be great it's not because a lot of it's really boring so you have to it takes a long time to go find the good geodata so we don't have an exposure clamp in here but whatever that's not the point anyway so look at that big chunk of cool canyon over there what's with the shadows now i actually hate that what's going on here like so skyler are you even on like what do we have to recapture you like there it goes okay that's it's that plus exposure is kind of like funny at the moment so there's a there's one of the background meshes i'm going to just drag these all out and so instead of like i just don't think okay we're going to give a second i can't get the resolution like that on the landscape without it being blocky right so that's the issue so that's why the meshes just work so well it's like the landscape is kind of like the like slow rolling transitions because the resolution is kind of low and then you use the meshes again and that's what joe kind of told me so this is his kit so i mean that's but i find it effective if someone's interested in lidar to ue4 i started a topic some time ago where oh on like the forums just like that yo this is a long-ass compile i gotta open these first do you mean lidar and using the point plug-in or lidar and converting it to mesh and like reality capture i have an interest in lidar i keep almost justifying buying a lidar scanner but given how things kind of are these days it's like i'm not going anywhere to lighter skin anything so not yet not yet on odd force what lidar scanners do you use are you uh are you a pharaoh or uh a like of like a person they're both fine it's kind of like it's kind of software like so much things right it's like brute force scanning stuff can be done you can scan like you can put on the backpack one that's like 200 000 and like just walk and that's similar to the google cars i guess and like you're going to get amazing like billions of points and they're going to be like all put together but then it's like wow what do you do with this like insane amount of data how do you make it usable and then the software subscriptions kick in twenty thousand dollars a year and you're like oh like that's that's the difference it's kind of like how mocap works too i haven't made my um we're gonna i'm gonna get back into the mocap world is that the stuff did i skip the second one no that's the second one this is the third one i was like prepped for it already what's this that's two that's one that's two i'll open up three oh i see i opened it already okay i just haven't instanced it that's the move it's so much faster for the engine that way but mocap's the same thing it's like you can get like really like reasonable good even inertial based mocap from like almost any system the difference in a lot of the cases is the software of like here's raw mocap data how do you make that usable because it's it's not usable raw it's it's pretty crazy looking usually oh yeah i remember we were letting it compile how do you make this data clean clean and usable easier to re easier to clean up later you know the more expensive the software the faster it is for the most part well it's nice for filmmaking if you want the set for 3d previs no not unless you're like a professional lidar scanner and mesher and like if you use houdini it's pretty easy to reach apologize it but like the workflow of getting lidar back into unreal engine to use it cleanly is not consumer it's like or even prosumer it's like that's like what you do that's your focus in the world i know that i was in i was doing lidar for for a while i know like the i don't really influence this but like the main the people who do like who talk about it a lot you know it's it's like your focus in life to do it in my opinion i'm the one that like casually does lidar like i just casually use like 80 000 lighter scanners and have these subscriptions and the computers to to crunch the lighter after it's it's like you need to have a business behind it of which i know a bunch of those people do like direct dimension in dc and whatnot it's like it's just very expensive so instead of trying to put landscape features like this into the landscape was what you would hope right it's like that's what you think when you see that stuff at least i think maybe it is possible this type of uh just this curvature here it's again these are the distance meshes you just don't really get this from the landscape unless you do something to the um what's it called the the the resolution of it you just don't get this kind of you're not going to get like this curve well actually that's pretty polygonal or whatever that's pretty faceted but this this approach is more like go into houdini take a piece of geo get it to the resolution that you think it's gonna be okay for the distance you're gonna view it and then just export that as a tile back to unreal um color it however you would like you know the there's considering you'd be baking this into maps you could just like try planar map it or you could there's a lot of like kind of simple ways to do this um that being said even with the technology because i can go do that right now joe has found four really nice interesting pieces of the world i would assume and given it to us in a way that like that's gonna be really usable so there's just like weeks saved of time doing that one learning the workflow getting it right getting the topology in there having it match the material finding the actual part of the world that looks cool it takes a long time so this this gets you pretty far really quickly even if like you are like houdini uh enabled or whatever so then there's also the other meshes and these are gigantic oh there's so much cliff no it's not cliff hold on it's canyons okay uh three good yeah let's let these compile let them crunch okay that's it maybe it's the shader that was taking so long i really don't know plop there you go so these are these are monsters but they look great oh look at this auto exposure being being bright so those are the distance meshes uh whereas these are more like your like you can't do that to the landscape i mean you kind of can but it would look i think it would look very distorted if you can tell me how it pleased because that would be cool but i i think that this is still like you this is not the houdini whale i don't think you would be like this is houdini you'd be trying to do these spires or whatever in houdini which you can there's like there's like a node called that uh i forget what they call it but there's that node that does this and even this kind of like noise around the edges there's nodes for that too like there's you know you're throwing it you're taking the mesh and you like voxelize it then you run a 3d noise through it and then you like erode it away and it like basically does it for you and it's art directable that being said i am not getting to this i i still cannot make houdini assets that look like that i know someone i know people can i cannot yes where's the player starts where are we okay so anyway so this is what you're starting with with brushify and it's a damn good start and you know if you are as good a level artist or technical artist as joe is and being able to make these then go ahead but you know like it's it's it's very hard it takes a long time i ultimately would like to build a build this whole thing just like plop it's all one houdini hda and i'm like now it's ma but i can't i still cannot and i kind of know my limits of it so uh let's take a run around and see how this is kind of feeling right like it's already has the vibes this is like already it right so thank you brushify like that like it's this is i literally threw them down without even thinking about where they go and it's just like that's pretty good that's pretty much it um those are supposed to be like way way far away uh which they can be but i think they play from that distance to be honest a little bit forced perspective and then those just do work like these is it just three we have those like that's great so those are the building blocks uh and again if you didn't want to houdini this this uh initial mesh here you just grab the paint tool and you use the alphas for is there a canyons one yeah here's a canyon's alpha that you can just start clicking on the map and it'll it'll bring it up that's the other way to do it that's what i was figuring i was going to do what's up uh alextopia best way to get started on religion for background work and such if i don't have any 3d what's background work what does that mean like environments you've made big cities in houdini yet i want to learn how to make procedural cities i've done a little bit um you should watch if you haven't watched the 18.5 um keynote and the unreal engine plug-in that's coming they now can talk to bsps whereas before in houdini to unreal you would be like you'd have to use a cube and so you'd be moving cubes around which is cool but you could never really deform them so well you can use bsps to do it now so that's pretty dope matte painting are people still doing matte painting like 2d map painting i know 3d map painting is a thing i mean anyway well some people use you know hdr renders matte paintings essentially for their led volumes so here we are okay so the last step quote unquote um the pieces besides me trying to make the road mega scans okay 3d assets here we go i don't think we have so there's a bunch of new ones that i want to get and these are going into the cine tracer not exposed yet to the users but um will be used to make the maps so i saw these today and i was like well i guess i'm going to make a canyon because there's literally canyon rocks here we go so rock er sandstone hmm i guess these are them yeah these are them for sure right so we have those big like background meshes and these are going to be like the hero art ones because you're not making this in houdini i mean you can but like you're basically scattering to points and then even when you do that the full it just doesn't look like that it doesn't look like that um unless you're i don't know you're extremely good so this is enough this is the free source essentially if you're unreal engine user of those assets that we're kind of using but these are more these aren't those in the background and they're not those and they're not the landscape they're like the high quality stuff right in front of the camera like so that's how i break this down it's still like okay houdini for this brush your five for the material because i don't have time to build my own i don't want to deep meshes um you know spirey things and then like this is what the person's gonna see this is like what they're sitting on that's what they're stepping on right and these are photogrammetry so they they you look at these up close and you're like oh the rest of the place must look that good right and it doesn't it's way more gamified but now where's the big rock i liked i was testing this before in a different uh project to make sure this would all work but yeah so this is my flow this is how santa tracer maps are getting made okay let's go back there was one i liked and i don't see it now one second it's under new models there's like this big flat one yo where'd it go where is it i've used that one before that's that's fun it's a fun rock um it's uh wait where did it go is it this i think it's this one actually so i'm gonna take this one and then some ground stuff and just look at it and then i'll start actually doing the level but this is like getting all the assets together and kind of showing this workflow 2k unreal fbx yeah the lods okay sure i guess i'll take them re-download i already have this please don't mess up the export this is not like a throwaway project for me anymore i love just doing them like as a fresh project i'm like hey the whole thing dies who cares who cares whatever i'm easy going okay but not when signatures is open with perforce cranking away here so are you flagged now okay so i think that was the asset we are just saving textures a material instance and a mesh this should have a little plus sign at the end that flag that's being flagged to add into the perforce repo it is thank god it all works oh thank goodness okay so let's go to the plus the starting so we're gonna we're gonna start local right i'm gonna make a relatively small scene this stuff is all kind of like background i'm gonna kill this grass in a second uh let's open it first now this is an already compiled master material i don't know if the instance is the why is it gigantic what the where is this thing it's tiny that's what what if you want to learn about height fields in houdini check out the i've watched a bunch of them i need to rewatch them now okay i don't know why this is so small because like this is like when i was using this in the other project it came in like huge like gigantic that's very odd i swear when i did this before it came in like this big and it was in the ground and it looks cool it's like this it's kind of like a launch pad um but yeah i really like this one look how well it matches due to the brushify stuff like cool really cool i think this is in the thumbnail actually yeah this was like if i forgot yeah i made that thumbnail in like another project just to test this hey hey are we scaling evenly we are let's say that's a little too big but like look how nice all this stuff plays together right this is the brush if i and now mega skins too it's like maybe it's a little bit saturated a little bit contrasty compared to the background oh yeah this is definitely that rock i like this rock a lot uh there's no collision let me just plop the uh the complex collision on this little expensive but uh time-wise it's not as hard as me going and making a collision for it actually i'll use the complex i'll hmm i could try to have it just do a a 24 vert basic one or whatever like whatever the auto generated one is but whatever i just want to walk on it yeah but look how look how nicely this stuff is already okay that's scaled too big right a little stretchy but like look at this this stuff is like almost out of the gate like off the shelf playing well together like this is where we're at with like making virtual environments like it was not this easy in the past to do this i forgot this is my game i can fly hooray um like okay so i stretch this too much this this texture and like i only brought in 2k textures so i guess that's part of it um but i just know that like i don't know the percentage but a large percentage of cinetracer users they're not loading the 4k textures it's just it's like that would be like their this map would be saturated already actually i'm concerned actually for a certain subset of users that like this map isn't going to load at um they're going to have to play in medium settings but whatever oh well okay we haven't committed this yet so this is these are all all this stuff is to be added to perforce so it has a certain behavior that's a little easier how's the frame rate it's good on obs looks good how can you import gaia source into houdini uh through probably via height map i would guess i'm not sure how did you get your pipe tool turn out how did your pipe tool turn out uh the streams are the vods online i got to the point where i needed to unwrap the tops and bottoms we did get the correct uv style for the sides which was challenging and i linked on twitter the youtube tutorial to actually properly uv the lines it was um you call arc length essentially it fixes everything when it's a curved line import settings affect bridge so if your default import is set to 0.01 that's what it is right i did that wasn't a different project though i wasn't in cinetracer when i did that is that what it is my my import settings are set at it so that did i import something into cinetracer did it remember that do i care for this mesh i kind of don't it's also fairly safe to re-import it yeah my import setting must be like i'm not gonna mess with it but thank you that's probably where it is my defeat my default setting when i was bringing things in from houdini the other day in um a different project though we're at point zero one because i think i had been working at houdini i thought it was meters and it was cinemas or something like that okay so that's where it is interesting that's okay uh let's see what else this is cool joe sometimes for the other things we'll give you these as well but you know the the mega scans ones are like on a different level of um they're just photogrammetry they're cool so i'm gonna get this one and i'm gonna go get another one and then we're good i'm gonna start like doing the thing but like this kit back so far together is uh has the vibes for me and i know we can color correct these to fit perfectly this is gonna have a little shadow baked into it surprisingly that one was like pretty clean there's like reasonably good d shadow um tools out there these days houdini is honestly the place to do it for sure you just like average color i would imagine something like that would use a place where you have like access to like everything like the color maps and just everything you can do trending they're pretty good this is pretty good if i make those little oranger a little more orange uh i guess i'll bring it in there was another one oh i want like the one with like the dirt the the the rubble patch the mound the mounds all right gonna mount yeah so this is gonna come in tiny oh well whatever of a pure static mesh it'll never matter for the cinetracer users what the default one was it just doesn't matter hmm please have plus signs at the end all you do is right click it and say um mark to add or whatever for a per force but it means something went wrong so i think if we did a hundred okay that's gonna be way too big ten just do ten ten gets us into like a pretty good place okay okay i like it that has a skirt that's kind of nice we'll color correct it real quick so it's usable let's color correct it facing the sun okay let's see if this is going to happen for us i'm feeling pretty good about my environment workflow for cinetracer now or just in general like when i'm making stuff like a this is the best it's been and it requires the full might of quicksilver and the fullnight of joe garth and the full might of well it's not the full might of houdini it's like the basics of houdini like i don't know it's it feels like i'm like i can like almost like scale or like make a bunch of things that are cool so uh this is dark i learned this so i'm gonna make this uh that's the wrong way that's kind of the start of it it's also going to need a tint isn't it because it's like it's a little bit red contrast is a little uh it's kind of like this it needs like a bit of an orange contrast the brightness feels a little bad something like that saturation i can't tell yet but uh let's try this tint and we're gonna tint towards orange that's starting to do it's way too saturated but it's more about finding the the direction is there a hue slider here it is okay this doesn't update until you let go that's unfortunate don't want to tint it more red and that's like worse okay and then let me look at saturation is am i really going to have to like let go sucks not quite getting this hold on let's go too far where's orange we want to find like the color direction i wonder if i could color sample like it's like kind of it saturation down a bit this one's harder i mean this is like okay i mean it's not like a direct blend with the ground i don't know if that's what i'm going for i guess that is kind of what i was looking for it's like the skirt would match so it continues oh my that was it this is it this is kind of it's a little bit it's not my favorite but uh it doesn't call attention to itself as much as it did before so i'll take it for now right it's it's been thought about it's not like the perfect blend but okay so let's just throw this where are you what are we looking at we're looking this way yeah let's put it here right and so you start to see less and less of the landscape the landscape just becomes like the background the deep background and filling in spots that you don't have like actual meshes for okay those are cool those can get big big too like if you want to like chuck them in the background something like that i really wish unreal engine had a full world scale rather than being restricted to pixel by pixel dimension maps much the way unigine i just saw did you watch the unigine versus unreal engine which is better for environment art i just saw that serve to me on youtube i haven't watched it yet i don't know what that means is unigine a game engine do they make video games because i feel like unreal engine they have it they have a pretty good system for making uh fairly big video games with the world comp and whatnot but i don't know was it collections i wanted to go get those i think it was collections canyons where'd it go i had it it's not okay how am i gonna get back to this where are you it was like 3d assets is this what we did yeah this was it rock right sandstone yes okay i want one mound this redstone rock assembly those two are good that's like a bigger one that's like a smaller one these are all good i'll take all these shits to be honest like take them all these two especially these are these are both coming in those are great those are going to give us some detail for free for easy not even foliage just two big plops of rock and i bend them what did i do i did it off stream to finish the mountain scene i actually had to bring some of these into um it must have been blender at the time i don't think i had maya and i was i was using ben deformers on them to get them to be like curved worked great it was like it was so good i'm a genius download these these need to these could have like um a skirt like you grab the skirt the skirt stays still but then you pull everything up just to have a little bit more height but not um break the the skirt part that would that would be helpful this is a big there's a good chunk right there too exporting there we go what is unigine i've heard i've only i've heard of it and then i saw like the youtube thumbnail about it the youtube video here we go you're gonna need some color correction that's so cool that's in the base instance of the material now which is not the new i wrote a new base material for cinetracer for blocks which are like i can show it like when you can in game change the materials those are very specific that is not this this is like my static maps i'm gonna open it okay it's so small 10 10 10. i hope it doesn't come in like bite in the ass later that that's like that so yeah you know what i mean it's like i haven't like laid out the map yet of what we're gonna do but okay i hate it when the grid's up here is uh am i gonna move everything to do that i just hate it but it doesn't like really matter in the end especially when things get so um like mountainous like where is zero it doesn't really matter unless you're building like a house like that zero but that's that's okay uh to be honest that's pretty close it's a little bright it's a little bright that's about i'm just going to come in here because like yeah it's kind of low chances like once i start actually laying things out i'm going to ever come back and tweak this i'm just going to not have the i don't care so while i do have a tiny bit of care in this we'll bring this brightness down a bit there done i'll take it did i even change anything no just don't tell me if i didn't that's the old like real world gp light you're like uh 50 75 percent 80 50 that's what i like and it was the first thing that you had up and you're like everyone's like cool cool this is who we work for this always happens it's cause they're usually present like usually like presenting it to like a director or something like that and it's just like a show nothing's actually being done 2k 4k fbx uh we'll take the lots for sure okay and i'll take this last one and so we'll call this like the kit for now though i want the rest of these rocks too should be cool yeah and so i'm not filling these in i was eventually gonna this is like a percentage like i was gonna give these as sanitary assets they're really not did that finish they're really not like open did i not hit export did i just hit download is that what happened if you re-export over something it's not it just asks asks for the override but i'm trying not to do stuff like that hopefully i just didn't hit export i think that's what it was exporting to unreal okay it liked it there we go primarily game and simulation engine so do people ship games with it is there other any like real games that have been made with it what indie mocap solution would you prefer rococo or vive trackers rococo i would say rococo unless you're a developer vive trackers are there's no like off-the-shelf way of doing it and simon tracer is going to be but if you're like just want like the indies like simplest um mocap i would say rococo like for sure very simple especially with the hands now just makes things like much much easier i haven't tested them yet we will soon i'm talking i'm like an ambassador for them so we'll we'll do some stuff just not yet hey okay so let's just darken this thing same amount probably but i'll just do it by eye done well this one i like want more contrast it's a little saturated of course you add contrast you get saturation that's the wrong way careful it's a little bright still but that's i guess what we've been doing it's like skin tones kind of weird i'm going to contrast up for some reason so these kind of have i don't know if those shadows are baked in or not if that's like actually our sun i mean this rock on the left is like uber contrasty let's make faces at this until it's good uh uh we're good we're done it could be we could do that for a while but generally right you don't you don't look at that and it's like this one sticks out like crazy it's very dark and contrasty but like the hope is that it kind of blends into the um not that this is the layout but like that it kind of blends in overall my landscapers are here so it's a bit noisy just sounds probably like even louder fan noise it's loud to me though yeah the heat is on in here too when it is hot okay that rock very dark no collisions right right through it that's fine oh yeah that's real good look at like that's okay the grass throws this whole thing off i gotta kill the grass on this the background ones i mean once you light it because like i'm not gonna give like clear sky lighting i guess anyone could we're not also clamping exposure so i i'm overexposed and okay there's no collision i'm overexposed on me and so yeah i just i'm having a hard time judging exposure but as long as like everything kind of like i'm just moving i'm moving like does anything stick out that's too dark still a little bit that feels a little bright but i think we're just over exposing and uh just overexposing in general from the auto exposure and yeah these are this is the kit this is gonna work i want those to be a little more saturated i think maybe it's these and that is overexposed in the game though not in like the actual i guess i'll do a clamp we're not to put the actual sanitation sky in it one second i'll just clamp it uh the stop way so we're going to do post process yeah i'm like trying to judge color and then auto exposure is like jumping all over the place exposure hey this this 10 i think no that's auto exposure 10 there we go we'll go nine i forget what were what it's set up in in the center tracer one i just changed it a little bit there we go it has a little dark it's about right actually it's pretty it's pretty hitting it yeah it is kind of nine but i'm like an overexposed kind of person i'll do 9-2 so just a little over that nine was pretty solid and i feel pretty good actually uh what am i doing this this this all gets deleted later anyway where's this in this guy there it doesn't go up okay okay so now okay so this is very dark okay so let's tweak this this is mega scans one right yeah so you're just too dark for this scene not by much but so we're going to create this material here and i'm going to color correct this a bit rococo yeah there's hands yeah yeah yeah the hands are the hands look i haven't used it but they're they look reasonable have you ever cleaned up hand mocap data before it's it's not a fun thing it's not a fun process it's uh even studios typically they're like we're gonna send that out we're going to outsource that that's not that's not what we want to be doing you know so you enter yourself into that bargain but you know it's still a good solution it's a little bright that's the shadow side i can't tell i'm feeling it this these are they're matching a little bit it's a little bit of bright you know okay so here's the kit there's the kit so we have a bit of a noisy floor from houdini we can sculpt on it that's incredible i didn't know that i learned something new today very cool uh background meshes uh are gonna be uh i don't know what kind of color correction i have on those actually i'm gonna just leave them actually whatever time wise whatever and then those are the background meshes brush of phi so this is like brushify mega scans and kind of houdini like very little houdini has been done so i'm just going to organize this and i'll start the actual process so that was a bit of a ramp up to get here but you know at least it looks good that's that's the worst part is when it doesn't you like spend all the time and it's like we've created hot garbage that's not fun that is not fun when i say background i'm going to call all of these meshes backgrounds even like the big spirey ones because they're gigantic and i'm going to just straight call it out as mega skins these are the mega scans rocks so yeah this is uh you know just this we just just spend some time pick a reference so the next thing i'm going to try to do is make a road from scratch and it should just be a queue a plane but you know i'm not so sure hey joe what's up oh you're still a moderator what's up man yeah it's a 2080 ti why are you feeling like a frame rate drop i have a lot of stuff running on my computer so i wouldn't nah we're in 120 land out here we're in 120 land and i'm gonna take off those grass not that that's much of a hurt but i have a lot of stuff running on my computer at the moment houdini houdini is not that heavy until you start doing sims and whatnot i am going to kill this file because it's i could remake it again much better but yeah or am i or am i going to make the road here [Music] let's make it in houdini so let's make a road real quick real quick if this takes me more than 10 minutes i i'm fired so we're gonna make a sub we're gonna go into the sub we're gonna only export one geo i forget how to export out of here we're not doing hdas i don't have the time it should just be a grid it should just be a grid i hope i don't so how wide are roads right how wide is the road for this situation this is like this is what 10 meters at the moment 10 by 10 that's good for like a two-lane road that's pretty good i think 10 let's do 10 that's pretty straightforward so the question four roads are they square or are they not square and the question the answer to that is dependent on the material i would assume so we we lucked out with the with the qixel one because they gave us a road mesh that's like half the reason i made that map i was like that snow road mesh is fire i love it i don't know if we have any more do we have road how do we even find that i'm gonna go look at like basically this this road one are there more roads right like that's i'll take the mesh hey road uh 3d assets what you got for me shirt snow i don't see it like those are great i should have put this on like a mesh probably uh i haven't tried to keep bash with these yet these are very new these modulars like what country is that that's a crazy looking corner um yeah i don't think there's like a normal road right so we'll use like a road um not in 3d assets we're just going to get look at the road texture for them and is it square or is it two by one right like i hope there's a road there's not okay so that means that we're gonna it's an asphalt i haven't tried this before yeah here it is right okay uh um oh oh that wasn't i missed him you could also just do asphalt and add decals i'm not gonna do that this is a beat up one let's do the beat up one here destroy this is destroyed double white line in the desert i don't know now two by two how could the road be two by two so it's square so just a square i don't know i had one that made that exact same noise what noise what this is my lawnmower's outside what are we joking i get it i'm using world creator to do your terrains but i'm seeing a lot of tutorials on houdini use world creator world creator is going to get you there faster i'm like long-term committed to houdini i'm not saying i have the results that like um justify it yet though i'm just like long term i'm like i know in 10 years i have this feeling i'm like 10 years from now when i like actually know what the hell i'm doing in houdini it'll have been all worth it so this is like a quixle mixer that they did themselves like right like this is what this is this is like a concrete material that qixel mixes some destruction over it and they added those white decals in a way that tiles it and that's what that is and that's what i should probably do that's going to look funny isn't it like that's not very wide that's not 10 meters it's two it's not two meters either two meters that's not no road just two meters so that's a weird thing to say for that i don't know about that i should probably get joe joe stable here probably uh joe has a i wish i this i actually don't have this one for my imported i want these roads joe what's your mesh for this is it just is it just cubes if i just don't have this merged in and i don't want to merge it um and there's going to be times where i want to make my own road mesh anyway so i'm like this seems like a good time to kind of try it um but i wish i had this i wish i had this one i think it's just cubes but like no is this rectangles and then the material you know what i can uv it i can uv it in maya i don't know how to do it in houdini to to to be square to be a square ah i'm gonna go do this in maya sorry houdini it's the uv and i'm still learning it i'm still learning the tools so i like don't know how to do that so here we go i also don't know how to do it in blender so that's why we have all three which one do i know how to do it in in the amount of time i have left to do it i it feels like running houdini mi at the same time is probably a bad idea i'm going to turn this off it's not like they like fight for they're not like either very resource intense but uh just like i'm gonna turn that off maya uh maya 2020 doesn't crash on startup unlike maya 2019 that's that's very nice very helpful okay so let's go over here create uh poly primitives you are going to be a plane and i don't i just feel like the road should be two by one shouldn't they shouldn't road be like a two if not three by one four by one like i don't know if that's a mistake um subdivisions am i we need subdivisions because it will it needs to deform so there's that um this is default centimeters right so i said 10 i'm gonna say eight so 800 is this right is this right 800 is 80 i can't do math i can't i truly cannot do math i need the mannequin in here i might just do it like at base one and then scale it because i just don't want to handle the conversion it's f out here yes it's af and this is four this is not going the way i thought it was going to so we're going to do with four so that's a two by one that seems pretty road spliney and then we will keep the divisions like pretty i don't think it actually matters like as long as we do double like if i say like um with i just i don't know which one's doing what right now four we need them across both so i'm going to say 10 and 20 for the bottom so that's that's that should be okay for a road mesh right i have no idea and i think what's maybe kind of nice is i want to look what joe did but huh i thought it was like there's a way of doing this edge select is it double clicking it yeah oh i did the whole thing all whatever this is fairly easy i uh i don't know i'm not good at it yet still somehow take pride in making my own road meshes i don't know why i think it's because like the road system that i'm building in houdini slash maya slash center tracer is is mine so i'm still just trying to like i would like to understand it versus use someone else's for now so extrude edge thickness oh boy it's going that way that's fine actually that's fine okay and then scale from is this gonna do what i think it does it is okay right so we did like a skirt you know like this kind of like what that road does just kind of builds a little bit of that in there for us kind of needs a division in here but let's make an ugly one right whatever like i could use like some smoothness probably so it's kind of like the reverse of that um snow one where i had the snow one had like the banks come up this is the banks go down it's like the skirt of the thing i think i do not understand spanish i think josh had something like country rhodes in brussels who's josh you mean joe your video card something um i don't i don't know specifically i don't know 1070 is not like an especially fast card let me try to get this loop yeah okay and then we're gonna you know we could obviously mirror this but you know i'm not and connect boop and this and we are just hacking our way through this i hope i didn't actually extrude it because that's like what it was defaulting to let's look at it from the front i just know my array so it's like i feel like way freer to just like f with it like okay edge select from here on the edge select i do like in blender you can like flip out of perspective without breaking so that's because oh no that is the nice thing about blender blender viewports right okay and then we'll uh yo how do we do pivots it's so good if i remember how to do it it's like it's like j and then you hold v and then you snap it over there i forget i forget oh damn it um so you know i'm gonna do instead eyeball it like this we're not doing hard surface today so i don't have to have the snapping perfect i kind of hard surface in the houdini anyway okay so i've screwed myself actually i just realized um let me look at this material uh where are you what is the edge of this material look like i need to know how much buffer i have on the side because it's going to i don't know what the size end of that material looks like i have a feeling the the lines are going to be in the ground so it's a question like how we want to uv this i should download the texture and then go do that let's do it let's try that okay so i gotta get sidetracked into the tech artifice but whatever like it's what i do i was gonna actually try to make the map now i'm just like let's get all the working first double line and i should and and probably i should just go make my own one in quixote mixer right like this like i probably should do that i like this beat up one seems cool so i'm just gonna get this and i'm gonna export the color map yeah i'm gonna export the color map to maya so i can actually just look at it it's insert dnv yeah it's good let me i'll try it in a second the uh the pivot management and maya is very good once i remember how to do it best in class for sure better than max i don't like max's can be done obviously i just love i just really like the maya one i don't even look at my keyboard and i'm just like snapping pivots everywhere however i want to what life is about snapping pivots okay you one by one road texture i see i don't have very much room on the side so we're gonna do true video game uving uh by actually looking at the texture not a chart but the actual texture so we'll export that's my perforce folder ue4 exports i'm just going to put it here i know it exists in the content folder i don't touch that content folder from other apps we don't even we don't let that that doesn't exist to other apps pga oh i guess it has to be a tga targa the f hope maya can open target files my lt that is okay i'm not even saving we're living on the edge with maya not saving uh material editor oh embarrassing we don't have all the shaders it's embarrassing uh how it reflects my full maya license nope don't have it right now okay so let's go get that there you are please open targets thank god okay oh oh no there it goes okay fine good there it is so we're gonna uv to this and uh yeah that's about it i'm going to save do i have a maya folder i should i've been doing enough of this hold on maya are we going to subfold oh god i've i've not committed to doing this very well uh so we'll just do road i have another road from somewhere i don't remember these are my lt files too does that up convert to full maya if i need to i'm not sure sm road one type 101 sure you don't have to call it sm actually because it's um it's not the how you export so anyway windows workspaces uv oh it's over there oh god okay um where are the uv tools where are the uv there they are i was like oh no i'm so lost so um we're sure it's all going to tile these right so what i'm thinking let's see i'm going to so maya's uvs right we grab the uvs that projection is actually fine let me see what we're going to do here we're going gonna do full we're gonna normalize these jams we're gonna grab these and this is what i need to i'm just gonna write the tool in in in houdini i'll be able to do it there too uh it's not that one normalized my god you ready do it what didn't do it do you have to do it by the islands the uv shell is that what it is oh oh oh we have these bottom ones that are on your vehicle there it is oh my god that's all i need in like any program ever look it normalize across you bottom of line done like done just need that in every program blender need to write it houdini need to write it and then same with this one now what they're all on that that's what happens when you extrude it that's very interesting so this one will do a create project from i'm gonna do from camera it's pretty weird i'll do it automatic yeah that's fine actually and then we're going to we can match textile density or i can just straight up i can match textual density would do its what is the call we want to normalize it across v which it is and then multiply by 2. if i just scale that by two it'll be pretty good or match texas density from this island either one of those would be okay i think transform how do you scale this i don't see scale hmm i don't know how you scale how do you scale that it's going to be from there where do you type in the scale oh here it is there it is two yeah do it okay great and then bottom left align it my uh oh no it didn't fully make it it didn't fully make it you know why because we need to unfold it straighten it let me try getting the textile density from this get it's 128 that's a good textile density that's a real ass texture density right there set oh oh there it is freaking perfect we're going to slide it to the side though put you back come here island this island right we don't want that double line so we're going to go like this yeah get that middle of the road right there right right here okay yes mine is uv tools they work the way that my way my brain works me doing this in houdini would be just i could probably get it it would just take me like way too long okay so again we're going to auto unwrap then i'm going to on optimize unfold straighten set textile density stick to the bottom right oh it's so good it's so good let's put it in that middle of the road now that's not like a perfect seam there right but you know hey it's kind of going to get stuck in the ground okay so let's take a look at this thing there it is that's gonna accept that texture real nice i think uh why is it so subdivided uh it's not just for vertex painting it is so when you put it on a road spline it's to curve right so when i put this on a spline it's going to curve and so you need those divisions in it and i'm not even sure that's enough it probably is but if you just had two it'll just it'll look terrible we're going to loft this across the spline the landscape spline so that's why yeah my it just works just works great for this you know especially lt like lt is like i think there's indy now i don't i don't know all the differences i don't care but like lt was marketed towards game developers and they were like this uv tool set you might want this they are correct uh because max is so dead max is like just a dense thing that's what i started and max was like the first 3d program i like knew really well so where does this go this is real project but still it's still a mess uh uh we're in here am i subbing this through i'm going to keep it in the maya folder for sure we'll just do that for now that's fine so now the name matters sm i do have another road asset i don't remember the name of convention but that's typically sm road type 101 should be fine uh am i going to need collision i'm going to just use the expensive collision that'll be okay and the material should just have one on there so we'll see this that should be it that should be the workflow out okay so i kind of have like a degenerate place i just like this is like kind of like my maybe this oh i thought i did actually see the assets yes this is like okay it's embarrassing but this is the this is the like i'm not sure it's going to stay in the game kind of stuff and this is oh yeah see these are my other road systems yeah i'm working on it it's a lot there's a lot to do okay it's a big project so this is in maya those are my other roads i think those were maya i sure as i streamed making those like on twitch years ago yo it's a company folder maya road it's like the exports could be somewhere generic but obviously the maya folders i want to know that i was producing them in maya scale i made that at like okay scale matters now so let's this is good because i can actually check the scale import is one import uniform scale is one so that's gonna be tiny right that's gonna be like eight centimeters by four centimeters um but i'll just go scale it up in maya yeah or i can do it here is it just ten where is it a hundred is it a hundred i multiply this by 100 to get this to be the red scale i'm just going to guess it don't make any materials no materials no nothing don't do anything no textures nothing render i don't know what that means but let's check it out yeah yeah that was it this is looking normal i've never seen i never noticed that the world the line the world good texture tells you when you're off of the the one to one it's a flat dragon what the hell okay i think that's the right scale let's go bring it into the end of the world where i am okay plop oh nailed the scale we got that road texture right i mean that's not how you do landscape splines but just to make sure that it looks right mega scans surfaces what's it called something road right something road american dusty road the american road texture hey boom oh not bad not bad tiny though yeah too small but we can kind of scale that up in uh the landscape spline eventually okay how can we walk in so slow tiny tiny also smoothing not so good but uh you know it's a start this is like this is for like golf carts but that's just scaling the asset um i give this a straight two two up from here like straight two two two two it was a golf cart road american golf cart road and we didn't smooth out the tangents or whatever the whatever the edges the polygons yeah this is okay and although one could probably quickly mixer uh this road together mine wouldn't look this good so that's uh i'm gonna use theirs so it's just about properly uving it okay so do i close the end of it because when you transition this back to a static mesh so say we're building a city on grid i would use these road meshes but then when you have to reconnect it to the landscape spline doesn't always go perfectly so you can kind of like build like bevels into them like um skirt skirts kind of and it helps like transition this to a landscape splatter version later that was years ago i was doing a bunch of those back in the day oh i don't like this color correct anymore as i run around look at the reflections on this i i spent so much time in substance designer trying to make this stuff on my own and it's like okay i'll just use quicksilver nevermind i've tried so long and then i could do like the vertex blend on this on this one you can't do it for the landscape spline though that's okay should i go smooth out the like tangents or something like i'm surprised these are so hard actually i kind of forget how we do this so for that reason alone i kind of want to remember how this works so one second let's do uh workspace standard um how do i smooth it anyway smoothies uh like basically everything to be honest except for the edge i don't even know i don't even know if that's a thing like is it uh control shift alt c control alt shift damn it it's everything but that it's like invert selection this is basically smooth can we invert selection ah there it is how do we do it how we smooth this thing mesh displays soften edges is it mesh display i think there's like uh hold on there's like a there's like a command like you just soften all the things like somewhere it's been a minute one second um soft and hardened edges soften that should be it that's i think that's how this works this transition we've seen better shifts smooth no no no not that not that one not that one it's this you're right you're right you're right it's soft and hard to edges right there toggle soft edge display yes this is good dcc you can tell what's soft yes max's max is when you make like groups you make like tons of smoothing groups which is like how unreal engine thinks about it too when they bring it in but like that's good that's a good that's good workflow okay so we're gonna export this i'm going to overwrite it because yep over writing it and i'm going to overwrite this one nope that's the texture see the assets these are kind of like the degenerate assets that i've been making uh yeah we're gonna re-import from the same file and look at the smoothing groups it's all smooth now hooray it all works it's all working excellent okay so i made my own road is that impressive i'm impressed i'm happy i didn't know if i could really do that seems fine now we haven't put it on landscape spline yet so we'll see if we put enough resolution in there but it should be okay vertex shading is annoying vertex what is vertex shooting i don't know what vertex shading is specifically okay so with all that done uh brush your fly mega scans a little bit of houdini a little bit of maya you could do this in uh what's it called the blender probably not sure exactly how i would have uv that would have been a lot more crying on my part so actual level stuff just use joe's starting map it looks good so huh the road is the thing the road makes me like i like these road maps i've been making for cinetracer a lot like i like them i like them plus we're working on i'm working on vehicles so that's going to happen eventually but they're just going to kind of drive for you i'm not going to make like a whole driving recording system they're just going to you're getting a car and it drives that's it oh there was a signature question if you use cinetracer with an ipad you can't do that that's not that's not supported yet htc vive is better in general too but yeah if you get if you have like a proper vr system the signatures of virtual production stuff will be enabled it's going to be good uh no timeline on that yet but i'm slowly working on it but before that we need nice places to film and don't we so that's kind of what we're doing at the moment so i mean i did like that winter setup i also like this kind of like forever highway but i don't think the landscape i made is gonna really allow for that like it's very small landscape i mean i guess i could re i could just scale the whole thing up because it's pretty flat and nothing so let me just do like a quick having that road is actually really helpful because then i can superman out of here and kind of understand how big this is it's gigantic i don't usually make him this big but so we could do a straight road right down the middle like right just like like whoop like this which tends to be pretty deserty because like why are you curving right it's just like you're headed to head to las vegas and you straight line right it's not like looping around the mountain i did looping around the mountain before i'm kind of thinking about it being kind of flat that being said if you're straight from here how straight can you really make it before the road disappears we'll find out i suppose so okay let's get started then so we're gonna make just like a straight road i don't know why that seems hard to me it seems hard though okay so i'm just gonna scoot these out of here for now they're placed in the scene we're into kit bash mode now i don't have to actually go find them all the shaders look reasonably matched together from brushify and mega scans i made a road in maya that's like probably like the first tutorial you do in any 3d program so we'll bring these back but these are good to kind of like remind us that these like the main features is that world aligning over there is this a world of line texture looks like it how could it be because it's a unique i think it's i don't think so that's a unique oh and these little tiny detail rocks we're not at the small detail level at this point we're just gonna give these like the boot because like this landscape will have to tear into it so i'll just put these over here is that everything okay and i kind of have this here just for scale so um i'm not like exactly sure how to do this uh that's where that's that's zero yeah okay so landscape's plan i think that's the next one glad to see the success of ct oh the twitch streams oh ugh what's going on what's going on what was your i what was your avatar what was your avatar on twitter is your avatar twitch is cool i might stream wow and i would definitely do that on twitch but for the the fact that i can keep the vods on youtube it just saves me so much time i just i just stream here now it's just way easier okay so landscape splines do we remember how this works every time every time i forget new no that's a new landscape why does that shouldn't be okay anyway so we're here i think we control click but we're gonna start control clicking back here i'm not confident in this at all we'll give it a little bit of a how about like an s into a straight into an s out just in case we can't actually like control the uh actually can't do what i what i want to do now that's really far apart for how big this is but let's just get like a i think i remember how to insert them you know it would be cool if it had the up and downs but let's just get like the basics first and then we'll see how it goes give it a little bit of a snake situation and then like say i can't perspective this we go behind a mountain and so that would have to happen earlier perhaps right so then we're still gonna like i'm not like you're gonna not drive through this like there's like a a master part of the scene and that's gonna be like here ish like the middle of the map i think quest two wow uh you know i'm like i don't have any like hard business connect to facebook so i don't want to like burn any bridges but like i'm kind of not feeling facebook for vr anymore just kind of been watching it kind of evolve and i'm just kind of at the point like or you could not it just it just seems like i don't know it seems difficult they're gonna it seems like it's gonna be difficult to work with them because of all the stuff that they do and i'll leave with that so i'm gonna switch the mesh on so you select all the control points then you select all the segments the segments are where we're gonna put the road mesh here and then you pick the road sm road this is the new one that's unsaved that's flagged for perforce so that's how i know it's that's one uh sm road type 101 yes okay there you go uh no material no material bent kind of funny and the wrong axis can you switch the axis please let me do that here can you switch the axis the forward axis and up oh you can there it goes okay cool great it looks like uh it looks like candyland a candyland map with the texture on it um kind of concerning actually but let me let me put on the the texture that we have now material override i kind of like using material override anyway i had issues before with the default texture being pulled from here so i just always use the material overhead it's going to be something like insane it's some quixot insanity number or um name right it's not like something i can type in there mega scans america destroyed american road that's funny to me right now the destroyed american road how big is it how big is this destroyed american road control points it's a thousand is the half width so 400 is that what that's that's like what would match this is that correct seems like small how big did i make this thing i think it was eight is it 800 do we make it 1600 wide we did right uh well we'll find out in a second we will find out does synergistic replace sequencer no it does not it does not i don't want to write any of that the quest 2 had a good capture volume size the quest 2 is like the best consumer vr system that's ever existed it just lives within kind of a funny ecosystem that i have to like if i make a vr thing people will use it like that that's that that would happen but i have to then convince everyone to use it and i'm like am i going to really go in that campaign i'm like yeah it's cool yeah use facebook it's like i mean i'm kind of already like that because of the group but i'm just i don't know that's that's what kind of happens is if i if i go that route then i have to convince everyone to use it because they don't it's like a super low percentage of people um cross-section with like kind of the users i have that they're they use it there's no one uses it i'm the only one i have one right there it's unopened like still okay so i think you can do like sculpt the landscape to the level spline where is that update spline mesh levels that's not it is it isn't there like a update the landscape to the spline because that would be helpful but the way i kind of formed it is that the road is actually um all right we don't have enough segments obviously for some of this yeah i'm not really sure about like i kind of want to just like base flat and everything so i guess i could do my hands do my hands uh i cannot switch to italian that would be pretty baller it'd be pretty awesome like oh yeah whatever language we need we got it are you gonna show the scenes you're making and do some stuff in cinetracer would like to see it in action or is this content already online or is this content already online no there's a there's an embarrassingly low amount of content produced by me forcing a tracer because i'm still like so into the dev of it still but when it hits that's all i'll do i'll make everything using it but i'm not i still can't i still can't do that nah this is just building maps for center tracer which is generic kind of unreal engine process let's just take a peek where we're at so far and then i'll kind of like understand let's save kind of understand like what the next steps are obviously the road spline's not in a good place where the players start there it is okay i see it there we're gonna okay world let me see okay where's the actual right here okay so let's fly over here i think the size feels pretty good like these cars don't work yet trust me i can get them to work it's just not the the current priority i can write grand theft auto i mean it's basically built in unreal engine gives you a vehicle blueprint you just do it i want to do it procedurally in houdini though i want to send this well actually this one comes rigged but i want to take like i want to have a script that essentially takes like turbo squid or like there's like uv uv hummer or something like that there's a car website that have every car in the world i'm going to write a plug-in or i'm going to write a script in houdini that basically rigs it auto rigs it for uh unreal engine because god i'm not doing that by hand so it takes forever it's a good scale is the point little big it's a little big but i can scale that on the spline like so i think we're like 800 across it's uh i think it could be like 700 based on this car basically it's a pretty good place and how are we feeling about the perspective like how far off into perspective is if this is my zero yeah it's not gonna like shrink into like nothing um so easily so do i flatten to this road keep things pretty flat or am i going to go for like the bump i don't like that curve all that much either the curve is for the mountain it's not for the i mean it's up to me but i'm just trying to see like how how's it how does it land how does this feel where do we want to go i like this default landscape from houdini a lot like it just kind of gives it like a little bit of uh that being said i actually don't like it because it's blocking the horizon so much so we're gonna i have a couple things i want to do here so here we go click segments then you can deform landscape to spline okay let's do that let me try that well let me um let me scale this to five even more down right even flatter i'm gonna have horizon issues now [Music] okay let me do eight now we're gonna fill up with big ass meshes nevermind we're gonna go back to five that's how we're gonna fix it we don't design maps to be good looking out here you know it's not i mean that's someone someone can do that okay let me try that with the let me the thing that you said foliage is not the mood wait i went to landscape anyway good so um click the segments so all points segments what is it called then you can define deform landscape to splines in the tool settings these are tool settings to form landscape to splines it's the only button there and i'm just staring at it it's a tiny text it's tiny all splines only selected that's the same thing use auto rotate control point i don't know hey what oh damn that's that's that's helpful jesus that's great oh my god it's destructive can i i mean i think we're just gonna leave it okay let me look at that that's amazing that no not the source control oh god just lock that button i if if assemble it and oh what [Music] if assembly and pro force like desync i don't know how to get them back i don't know how to set it back up again it works now and i i hope forever it works and so much i that's how much i know okay so there's something oh jesus okay so where the player starts like below the ground somewhere where are your players starting yeah yeah yeah yeah yeah we've moved a bunch of stuff around so we'll just pop you back out here and boop okay what oh i was like that's not that's not what we wanted hey okay okay yeah road's too wide road's too wide oh that that's the way that looks good that way why does it look bad this way because it goes up but that going up actually blocks the horizon so good on you oh this is good this is the way this is the good way which way is that that's this way that's perfect that's exactly what we wanted i i think that's what i wanted so where are you players don't give and down here and we can delete this at this point you've served us well and speed we can chill out for now oh i'm happy with this this came out cool and i made the road authorship it's not a 100 acid flip technically now so what was i going to do oh the land i don't like how wide the road is give me all the points in the segments and the points and then it's going to be side fall off what the hell is the side fall-off fall off at the sides of the spine at this point what does that mean what does the side fall off there what's this what is that doing what's it do what does that do i'm gonna make this 700 what is the side fall off what if i make it inside of it i keep 8 800 500 what is side falloff doing i'll make it a hundred more i don't know what the side falloff is this is the way uh what did the red pluses yes it means that it needs to be added to my repo it's basically like cloud backup for unreal engine but versioned cloud backup so if i broke something i could go back can you record the shot then send tracer 2 and export out frames no there's no frame exporting you have to like do it like a video game with obs okay so let me take this situation um you know what happened is like the skirt didn't it flattened it but like the skirt is now like um not sunk into the ground that much if at all i can't tell but um it's still it's still close let's take another look at it i'm not gonna lie this has already come out so much better than i thought it was going to it's not hard i don't think i've done anything hard but still it's like this looks good it's going to look i can tell that this will right so the transition didn't really stick into the ground so much but um oh that looks good that way it has a little bit of rise too i mean there's obviously like crazy repetition on the road texture oh that looks nice too i even like this hill it's not bad it's not bad doesn't unreal have exr export uh oh you mean from like sequencer probably i don't know i don't do that exr is like i mean has like crazy float bit depth right but it also is um can't you like pack like multiple passes in it or something like that i forget i don't do i don't do like professional nuke compositing anymore massively dope i think it looks great it's incredible i am incredible okay so let's that's the angle that i like we'll try to make it look good in either way but you know that's that's the money over there so let's go plop these out here let's not make it worse let's not make this worse so i'm thinking these are kind of like here type situations and these are like going to be like landmarkies all right so we'll just do like a real basic layout like this and this one goes here we'll probably have more of them this canyony one might look cool as like where this thing ends if i make it gigantic and flip it or something that's gonna need a little bit of help and then this ridge is gonna look cool uh for multiple things but i also think i might just do a bunch of these on the on the border like this like scaled way up i don't know what this is to be for it's just general land breakup and just general breakup over here so i'm going to make this thing gigantic if i can figure out how to scale you two also gigantic wrong way i can't don't know how to scale things boop i'll just bash a ton of those together oh all my mega scans material my mega scans are over there i'm gonna just do this i'm not even gonna rotate them yet and then we'll go see what we've done good bad not good that's cool yeah the cliffs the cliffs joe you've picked good cliffs so cool out of the gate people are gonna go fly over there and use that i know for certain okay um where's the start we might start back a little bit further like uh maybe at the top of the hill is that going to screw things up for me where is the top of the hill we could start the level like here here yeah let's bring the whole world back here here here curve i kind of like starting on the straight again the user goes wherever they want but still i'm gonna like kind of like for search and know that part of it's gonna look good this is it i wanna be here i can't click it oh i got it there's no like bringing this to me is there i could attach it to like oh no i'm on the pawn camera i'm on the default pawn anyway it's back here so let's see what we've done such a shadow right but um what's this you need to be like gigantic just uh just to see how this stuff is sitting so there's nothing over there that's that's basically what we're taking away but let me look let me look at it now so doing the big big stuff and then i'm going to put like really uh mega scans you type close-up stuff basically play okay so um nope don't i like that i don't like that uh it's so dark hard to say i'm not really arting for that direction so hard yet those are perfect i'm gonna put those on the other side that's great and i want to just consider a little something on the background because like it's very soft the hills but uh yeah but that's no good okay i got it i know what to do so we're gonna go and like the butt of this one i don't like it uh the feature of this is like the opening is like the very cool part i don't really i like how those look and they're i don't think you're really so i don't know what to do with this i'm gonna put this over here for now i just like these a lot um and i don't even think they need to be like overly like um broken up they just look cool and so you know we are kind of going to close this set in a little bit like this just because you know like i know where the settings and this too these mountains at some point it would be very cool to be able to like do this kind of stuff in houdini i just i still think unreal engine is still kind of about moving these big chunky meshes but i could be wrong i saw the new landscape like spliney tools that are coming they're like kind of like the water tools too that looks awesome but i also like doing it this way i think this is pretty cool it's simple for me anyway like i know how to i know how to do this that's why i like it i'm biased like this is the way that works for me right and so these are kind of like your main these are what you would remember it's like oh yeah like those big ass spires in the where's the players start where'd it go it's like over here there this is so small it's bad size yeah so am i gonna start you right next to the pillar i don't know like it's a little claustrophobic all right that's about putting these in there in like a cool way uh how is it feeling down here is this mountain a good one for the breakup that i'm looking for in the background if i spin it oh it has look at the opening right this has like that big opening there that's what's kind of cool that's not bad let's just seam it in there oh i was thinking about doing this actually what's this what's this one i don't remember i think that's this one too oh oh oh oh oh wait wait wait wait wait okay so this one is like kind of has a big opening in it like so get big yes yes yeah yeah yeah that's all this this should kind of do it uh you can't really go to the end of the map it's just there's just nothing down there but if i do this it kind of hides the the ending right because we're meant to be seeing the whole thing down here yeah yeah yeah that's it that's for sure okay so we'll kind of put this a little bit into the ground i wish you could like mesh brush a little bit like a sculpt in engine just like sculpt that down a little bit maybe you can might make this one really big to kind of block this and like that's it that's really good uh i'm gonna then i'm gonna might just make this one like ridiculously big it's kind of like it's like as big as a landscape tile pretty much that's too big it's too big overall i cannot get away with like a little bit of it we're doing bad stuff this is bad this is bad oh that's kind of cool what did i do to that thing that's okay that's that's kind of okay and i'm just gonna take this these ones and do it block that little area over there nope here i make that bigger but it's currently at the same scale right yeah yeah this is bad over here what's this that's this it needs some like detail and that's what these are oh yeah all the ridges on this thing yeah this is definitely this is just like stick this right here yep yep yep not that way don't look that way uh okay let's see how big this is so this is like way too small this was not supposed to be here basically like uh but it might be kind of cool as like a it's kind of like that part that i could build like a dirt road using this or something i don't think you're supposed to be this close to this one but we'll see how bad or good that is or how bad oh look it like kind of like turns into a path in there it's like someone thought about this when they made it to make it usable okay maybe this maybe maybe okay so we gotta go back down to earth and look at it we'll find out someone found the emoji button later can you do one single shot like seeing it pop sure yeah i guess does it do the texture blending um oh the virtual texturing i don't do that i don't know how to do that yeah i don't really mess with that i try to get as far with like the basics as i can before i try to okay so we let the skirts all messed up uh before i introduce anything like that that's like i think that changes like the nature of like the whole texture streaming workflow i haven't done that stuff yet i don't know how that works uh we need some more spires yeah i can make a sentence a shot or something like that that's pretty easy this sun angle is not it's okay it's it's okay so how many where's this okay so we don't really see this one into the background so much this is where reference would probably help a little bit like where do these normally show up or whatever i'll just make like a whatever very odd is that the same as this another different kind of and we haven't done any like mega scans editions yet or any like you know notable foliage is voyages it looks like there's pine trees on these type of environments which just wasn't expecting that nothing like that can you make the billboard bigger just scale it what billboard what billboard uh how hard would it be to use gis data that's pretty easy in houdini there's like there's like a node for it is it brushify pretty much yeah you're basically looking at brushify here yeah i link linked the pack that i'm using it's the canyons pack this is very very heavily relying on brushify i mean this it basically is i made the road i'm special and i mean and it's like a mega scans road okay so this is pretty dope came out awesome this is so much cooler than i thought was gonna be don't look that way i'm gonna put a mountain like right behind you uh so i don't like how the road didn't get like meshed into the ground but i think that's partially because of how i the spline did that basically like the spline like this is where you would have non-destructive painting so i'm gonna go mess with that i don't know if i have the resolution to kind of like must mussy that up like money that up a bit we're gonna sculpt oh boy go to four default where's player start we'll start from oh my god it's gonna take forever but this transition to there is bad five twelve it's gonna take forever to do it that way it's like it's kind of like when it does the like deform the road to form the landscape to the spline it's like but add a purlin noise over it or something so it's not perfect or less i'm going to have to go do this by hand i'll give it a pass is this is it insane to do it this way just i'm just going to hit the road the whole way down real quick just to kind of break this up like because um does that even look good it's it's it's better it's just you can sense the brush stroke kind of hard but the the straight splininess is not good uh i think this is the move i think this is how to do it i'm going to do this real quick i don't want to see that green line we're retaking the earth i'm not that much though it's not going to take that long and then like really further off in perspective you basically don't know it okay i'm getting lazy we're getting lazy here it is there we go why am i moving this mouse goes into infinity okay it's a little bit like not not the best looking but it's better is it better this i think i think a subtle hand could be uh is needed and then uh cover it with the foliage and rocks that's that's what i did with the snow map so that's what i'm probably gonna end up doing here but just to break it up a little bit by default now where's the player star is all the way back here where is that thing oh it's over here okay so where this is that's it that's the treatment for now a little bit of breakup not my favorite not like well done or something like that yeah and then meshes like actual static meshes so let's take a peek some real clouds would be nice uh something about assets do you think the environment modeling will be obsolete since the library is full already no no no you can still do it bad you can still do it better and yeah better or faster or cheaper or whatever someone still has to do it because people are picky directors are picky they're like i don't like the and then you get to change it right it's like it's not it's not going to fall off of the shelf off the truck so to speak uh perfectly ever unless someone has no taste but the people who get hired to have taste have lots of opinions and they're going to tell you to change something that they don't like so they have a job i think your job is just easier i've been trying to make stuff like this forever like forever like when i was like eight and learning a 3d max i was like it'd be cool to make a forest and man could you not make a forest back then there was just no way okay mega scans let's go find our mega scans toys you ain't joining i wish there was there is there they are so okay we have our hero part of the map it's right here it's where this little ridge is that's where we're going to art i'm probably not going to mega scans the whole thing right it doesn't don't need to this sun angle is it's okay right so this is where we get down with these this is the same idea with the um the snow level right it's like we've kind of done like some big general stuff that's what the brush your face stuff is really really good for and then you get real close to the detail oh what's with this with the other mega scans you can tell that that's not saturated enough it's it's okay match so knowing that the pl again so i control the players start and so i kind of like heavily tell people like if this is where the good this is where like the detail is and then people can go off wherever they want you won't get this kind of like extra big rock break up any anywhere else than other than where i'm putting it in the map for now uh i think that this again this is like super nice i kind of like that here i don't know if this is the side of the road breakup or it's like a feature right but um but yeah looks dope a little this is so red compared to those i have more control over this than i do of that material i think i haven't gone into it this one feels less good to me now for some reason i'm gonna delete it that's how bad i just doesn't i don't kind of don't like it anymore could these be bigger um this has a slope okay so this is gonna take a little bit of hand loving to kind of merge these into the ground nicely but we'll just do the first couple now we're looking so we're still arting stuff that's not like the full like the levels here and i'm gonna put like um highway things on them highway splines from same same asset as before so finally reusing assets again to make the map this is also feels good it's like i'm trying to make a standard for myself is like yeah you know what road barriers we use the mega scans ones and i use them forever over and over and over again that's going to be awesome that's the hope okay let me just grab another one of these piles and then art it over here this doesn't even have that many measures in it that's the cool part i mean but i i appreciate of it so these it's very similar mentality technique whatever as the winter road scene i think that's one of the best ones i've made for the game so far i'm not even rotating these probably should give it like a see this way i wish i could like sculpt that down locally i mean i think there's tools to do it but then i think it becomes another static mesh so and then that way i don't really want to uh i can also come in like paint up the landscape to kind of match as well uh there's a question if this will look good like doing this like this gives me the breakup here um i don't see it really working out without being able to sculpt it back down i don't think so now so this this still isn't a transition the road the road barrier will help us quite a bit it'll look great actually look really good confident confident in that okay so let's take a peek at what it looks like okay i just don't like it at all popping out like i'll keep that back here and i'll take i'll take one over here too on this side just to help sit this into the ground yep already better so this is where you start i'm going to start you a little bit further back yeah keep up billboard from player start for the little icon i still don't know what you mean there must be some dithering option in the material the billboard what billboard i still don't know what you're saying do we need to bake lighting at the end no no no no no not an exterior no no no baking um this road transition has me very sad but i think i could just do it better by hand possibly but these look incredible right like uh they are gonna be like right at the edge i hope like i'm imagining we're filming on the road so there's just like these are always there and i brought in all the lods so if i drop like a hundred of them they might as well be foliage but then i have to tweak them should i br like if i cover this entire stretch with those rocks they should probably be foliage i don't know if that i don't know if that's true i think that that's probably true okay there's no collisions but yeah like this just looks this is nice this nice little road all right here's the characteristic rock go into the material use the dither option for what for what part are you seeing i i just i still just don't know apart if i copy and paste these these have pretty legit lods on them they have a lot of them yeah yeah so even oh that one's sticking out of the ground but even if there's like hundreds of them i don't know if i have to go to foliage on that i'm not i don't i'm not sure this is kind of uh legit blob blobless i don't like that one so i'm gonna get rid of that everything else it has this nice like structurey feeling thing to it like it feels like rock that feels like a butt that seems like a butt ah that's like really red that's really just saturated but if i if i turn on like actual cine tracer lighting then it fuzzes out anyway so you wouldn't like notice it's only under this like super clear flat lighting i don't like this i think there's a part that i probably oh there it is oh okay there we go yep a little big there we go looking at it from like here yeah that's the butt part that's the butt part that's the literally the butt part uh maybe maybe like that what about the foliage is this the cine camera unreal no this looks similar you can blend the road by adding a dither temporal aaa oh on the road oh i don't know how to do that i don't know how to do that player start detail panel rendering editor billboard scale oh i see you want me to make this icon bigger i see i see okay cool good to know but yeah blending this would be it would be nice i'm not set up currently to do that let me look at it in uh so currently we're doing i'm doing cine tracer dev quote unquote so i'm not using this in uh the unreal engines in the camera this is good it's a little heavy on this feels a little weird but um the mega skin stuff right on the edge is like this just does it it does it okay let me just drop a camera on here i can show the new beds i'm proud of the beds they took a long time to they themselves were not that hard to write but getting the functionality of um getting the functionality to be able to make the bed took a while it's a custom actor component took me a long time to understand how you write those once i got the side of the road i don't know okay you're going to take the lighting like this here it looks different because we're not in the full mode yet the road blending is so bad so bad let's go a little faster a little faster okay oh my god this is tuned for an xbox controller clearly okay walk is okay that's fine so let me open this up is the horizon kind of funny right now i can't tell oh i need to add more f-stop increments because it's kind of here for the exposure for the background then i can light him specifically yeah this is tuned for xbox controller really i have one so i'll just use it pull back yeah this is too fast hold on slow down there we go yeah yeah try to keyframe this doesn't feel the same you have to try really hard okay we gotta kill the grass uh in the road but essentially the way that this camera that at the end of the day the transform the camera is doing has constraints on it and it's unique you know like does everyone need that no but this is how a real camera is going to move and if you were just setting keyframe points and look at someone not it doesn't look like that it doesn't it's not the same and when then you show it to the director depending on the director they won't like it they're like what's this like floaty it's this floaty nonsense shot that you've given us we don't like it whereas this is how a crane will look right it's not necessarily better but it just depends on who's who you're working for what they want the shot to look like and if you're gonna try to recreate it in the real world um cameras don't move perfectly they all have these kind of like physical constraints that i basically force into it and we have a free camera too clouds i'm not putting volumetric clouds in cine tracer yet i'm waiting for 4.26 to see how like that's gonna go uh in two five they were weird they were very odd i tried packaging it was weird didn't like it so i'm just not using them still just putting textures on the sky sphere but vault clouds will be awesome yeah as the road the road blending is absolutely garbage in this case but overall this this is like pretty good all right so i'm just going to copy and paste a bunch of these down uh i don't i don't feel like fully injuring them i don't know why i don't think they're going to be that expensive because they have full odds on them and so far we don't have much in this map i don't know how you check the memory usage i just don't know how to do it i've tried a couple times i think you have to actually package the game but it would be nice to be able to like this map right now on load is streaming in this much and i don't i don't know what that is and i'd like to keep it like a certain amount it's in the material for like blending yeah i'm just not gonna do it though so i'm gonna plop some of these down i'm gonna go get i might already have it but i'm gonna go look for like kind of like a bush type situation for the road as a as a foliage on the close side of it as like a flavor of flavor foliage to this place and then i'm gonna do the road i'm gonna do the road barrier first that should be fairly easy it's a big should be right not the best blending oh terrible oh it looks so bad damn it um why is that so bad over here it's just like not it just doesn't sit at all um it's okay it needs it needs some love uh the foliage to the stock i can do the layer why i paint away the foliage on the road that would fix it too it's actually okay it's just when you're up here it's like of course that looks a bit silly but it's it's meant to be seen from kind of like human perspective so it just kind of stacks on each other it's not so much like this is not like drone shotable really i think okay it's pretty cool i'm going to stick a couple on this side and like really this is the stretch like right here like i'm not going to art all the way down there and i don't i don't really want to but yes for the people who are going to need like you know this is like what's the movie there's a movie in the desert it's animated i think is it part of the that robot series on netflix the animated robot series there's a thing where they're like in the desert animated short i think it was the that netflix show love sex and robots or whatever something like that and they're like in the desert and then they start like hallucinating and there's like whales and stuff like floating around that's this scene that's this that's that's what you would use you would just plop into this world it's a semi-generic desert but for like your majority of directors it's like hey it doesn't need to be like fully custom i don't believe i think that like generically you could use this maybe as i get even a little bit better at it but like i think most people especially if you're like if it's previous for sure but even for like final you just kind of need like a location it doesn't have to be like everything everything has to be completely custom made consider this the digital back lot which is the way that i i kind of think of cinema trace oh what it's like this is going to be good enough for a certain amount of people once we get once we go like full virtual production platform it's the thoughts the hope until layout becomes like significantly easier which is it's still not this still tucks like like i have all the i have like all these resources it's still like a technical dance to get this all to kind of work yeah it could be better but from back here i think it's doing its job i'm still impressed with how few meshes we have out here yeah so this being like the hero angle pretty much is enough i think i don't like this yeah i might as well go for like i mean the lighting i'm being really i'm pretty biased because of the lighting i feel like i could be closer to camera maybe how good is this skirt up here ah it's better with the skirt it's like it's more clear there's like this transition happening like that move a lot of rocks you should keybind backspace to paste keybind backspace key to paste here is there a paste here button how how do you how do you where's the paste here button that would be very helpful that's what i have in centers essentially what do you think about the m1 chipset for signatures i have no idea how unreal engine is going to interact with the new um arm based max um i i hope that that's a possibility i hope that that does work because those computers are going to get faster and faster like if you look at the ipad pro like if you if you want to look at what cine tracer would kind of be like on a on like this kind of like generation of chips look at for oh you can't okay so this turned into an awkward thing but anyway fortnite creative mode on an ipad pro last generation's ipad pro not the one with the lighter scanner runs incredibly well and looks gorgeous so extrapolate that over a couple years of them iterating on the combined gpu ram whatever architecture unreal engine games are going to look amazing and perform really well i think there's another obvious issue happening right now so i'm not sure how that's going to actually play out but those are going to be really good and they say it and there's there's marketing we'll see what's actually real i think that they have a i think they have the potential to be faster than even like um your like hardcore gaming pc and be silent which would be incredible like because this lad has computer over here i think that they have a lot of potential assuming everything sorts itself out on the legal side but yeah i think they're going to be really really good scary good monopoly [Laughter] like it's like oh these are the best computers uh in the world and uh they're cheaper and they work with your phones and uh you know good ecosystem with all the uh you know with all that stuff that you can get uh it's gonna be good and you know they're probably gonna have a ray tracing solution and yeah they're gonna be incredible you'd be doing all your freaking watch 20th generation watch should be like ray tracing tracing on your watch i think it's gonna happen if there was a company that pulled it off it would be that would be them every ever almost my if if i could put cinetracer confidently on an ipad pro and have it all work that is what everyone would use it's just not there yet for me it's not there but i think it will be but if i put all the stuff i want to put in like we let the generations uh iterate and get faster and faster ipad pro is like the platform because no one wants to bring a full laptop on set they just want an ipad you know so it'll it'll get there and i'll be there when it's ready i hope i have my signature tracer but don't have my laptop still what how's that possible how's that possible uh how to set up fps for low motion recording setup output must be 24. uh i forget i don't know i use a i use a deck link card a black magic deck link card and then you can lock the scene capture whatever it's called i'm not going to open it in cine tracer but there's like a there's a there's a module that exports video out of a of a card and then the blackmagic plugin you tell it what frame rate and what time code and whatnot and so it locks it there i don't know how to do it generically like in the engine like lock rendering at 24 or something like that i don't i don't i never use that setting you could technically do that for signature i could do it for sending tracer be like lock at 60. i don't know how to do it but you can probably copy paste it what's the obs you mentioned output obs that's how i'm streaming this right now to youtube obs is the screen recording software free really good uh i need to make a video on for the signatures youtube channel on how to do it a lot of people just do it they know how to do it but i think a lot of people have never never done it and you use quicktime for the mac i got to just make that video at some point this came out dope this came out super dope let's do the road barriers right that's going to be like one of our biggest impacts um i'm pretty happy with this i mean another another day of like detailing and this road transitions pretty garbage but i like it so let's go splines we got a spline all the way back here can you duplicate splines would that be a smart move would be to duplicate the spline i'm still like not that comfortable with these but like what if i selected this and then duplicated it and then just moved it left would that do it would that get me into like a start so control points segments can i right click nope okay can i control point seconds can i duplicate this like edit copy paste i don't know i don't have a handle i'm going to undo a bunch i did paste a link a landscape slide i'm just going to make a new one whatever okay so we're going to do this oh what in the okay so you can't have them selected so if i kind of just like match the topology i shouldn't have to get like too much into it i didn't put that many control points so we should be like okay right so this is gonna it's already gonna take up too much work like i've already made this kind of hard for myself but again i'm still learning how to do this control point segments mesh let's go find the mega scans it's so nice to start to have like a like a standard i've been wanting wanting something like that forever and here it is this one it's gonna come in like towerous like gigando yeah that's awesome it's kinda cool like that it's awesome uh and then we do control points and the half width is like 10 or something it's like 20. it's like tiny okay let it sit give it a second oh man this is why we got to keep task manager open it's going i hope it's not crashing there goes again you can select all the points then alt drag oh really okay i'll try the next time i'll try that for this other spline here which 3 software would you recommend learning first a cinematographer background maya blender max houdini blender 100 blender free well documented blender for sure you won't hit the issues i'm going to hit that i hit like um ever if you're just starting you know there are no issues with it now how do i select this handle okay we got to slow down on this so i'm going to try to do this not that slow i'm going to try to do this better on the next one because like this is this shouldn't take this long right like because now i have to like manually like like all the way over oh and it's super heavy oh my god like yeah because it's interpolating across like so much stuff right like i mean in theory this point should just be like almost just like right next to this one and this is so heavy to move um [Music] just a bad way i wonder if i can now where did the thing go do i put underground or something what happened there it is um yeah so this is a very slow and painful way of doing this so we'll see how it goes drag out as in the transformation okay i'll try that for the next one i'll try to copy and paste the is it down here the little things are so small where's this segment there it is found you get over here we're just waiting just wait it's like interpreting like all these meshes behind me that you don't see there we go heavy every time i do that it's like gotta wait a long time okay so it's still tiny so we're gonna make it a little bigger heavy okay control points uh we'll do 20. it's like twice as big if not we'll find out but still just getting the bezier points are in the right place is it always with scale between apps wait yeah you deal with it you deal with it i used to be of the mindset that y was always up but i've been doing unreal engine for so long now that i've been brainwashed to like z is up and that's what that's the real way but i remember when i came over for the first time i was like z is z is up i was like that like but now i leave it y has just always been up for me but i understand it because like from like a game perspective like why is the ground plan i kind of don't know in a game setting i kind of understand how that makes sense like you're kind of defining like what's the minimum viable product of like a 3d space would be a 2d game and so that would be x and y as priority and so that would be flat and then i don't know if that's the thought behind it but it kind of makes sense if you're making games versus like pure 3d i like why i still like yup but when it comes to like logic i guess because it makes sense i'm sure there's like an actual decision like something there's a reason for it what's unity i forget i don't remember this is painful should i break this landscape spline up that kind of defeats the point of it it's so heavy can i like turn down the preview quality or like go to box mode or something to make this like less this is what vertex painting used to be like on my old computer it's no longer like this um but when i used to do vertex painting on my 1080 ti it would be like vertex paint and wait done next vertex paint and wait so i just never did it i was like that is so bad and so like this is kind of similar but i understand that this is like deforming like a huge amount of meshes so it's heavy i don't know if you can turn it down it's why in unity yeah that's kind of the way my that's kind of the way my brain used to work uh hey we're close i'm just gonna keep doing this so i'm assuming i think i just put like waypoints or whatever bezier points right next to this one is just under the ground somewhere there it is i found it okay and let's just painfully drag this over here it's worth it it adds so much to the scene to have that in it it was done okay good whatever computer i need next time to make this faster i will buy it probably single processor speed i would imagine just highest single processor speed available on the internet there we go perfect how does it make sense if 2d is x and y and which y should be up and down just makes sense to me i don't know it doesn't matter i mean like what makes sense to me i don't know it to me like i can kind of like rationalize that like in a 2d game you're straight you're like this x and y is straight is a straight down because it's like a map on a table there's no logic it's just like does it intuit intuitively makes sense that like if you're playing a board game right like monopoly i play monopoly with my daughter it's on a table and x and y are the only axes you care about and you're looking down at it you're looking down at a board game that's what this kind of feels like to me i don't know that's that's how i that's how i kind of like rationalize it not that it matters or like really affects anything but that's kind of how i see it it's monopoly god this is this is painful this is so slow but it looks so good get up here i think if i had like alt dragged my computer would explode first of all based on like moving all these handles at once but everything would have been on like the right level maybe i don't know i think there's always some aspect of this tweaking process after get up here there it is god oh it's so slow there it goes oh god no there's four more worth it but god so slow and i have to do the other side is there a way to do this faster this is this is terrible hello hello small mountain come over next to this big mountain and let go and pray this hasn't crashed stat units what are your thoughts on ue5 that's going to be awesome things are going to look good it's going to look real good with cine tracer specifically and and virtual production i suppose i don't know how the led walls are gonna how lumen will work across um multi-node but single c single single workstation damn it why is it going below the ground what we'll figure out single workstation to be able to do uh ray tracing or global illumination i suppose we just call it that will change that'll take us one step closer to literally never baking again the baking will always have it's like insane performance gains so we'll still do it for like tv shows and stuff like that like you're gonna bake the lighting for the tv show set like you're just you're just gonna like it's gonna be easier it's gonna be better like to be faster rather but for anything that needs to be like fully dynamic the whole time this new lumen update i mean that's like everything i've ever wanted in life so that's going to be great the lighting is just going to look better and then the lighting looking better makes everything look better now we got kind of like a mean angle on this one it's kind of like going to the side or something this is this is the pain this is the pain moving these landscapes blinds around they look distorted i think i've put like not enough uh individual points between them oh look how far off this one was oh no so i bet you there's a way to do this not so painful so we're gonna oh my god there we go okay so where have we failed where have we gone wrong here the bezier of this one is like do i have to move it ah man it's based on that one that one's pretty much right i'm surprised how off of that it went there's no point in the middle so that's sad hey what's up um this is just a linear process of like check it tweak it check it tweak it where's the little one this could be this this could possibly be the issues this one's too far and though i don't know let me look uh why is that one winging out so hard but that's kind of the farthest one that i care about this other one's staying right on it standing right on it that one's right on it too pretty good this one's a little close but the ones i care about are on it so that's good so let me go look at it save per voice got a 20 things to commit looks good hey that looks good he even has the collision on it that kind of helps the transition too because it kind of blocks the transition a little bit from certain angles it looks super wonky at the end but it's looking pretty good now is there a distortion it looks like the whole thing is getting a bit of a little distorted or something there's the texture on it too it's just so gray it's so close to like the world online texture it's the lighting that was nice i like it use stat unit and unreal to look at your texture streaming uses okay i'll try that stack commands are very powerful stat memory is a good one i never know how to read those i like put them on the screen and i'm like i don't know what they i don't know what they mean yeah let me okay so let's let's try this alt drag situation with the landscape spline because god that was slow and painful it's not even done uh okay so let me try this and then this map's kind of like not like done but it's it's it's like the 90 of it has been done the rest of i think is like kind of just doing a good job better just doing a better job so give me all the control points is it the segments or the control points right so am i now selecting all control points and segments and control points so we think it's maybe alt dragging from here i can see that like crashing because based on how slow this has been um but let's try it now what axis is this okay so we kind of want to grab it on this axis i'm going to pull it in a single oh my god okay oh slow and we're letting go gonna wait jesus yeah that's what i'm saying like moving all of them okay hey that did it okay cool are they all still selected like so oh my god so heavy so heavy okay that's the move that would have saved me like quite a bit of time let it sit now we'll just do the one by one nice alt drag maybe turn the mesh off how about that what if i just turn the mesh off then i don't really have anything to judge it based on that would be another way is like turn the mesh off like just delete it off of it or use like a a cube or something like a cube like a proxy or turn the led just something that's not as much mesh right i think that that would that would help that would speed this whole thing up like use a proxy for this you do that in um you do that with the houdini spline stuff too because you don't want to be pushing the full mesh calculating the full mesh you uh you define like a proxy for um the unreal engine plug and i remember that process okay yeah this gets us there faster we still have to end up doing this kind of stuff but next drive down the road quite empty over here there's one in here there it is so it would be good if it was like you know here in line with this one across the u the u of it the v whatever that is uh this is uh i was very close actually i was gonna give it a little bit this way and that one's done hurry big splines next one how is it this way pretty good pretty good where's the line so we're over it so it's gonna be like here like right on the you bad uv texture seems so yeah perfect perfect cover that up lovely okay yeah okay so this has gotten better all dragging the control points of the landscape splines is the move yeah and it kept it kept the z correct the up and down is correct so very good has to flip it i gotta flip it we'll do that after things get a little fishy down here because of the something this one's off the ground right a little bit this is heavy so heavy there we go okay how is it look on this one could be back here a little bit just the closer the closer that is to that it's gonna just be cleaner now where's the splat oh my god i just moved the spline i didn't actually make a new one how long has this been happening oh my god i just moved it i didn't make a new one and i didn't notice until now well what to even do what to even do now i mean this one's been like so perfect that i'm just gonna finish it and flip it and try to bring it back over there wow wow i didn't dupe it this is sadness i'm gonna do it with a less heavy mesh i'm gonna just do it on a fresh spline this one's just so heavy to deal with that like yeah not so good wow i am sad okay i'll bring this back here on this farm or whatever and this is like in the ground or something there it is yeah it's kind of being bent the wrong way too what's up with this how come this is so heavy uh so wrong this middle point is off like this these curves don't match the tangents for some reason they're like way off on this i guess this one needs to come over more or i could just add another subdivision just trying not to do that because the more i have the more i have to huh and then maybe is that one down there yeah it's the same issue before okay so uh let's just make a new spline and just try to copy and paste it to understand the behavior so we have a spline click click there it is okay then i select these two can i alt drag that no alt drag does nothing it just moves it okay how about copy paste copy paste does work it's just then massively heavy to move it after okay so potentially i'm gonna save all these control points i have to flip that thing i have to flip it anyway so copy all control points that's the wrong one i just almost duplicated the road this one all connecting control points can i verify that that's actually what's happening it is okay so that's that connect that selects all connected it's the worst down here so it doesn't look good right now so they're all selected all control points copy paste you think that would be heavy but maybe it's just moving at the heavy oh it sure as hell just moving it now i'm just moving it it didn't copy and paste them hold on this is now frozen i need to undo yo these splines are so heavy so that didn't work um so i'm gonna un undo the move this all of them how about the segments oh what happens something is funny all control points i can't even select segments anymore uh i don't know what's happening anymore i select this this isn't this is a restart editor kind of moment right for me control points segments deselect now that being said we have more of these now so i don't know i just don't know what's going on so i'm going to kind of just draw another spline i i don't know how to copy and paste these like accurately and i can't select anymore how about this copy copy paste so they selected and the new one selected it's under it okay so i selected the old one i don't know i'm having a hard time copying and pasting landscape splines i'm just gonna draw another one i need to do it on like a controlled last heavy mesh so that being said now actually maybe i'll do i'm going to draw a new one but then get it into place before i put the mesh on it because then i'll be lighter to move so i'm going to put one here is it a blueprint spline this is just the landscape spline so i'm just gonna do it like while it's still kind of light and just try to eyeball it and then delete it off basically i think this is i don't know it's kind of like placing foliage i just need to be like a little bit more precise with it than i was doing before there's the parm rent boom did i select something oh what's going on okay i deselected the the one behind it is what happened right you have to have this selected let's just double check that here before i like fly away yes okay so we can't lose selection i click the landscape by accident control click yeah and this one gets a little fishy down here because i gave it this weird s and it doesn't doesn't keep the tangency or whatever okay so those are probably in a good place i'm gonna hopefully be able to collect them all hopefully be able to click segments that wasn't working before i see the handles now i see i gotta come edit these handles so i should edit the handles before right so let me change the width go to control points we're gonna change this to 20. so this will this is this can be eyeballed and fixed here now where is that point where are you did i not put one here is there no handle no there's a handle it's right here it's just tiny it's tiny no where is it does anyone else have this have this hard of a time with these splines where is the point where is the point it's like right here oh do i have to go to control what what what there's a point there am i wrong there's one here can i see this one where'd they go is it because there's no mesh on it where did they go if you put a spline in a blueprint you can copy it i've only done a little bit with the splines in as a spline component i haven't done a lot of it i think i need to make a mesh out of it hold on so i still have a lot to learn apparently about this so where are you these tiny little handles here we're going to select all of them hopefully i'm going to select all segments now okay that's gives confidence and we're going to add this mesh in is it still here it is do that one it's the road now what i think it's gonna switch over now there we go thank god okay um well that was the kind of not so smooth way of doing that but there it is uh i now am sick and tired of these so i'm gonna just flip that forward axis how do you flip this this happened i was able to do this before why crash gonna like go sideways right oh this is heavy so heavy oh no that was it no it wasn't no it went down it's still x it's just like negative oh we scale negative we scale negative that's what it is right so is it negative so forward axis is x so it's negative one on y so that's it please be it these are so heavy it's unlike rendering it's like make a change wait forever not that that's what unreal engine is but like that's what it used to be cg okay that flips it nice nice nice it's in the ground so not so nice really okay come here we've got a little bit of patience left to kind of fix this up i mean i'm gonna come probably finish this off stream maybe or not maybe i'll stream finishing it are you still into the ground there's your little landscape point you're so small you are in the ground still somehow we want to see this like green line at least i do okay this is uh yeah these blinds are heavy there it is it's tiny where are you yeah you're in the ground too much as well yeah whatever we're good and down here again in the ground so i'm like i'm pretty sure i can nail these spline points blind without the mesh on it but i couldn't the issue is i couldn't find the spline handle without the mesh being on it which was kind of weird so i don't know my next generation of pc should be able to handle this faster because i'm going to get like the maxed computer you can basically get curious to see how the new amd cards play with unreal engine uh yeah i have no idea assuming it's the same architecture that goes in ps5 right i don't know i don't know i'd assume probably probably pretty well okay god that the splines that's my least favorite part of this for sure but it's one of the best looking parts of it so what are we gonna do the road and the side things are like the coolest like they hold this whole thing down that gives the whole thing a scale otherwise it's like wait how big are these rocks and like this is like damn it those are flipped okay we're not done oh are you in the air do not be floating are you floating no okay god damn it so we gotta fix these ones i never flip them back this is for sure the dread is this these splines they're so slow okay so landscape come here come here are you in the air you are what happened i just did this poorly i probably just did bad process it's all like oh jesus oh no there's like a spline on top of it i did copy and paste them okay i've done like a real messy real messy thing there's like splines with no mesh in here well i've just been messy the next time i do this won't be so bad i think i hope there's like splines in here empty splines that one's actually fine there is the empties plan okay well this process will clean them up at the same time so i copy and pasted them but i wasn't able to select them after they weren't selected as what i'm guessing i'll do like i just need to do like this is empty right yep okay i need to do like an empty test uh with just just copy and paste some splines around and understand their behavior because like i would have thought copy and pasting them i would have ended up with them selected but i think what happened is the paste was unselected and so i was basically working on the original but not having the other ones and there's no outliner or is there an outliner for the points like i wasn't sure what i was selecting that's part of the mystery of this whole thing there's the empty one is the i don't have like an outliner to be like oh i'm clicking the new ones or i put them in a folder it's just managing these points is a little bit cumbersome but i might be missing a like crucial part of the workflow so yeah i had extra landscape splines in here so that's never good okay those look fun that's probably not good i have no idea i suppose if you're not instancing a mesh across it they're probably not that heavy pretty boldly deleting the deleting the knot this bezzy needs a little bit of a tweak um can i buy center tracer with kidney money is tight now if money is tight use blender use blender use unreal engine okay so mean landscape splines we're still not like best friends yet but you know it's getting better at it better getting more familiar with it i suppose i'm not sure i'm better at it yet never flipped him god damn it and then why are this still floating wait are you floating is it the sun i can't tell where's the sun are you not casting a shadow what's going on where is the sun are these not casting shadows is that what's going on they're not casting shadows that's so odd that's why it looks like they're floating nah that one is floating something's wrong hold on let me go back down there rock fly here we go what's the deal what's the deal here gotta slow it down oh you're in the air you don't cast shadows and you're flipped lots of issues for you so where's your closest landscape spline considering how crucial this part is there needs to be an extra spline point right there to control that we're like we're like way too dependent on the interpolation is the issue so i really don't want to have to do that these dama splans okay can i click on this and fly over there no damn it damn it okay so let's do this let me fly we fly fast it needs another it needs another point it needs a couple more points you select all points select all segments we're gonna flip y it's negative one i'm surprised that's the case actually there it goes okay now it's all facing in so how to add a control point into the middle yeah look at that huge bezier i mean it almost it's like almost doing it but like right at my key crucial point that i care about they're floating so we definitely need a point to like hold it down at like no never mind it's right there we could probably use a midpoint here that's gonna mess up the s let me look at this let me look at this it might be just here actually they also have like a kind of a bend going on i think there's a setting for like the skewing or whatever but let me let me come off grid grab this that's the point let's get sensitive here no you're just off the ground completely that's what's going on okay slowly coming into the ground there we go there's no shadow so it makes it kind of hard to judge what's going on still floating a little bit okay nevermind we have a we have a point i just yeah i don't know didn't see it point was off the ground still off the ground well no with the shadow that's that's what matt that's what's going to tell us if this is good or not looks fun to use hope we can score another gig in the next few days best of luck it is fun you need a kind of a super computer to to make it like fun fun like interactive one but yeah it is most of this is free most of it so okay hopefully we're done with these these are these are my favorite slash least favorite parts of this worth the pain so log2 do you set cast shadow here or is it in the spline it's probably in the spline like there's no render setting of a static mesh right not really so it's per spline oh no we gotta go back in the slide editor no no okay select all these segments probably right okay where's cast shadow wait a minute it does have cast shadow on cast shadow is on don't cast shadow oh no don't be crashing okay do cast shadow these aren't casting a shadow you know what i'm gonna just like back away from this for now but it has cast shadow very odd they are certainly not and they look a little funny and the last map i made was so overcast you didn't notice but they don't cash shadow but it says cash shadow i don't get it oh so signature isn't a stand-alone game it's something you use alongside you no that's the old way that's what my old products were signature tracer is standalone cynic designer which i don't expect anyone to keep track of that the differences of those unless you used it uh cine designer is the name of the plugin for cinema 4d and would be the name of the unreal engine plugin if i ever decide to actually make that i'm still learning unreal engine enough to be able to do it though can you not set the lights to dynamic they are dynamic for all intensive purposes there should be a drop shadow like uh i mean unless i'm wrong movable movable do you have to do something to the splines to make them cast shadow do you have them right ue4 spline mesh shadow what's up with spline meshes not generating shadows couldn't have put it better myself i don't see a green answer there it is okay as i thought has nothing to do with the material and everything to do with the spline mesh lighting the spline mesh will only generate a shadow if the material and the mesh are referenced in the spline mesh properties this is a blueprint i figure it's pretty isolated instance you might want to be informed after that it depends on what your material settings are if you don't have make it it doesn't seem to make a difference as to whether you use baked lighting or not whether the spine mesh is static are movable what does make a difference is how your materials translucency and opacity are set up without the material call in the spline mesh properties it ignores all lighting except surface shaders by the looks of things i don't know what that means the spline mesh will only generate shadows if the material and mesh are referenced in the spline mesh properties i have a thought what thought so these damn splines damn you splines you know what i'm going to grab it from down here there's one down here i have a thought i'm going to use the material override thing you all of your friends segments material overrides this and they all use this material which is lovely didn't work okay my next thought is that you have to tell the static mesh that's being used on a spline object apparently you don't where do you do that is that something else that's materials materials you have to tell it that it's being used on a spline it's not that a cancel that's source control telling me like do you really want to change this i don't nothing's changed it's the material maybe let me look at the base material not that i'm going to change this are you okay to be used on spline meshes you are it is it's already flagged for spline meshes i've been through this before this is now starting to feel very familiar i don't know what this is please rebuild lighting once do i have to i don't think i have to this is creating a map for the game yes yeah but it's also the same process that if you're using unreal engine you're going to um you're going to do to make your virtual map this is virtual art department work here so we can do force yeah forest no precomputed we can build again and shouldn't do anything we never built ever so there's nothing to build chill oh my god i did not mean to just push it like that um it's probably nothing that happens but i don't do that ever um build lighting only there's nothing to build there's nothing there's nothing to do uh i don't know why they don't cast shadows i'm sure it's a checkbox somewhere but i'm going to just chill with it for now it is a detail this is i want it it's much easier to tell what's happening with the shadow but you know so good there's a collision though okay no shadows sad it definitely does throw off the vibe a little bit i didn't notice that at all okay so the spline handles towards the end get a little like a little crazy uh but but overall i like this quite a bit the planes of of nothingness are here for sure but that's okay i think we could maybe just grab like a a tree and just like a tree and then just do like a quick foliage pass like you know low density across this that would make sense uh otherwise yeah pretty pretty happy pretty happy with this thing no ray tracing um actually you're you're right you might be right you're right it was ray tracing the sun was racing very cool good call very good we were ray tracing all those shadows good call that was it thank you it's interesting with um for certain situations ray tracing shadows are actually faster than cascade but it depends i'm not sure this is that case but it's something to do with like the repetitiveness of the mesh or something like that like lots of repetitive hierarchical static meshes are maybe faster with ray tracing i forget there's a couple cases cool ray tracing jesus um yeah i was gonna look for like foliage so still no it's still no quiksil uh speed tree still no quicksilver trees yet but if you go to on twitter and you look at who qixel follows you can uh you can learn things 3d assets so let's look at um foliage that was 3d plants let's see if there's like a 3d plant that's going to tie this whole thing together for me it could be a cactus for sure let's look at the references for this boop boop boop there's like these bushes yeah bushes big grassy we have stuff like that bushes big bushes big desert bushes that's that's what we need i don't know if we're gonna have any of that let me see what we have already in the game because i'm not trying to like infinitely pump everything from mega scans into center tracer um i'll do a lot but i don't want it to be like that insane okay we only have one i only have iv so far in actual center tracers look at the restraints look at the restraints okay so i have nothing i guess i've been i've been importing into other i mean we might as well do the succulent like might as well be a cactus right i mean maybe that's different if the cactuses go out here it seems like they would i kind of it's maybe a little bit too definitive though so maybe look at shrubs how do i not have foliage how did i make how did i finish the winter map in cine tracer i don't i don't remember those are kind of nice i don't acacia that's probably not what's in there sandy succulent ground cover grass flowering friend let me go back to 3d plants you figure there's like a desert like it would tell you all environments desert look at this program my god okay so some grass aquatic succulents so probably the probably this buffle grass i've used that before not in singapore apparently um still no like big shrubs right that's still speed tree desert grass that's gonna be subtle i'm gonna do it though i'll take this because it's called desert grass that'll help we don't have any like big stuff so i might speed i might use my speed tree stuff still which is fine i think speed tree is going to be around i'm going to use it for a while so download things 2k fbx f port settings export settings it's fine yeah also i'll do a bit of this now i'm kind of remembering some of these are bad some of these don't backlight but there's only one way to find out i don't remember i have a feeling these don't backlight so pretty but i'll just try it i can delete them out as long as i don't use them it won't be like too much of a conflict for the editor deleting things out of out of games is not easy on any level we are in a waiting states there it goes i'm going to give that ivy as an asset though that's going to be really cool that's going to be nice heavy so this is lots of lots and lots of different types of grass i'm just going to paint that along the edge that's not even going gonna do that it's it's gonna it might be kind of cool along the hero part i'm gonna put it along the sides we still don't have a major breakup for the landscape but i think i should have like a speed tree type of shrub that'll work i know from another destiny type asset from the marketplace i have something that would work i'm trying to de-integrate that from cine tracer though i'm trying to minimize the sources of contents brush will fly mega scans for sure always and then the amount of party i'm bringing in i'm trying to be way less so i can control the master materials better then if between upgrading versions and what like that things break it's like i don't have to search through like 20 different master materials right you know i just have like my main ones getting familiar with mixing speed trees with qixel atlases oh i've never done that i would wait wait i'm assuming there's a qixel tree generator coming out but i mean if you had to ship it like today i mean yeah you could probably sort that speed tree is pretty technical it took me a long time to even be able to like make a variation and send it back to unreal i prefer like just off the shelf like just like here's a tree i don't i don't i don't need all the proceduralism maybe someday wow this is this is the thing this is a lot of stuff coming in foliage is a lot right i mean it's like all the it's like how many variations like 10 or something eight and then each one has like billboards and all the stuff so fairly heavy you need some heat wave in the distance that would be cool that should be pretty that's pretty i think that's pretty easy that's like i mean it's expensive because it's going to be a transparent texture that would have like a world um or offset animating in the background going like this and then there's like a distortion parameter on like translucent materials mirage the mirage asset it's just gonna be really expensive because it's like the overdraw or whatever it's called when you see when you're seeing things twice or whatever like you're drawing it twice just like really heavy and then you put it out of focus and be very very very heavy performance wise yo this is a long-ass import the lod adjustment is automatic and unreal what do you mean by adjustments you set it up in the static mesh and it's based on screen space uh the screens are one of the ways is screen space screen size and then it'll switch it for you not they don't have plus signs but hopefully they will when this comes back when i save it you don't have to do transparency you can do post process oh for the heat waves oh okay i've never done that before i can really create some tree stuff but without leaves can't get into leaves atlas's stuff i'm not sure i've never like tried to mod like a speed tree formula or like the speed trees i just like load up the speed tree editor bought a bunch of them did a bunch of randomizations and then spit them back out as static meshes back to unreal depth map to distort okay uh this vlog should stay up nothing tragic happened too bad this is getting a little slow with this important saving but okay everything got flagged for stuff so this is good i kind of think that these are gonna look bad which is too bad let's check out the leds ouch that's a very hard switch is that right was that correct how come we're moving so slow in this editor something feels wrong something feels very wrong is this going to come in gigantic the import scale was set at a hundred do i just delete these now that broke the lod because lod is based on the screen space i have to delete these and i just instanced it into the stupid level so now it's gonna be memory referenced how bad is it gonna be to delete these i can overwrite them i can overwrite them i think that's gonna be the move i hate doing this in active projects this experiment it's cleaner to delete them it's going to take a very long time i'll do that off stream that's going to take me like 20 minutes to delete these and bring them back okay let me go look for some let me see if i have any speed tree stuff so this is my old speedtree collection that i've built up over the years uh aloe vera i don't use them that much anymore is that bamboo this is stuff i've never even added to the game i just have i was mostly looking for little trees which speed tree was the only place that had i mean like the art directed kind of trees that you'd see on a movie set it was the only place like in the world that i could find these and i had to kind of mess with them a little bit i don't have desert stuff i don't make deserts very often this is all movie set this is green green's department on a movie set of what most of these trees are and they're in like in the cooler the cooler tree okay so i have unfortunately oh did i delete it did i finally get it out of here oh this is my new stuff um [Music] here it's in here these ones these are deserty assets they're currently actually available in cinetracer i've been trying to not use them so much though how big is this shrub because these these come from like a really nice desert kit that i never ended up actually using so let me see how those feel in backlight which is all that matters for to me front light looks a little weird and what's the law look like yeah they're okay they're pretty good the person that made these is really good um it's these kind of scaled up or pretty they're pretty decent i'm trying to not use stuff out of this kit but so i'm not going to actually i'm trying to this third-party folder i'm slowly getting rid of everything from it it's going to take me a very it's going to take me years maybe to completely disintegrate this stuff and use stuff how i want it to be cleaner and more modular but um so yeah so i'm not gonna i'm not gonna use it so i wish i had a speedry one which i had a speedtree desert bush or i wish that uh maybe oh yeah maybe there's something from uh from brusher fly the road shader has a fade built in okay is that do you is that i forgot about the pressure stuff that you guys have sorry um do i have roads i think i should right because i have did i put country roads in here is it meshes yeah roads oh so you already had one okay and where's the shader is this your road one let me open this up i forgot about the brush to fight roads i forgot about those is this the road one specifically i can't tell distance tiling height map height ratio m road oh okay so there's the brush if i road materials i just don't know how to use them can you switch in the um can you switch in like the quiksil ones oh you have parallax occlusion mapping is that just like a standard displacement map or is that something different and you have opacity i see and you have an opacity map on the edges okay cool so i'll have to look at like i could like i could probably use this map with the qixel road right okay good to know thanks for the reminders that you have those and that being said you might have foliage too actually right you might have do you have desert foliage i don't remember or do i have it um meshes foliage trees ground bushes bushes nope juniper those i mean those honestly those might those might do it i might paint some of those down banana plants no um trees cedar birch maple palms cedars and maybe these cedars i think people do that i've seen i've seen some of that maple no birch maybe i think you're i think the bushes are maybe okay here so let me i hope they don't like auto populate this into there into um i have to go delete those out that sucks so much i hate having to do that like ruins my day to have to delete things out of this project oh yeah it auto-populated this nope nope nope nope i need to be more on top of that okay so let's grab the bushes you have this juniper bush i think this is going to be okay it's a little green um but these two i think are going to be it let me try this so let's look at them just like stock right a little thick a little heavy um oh they look great i think i'm gonna i'm gonna go with these for now and they're brushing five so that that means like i'll use them long term so let us tweak we're going to let's just do one at a time let's look at these ones uh we'll say density of 10 juniper bush okay yeah perfect you have to add forms done unreal okay still too much bit dark on the back light but that maybe that makes sense okay i'm gonna go even sparser let's say two okay i like it uh then this one say even like like one density is that different oh i still have it selected is that right it's painting both am i wrong it's painting both even though i only have one selected it's unchecked i have to uncheck it okay my bad not bad all these tools are different okay here we go yeah i buy it i think i could have even less of those 0.5 so i'm going to do on the big one i kind of want to let them get a little bigger so i'm going to 1.3 and we'll let them get a little smaller 0.8 and let's try these settings together both activated you don't have to select them but i'm going to so we'll do a bit of oh okay they popped in oh those are the lods i was gonna say the density is not right a little heavy a little heavy on the density maybe it's too much i'm gonna end up painting these by hand that's what's gonna happen like one by one so this is one i'm okay with this i think that's i think that's it okay i'm just going to pop that down um again mostly prioritizing the direction where we're good to look in which is this way so i'm just going to go did it yeah so i'm not ready to do this like all procedurally in houdini yet uh at all but it's something i'd like to work kind of towards but i'm i'm not i'm not there yet like this is like the manual way and i'm still just getting up to speed with how this kind of works and then perc they probably don't need to go this far down um but we'll see and i'll give a little bit of we'll just come delete them out of the if they overlap into like a weird place we'll just come move them by hand and maybe do like a couple like uh hand placed ones yeah so there's a little bit of funny business in there but we'll clean that up okay where are you where are we back here a little heavy little heavy on it but i might just like one one by one get rid of some of them remove them quick so leds are kind of scuffed sometimes they are sometimes they are the static mesh ones are kind of some of them are are like completely broken like the s i was going to try to use a lot of their static meshes but it's like they they kind of like don't work out of the gate i'd have to take i'd have to take them one by one into maya and make sure that leds are like properly set up and et cetera i mean for the most part like the surfaces in this these static meshes which is like the majority of what i'm using i've had no issues um but yeah some of them some of them are odd and they updated the foliage stuff semi recently i think like the i'm on the latest update i believe and they changed like the automatic lod settings were set up kind of odd before i think they were like not just arbitrarily set they weren't set up like kind of i can just delete these just remove yeah i'll just slow these down what happened to this a little heavy a little heavy it's okay the side ones don't look good get rid of these get out of here uh okay let's just go big picture and look at like what we've applied yeah completely um completely forgot that we have the uh pressure violence yeah helps helps a bit it's a little bit much and i think we could like start slowing down like at like kind of a massive level like like i don't i don't like it when it's like it makes that like i should really be doing at eye level but i don't like it when they start to they just it's too much so i'm just like kind of manually slowing down the density we also only have two variations which is like two is very easy to notice i think three and four five you know just more variation would help and we also have no rock no rock foliage besides the very very small one so there's just a little bit more like trickery or dressing i think what would push this to like kind of like the final level of what i'm capable of anyway you see how the shadows are black that's due to lack of global skylight oh you want me to turn that up road to death valley yeah something like that i don't know in vegas you make tutorials or something i do not not really i just live stream the work i have to do sometimes or if i'm like on an exploratory r d thing um which everything in unreal engine is kind of like that i just stream it yeah it helps a lot it helps the infinite in this the the without going too deep with it you know so over there is a little bit weird i need some like rock structure breakup that's all like kind of like these kind of like this size rock maybe a little bigger a little bit more mega scansing in this area and this let's area staying down here this needs a little bit of something maybe yeah this is nice these look good these are looking nice this is a little bit uh you know oh you see the clovers don't have shader on this might need to do a recapture of the skylight this isn't the the lighting this is cine tracer so this lighting is just temporary but yeah i'll recapture it if it makes every everybody feel better um yeah i think it came up pretty nice pretty cool hey let me check out the the cran sky it's okay we can pump it i mean it's there it's not much um i could turn it up where is it right it's there it's just subtle it's a sun scene i could do like 1.3 or something just a bit a little fake a faker bounce we could also do like sky again this is this is a cine tracer so i have a different sky system but we can add a little bit of warm up up light in the skylight right that would help okay let me make sure that everything looks good out of focus is the next question or gas station yeah a gas station would be cool that actually had a kit that was a gas station i just ended up not using it because i completely rewrote i wrote my own building system so i could make a little landing that would be a different map that would be a different map this one is just like the road you have a scene on the desert road maybe and you know this is it for sure this should get you through any like generic desert road type situation or at least it's my that's what i'm giving that's what they get uh for now and i think it's still like a million times it's much better quality than it than i had before and consistent and i'll be able to make them all kind of look like this this is brushing mega scans and you know my current level of building things who i guess i guess him maybe let's try the float camera forget there's so many programs and one of them is mine this is my own program can't say i always remember everything about it yes much signatures are updating happening soon as well i mean this is a constant like updating i can't change the sky because we're using um aesthetics guy how well yeah again we're in we're in like non-standards in a tracer world at the moment we don't have a couple systems that have not been added yet this is actually decent focal length kind of happy with it yeah somebody do a senior tracer shot quote-unquote okay the grass coming out of the ground not the best this looks good this is like this is nice thanks joe he's floating he's floating so we'll do something like i'm gonna hold one key one autofocus is popping off i'm gonna change the speed so i can slow this down a bit yes good controlling and uh focus should be the same so i'm gonna hold two and currently still just limiting it to five second camera moves uh we'll do more later okay framing here is a little funny i'm gonna adjust it like that i mean not seeing his feet is very odd but you know considering we're like editing into this shot or something like that here comes two yep pretty good everything stays out of focus nicely this is a focus test cars car materials are in focus not ray tracing of course looks a little funny the the spline thing is what's it called the uh the roads are out of focus right the foliage is out of focus right the mater everything's good it's just translucent materials some mostly but you never sometimes you never know you never know decal some sometimes there's something that looks funny out of focus and it's like kills the kills the whole thing the current fire i have in the game is completely garbage and it doesn't look good um so but i'm gonna be making i've been saying this for years or a year i'm gonna make houdini fire to niagara particle cards hopefully for this next round and then update the rain and the snow to be the same system hopefully came together nicely thanks joe i appreciate it appreciate it so when is epic buying this and making it free they have the engine you know i think i think that that's that's that's their that's the play this is like a v this is like a small little version right like yeah i don't know it's with all the stuff that's even free and very affordable like like this environment other than the people is like sixty dollars pressure phi and free everything else mega scans you know but it's still like labor to make the generic environment and to make it accessible you know so that's kind of like where i've kind of jumped in at the moment other than all the the camera stuff right now but it's just like even to just make the game environment just takes time even even this and this is kind of bad the end part looks kind of shitty actually but uh yeah thanks to just lots of people like this road uh i've i've streamed it i've taken them off youtube but if you go deep into my instagram i've been trying to make a road that looks like this forever like forever and render it in redshift and maya and so many different programs and it's just it just all kind of comes together with unreal and just the kind of like how the ecosystem is now and poised to just get better with unreal engine 5. so i'm pretty happy it's pretty pretty good times for me everything's kind of working out and yeah i can make this a virtual set generator too like we can use this for virtual production if i wanted to go like fully go that route really i'm more interested in like digital human machinima type content creation uh hence these environments this if you have a tank of a gpu you can do this in vr too this will work in the vr mode we're not like that heavy on things no ray tracing of course but if your 2080ti 80 30 80 30 90. uh you'll be able to play this 60 frames per second in vr maybe not the g2 the g2 has like a super high resolution you'll have to turn down the settings a bit but um these are all vr able which is important for the later as well hence my uh kind of still just very much focused on somewhat performance right 2k textures we're keeping things kind of low here because vr is going to be kind of an important part of this later uh worked in virtual production i think at the start of the year having yeah there's the i keep trying to figure out like the best way to [Music] integrate what i build into unreal i just haven't found found it yet i don't i don't really know how to do that um i don't know the whole con the concept is still relatively new and you know i'm in a good place to market test and see what people would need to build it it's still just not clear to me so i keep building cine tracer and i just keep looking at the tools and i keep building things and you know eventually there's some play i think to be done as the like oh the cine tracer button up here you know but like i don't i don't know how to do that yet i'm not sure what that would look like used vr2 but yeah scenes were a little heavy 60 fps or less yeah this this because the lighting would be a little bit it's not optimized for vr but if you can like brute force through it it'd be okay i'm like a vive right g2s and someone like the newer hmds have like very high resolution maybe i'd have to test i have every single i have a pretty much every vr headset for testing at this point almost all of them with signatures we can export a movie from unreal no no no i should like make a big diagram of like what it is i think most people get it okay so this is bad no it actually has no interaction with unreal yet it could if you look at twin motion twin motion is more like an oem of unreal than uh cinetracer is because we don't run like that uh it's all possible everything that underneath unreal engine games can do with modding all that stuff is possible but it um you know introduces complexity and then dependencies like if i all of a sudden allow you to export this as a format that unreal engine can read i have to keep up with how fast unreal engine iterates and i don't go that fast at all i really don't very slow compared to that compared to the you know the army of unreal engine developers i'm just one person there's and there's a whole new like landscape system coming soon to disrupt how i've already doing this but like i don't know i feel like i'm kind of simple like this quality given the audience that mostly plays this stuff is in a good place and is the correct benchmark to hit to go higher than this you need 30 90s you need really fast computers and i just that's just not really who's who's using this yet like how many 30 90 users exist in the us u.s london chennai and you know my major markets it's like it's not a lot of people they're going to push past this level of quality um we'll see with lumen how that's going to go but to go higher than the assets like this it's a sequencer you're in an unreal engine workflow where you're like per frame you're rendering like a 30 seconds a minute right you want anything aliasing you want the like the high quality movie render but if you want to interact with it in like actual play run time you can't you're not going to want to push too much further than this um in my opinion it's like when you like let the lawd stay on longer and like go for like higher res trees but at the end of the day it goes out of focus you know where we want to put the quality is the humans that's that's what this is so i want to get this to the quality that makes sense at the tech level that we're at currently to be out of focus backgrounds or slightly in focus backgrounds the humans are where i'm going to pump like we're bringing into the ak textures like that's that's where you're going to feel it you know ak rock ak ground yeah you're not gonna no one cares like you're not gonna you're not gonna get that hit you're just gonna eat that memory right and the lighting of course the lighting is is there yeah it's all shaping up well unreal engine five should be like pretty interesting to get gi for the interior so i wonder we'll kind of find out i can do pretty good interiors in cine tracer already i'm just going to have to keep teaching people how to do it that's i can do them not everyone get them so this is the new one uh it's it's a it's a freaking uh it's a water thing at the moment oh i don't know my own game okay here we go yes look at all the debugs because i'm still working out that this thing so this is a preview of like what's uh been going on behind the scenes this can change from king to queen to twin and each one has its own iteration of uh dressing essentially for each one right so it's three times four variations all built into the same ui turn this off turn the blankets off the box spring can go away and you can still well you need the blanket to see it you can still do all that stuff um but on top of that the new thing that i wrote behind the scenes is this is an actor component so now we have material slots pre-grouped pre-set up everything completely set up for you and i've introduced mega scans textures into this so i can change this blanket to be this right so you can have it match the walls because the walls can do this now and then these are all uh in-game editable as well so i can completely overwrite it i can make it glow like it's been a journey to get this written it's terrible ui but the ui is now modular actually it's i can call it from any object and attach this stuff to it automatically syncs itself together and so i give you what i consider the relevant uh controls of it all right so we'll have to change the tint but now we're making the bed the bed sheet blue now it's not like a very saturated color um so like everything that you would need to kind of art direct this generic bed or base i'm basically exposing and i have different bed frames this is from an asset kit but to blueprint it together and integrate it with signature tracer currently how it works was a process um but essentially every object is going to be kind of like this so it's a combination of like sketchup smart objects revit families and kind of how unreal engine does it but just massively simplified um and all the furniture is going to be like this and then we're going to have sets that kind of all go together as well and i rewrote the the base material so that we can actually take in any of the mega scans stuff so this is a lot of this is like my old shooting materials that i was working on and these the mega scans ones that are just like you know much prettier you can make it wood looks kind of dumb but right so i'm just testing them all out like normal maps still pretty strong right that's just a normal map wood wood blanket i don't know this uh and there's nothing really stopping me from making a a feature where you could essentially import your own mega scans textures if you if i wanted to but i think it's more important to give a base set than it is to do anything like that for vb this quality is more than enough i think so yeah i think yeah you have to bake the lighting you have to do some other stuff if you want to actually stay at 24 frames per second 30 frames per second but then push to like the next jump in quality so it's a lot depends what it is if we're talking v i'm talking vp with like cameras and real people if we're talking vp as in like a full cg movie then obviously we push further we go three steps further than this you know but like if this is the virtual set that like the weather channel is using it's good you're pretty good it's okay you know and people are not like and then i don't think we're looking to go too much further like right right now like i think i think most people can't even do virtual production in an environment that looks this nice from what i've seen i haven't seen it uh so this is the new bed but it's the it's the structure that went into making this i'm gonna do for cabinets and doors and all this stuff so we have like specific configurator type functionality with modeling on top of the now this is a modular actor component that i can add to anything with the ui preset up which i didn't know how to build before i'm basically like writing like video game version of the maya attributes editor is essentially what it is over and over again until i can do it better but yeah this uh you know this quality asset like is it movie vfx i don't know i don't think so but like you can't you can't interact with that but i think that stuff is coming with the chaos physics for cloth to like in game like pull that off and have it do physics we could probably do it heavy slow but i think that stuff's coming but i don't think that that's the use case at the moment i think it's simplifying this bed down to like its absolute necessary parameters uh and making it simple and then make the materials look good out of the gate and then i think it's one step further actually providing fully built rooms like a whole motel room and that sort of stuff and the exteriors now uh these are so performant that i think that i can build interiors where this is the exterior i think that that should be completely fine and they'll be built a little bit differently and maybe run time swappable in and out i had that concept for a while it just hasn't really come together but i think with this it should be fine but thanks for hanging out joe's holler what's up my little one's jumping so this is a perfect time to say goodbye uh this will be the next map in cinetracer i'm going to clean it up a little bit do a little bit more what smell oh the hot spot yeah this room gets really hot with the door closed that's super hot it could just be me sweating and being gross too there's that's definitely definitely it well cool thanks for hanging out uh i am gonna commit this to perforce before anything goes wrong and maybe i'll keep working on it well my daughter doesn't like the smell thanks so much good way to end okay see you guys next time peace you

Channel: Cinematography Database

Views: 30,649

Keywords: cine tracer, cinetracer, unreal engine, ue4, previz, previs, virtual production, virtual cinematography

Id: GExfiUcvc-I

Length: 222min 32sec (13352 seconds)

Published: Tue Nov 17 2020