Cinematic Cave Environment | Unreal Engine and Megascans

hey what is going on just again checking the audio is still working looks like it is uh what's up jc what's up vic so uh today i'm gonna be doing some more just environment creation uh i fell behind in learning how to do this stuff things have changed quite a bit and yesterday or i think it was yesterday when i did the last uh mega scans uh kind of like walk through for myself i was doing a lot of the things wrong apparently i was using the older version of the mega scans plug-in like there was a relatively recent update i didn't get that update so i updated it yesterday i watched a couple videos so i'm going to be trying trying to use the newest way of using the mega scans plug-in it's pretty different actually so i'm really glad this update just happened because i'm probably going to integrate that version of it into cinetracer and i can talk about some of the differences in what happened and then i'm gonna also be trying to integrate uh brushify using the landscape auto material with mega scan stuff so i watched like i don't know a couple hours of brushify tutorials and then a couple hours of uh mega scans tutorials as well from like a bunch of different people so a lot has changed uh since yesterday even since yesterday what's up aldo cotarb uh santo and arts okay so i'm gonna like legit start a new project like from scratch so i don't know what this update is is there a four dot is there a 4.25 i'm not uh i don't know i don't know if i'm going to do that one but for now so i'm going to just start from like the beginning beginning let me make sure i actually switched over what's up virtual sky uh hopefully this is usually i pre-create these before the stream but i don't know today i felt like doing like the entire process from scratch so as as well as i know unreal engine i think i kind of like forget things over time and i haven't been doing environment stuff and now i really want to add it better looking environments into cine tracer with brusha 5 being where it is with mega scans being where it is i want to see if that can be really my primary um my primary marketplace for it and i like the marketplace stuff let me just get this going here so i'm going to do game because that's how i that's how i understand things i'm going to do third person for this one blueprint no c plus plus i don't have any custom plugins i need to like tinker with and no ray tracing for now so uh i just continuously make one called megascans and i keep deleting it and doing it again but here is the process from scratch anyway i'm trying to possibly just use the brushify auto material and some of the materials some of the foliage and then the majority of everything else when it comes to environments like so grass and dirt and all the stuff that mega scans is and they have a lot of hard surface have it just be those two things and that's really it and then it's pretty much hard surface stuff that would be from like other kits you know that would be like buildings and things that make a scan it doesn't currently have cars humans of course which when when it's time to work on digital humans i will be working on them a lot is it possible to use mega scans for cinematic films oh yeah yeah yeah if so like mega scans has like vfx quality stuff if you want to uh use that and that's all that's been used in like star wars and jungle book and they use that for like forests on like really big movies at vfx level but the special cool thing is that they also have performant versions of it that work in game engine so it it works for both and those two things are kind of like coming together with possibly unreal engine 5 where it's like you just use the vfx level assets like 100k plants gpu instance like millions of times millions lots of times so stuff's kind of coming together i think so step one yeah so i'm gonna go back to i don't even have it open so hold on huh i don't have a browser open either one second let me just click to a browser so i can get to my windows really quickly if i need to so i'm going to go back to the launcher and i'm going to import a brushify kit and i don't know what i'm going to do i think i'm going to use the clips so i'm just going to import a brush if i cliff someone real quick where are you where is it this yeah here we go so i'm going to just add this oh it's five gigs okay but still i'm going to add this in there it's mostly for the auto material so i'm going to add this to the project that i just made shouldn't take too long because this is in the cache hopefully it should take like a couple seconds how can we use animated characters in unreal oh just wait so when 4.26 comes out i'm going to jump into character rig and i'll be doing um full body motion capture to cleaning it up in unreal engine and then animating and unreal and all sorts of stuff but waiting for 4.26 maybe dot one to come out and i'll jump right into that stuff and then i'll have use for my uh stretch sense gloves and all the mocap stuff that i'm working on so it'll be uh i'll be doing a lot of it some of it will stream some of it'll just be like regular youtube videos coffee of choice is i use like a keurig at the moment and it's like something boring like mountain coffee it's green i don't know it's a green i'm not a coffee uh snob really i have almost no opinion i don't care do your own cinematic like elder scrolls cinematic oh yeah it's definitely possible definitely possible with that symmetry i need to get through um vanishing point first i need to like actually i have all the kit now i just got to get back down to the the downstairs studio but a symmetry yeah it kind of came out of nowhere for me but like a lot of people are using it the ui looks a little bit intense looks really intense to me but you know it's i guess people are using it so i'll check it out at some point so here's our blank project we just imported this brushify stuff and we're mainly here for this this this material right there that's that's mostly it and and that it's basically preset up to be modular to add your own foliage types and your own landscape paint layers so that's that's huge setting this up from scratch is is a big pain in the butt and i'd rather just go off of someone that knows what they're doing with it so we have no um no mega scan stuff in this yet and this is the i believe this is the newest mega scans plug-in so different than yesterday's uh not that you can probably tell from out here so i also updated the bridge app that's the main one so after i was done streaming a couple people were saying like hey are you using the new app and i'm like what new one what do you what do you mean so like there's a big update i basically wasn't doing and i did it okay how come bridge didn't open oh there it is okay yeah let me bring this up over here so this is the new newest update of bridge right so check for updates you are running the latest version 2020 3 2. it's a little different so things are quite different and i watched a lot of videos on the vertex painting and the materials and it was super different than yesterday so it's crazy how fast this happens yeah the gma logo i saw that i don't care like whatever i use all the gm i use all the google stuff but logos i'm not sure what's vanishing point vanishing point is um well i'll make a video on it soon it's um it's like an all-in-one virtual production system for green screen primarily so you get the camera tracker you get a lens encoder so you can pull focus and it gives you an app that does like all of the camera tracking and the compositing for you and it's a plug-in for unreal so it's kind of similar to how like people use vive and x-symmetry but it's like all together so for as what i want to make i mean this was like kind of the thumbnail that i chose as far as like inspiration so we're going to re-look at the materials that come with this stuff and i'm going to try to just kit bash a little level together and these look like fun these look real cool so i'll probably do these ones so let's start with the this is kind of fun oh this one just got logs all over it which one's better let's do the laggy one because that's kind of what i like led with so click this cart it tells you if it's closed or not right so they say if it's an open or closed mesh you know let me make sure the download settings are reasonable um unreal engine okay 2k unreal engine lots no i mean we saw how you get changed them but i'm going to try to just be like none for now the laws lawd one and two is not even that much it went from thirty thousand to twenty thousand i'll just take it and so yesterday i was kind of saying i don't really care about displacement that was wrong that is incorrect and i was like i also don't care about ao also incorrect so we want all those things when they're available for sure what up mike i don't have a new graphics card now i just have the um what's it called this is a 2080 ti and when i'm doing virtual production with a with like a real camera i use a quadro rtx 8000 i haven't tried the kit bash 3d stuff yet i guess that's something that i would you know to investigate it i would at least i might as well like stream it while i'm messing around with it and like doing it wrong hold on let me export this but like i said i'm trying to like once i get brushify and mega scans working and i understand it and i can like then package that for cinetracer and then also just know how to use it then i would try some another thing on top of it i do like the concept of kit bash because maybe they're like another standard how come i can't full screen unreal engine what is this do i have two unreal engines open no okay i don't know i think that's more of a windows thing so something when you use the the bridge importer that's important is that it this says um flip green channel so that's not something that's default for when you bring in normals even if it auto notif even if it like auto detects it's a uh it's a normal map which is like is it mostly purple like it's uh or pure green you know it's that it's a normal map but uh you have to flip the green channel so your normals are like reversed or something like it looks like they're going in instead of out i think is what happens so the new instance material for this let's start a new map first of all so let's let's get let's get into it uh maps this is a throwaway project still again i kept bash this over and over again until i like it until i feel like i know what i'm doing with it but i'm still gonna call it map zero one map one it doesn't matter this is gonna get deleted so that's the name that came out here can you add me as a friend on epic games i don't really do anything that the friend list would uh work also my account is my work account so not not really no same with steam too i haven't i only have a developer account so i don't really have friends on there so to speak so here's this map with nothing in it and we'll go we're going to go on lit for a bit here and i made one mesh in blender the other day i might make it again to be honest um just to kind of get back into blender just a little bit like i don't quite need houdini for the level of measures that i'm making at the moment that doesn't hurt um but like a subdivided subdivided plane doesn't quite need houdini but anything more complicated i basically like building houdini scripts over just hard modeling stuff usually so here is a randomly sized uh flat piece of geometry right and the only difference with this and like you know your stock plane is that it has a lot of subdivisions for tessellation uh and seeing how tessellation works now or how the new displacement materials work is uh displacement blends is pretty awesome so that's what i'll be checking out here shortly so here is our i'll put you at zero as well make everything water again yeah i i almost know how that works now so i'm going to try it i mean that's hopefully what i'm going to do today is that the right way it may not be though but that's okay so this thing right so i'll throw lights in immediately because we're kind of a lot of this is like shader focused today so i'll get back into the lights immediately so if we look at this base material compared to what it was yesterday there is an awful lot more happening so not only is there i think there was like tiling and whatnot but this has like full-on color correction in it so had i like been like okay let me import everything and start building a standard off of it it would have been immediately like out of date so to speak uh that day like because i was using the old version so that's kind of what happens with um for me with this with that with anyone it's like yeah let's build this i'm going to start building a really big project and like try to standardize off of like what's available and then it changes right and so it's like with character creator from illusion it's like oh the humans are different the shaders are now completely different and same thing here this is a completely different base shader from before that i was looking at yesterday so like looking at the ms default uh what is huh that is interesting yeah there's just a lot more to it like this is their basic the most basic material they have and it already has like more um material functions and a lot more going on whereas before it was like let's plug in each map into the big shader and have like one multiply blend over it or something like that so it was like really simple now they're like quite it's a lot more involved and really good too so for for a good reason so i'm quite happy that this exists so that's a mesh that's a closed one so i'm not going to go close it in blender material is a lot different so this next one let's grab i'm gonna make a blend and see if i can do it the right way and i also have to turn on lights then don't i full trees and mega skins yes yeah me too me too there's so many good trees on the marketplace that i'm i'm not too not too much in a rush for it but yeah that'll be very cool i think that's that feels like it would be fairly soon so okay so here's the big difference for me yesterday from yesterday um these materials still 2k i don't want 4k stuff i don't care uh we want the color map we now want displacement normal ao and roughness whereas before i was like i don't really care about displacement ao you kind of need them now a lot more and they're more apparent they're more like immediately useful i think uh with the blend material so i'm downloading this surface uh let's double check these settings that's not my project oh it is the project location okay yeah we're good actually because i just keep overwriting it over and over again so that just did a conversion which was interesting i don't know like it's like with the exr i don't know what got converted so to speak but we have uh albedo ao displacement now we're gonna use it gonna really use it normal and roughness so great so i think with the blend materials you're ideally supposed to have three yeah and i was trying to do it with two i think it's meant really to have three so uh this will be kind of like a rocky bumpy thing and it has it's called gauge so it has like when you when you're strip mining with um rock presumably you you drill down holes and you put dynamite in the holes and then it explodes and then the rock kind of like in a somewhat like deterministic predictable way like sheds off and then you start and you strip mine through like rock and like i think that's what these lines are like the drill lines when they're um when they're strip mining with dynamite so i'm going to also take this mine rock wall which is probably the one i'm actually going to use it's like like this is like the exterior of the cave and like that one with the lines again is where they've been strip mining so it's kind of different so i'm gonna download this one too and i'm gonna blend a couple together that's definitely one and we wanna find like a rock that kind of has this going on too we'll export so there's a bit of a converting five of five textures then we export to unreal i don't quite want to batch it yet so everything came in and i'm mostly looking for this displacement texture because it's kind of important now hooray okay so we got a bunch of rock ones like we're just using the ones that they're interesting that they're recommending okay so let's do a floor that's gonna be good displacement 2k unreal and we just keep on shopping well it comes with a hat a helmet mega scans humans would be would be fun too let's just double check that this is coming through not yet there it is displacement need the displacement okay so i kind of have like a rocky texture i have the dusty ground so that's two and i need like a third one which would be kind of like a top layer which could possibly be what are these these look like they're decals or something there's coal stone ground that might be it that might be it so let's try this i mean i'm staying within the i'm staying within the collection right like this is like pre-curated here oh what's up our contractor you're still an admin you're a mod what's going on how's it going have you seen the new the new uh this new bridge update it changed a lot it changed a whole lot like the blend material now is like mind-blowing to me and i'll hopefully demo it correctly but again i'm just trying to learn it so we'll take those is that going over you did you checked it out yeah well then let me know if i'm doing it wrong in a second okay so so for this stuff i mean i think it was the decals actually that really needed the lighting but like who wants to look at flat light so let's let's put some lights in here real quick i still don't know how to do this guy atmosphere sad uh directional i'll figure it out plop bring it up here uh skylight uh-huh and atmosphere yes guy atmosphere that's basically all we need for now ugly put those together i'm just going to zero them why are they why are any of them scaled there shouldn't be like really too much scaling going on but just i can select them a little bit easier i'm just gonna do this okay so that's pretty much it uh turn the lights on it's gonna look ugly for a bit let's turn uh you take the sun directional light turn on this there's the sky you know i kind of want um volvo i just want the volumetric so i can like have it not be black down there but we'll see what else has to happen the skylight is is not capturing anything oh 4.26 gives us the more performant sky update i just watched the live stream yesterday so that's that's going to be nice i'm excited for that you doing great as always appreciate that i failed pretty hard at mega scans yesterday but it's kind of i think it's honestly i think it's like representative of like every well a lot of people's learning process i can't like really speak for like how other people do it but like oh that's why skylights uh there we go here we go but you know it takes takes a long time to learn this stuff and then it changes and it's like you think you know like all this stuff about it and it's like oh no no no no that was the yesterday version you're still doing it like how we did it yesterday come on like get with it so i was doing it the yesterday way okay so we have these materials i'm liking uh i guess if we're gonna do kind of a ground it's like that's a ground one that's they have the word ground in it and then the rock wall without the strip mining parts yeah so we're just gonna select each wall or i'm sorry each uh surface folder my head might be over this one i'm not really sure uh and so we're gonna pick the ground layer then the mid layer then the top layer and this will matter in a little bit so let's say the ground layer is i mean we're thinking minecraft right it's like the analogy doesn't neces doesn't really work as well here like what's the ground layer i would say it's probably like this one is darker like that's a pure purer color like it's a more contrasty color that we can change that really easily i think it's like hard to say like which one like dusty ground coal stone ground so i'm gonna say that's the base that's the bottom is the rock i'm gonna use it as a as a replacement for virtual texturing for now then it's the like clean coal and then this is like that same texture kind of but like dusty so this is not the best like demo of it but that's how i'm gonna put this together so we're gonna go in here and make a blend and i'm gonna call it i'm this is again does not actually go into my game so it doesn't really matter but i'm gonna say qms like i'm gonna say this is a material so really it's a it's an mib which like material instance blend maybe mi is material instance then b is blend you may just write blend i blend uh does it really matter i mean if i'm using a blend it doesn't quite matter if i just call it quick so i'm gonna call this one like uh what is this cave cave ground one talked about how this doesn't matter cause i'm gonna delete it but i still thought about it for a long time create material blend here we go so let's see if i can get this to work that would be cool that would be that would be excellent so we got this blend material now here save and this is where things have changed like an awful lot it was good because you showed that things don't magically come together you got to put in work yeah yeah the magic part comes in like the time-lapsed edited versions where you like make a 15-minute version of it you're like i did everything perfectly and and here it is perfectly laid out because i actually spent six hours before this tutorial hacking around with it and i'm just too lazy to make the cleaned up version i just make the crappy version okay so here's the unimpressive like weird like this is bad right it's like oh what the hell uh it doesn't look good so let me let me change some stuff here because i want to run around on it i'm the kind of i'm still like a game developer like at heart that's like really as what i identify with at the the most so i like to play the game i like to play the level whereas i would imagine most virtual production people never hit play and they never like run around boring you're boring okay so here is this looks this is the worst it could ever look it's this looks terrible it's like you put it you put a picture on a flat plane it looks garbage right so we're gonna we're gonna do better but we're not we're no collisions we're specifically not using uh a landscape though for this the animation looks really good in 4.26 yeah oh yeah control rig yeah i'm gonna do a lot of controlling stuff you like the crappy versions i'm glad oh what's up what's up manus how's it going that's that's i'm gonna call you okay so we got this i mean it's a lovely texture but it's not fooling anybody it looks like it looks silly so um let's look at this blendo you know what i want to do a couple other things before i do this but we're gonna get into like hopefully showing how the blends actually work so but before we do i need like a big chunky rock so we have a mesh we have our surfaces we blend them together i want this i want this i don't know i want this in here real quick and then i'm gonna go get like a rock right just like a chunky rock lld give me the good one custom material no unknown legend four yeah with this with the with the static meshes i'm not so sure what do we need but i'll just kind of go with what they're saying here for default i just need some meshes right because it provides scale it provides i don't know visual motivation to keep building the scene because it doesn't look bad you know just building just a environment to me gets boring really quickly i need like something i need a story oh crap where is it though oh did it actually come in no it did not so did i not hit export what happened let's look at these export settings that's the right place uh-huh download did i not hit export export to unreal engine maybe that's an export i don't know no way on the name pronunciation there's that too yeah i also don't know exactly how to how to pronounce your name yet another zoom call and we'll get it straightened out oh no they're all different pieces oh no okay well that's fine it's a bunch of different pieces so let's just throw these down um yeah lovely my god kwixel you you are good you are good uh let's check out this train track now why are there different train tracks just uh just okay i wanted this to be all put together for me i guess i can just kick back that real quick though what's this was this supposed to be i see okay see one of them goes here am i snapping i am that's really cool for the qixel stuff that they give you like reference and like honestly i was trying to figure out like what i was going to build today and like sometimes i just need like a little help i was like they're like how about you build this railroad because we have all the parts for you this is like just a form of like sudoku or um mad libs fill in the blank photo realistic 3d environment and i like that it's getting to that level because that's the level i need sometimes there's like some days there's like some i'll say like months at a time we're like okay so this train track is not the right size for this huh right so hey so what do we what are we thinking here what are we thinking i'm like these renders i like these references okay so we scale it up just for the size of the track or you scale the track to the size of the cart which one do we feel like is better based on the mannequin who is a tall person is a six foot tall mannequin six foot tall mannequin so i'm gonna say that i have no idea i don't know i don't know how big cards are i don't know but i'm gonna scale the card up to the tracks that's more fun anyway like and i want to make like a if it was gonna if i was gonna air on one side i would rather it be like funnily like funny big than funny small or sad small i don't know how to scale evenly there it is that's a big track now that's a big it's a big thing it's still not enough this is also not what i'm here for but i'm doing it oh we're auto exposing that's a no no okay so we gotta fix that okay that's huge that's silly but i don't know it's kind of funny too okay i mean those are big trees i mean that's probably what it is that's probably i mean hey like those are i i don't know i don't this is not what i do but i'm into it that's okay it's big i like it like i said i'd rather it be uh funny big look at that big number 2082 i don't know if they added that if that's like part of it kind of looks like they painted that number and uh that looks like that guy added by someone's mouse i don't think that's i feel like that guy added it's cool though doesn't look right the i don't know it could have been that so anyway so let's um we have a bit of this and then i want like a big rock to kind of ground us in like what we're doing here so this is fun you just we just go shopping it's free and it's like easy it's incredible like this i can do this all day hence why i'm still doing this uh collection that's not it yeah so we go home right like this okay so yeah it is big that was a big car let me get these 3d assets assembly i just want like a cliff so they're in here somewhere is it stone oh no is it rock i want a cliff there just yes cliff this one so this is kind of like the coal mine one i had this one yesterday it's kind of boring so i'm thinking not using that one so they're all like different colors right they're like oh it's red like i need it but you'll you'll see you can color correct it that's kind of fun it's it's always like yeah i want the icelandic stuff but it's not i think i'm probably more like an ireland like from the cliffs pack but i mean you could keep bash that see the icelandic stuff just so cool though like that's what you want to use um oh those are these events these are like kind of like the cliff that we like the cliff material we have those are probably that was probably them back there okay so we'll try to make it so they're very um the only thing about them is they're very plain it's like a plane right so you would probably have stuck them into like a landscape so they're not gonna really hold down the environment as hard as i need it to be i've used this one okay we're gonna use the icelandic one and i mean i want it to be this but like more a whole mesh not just like a flat plane uh in lieu of i'm basically not gonna landscape a ton for the stuff that's up close i kind of like this quarry cliff but i'm going to desaturate it i think that's kind of the move i'm going to go for at the moment i want something that has a bit of but these are so slatey you know that's not like granite um i think this quarry cliff could do it it has a lot of break i'm going to take this one but we're going to color grade it and i'll show you like how the new instance material is like a little bit um oh no it's going to say re-download so the question is like if you change like if i like de-click some of these and then re-download it will it delete the other one and only put these in it will have the logs well i'm not so sure so i don't know but i'm gonna take this clip i need a rock to kind of hold this whole structure down or it doesn't look right or it's hard to judge if it's working that's kind of my my thought with it okay so that's it it's working oh yeah look at all them lots coming in that's that's fine for this rock i guess i turn them off too scale yeah scale scales you gotta use the judgment they have mines in colorado get the ices i was playing with the icy stuff i am going to make a snow one at some point i like this a lot i also need to learn this all quite a bit like that third person model from uniform working houdini so i have to scale model to 0.01 i forget exactly how i do it in houdini houdini has like some pre-made humans that i just use those they're like named after like the developers it's kind of funny it only adds lots for the re-downloads yeah yeah i'm not sure yeah i forget but that's kind of why i'm starting fresh again because i've already downloaded some of them so i'm like i'm not really sure it's so small i i'm not so sure like the best way to like reinitialize them anyway this is what i kind of need to hold it down right it's like hey here's the here's a cliff so first of all you can't judge exposure until you lock your exposure down so i'm gonna go get the post process and i'm so far still like the only person that uses manual everyone's using auto like a crazy person but i like i like manual unbound it where are you come back this this and manual and we'll say 10 for now yeah right so it's the same as before but it doesn't change when you go like under the logs like dark stays dark if we really cared we could bring out the i forget what it's called they have it built in i always forget what it's called so we have to show engine contents i want to like deselect how do i do this where is it like the color oh that's definitely not how it goes down i think it's in here and it's like color charts or something like that there's the color checker but i need a 3d version of it there it is there it is so it's called uh sm color calibrator plop make it big as big as the thing that you're kind of judging your life on so there it is i used to make that from scratch it's actually a really good exercise kind of not for the filmmakers more for like the developer people are like really heavy art people um i'm gonna turn that off now engine content only to see that it's really good if you learn how to make that on your own it's a lot trickier than you would think like from scratch in photoshop plus unreal engine get the srgb values or hsv values or however you think you're gonna get this macbeth chart color chart i don't like the fact that there's like a drop shadow in there i don't need that but um make that yourself and see if you can get the color workflow to work in unreal engine how you think like how you think colors come in from photoshop and whatnot and then judge it based on you know then be able to use it for like your middle gray exposure see if you can get that right took me like five times to do it correctly from scratch but now i i have a slightly better understanding of color i don't definitely don't have like the full picture but it's a good exercise to try to make it from scratch or just use there so uh that being said there's a couple different i mean there's like one there's like one normal way that most people think about this um but i don't find it lining up in unreal engine like you would in a color grade street and resolve and live action cameras so i don't typically engage with it that way so i'm not gonna really go into that stuff that being said look how dark look how bright this chart that gray chip is there that should be kind of closer to black but also look at the shadows under the cart they're pretty satisfyingly black so it's because it's not fully pathways so there's just like things to to bring those together is it's different you end up fudging it you know you color grade it anyway so the first step here is to look at this mountain and be like okay it's red we don't i don't want it to be red right i want it to be gray like this ground material that i kind of started with so that's one of the first things that's new in the new material instance that i didn't have before um slow at checking the chat i am so important is that importing models from right is that rhino and sketchup oh you text to speech that's hilarious sketchup and rhino yep yeah yo i heard that there's a um i saw in the the live stream yesterday that there is a runtime revit importer yeah okay okay i could use that immediately that's incredible not everyone needs that but so we're going to take the uh color map here alberto and we're going to color grade it and just pull all the saturation out of it you're not red anymore hooray and then i'm going to lower the contrast and i'm going to up the brightness no i'm not and we're going to just keep color grading this rock albedo until it more matches the one at the bottom so there's a bit of red and orange in this one we're not gonna really get that uh maybe i could with the tints uh but just being gray and relatively the same tone that's good enough for me i'll be happy with that so contrast it's a fairly low con it's like around here and the brightness you don't want to go too far you can break kind of break out lighting works if you go too nuts with it but something around there they're a little closer together this has a lot of red and stuff in it so it's not perfect but that's stuff that you can do with the albedo controls now and then if you really care uh you can get into even more with the normal strength and whatnot but the elbetto is going to be the one that gets you like a big difference right so now that rock matches just a little bit more than it did before right it's not perfect like by any means but we're not gonna do runtime virtual texturing because i don't trust that yet uh maybe in two six i'll try it but for now it's uh i don't need it okay so there's a rock there's our exposure ball uh not that this is i can real not that i'm really using it like you would use it in a color grading suite but it's it's roughly like we kind of know that you would say you're over i would if i'm looking at this i'm like we're like two over one over i don't know but then i look at this and i'm like we're fine i'm feeling completely fine about it but it does depend on how you're lighting it as well right because like how much of this sky contribution is really happening here let me check this out real quick uh okay that doesn't do i think you did like effects world there it is yeah yeah so getting those together is is a thing i'm still working on but it's it's there it's it's it's somewhat interesting i think we're the middle we're a little over this with this middle-ish gray is a little little little little hot and that's a little dark but if i expose down to nine i don't i don't i don't think that's i don't think that's the movie there like let me look on the underexposed side yeah i don't know i don't exactly use that how i wouldn't on like a live action set but it's still like a nice reference at least for colors too so i'm gonna look at this blend now right so this blend material is bananas this is like it's like uh it's it's a whole beast it's a whole beast but what it can do is basically do qixel mixer in the editor so you don't really need quixle mixer this is quixle mixer now i mean to some to some degree not yeah you can't like fully blend them together but you kind you can do some blending in editor and that's where i'd rather do it i don't need like another 3d program i don't want more 3d programs if i can avoid it so we're gonna just turn on all these things this is turn on all the features the shader probably just got a lot more expensive but that's okay i don't know if that's true or not but we went and turned on a bunch of like enumerator branches here color grids for exposure they probably asked like 20 years ago marketplace it's free more maps hmm okay okay so uh number one tiling no good it's uh it's right we're tiling this texture across once across the whole thing it's probably more like 10 times something like that so we'll not do blend let's close these up overwhelming so close them you have blend controls which we'll deal with in a second base layer middle layer top layer puddle layer displacement so we're going to go to the base tiling is absurd so we'll do like say 10 by 10 very tightly of course but we'll deal with that we don't have like that macro um but neither are we going to be doing drone shots of this scene right the scene is going to play down here like a movie right so you don't notice it as bad but you can do well that's landscape stuff but landscape stuff you can have it so that when you're back here it actually uses a different material um and blends and that's why we use brush five and for that stuff but like down here in this world this is about right i think about ten so um to even reveal the other layers i kind of again face rolled through vertex painting yesterday but i think i know how to do it a little bit better now i can hide this here for now will you add something like foliage later on quiksil material dry grass etc i was always wondering how to add grass layer i can paint the foliage that's like super easy or do you mean like adding it as like a landscape uh paint layer grass i might do both to be honest we'll see how far i get today but we're gonna do some footage i don't know exactly what part you're asking for though so i'm gonna do paint now and so now i know how this works so though the blue channel still confuses me so i might still do this wrong but to my understanding if you paint rgb with pure white it's the base layer that's a thought i'm not so sure that's my theory but uh if i paint uh black now on the red layer i get the mid layer is this the top layer the mid layer i forget but you get that and then i'm going to do black for the green layer and that's the top layer yeah yeah so this is so we're going base mid top and then if you do blue this should be the puddle layer they should make it look like water yes there's water okay and water is pretty cool like cool like look at the reflection right get a little bit of screen space reflection i'm not ray tracing this one today um but yeah so you get this puddle reflection and you can there's very subtly like little ripples happening in it that you can change what the ripple map is how fast the ripples are moving like this is very subtle you can tweak it up higher but there it is if you don't if you actually read the documentation this is how the blend works and it's very nice to have all those together we'll get you through quite a bit so the next thing that's cool about the blend is that we can start to look at well we'll do displacement as well but we can look at like so this line here pretty bad you know and and the way that i normally get through this we have to tile these down too is i just cover it with stuff but what you can do is you can actually use the displacement map to help blend this together in a way that makes sense so it'll just look more natural and it's it's a lot more procedural you're kind of just like you're more loosely being like over here is dirt and then it kind of blends them together kind of cool like you would expect in quixote mixer or something like that or substance painter uh so we'll be doing that so i'm not massively confident in like putting it back like how you erase it back to its normal state i don't really know could you release this artwork what as a free up this scene i'm just showing you how to make it you should the the value is being able to do it yourself though i think okay so um let's do some displacement next okay so first off if we run in here i'm into foliage mode but um so we run around right i got to tile these down but we look at this rock on the ground and it's like it does it's flat it's completely flat we don't want that we want this to like actually pop up in the air just a little bit and so that's why the displacement maps are now important whereas yesterday i said screw displacement but that was more for landscapes than it is for like on a mesh itself and before i knew how this works uh so i'm gonna go back into select mode and i'm gonna pop that up and i'm gonna change the uh what's it called i'm gonna change the tiling on this because it's still tiled like the it's one tile's the whole thing it needs to be ten minimum like i think so we're selecting that gonna go back into this like monstrously overwhelming oh it's over here this gigantic uh blend material instance but it's it's just overwhelming there's just no other way to put it it's insane so it's a lot but it's it gives you the things you need so i'm gonna do 10 and 10 so hopefully now the charcoal is a little bit more at scale yeah it's def ten it's about ten so same thing for this top layer top tiling we're gonna go ten and it matters a little bit more once you get the displacement in there because then it starts to really kind of show up like how crazy it is if it's off um but yeah so those are like a little bit more normal look at the nice little pebbles in there we'll displace those now the question is before we do displacement for base layer here it is this is what threw me off really hard yesterday doing this on my own off stream is it doesn't auto connect the displacement here so i have to connect it i don't know if i did something wrong but that threw me for so long trying to get this to work and what's going on i have a search going on in here on boop so we gotta go fill that in so i don't know what i did wrong but it is wrong so this is the what this is the rock wall right it's the ue ew yeah that one so displacement click goes there ao click goes here if you don't do this displacement does not work or it makes it flat it's like it just moves up all the honest like evenly that's use and that's useless you would not want to do that so this is the coal stone ground two this one yeah so again displacement click here this probably is meant to have done this for you but it doesn't so i either did it wrong or it's working progress i'm not sure this one is this is its displacement this is it's ao if you don't do this this is this doesn't work and it's not fun and it took me an embarrassingly long time of like face rolling like i was like why does my displacement look so dumb so hey it's already almost doing it like you see how like this is um this blend here is kind of happening based on the rock itself that's what we're talking about not so much here um and the water too it makes a big difference so you're kind of gonna get these like more organic uh blends happening between them i think that's what we're going for uh yeah what do we what are we doing here i'm wondering how to add an alpha image to ue4 as a landscape brush how to how like how do you make them i haven't made them yet i'm not sure i would do it in houdini i'm sure there's like a script for it or like a a tutorial you mean grass type for the landscape i see yeah i can do i can i can attempt that i'm gonna try that if i get that far in the stream today that's a maybe joe has a tutorial on it i follow this is tutorial i'll see if i can if i have it like memorized as a cinematographer with td skills how are you resisting the career path of game dev i am a game developer 100 that's like what i do now um enable tick displacement oh or just tick enable displacement in mega scan icon oh up here oh my bad okay cool thank you good to know see i'm learning stuff every time so it's this interesting okay cool thank you so that's how we do it but if you didn't do it and you or you wanted to mess with it this is where that stuff gets filled in okay good to know i'll try that next time if i make another blend which i will i'm going to blend this rock for instance i'm going to fake virtual texturing on it okay so let's pop into some displacement here we want to kind of look at the rock right this kind of thing here so let's just turn all this on at least this one and that's tessellation controls yeah so we're going to define how much the displacement map uh at max will will pop the rocks out so i'm going to do like 10 centimeters so it got like real bumpy in here oh okay or zoom in way too much how do you zoom in here here it is right so it's the bumpy ball bumpy bumpy bumpy and same thing should have kind of happened here it is yeah it's a little bit off the ground so we'll go a little bit too far with it i don't know but just so we can see it so there's like 20 right so this thing is getting real bumpy and this is getting real bumpy over here too it's actually off the ground now right like this is actually 3d quote-unquote geometry right and that's that's cool for the for this the static mesh i'm gonna make the distance like really big like 2000 if not longer so if you look into the distance here if i make it like 100 it only tessellates up to like from me to 100 centimeters i think away and if i make it like a thousand it does like the whole world or no i'm sorry like 2 000. like my top my text like this floor is only like a couple thousand wide so now pretty much everywhere you're looking close up you're getting this 3d rock situation and now the blend between these two is like way more interesting right like this this sort of stuff and then you can play with the um oh never mind uh you can play with um some of the not the useless slider you can play with some of these uh offsets but i'm not gonna mess with this we're doing uh we're taking this mesh and subdividing it i guess 16 times that seems insane um but if your mesh didn't have a lot of subdivisions like mine does you could uh you could tweak that and give it more right so i'm going to do the middle layer 2 which is now this rock here like this this black rock or this coal floor some do middle layer displacement uh probably doesn't need to be 20 but if it was it would look like that doesn't really doing it for me ten five i forget how you get the collisions to update to this i don't know if it's possible so my the dude's feet are gonna go through it but for virtual production that doesn't really matter as much for game development that is an awful lot uh and i'll do a little bit of displacement on this rock here because i think this one's going to show up even more because see like this is the displacement and then this one has little rocks so we'll see how much that like actually gets picked up this is our top layer five i didn't seem to do anything to be honest that doesn't seem to be doing anything huh oh no that's the wrong button oh hey no wrong place that was the wrong place to do that it's here 10. okay so it doesn't like protrude it out as like as much as you kind of hope those little rocks do but you probably don't actually want that to displace uh you would just put foliage over it that are actually little rocks so i'm going to cool this off to like almost zero to be honest maybe like one i'll give it like one for both of these i don't these are these middle layers they're not really they don't do as much maybe i'm doing it wrong but i'm just not seeing that much need for it but i'll give it like a little bit but the the big difference is the fact that this ground here is now all bumpy and that's that's a good thing it's so bumpy and then look at the the border here right it's already starting to have a bit of a look right this fade and so that's what the blend controls do which i'm gonna go mess with now so that's displacement to my understanding anyway and we'll look at blending now so i will blend all these both like that so when you're using like you can do this on landscapes too i tend not to hence why before i was like i don't really want to do displacement for but for the blend on these things it's like really really good like really good you're like doing 3d quixote mixer blending in the engine so get the displacement maps it's worth it i think uh by the way for displacement you have to check that on bridge okay someone said that yeah that's good to know noticed you were watching cinematography vids oh yeah those yeah that was that was that was years ago at this point those ones the displacement are incorrect place it's not working for you yeah the middle ones aren't i think they did work but there's just the it's just not as defined as like this big chunky rock displacement so it's just not doesn't show up and we'll just put foliage on it you know like rock foliage basically so i'm still learning this because this is the new part of this is that how these interact is controlled here like this so this is the qixel mixer part like this is like very quick so mixer right it's like oh wow like we're changing like how this works we're like even like we've combined the materials where it's like okay at the low part of this material uh based on the height it's like this coal across the whole thing not only where we painted it but the whole surface like that's crazy um but i kind of i tend to like it more just to define so like if it's like zero we get this kind of goofy paint brush but if you do this it's like all of a sudden this border you painted is pretty uh organic right it kind of feels like they blend together really easily i've never been able to do that before so here we go it's quite nice and then same thing for the top coats this confused me because i was trying to blend between these two but i think it blends between this and the back i couldn't get this to blend super nicely so i i don't i don't exactly know how to do this no that did it okay that that does it oh there it is there's the blend uh it's it starts to ruin it real quick if you do this but you you're looking for like like something a little bit nicer than like that paintbrush blend you have something like that um that's cool so that so that basically does so that you have the top coat and then some rocks pointing through we have way too much displacement on this like you can see it's stretching looks bad so i gotta chill that out but that's the tuning part it's real time so it's like really nice to be able to do this like um so i don't like it when it like starts to affect the normal unpainted parts so still learning how to best do this but this is the cool part is that you're blending this like in the editor right so it's like pretty nice i like it when it's just a little bit like this this is still kind of like not as much i would want like a better interaction a more exaggerated interaction between this layer and that layer mid to top but that's that's what it is for now so i'll still take it so it's still pretty cool right so it's like the rocks are popping up through the other one so we have like this like pretty nice blend happening and again this material just comes with mega scans like that's like part of it and then these shadows yeah so i'm gonna go turn down like the main displacement up here i think i cranked it a bunch because just to show it but it's really more like a 15 if not a 10 like just way lower way subtler and it's like when you're pixel peeping down here it's like yeah this displacement but when you're up here and you're like filming someone talking it's you don't really notice it it's pretty subtle and it's like i think the big impact for me is that this blends all funky and organic versus being a paintbrush which has kind of like limited resolution because it's a vertex painting so you know uh that's the real game like that that would show up on camera this down here it doesn't really show up all that much i mean it kind of it depends on the shot if you're like low dolly shot against the ground which is what probably every every shot made with this system will be because it's like i am using displacement that that kind of thing um but otherwise it's not like that massive it's really this blending that happens and even on this too it's just that you can like blend sand over it and then it pops out in like kind of cool places and i think that to me that's like the main reason to use the displacement blends not so much to like actually attempt to get 3d geo out of the um a plane like i mean it kind of it kind of works but it can look stretchy and it depends on the type of displacement map that you're getting from from mega scans uh a middle east environment i think i kind of did that the other day sort of so those are the blends so let's see if i could not butcher this because i'm probably going to so i'm still learning this and really don't know still what i'm doing can we shift five boom yeah right to the hotkey so this is the paint mode select the mesh you're gonna paint so how do i get rid of the water okay so i'm gonna go back to blue and then do white yeah okay cool nice yeah i don't really i kind of understand this i don't fully and then i'm gonna get rid of the no not that gets rid of this cool see looks like it disappears it even it just has like a nice feeling to it like this free border that's amazing that's so good um none of my maps have ever had that before so that's cool right so just kind of like sinks into the it's like sits a little bit natural more natural okay so now it's time to think a time but i'm gonna paint up now that we have it set up and i think it's working pretty happy about that i'm gonna make a scene out of it though right it's like just something something useful here and so i kind of liked that thumbnail that we had which was like the thumbnail of this so it's kind of like hey this is the hero i'm gonna i don't really have a i didn't download a person for this i could go get one i usually like having people because it's my movie stuff so it's about people usually versus like landscape renders but it's something like this i'm not going to build the cave because i don't really have those assets but let's let's just get down with what this is a square right so we don't have we don't want to sit there we want to sit into the depth of what we have right just like really small so it'll be like this right this will be the scene no yeah come here and then i'm going to start arting this and we'll use brushify for like the deep background for now all right so it's something like this you were not as helpful as that is but it's it's still good to know tell people that that's there so we're gonna we're gonna really limit the scope of like what we see in this scene so it's just more doable this is a good level blocker i'm not going for a cave vibe though so it's more like we're in like the we're in like a station or cul-de-sac or something like this so kind of use this as like a frame edge blocker for now i don't really like how this is blending so i could grab another rock all right something like this nope open it up a bit and then this gives us a bit of a look into like the distance and so back here we'll put like a brushify thing uh the brushified material so say this is i really need a character uh i could go shopping you just go buy a new character are there any coal miners like who are we gonna put in here i don't want it to be the mannequin because it throws off the whole vibe to have the mannequin it just makes it not feel real uh one second yeah let me let me go hop into the marketplace if i when i find it i'll uh i'll switch back to the yeah okay this is safe enough okay we're gonna go find a character maybe just grab one of these free ones should it be the mind the the knight this is where all the characters are so this is something i can make it a bear that'd be fun needs a person i should have pre-downloaded one i was kind of doing something this morning so this is this happened a little bit more last minute than normal i usually just try to grab one of the new humans and just see how peop how like the general community has been like authoring characters and what they decide on for their morph targets if they did them and just gonna get a feel overall just like what's happening out here i also end up getting in contact sometimes with the artists that make them all the hazmat suit that's that's kind of that that's kind of doing it for me like immediately the hazmat suit uh let's see here i'll just check one more hundred link if not i'm gonna go hazmat suit i think that's pretty pretty awesome as mad suit i probably have some characters already but i'm just i like getting new ones there's another hazmat suit i mean who's in here like oh i like her actually you know what i already have her so i'm gonna use her because i just like her like brown coat that's that's pretty much it hey now what i have this oh it's a bundle hold on one second i have this character already her arms look like they came in kind of broken but yeah see i have this one okay so i'm gonna i'm not i'm not gonna get a new one i like her care i like how she looks like just the brown coat and like normal clothes that's amazing great so i'm going to import this real quick once i download okay i'm just going to bring her in because it needs a human or the whole update really oh i don't know if i want to update i don't care no just just just give me the old version we're good i'm just adding this in real quick mega scans go give me old i just don't have to redownload it 20 megabytes nice seconds we're almost we're almost in okay i think we're back let's see if she's in here lucy yeah okay cool there she is so we need a character nude characters so i'm back on the right screen i am nice uh if you want to get rid of the black bar on the bottom drop in an exponential height fog yeah i should do that i don't know the settings how do you make that thing work i'd have to recompile all the i've got to recompile all this stuff too i should have done that anyway so let's do the this one oh i'm gonna have to compile i should have opened it it's i say if this is open the static mesh don't instance it yet just open it and then it compiles everything and then you drag it in depending on how you that's my ritual anyway for for him this one's not heavy some of them are like it's like oh there's you know 50 materials on this character and they all crunch at once okay that log cart is gigantic so this is why we need people you need a person in here else it's like i mean if you're doing it for filmmaking you get you know this should have begun with with the human in this stage and i i honestly think the mannequin is as good as it you know it's a good scale representation because it's so shiny it's it's it kind of throws everything off because you're kind of expecting these kind of like i think point five default specular highlights on things and typically you not typically but like so for like mega scans content if you go search through everything megascans has ever made try to find a specular reflection that's not on foliage they don't do it you know it's it doesn't look as realistic yet anyway shiny boy throws off the realism of the scene point the point okay so let's make a little let's let's rp for like one second about like what's happening here she's gonna be talking to clones of herself because i only have one character so is this like gonna be like a talking shot are we more like concept art here where like again she's look at her forearms like i don't know i don't know snakey hirochi maro looking forearms here i don't know i always do this i don't i i used to watch a lot of fang zoo concept art videos so it was always like we're looking at the the thing and that's like hey composition she's looking at it so you're looking at it it's like easy so i'm probably gonna start something like this and then one of her clones is over here too doing things uh you're looking at the car everyone's looking at the car like look at this huge ass cart like what what in the world there it is so there's that uh and let's pop out a couple more of these we'll continue the railroad off screen and we're off to the kit bash races boom done we gotta stick these in folders okay this is the scene for now it's all about this big cart it's like this is a definitely very concept art feeling like director wants to see what does the cart look like that the movie takes place on and when we show it i don't like this rock so much in this but we could fix it with lighting so like so you know like composition like you would want to keep a clean silhouette for the the hero prop but there's multiple ways of doing that so like as it is now this is the same tone as that background so that's not good and then she kind of is uh blending against this but you could back like this so we could make her bright that dark or vice versa so it could be an all lighting thing um and maybe i'll make this a night scene a dark scene too so i actually do some lighting though i'm not so we don't have ray tracing on so i don't know and i don't do real-time lighting without ray tracing and i could bake it the gpu light mass baker i'm looking forward to because i never bake stuff because it's so slow anyway here's our character so let's start uh we're kind of using this blend material like um like a landscape you know but it has like this kind of cool way of doing it so this is kind of it's a thought for me is that like our immediate foregrounds end up being like i sculpt them in like zbrush or something and then uh they're just big chunky meshes that i uh vertex paint i don't know i'm trying to figure out how i'm going to proceed with the world with with how things are given the tools i have access to so big brush the point one i forget what this r layer is going to be here i should have this guy okay so it's kind of the coal i'm into it so like okay so the question is like what's the default material in here it's not rock they're not walking around on rock right that's not how this works um so probably honestly like this this should have been the base material but i just wanted the rock in there we're gonna use the rock as like a fake virtual texture is what i'm gonna do i mean it could be raw i don't know i don't know i guess you're like on top of a rock i'm just gonna kind of like mess around with it so we have we don't need to be going this slow three is pretty good um so yeah just look at this blending look at that like that looks great that's incredible all right and then there is a little bit of 3dness to it as well that so that's what these blends are for just just like it sees the the texture in the world so much better and it doesn't feel like you're you're like sculpting almost you know it's not even as much of the um right like they're not able to stick this off right into stone so you're gonna have to like beat out this like kind of path that they've uh dealt with but yeah that's incredible like that's so nice looking and organic compared to how my stuff usually looks like someone like airbrushed a hole through it right okay so let's do this to composition more than anything else and so this feels like there's like a path right that's kind of like the reason this exists almost every i have to make up a reason for every single time i do anything um narratively even if there is no narrative or like design goal really but i don't know that's just how like my my brain works and i don't know how trains work like i don't know how you're getting this card off of that i have no idea but like presumably you bring this here and the logs get awful i don't know how you offload the logs but this is like the log offloading center right it's like hey we got all these logs now what i don't know i don't know how they come off that's the concept artist's design job or some someone else other design design task not mine but here's here's where we drop off the logs i'm gonna paint this oh i'm gonna paint this back that's fun this is fun like once once you get this all set up the fun this is the fun part someone probably should i mean like see like how long did it take me to even get to this point too long for most people right like most people may not make it this far it would be cool to have like this kind of pre-set up thing um to make it like a little bit easier because this is where it's fun to like kind of just like paint paint 3d 3d stuff happening like this i don't know we're not going to really see that either so i'm painting nothing painting nothing it will never be seen we don't care right so that's that's kind of dope already so let's think about the next let's go this top layer i don't think you're standing on rock i don't know it just doesn't seem right like so um maybe they're standing on dirt right it's like dirt with like a little bit of this rock kind of pops through i don't know but that's that's i'm feeling like the rock is not the main element it's kind of like it the rock kind of pops through the sand right so you see that because that's because of our blends like so this is the that rock plus the sand together and that gives it a cool look so it's this this feels a little bit better to me not that we're ever gonna see back here but just you know it's gonna make i don't know mentally mentally i want to fill this in so this may look like we're doing landscape stuff this is just a big mesh with a bunch of vertices you can see the density of the vertices here it's like one there's like four four polygons per meter or something like that that's not how you really talk about textual density but that's you know that's kind of what it looks like right so i'm going to do the same kind of treatment over here for now just like a bit of this this is not really being seen by camera as it's kind of farther off but again just for just to do it i don't know why it's sand to be honest but it's sand and so this is look at this blend look at this looks incredible i did nothing you know i just chucked these all together and you blend them as much as you need to like in the editor and i don't think i really you don't see it back here but i'm still gonna kind of just like mess around with this like that yeah so instead of having these like ridiculous like airbrushy things with this border it's like it's more like you're kind of like throwing sand on it and it like settles into like the right part of the map that's just like cool i saw this demo and i was like i need to redo that brush if i stream i was like i did not do justice to what this system actually does um and again it's real time so it's just as fast as you can click your mouse okay that's that's too much like you don't even see that right okay so we're here uh we're gonna need to change the tessellation distance because i see this stuff like but like what is that who's who's doing that so one of the tessellations is as ng uh but we'll fix that in a second we just fixed it in the instance material we just make its distance like ten thousand just tessellate everything basically i would say yeah the blending's dope what's up cinematic capture says it going what time is it for you australia it's like it's night time i think just saw the asset and bridge yeah yeah it's like that's the featured one i'm not you know i'm not i didn't do a lot of research i was like that looks good i'm gonna do it uh well okay cool so uh let's see here okay the tessellation is killing me so let's let's fix that it's also why i don't do tessellation on landscapes it's it's it's a lot of like um i just don't know how to do it right so i don't do it so down here i'm guessing that if i do like let's just make it like five thousand like i can teslate this whole landscape it's not shouldn't shouldn't be that bad five thousand ever ever just do the whole thing just never never there it goes yeah so no no popping that's not gonna hurt me that's like we're test leading one piece you know it's nothing okay so that's that's cool blending right so we get the displacement is this this little pop-up here that's displacement obviously this even this is maybe a little heavy-handed and then that displacement also works with us here to do this blend because otherwise it's like this airbrush line and now we have this so that that shows up that really does uh and it blends three materials together it's like rock like bumpy rocks coal which is the dark one and then sand and it blends them all together so that they feel like physical they feel like physical uh not materials like objects it feels like you're throwing sand and you're placing rocks right that's it makes it more physical when you have the displacement the 3d element of it versus uh it would look very 2d and the the actual like lighting you get from it it's there but in the end it doesn't really show up all that much unless you're doing like this shot like down here but it's the blend it's the this this broken up pattern here be very hard to paint for me otherwise uh people who like paint textures for a living would be able to like make like a beautifully hand painted one but i'm not i just want to be like here's some dirt and it kind of like goes together nice so that's cool uh you're now gone you're banished so that's the uh that's like no landscape that's just a plane you know and it's like that's pretty cool that's pretty it's pretty awesome i'm happy with it anyway so hey we did the blend material hurray let's organize this is a mess so i'm going to say i'll say environment you you lights post processes terrain not terrains uh right and then we'll make uh i'm going to say big props i'll say yeah big props whatever big props that's going to be this and this we're going to go get more of those and we're going to continue the block outs this didn't turn into much of a brush if i demo did it uh but i did learn how to do brush put the brush if i stuff the mega scan stuff into the brushify material versus with paint layers and foliage can be done obviously i just didn't know how to do it now i know how uh let's do i'm gonna call it like train stuff so that's gonna be all this probably that no yeah yeah that's still train stuff and then we'll put the characters in here too that didn't work okay so you got to do it out here characters like this one wouldn't some sip wouldn't some sand spill over on the asp asphalt yeah let's go dirty it up a little bit i'll try it ready for this shift five boom in the sand is the green layer oh we're gonna add some water to it yeah we're gonna add some puddles because puddles so let's bring the strength to like point two five half of that falloff i don't know see that's still a big brush but look at the density of the p of the pixels is still not crazy like .05 i feel like we could um i feel like when you're vertex painting you're fairly close it's small am i wrong are you vertex painting like huge things so that like if i like for this to be normalized that's one okay wait that's point two five like why normalize for this big d do you do people vertex paint things this big i i do like they probably do i have no idea but that seems like a large brush to default one to be but i don't know because then i have to be like in the point zero five it never feels right to go below like point i feel like it would be normalized a little smaller i wonder if you could like change that in like the editor somewhere anyway so sand is that what this isn't yeah there it is yeah we could kind of like sand sand i was just trying to show the rock but you know you're probably right sand this is off camera so this is literally a waste of time to do this but i'm just kind of like testing it yeah so it fills in like cool like it goes like in between the rocks right it feels like kind of uh i think this is a bad base material that rock there but actually it kind of pops up nicely so it just blends together yeah you're right this does makes a better sense as like a transition border to have this kind of sand in there team effort i mean even even on this stuff is like more sand again i'm arting stuff you don't see but it gives me practice for getting to the point where you do see it like here yeah you're right this is probably like a better transition to do this do work make do work blend material do the work don't see this we don't see this what do we see i'm not even throwing a camera down yeah you're right it's gonna look cool with the door right here you're right and i can pop some more rock out too kind of yeah we can kind of break it up too and then then you decal right you're going to decal this stuff i'm going to beat this back a bit but you you really don't need the decals as hard when you do it this way it kind of like works out like kind of nicely but we'll still do the whole thing yo man chill with the tapping over there thanks i'll just kind of messy this up we'll just kind of like scuff it up so i'm going to do i'll get back into like the point one size brush and just kind of drop some like all of this just really start to muddle it up a little yeah that was a worthy pass for sure yeah it kind of makes it less uh i mean i don't know then beat it back maybe a bunch right here right because this is kind of like with a oh this is where you get like the tire track uh decal and like like bring it through here yeah this is way more bland than i was expecting but yeah something you know just kind of you do with the camera at a certain point like it's a little too dark there like i want to see a little bit more like here this yeah a little bit back here and a little bit more here like this yeah that's incredible that's amazing like that's it's fun it's fun to do it too a little bit of setup time but you know look at this is a plane this is just a flat plane on the ground that's it like that's that's i guess that's probably not magical to some but that's magical to me i just painted a plane on the floor that's pretty nuts i think your ocd appreciated that that's good can the syntax should be blended more lighter blend for smoother transitions yeah so i think what you can do is um there's like a fall off that you can make like if you do the fall off control it's blurrier or it happens over more distance however you want to think about it so we'll look at like this right like from here so the top layer is the sand i think i said so that's like there's contrast as well which changes like the pattern the mask pattern but then there's fall off like this right so that's very blurry like towards ridiculous like so this is very sharp which i kind of like the sharp because it's sand but then this blurs it right we're blurring it so it's that's to your taste and we should do it to camera like how much that actually shows up so this is the sand layer so that's very hard and then this is like obviously just like mushes the whole thing out and so it's of course somewhere in between like this right okay i'm okay with this uh let's do some key puddle placements which are foreground and mid-ground definitely like so say we're gonna do one of these angles you're gonna see up if you put a puddle right here you'll see a reflection of the key prop in the scene so easy easy money there now i wish it was it is kind of non-destructive actually so shift five boom oh no i clicked something so let's go to uh blue channel make it white not that big and we're gonna go to point five and oh no point five strength and we'll do point one for the puddle and we'll puddle this up here now i wish i had a little bit more density i could have gone a little denser i feel like on the oh it's not working or is it it's not see yeah okay i had this issue oh it's black that's why all right there we go so there's a puddle and a little more density on the map would be kind of nice all right so there's our screen space reflection of the hero prop if you nail the angle correctly a little this puddle's a little bit like much but uh so you just add water for free or is it always a always a good demo for social media if you're trying to like make your name for your cell phones on like art station or make gifts it's like it's this i've made these demos before and they go well hannah if you make like a gif of it it's like oh my god water so do it if you're looking for an easy one but yeah screen juice reflection that's what we're going for and any lights that we would put in the scene so uh so we're like in like a cave where there's like some wires a little bit leaky uh you could do the same thing for here too i'm gonna add one as like a mid ground back there that's kind of where we need it uh what happened to my brush what happens i'm gonna hit shift one click this and shift five and are we back here we go okay big brush okay this resets this every time point one point five that's cool so we're gonna make this water back here uh to pick up reflections for what i'm gonna probably hang lamps on that or something and then these are gonna just basically be reflection picker uppers this will pick up the reflection of the uh of what uh whatever's back here a bit of a lake a bit of a lake vibe going on a little bit too much lake vertex painting performance i think has been improved last time i was doing vertex painting this was hard but maybe i was on you know what i was on 1080 ti's back then ti for unrelention so i'm on a 2080 and this is like flying like this i i used to kind of fear vertex painting i think it's because i used to do it on a slower computer a little bit of water and so i guess while we're here let's uh let's mess with the water a little bit uh the water shader for instance so we'll get down here so we're really feeling the reflection of it tweak this up a little bit let's make the water like super obvious that it's like there and it's doing something puddle layer there there's puddle there nice boom i'll take let's do all of it so um let's look at the opacity so this makes it you see through it so it's like possibly like it's cleaner water or you just like want more of the reflection like you want to play the reflection a little harder something around there seems good and then if you want to make it like um not that no saturation is probably on the low end right so that's kind of like mud muddied a little bit and you can change the darkness of the one so it's kind of like right so that's like muddy so the transition you need to be a little bit cleaner with if you're going to do it like this because the blend doesn't help you out as much but um yeah so a low a lower a darker one is going to allow the reflection through a little bit more it's the same thing if you're like art directing like the tint of a window it's like how much do you want to see through the window how much do you want it to be a reflection this happens a little bit here and then also the color we can make it like slime like that looks like a cave like a world of warcraft cave and low saturation seems like the move to me like why would this be you know something like that right so it's kind of like muddy now kind of fits in there this sky reflection that we're getting is doesn't i mean with it covered without it covered it kind of makes sense but this this transition here bothers me so that's changing the color of the opacity the fresnel power um yeah i'm gonna leave that stock i don't really have a thought on what that should be because it's not like i don't think we're not retracing it so it's like it's it's an interesting it's like a screen space trick i believe it's not actually like doing fresnel like a real fresnel um like you were doing a path tracer i could be wrong i'll leave the roughness right so this is uh that's not that's oh that's falloff not bad oh fall off cool oh nice this is what i was worried about yeah yeah so okay i'm gonna blend this because like otherwise it was very like distinct so this kind of does it for you hey okay hey this is cool look at that it's way too much but that's that's awesome yeah yeah so kind of out here it's still bad i just need to paint it a little bit better and then the roughness is really low yeah it's like a pure reflective mirror right but not 100 so we could blur it out if we wanted fuzzy reflections and so here is the normal pattern for like the waves like that something about a dinosaur hey i'm not yeah that would be cool that kind of is my time so the cart is kind of like a dinosaur though uh yeah this is unreal engine definitely looked better with the sewer leakage what was the the green one we could make it like glow too it could be like like glowing slime i'm going for realistic that's kind of like what i feel like most people want from what i do usually so wave scale wave speed so one yeah look at that puddle get it point five point two there uh we wanna like hit him with it point one point zero five there it is point zero five okay it's moving now but it's not like as crazy strength point one right let's just be oh let's be obvious .05 was okay useless there's nothing that's the alpha clearly like if you look at what this really is they're mapping rgb values of a vector to uh to the different uh and pulling them out as floats so this is the alpha and they're just not using it basically and the master material i'm guessing okay that's a little bit much but you want to show it you want to you want to show it but but not go too much so like that's probably better but you know i wanna there we go point to it so there's the water we did a little bit of water right so again this puddle this rock all this stuff happening here is a plane it's just a plane on the ground and we protect every what did we do to it vertex painted it with a blend material so there's a lot actually happening but like when you when you pull out as far as complexity it's like that is one terrain panel it's just a just a plane so that's pretty incredible so yeah that's the real potential that's i feel like really illustrative of like the full potential of uh qixel mega skins and uh and the new plug-in the new surface the new um the new blend material basically and there's static meshes and more static meshes so uh we could look at full i'm not gonna i still haven't done landscape yet because i basically used this as a landscape but would be what would what would be cool for if this was a landscape instead is i could like kind of pop that up a little bit like brush it up but you know it's it's still working for me so uh let's see what else are we looking at in bridge here so we did meshes we did the new blend surfaces that's pretty pretty awesome you can obvi we're obviously gonna add more rocks and stuff like that so let's do that let's grab some more rocks in here uh i would like to not have to color correct them as much those are gonna be good for the foreground though honestly the blend material does so much of what this kind of stone pile rubble used to do i mean still does but i'll take this full load 12k is nothing uh and we'll take this and so let's go plop this around and we'll do some like medium sized props this is small well it's medium in area so i'm gonna take this and then like a boulder like a smaller boulder uh kind of dress that up a little bit and then i'm gonna get some more minecarts we'll just kind of keep dressing it do some foliage and then i'm gonna light it so i didn't do brushify so i was clickbait i didn't i never did the brush of five part but i guess that would be a different i think if i'm gonna make like a big forest i wanted to show the blending like i want for myself because i'm gonna probably make some cinnamon tracer levels uh with the blending because like because yeah because it's awesome although these are little okay so we're going to come in here and color correct this all right i'm very orange at the moment is this a free mega scans master material yes everything in here except for the human is free yes everything except for the human is free so far i haven't done any i haven't used the brush if i auto material yet but yeah that's their blend material you you go up here you click on three materials you click blend and it makes it for you so you can do all this by her for free for sure so we're going to pull the saturation down that almost we're done we're done that was it i'm done i don't need to spend too much time on rocks so this would be cool for like this is like would you like want your um what do they call the the displacement to be it's like oh there's the displacement but it never never works like that right so it's more like okay we shouldn't do that it's more like you do this plop those in there i think you know then you have the uh okay we're gonna have to get off of the snap snappy snap right because we're gonna go for like this hero angle so i mean why muddy up the the reflection of it but it's just a little bit of breakup especially if it's bad somewhere like like this transition here it's like better it's better now right like this here here cover the bed with with quicksole meshes spin spin just checking quickly what was over there uh cool all right so that's the biggest impact because we i'm presumingly we're like you know 18 mil out here something like that so we will see we will sense this here uh big impact would also be to just slightly break up this reflection back here and i'll make this bigger there's a deep background so we don't want to stay too long out here but you know something like that to break up the reflection a bit so if we're out here damn it yeah for sure and it's like this is feeling a little bit canned so we'll just break up this silhouette of the of that water all right so it's not just fully defined by like the paintbrush and we're not seeing it back here but i'm gonna i'm gonna take a big one a big version of this as well and then also just throw it in here not that we see it but it just makes me feel better like that like in case we do end up back here we could kind of like put something like a lamp in the foreground just like another place to put stuff uh it needs to be a little bit closer uh upstage so yeah like that yeah this is this is how you quickly plus virtual virtual runtime texturing would help us just like like blend it all together but i don't i don't know i don't super need that just yet but i think the virtual texturing helps for performance as well in streaming it's not just the fact that it can do like the height field version stuff it's i think it also helps with like streaming textures it's faster or something or like you're only streaming in part of the texture of a texture instead of the entire thing so like i felt like atlases so i think it's a i think it's a general platform direction not just for like the the skirt mesh generation that's cool i'm gonna check this over there too and i'm gonna get like a boulder and then i'm gonna go get some uh carts from like the like step more static meshes i do have to address eventually like how i'm gonna actually it's close this scene is already kind of like close to being done i think actually but for the blocking right so we'll do this as an edge a frame blocker uh we need the actual composition to really finish placing it but it's like here right it's a keeps you in keeps in the frame and then i'll do another one because these are great these have a nice kind of break up silhouette going oh yeah yeah like right here yeah for sure like these i could probably get a different rock but let's not for time this kind of makes sense to me that there'd be like a big pile at the end of it that helps that helps seat that stuff too it'll probably just be black when i light this then i'll light i'll just like light it and it's like there's one lamp in the scene that's it that's that's also that's also what happens once you bring the dp and they're like i just want one light next to the person and everything else we just let it fall off we just let that fall off it haze it a bit a little back backlight maybe okay let's go get some carts this is fun i like doing that stuff uh 3d assets yes let's go back to our collections and get the suggested props i like it can you apply the blend material to the landscape no i don't think so but you can make landscape materials do this but i use brushify for that because it's kind of it's pretty involved to do it you can do it it's just it's involved so let's grab these let's grab some just like cool cool mega scan props like the hard surface ones now are like amazing like really cool i'm happy so for me these are gonna be like once i like feel like i really understand the system i'm gonna build some like pre-made locations for cinetracer and then like it's really easy to make these available and then just start integrating um integrating it a bit more into the stuff that i also do those are cool do i need both though what did i already get this not really not so much that's going to be a nice silhouette i imagine that's huge like it's gigantic those well those are small props that's like last and we could scatter is there any scattering here that we need these wood beams are cool if we build like a mine tunnel like um i start building with them those are cool for like paths but very subtle still subtle like not big impact kind of stuff these are going to be more big impact i kind of want to jam these in the ground though i don't i don't they just seem cool like so i'm going to grab i'm feeling the square thing everything is kind of square versus these circle ones those are a little lighter though that's nice i'm gonna keep these i like the color of this one and i like the shape of that one but i'm gonna take this one but this little minecart scene so yeah this is like very much just like a tiny kit bash but i'm going to try to make a more usable level for people that want to like shoot i'll make a cave i don't know if they have any cave assets but cave's not that hard to you know just you could take a bunch of like you could just get past the cave probably maybe i'll try that i'll just grab a couple different rock faces and just like make a tower but what's it called a tunnel with them i'll try that i guess brushify is not free but it's not expensive either especially if you just want the auto material which is what i'm primarily getting it for it's it's just a good jumping off point unless you want to spend like a month learning how to make landscape materials which is worthy endeavor but um i would still submit that the good way to learn how to do landscape materials is to basically um reverse engineer how joe built his because it's very modular that's the thing versus like making one monolithic landscape material his is modular so it's like i want this material and this texture with this grass and it's it's all broken up very nicely into material functions and um it's like next level you know you would start by building one and it would be this massive graph that you would never want to ever like kind of change his is way more like um you're like if i did need to change this all the time how would you do that how would you make it modular how would you make this like you know able to be used longer i do want those floor planks now i don't know if it's a big impact thing but this this thing makes this is cool it's a scale like it's also this also helps kind of like i don't know what this would normally be used for so i'm not probably doing it right but uh repetitive shapes help um cell depth and that's where force perspective comes in right so like if you kind of like if you kind of put something like this here and then you do another one like that that takes up way too much space but hey and the water is kind of cool actually not in front of the hero prop but uh you know so if you put like some real sized full-sized props like this here and there and then you take this one and you just make it smaller and it's not as far back at fixed depth that's like part of the how like forced perspective works so if i just basically took this thing and shrunk it not that you have the forced perspective and i did this and so it's not that far away and this is not the best example but it makes it look like it's further away because you assume that they're all the same size and then you do it gradually as you build this set but it's kind of like in this case it's really just to help reinforce scale not necessarily do trick scaling but that's that's how i see things like this as helping and they're also like possibly like again i don't know what they're really used for but they kind of help with um repetitive shapes just structure like they're satisfying like you your brain picks up on the pattern that's like oh these happen every like however many feet and it just like feels good to see them like like that like that adds a lot of structure to the scene already and a path would be like so what else i got those big cards right this card this blue card i'm feeling like a little bit of color again we don't have the frame yet so i don't know exactly but i'm you know i'm loosely arting to down here i'm kind of okay with this as long as it doesn't actually like block the um doesn't actually block the actual hero prop at the moment i'd rather the scene be about a person than about a prop but you know it's like the spaceship in the middle of the scene at the moment those are cool so i'm gonna build more of like an actual path in a second but these are cool we covered up what was over there the rock pile that's okay i'll move it over so it's more in frame here i'm getting disorganized here but uh okay i don't like how much of the background this is gonna end up blocking so maybe if i just flop it over the tracks it'll be a little bit better uh if we zoom in it won't be as as traumatic or it won't be as big of a loss kind of just showing these bags have a lot of detail on them so they look cool they're kind of like a good foreground to be honest these they're like they're just very detailed and very satisfying to look at so they're kind of good to just jam like right up in the camera you know like a screen space reflection plus like a high detailed photogrammetry it's like yeah we're doing photoreal yeah so that's a little bit of that's a little heavy-handed but like just the concept of it being front and center i like it so there they are uh i'm gonna get some of those planks for the ground now that i saw those uh these they're calling these treads right nope they're just beams beam being any of them like actually treads no playing playing playing planks some of them are like actually meant to be treads but uh to me this those are so clean those are treads those are gonna be treads oh yeah the old railroad tire yeah so that's that was the tready one i picked the tread one so i'm gonna use them for like a foot path not uh not for the carve pole cats they do look like pull cats you say polecats uh polecats i think we're talking like the film industry like supports their vertical supports that extend for doing grip equipment stuff hanging lights whatnot hanging photo backdrops primarily like polecat's main menus i think save okay let's path this up uh how big is this we need folders this is going to get absurd soon oh no it's not too heavy i'm just going to chuck these into train because oh no these are like small props small props i want this one let's just throw everything in that small browse folder whatever just so that it's we're just breaking it up a little bit so i want a little breakup in the path now and i'm gonna make these about the size that's a pretty satisfying size to be honest that's pretty good so how's that gonna feel if i push that all the way through now we're gonna come downstage yeah about there okay this is where you'd have like multiple versions would be helpful i think they probably do have them but if you just at the minimum that did this we'll turn off snapping on the rotation you know it's going to be okay and scale a little scale jitter would be fine but we'll just keep it like this when someone got real lazy putting these down they really jank did not even try to keep the straight but then again it is like a wood log into cement currently i could probably do a foliage paint with this i don't know if that would give you any value i think we're reaching the edge of frame here but i'll go just a little bit further i forget if i copied and pasted that doesn't really matter and we're all framing probably i'll just do one more couple more just in case we dolly then it's like oh god i really did not give this much field of view here right little little sandbag situation would help for there and i don't know if these need to be like the exact same card but you know do you even see that yeah yeah that's that's a nice that's a nice structural piece and it depends how we light it you won't even see it but that's cool um what else did i want to put in here oh a boulder i need a boulder still i need to get like a rock big old rock 3d assets no no no oh yeah what do we got for this give me like a big steampunk oh the pipes oh it's the pipes that's a lot of work but it's the pipes that would definitely do it oh those are cool too oh what wall mounted what those would be cool oh pile of jeans feeling the pile of chains and the anvils damn yo look at this these are great oh pipes the pipes it's these pipes that's gonna take a long time for me to start piping all those things out though i want i want like a big steampunk like control panel i think we saw one can you imagine it's like a couple years how like insane these are so like half-life alex i'm gonna take this that one's so good at like blank and he's like a decal on it i wish it was like jankier like crazier looking latest we're using this new stuff here i'm gonna take gonna take this one downloading exports i wanted to like that big one because it has the big lever on it okay we got to take it for the lever and then these pipes if you did the pipes that would be that would be it that would help what we got here yeah yes yes right there somewhere somewhere like right in the water oh my god yeah we don't want to cover things too much with it now who is using it it could also be like i can see it being like here right it's like it's a control box so we're not like foregrounding it but it's kind of it's kind of part of the destination is that like hey you you do something at this box or something like there's a reason for it that's kind of weird but um i don't know something like that that was cool click uh we're pretty populated a lot of this is gonna be lighting uh the rest of it is kind of like lighting so oh i never got the boulder uh i do need like a filler boulder okay so we're gonna do the k i'm gonna make this a cave i'm gonna make this a full long cave i'm gonna try i got distracted by the the steampunk uh rocks stone the difference is stone has been like shaped by humans is that kind of the difference i just saw a treasure chest oh yeah yeah what those are awesome oh the columns i think this is more like natural but oh damn we're not like in a tomb it's more like we strip mine to cave but hey these are good wow wow we're gonna have i'm gonna have to build a castle with this then okay so let's go to rocks that's what it's really what i was looking for i want a boulder jagged that seems like it that's i need something with a little bit of thai beach stone and something with a little bit of character that's of course it's the icelandic boulder it's the ice iceland iceland anything the spire i gotta use that uh i just need something to like boulder around no not these not these i like this one i'll take that one and then i'm going to build uh i'm going to build the cave i'm going to do my best to build a cave and i'm going to light it oh no but i'm never a tracing on i've it's been a little crashy for the ray tracing for me not in packaged it's fine but like the editor has been a little a little crashy i should update the drivers of my for my card i don't i don't like updating gpu drivers that scares me it's too scary big boulder we're gonna make you bigger not there of course yeah i like that that's gonna it's gonna shadow a little bit when i light with it but anyway just to kind of well let's look at where the high impact is like where are the empty spots right so it's going to be like here here here well we don't know it's going back there yet and then back there's really just two places that need this kind of like a mid kind of like a border breaker i kind of i don't love the shaping but maybe i just spin it around a little bit we'll kind of get something out of it like oh yeah maybe that was the side i liked i don't know but i kind of know that's gonna work and then again this is not game design this is not game level layout because this is very much like frustum layout we're like picking an angle and going with it but i still think that games typically have like a favored view usually yeah just kind of break up the fact that it's like there's just a cave wall there okay so let's grab the let's finish up the kv part um by making a roof and i saw some pieces for that so i think it's gonna be okay shouldn't be too bad uh where those are in the world i forget where was that stuff i'm just gonna go back to home and we saw them in there before traffic control cabinet hmm i think it worked was it now where are the big rock chunks where was that i don't remember so 3d assets i think it was just under rock wasn't it like rock it's wherever this is where is that is it going to give me the category no i need to know where that is because i saw them we saw them earlier it was like these are just big flat pieces of rock and i was like i don't want that but now i do that's exactly what i want it must be is it under rock wasn't it just there it's not debris it's got to be this cliff it was cliff for sure right yeah yeah it's not too late to go rock to go ice it's not too late we can still do it um but i'm going to just kit bash as a wonky looking cave oh look at that yeah that's a good one yeah this what other ones do we have that's it oh that's damn that's that's that's real good that's better than the one i have to be honest but we're strip mining kind of so i get it like so it's these three i could definitely bash a whole cave out of these ones there's no question so that one it's really more like that because this is kind of like a little bit more nondescript these are so jagged but then maybe i think it's this one i think it's that i like it the colors on this one but it's going to be dark so it doesn't really matter i'm going to make the whole cave out of that should be fine depending how the lighting goes i would swap it in for this one on like a hero part of the section would be that but this is good for like just kind of generic but still having these like the cave part is going to be like i'm looking at the lighting is going to be defined by like these jaggedness this one doesn't have enough that's i don't think i think rock is better than cliff hey what's up gail how's it going oh yeah look i did the blend material don't watch my stream yesterday i failed at it but i got it working today i got it working yesterday i think i misrepresented how cool qixel stuff can look but uh today i think we have made up for it hopefully okay so there's gonna be like a lot of these as i as i try to smash my three my way through making a cave top for this so how big are you yes great not that i couldn't just scale it but uh to make a cave in cave stuff go in here it's gonna be a lot of these okay let's color correct it real quick just because where is the instance here it is just in case we end up do uh we end up actually lighting it in a way that you see things which is uh you know might happen done i'm done saturation don't like it hate it saturation's for noobs okay so yeah i have no idea i'm gonna just start doing it oh lighting it from the back is not gonna be possible but if we're not the lights from inside the cave we're doing inside out lighting today so how big is this cave oh i don't know i could this could use like a bend modifier in blender real quick on it to give it a bit of a a curve but we'll see we'll see okay so where's the hero roof part impact okay so it's it really what makes more sense is to arc from here in my opinion so like the arcing towards us isn't going to end well uh i can see already so let's roof it actually that's what's important we roof it and then we decide uh what the with the radius to arc to the wall is i think that's what's important so we're gonna pick the biggest impacts proof that's that's huge and that's like stream space that's gigantically a lot and you do we if you want to see it's like this go it doesn't even exist here so it exists about there i mean i should we should come into an angle fairly soon but uh yeah something like that okay so we have to bridge to here but that's about it right it's kind of like there's this natural arc that kind of fits in here and then we bridge to this i could bring that wall closer too i could just bring this closer that's the easiest for sure now i lose a lot of depth i want a light back there so now so i'll scale this up with that i'll just scale this thing up did i already scale it weird i don't know do it like this like this i'm gonna pop a little depth out of it maybe should be doing this all through camera but uh yeah um it's it's a lot to get over there though i still have a lot i want to bring that back that curve that we kind of had like that oh and look at this this is like in the thing but that's okay that's okay this is okay it the easiest really would be to just oh no oh we are we are clipping with it we are good we are hitting this hitting the edge well it's just this transition here doesn't exist okay i should probably just move the wall in at that point maybe is this one chunk i could probably just do like scoot over here are we going to miss that depth i mean maybe we didn't want it anyway you're not going to see it it's going to be dark so i'm going to make this dark but um man i wish i had gpu light mask that would be awesome right now let's just copy this down and see how this is feeling doesn't feel doesn't feel right until you get it it's just bad beforehand okay so yeah yeah you know yeah that's a ceiling that sure is a ceiling are they going to blend is that the question nah they're going to just kick bash yeah this is doing it now what are we doing about this i'm just gonna close it off right there's no point i was gonna put depth back there but that's just not that turned out to not be this demo i'll do a forest uh because again these are the things i do need to make for my projects in a tracer so i want to make like a like a small but like pretty hyper realistic quixly forest with with the mega ski with the brush of fly landscape material for the foliage spawning and proceduralness okay so we really just need to bridge out to this piece and we might have it that might be it for now and it looks garbage because it's like being lit but once you once you will unlight it and then cinematically light it it should be okay questionable but it's hard to tell i i'm pretty sure i tweaked the shader so it looked good in direct light so it should still be all kind of like somewhat cohesive once i light it light it and i have to pick like how realistic i want the lighting to be versus like kind of like magical lord of the rings cave lighting you can just kind of you can kind of see everything even though there's no light in the cave we'll find out okay this is kind of open-ended cave we uh doesn't i'm not really defining the uh the back end of it that's probably a little steep and so we'll find the holes as we light it or not because here's the thing you see that there but if it's black it's black you don't see anything so it doesn't matter uh this will 100 come down to lighting but that's a cave top so i'll just for like just in case i'll just extend it out even more hey like this is this sound quiet it's you i think because i'm looking at my levels and they're pretty normal but it's not like full blade i'm not like getting into like the top yellow on the on the meter if i talk like off of the mic too it's gonna be darker so it's hard to tell with the given shading that this might there's gonna be holes possibly like here but uh you know i think we're okay so we're obviously not going for like a daytime uh thing we could make it but the way that the rocks are open from the top we can't really okay so we've uh we've kit bashed a bit ray tracing if i turn on ray tracing at this point i'm a little afraid for crashing and i'm a little afraid for recompiling time but uh not ray trace shadows look not always the best so what to do here anyway it's time to light this is where we probably should have been lighting a little bit sooner i can already tell places i hate but uh i don't know it's okay okay so it's time to light it up so let's get rid of all that close all this stuff up lights where are we environments i'll just check everything in environments so we no longer need sky atmosphere skylight we sure need and i'll probably i would probably paint a custom cube map for this like you'd sphere spherical capture depends depends what you'd like spherical capture like kind of the colors you want it to be and you just it's kind of like a fake ambient light and it sure isn't blue i guess i can sls capture it we'll find out i would probably paint a custom cube map and then boost it use that to boost the lighting so we don't need a directional light either it's going to get dark and okay this happened oh that's because the skylight's still here let's make sure we have force pre-compute no i mean there's no light maps but now there's really no light maps um there was never any light maps but i'm still gonna build it yeah okay yeah there was never any in there so this is what skylight does this is just skylight which is fine uh the reflections are gonna give it away we're not gonna retrace these not yet and yeah so i'm not even sure i'm gonna be able to get away with the skylight to be honest but uh we'll find out we could bake really don't want to well let's get a point light in here and these want ray tracing hard but uh you know i need a lamp i need like a practical but we don't have that yet so let's start by just key lighting the the hero prop right that's easy how come this has no there it is i see i had g on right so putting the light here is going to do a lot for us it's going to key light the thing we want to see it's going to backlight her and it's going to it's a key placement for the light for sure and it's also fairly practical like if you would rope light like from here but i'll bring it like slightly downstage to to light this more something like this and so let's go blue and orange yeah just keep it easy we don't have to reinvent the wheel with lighting lighting schemes um 30 to start could be more like 25 like on the lower kelvin side of things saturation pretty high brightness all the way pretty much candela uh you know i'll just stay in candela whatever it doesn't really matter right so we've already this is like 90 of it is that right but then it comes to like how much you want to play the silhouette oh we need volume metric like crazy that's what we really need our exponential in here okay there it is but i don't want to see it but i want it i don't want to see it it goes goes away okay so is the ambient blue or is the ambient orange is this a monochromatic look or is this a uh color wheel or color wheel exercise sasuke here yeah yeah teal orange yeah we can do let's just do it let's just do it that's how you do this so that that's going to pick up a little bit there now um let me throw in the background so this is the in scattering so if i bring this down to black so the blue is coming from the skylight let me kill my skylight for just a second uh that's not how you do it it's effects world there it is okay so now we're into like movie lighting right no no more no more i mean still video game shadow but you know now did i lose my volume metric now it's still pumping let's thump up in here so let's go to exponential height fog this is our haze machine is this that's the hazer uh we have vol volumetric on this is going to change the how much it scatters it right so it's like very diffused then it's like very pointy right like and i think that's kind of the vibe it's like these point lights like that we need the practical light prop hard and i'll go just buy one or maybe they have one i'm sure they have something but that's gonna do a bit uh let's check out if i increase the radius if it actually helps me it does not at all so we get this tiny performance gain i'll let it just do the whole cave that's not gonna be a problem performance wise i think it spreads the shadow out as well but again we should be just retracing these but let's start with hard shuttle there you know if if it is lantern lights then they are pretty hard shadows not that hard but they're hard anyway okay so let's light this silhouette of this object did i copy and paste it i didn't so copy paste we need to drop a camera at this point because it's pretty in a pretty inefficient to do it like this this radius needs to get this needs to be the whole world i need like the full radius of what this can do that shadow though jesus almost turned off shadows um yeah okay we really need ray tracing shadows i might need to hop i'm going to like switch that back on switch that on in general uh let's get in there that's something uh we need a practical we need a practical pretty hard and honest i can fake it um by not showing it just like you would on a movie set if you don't actually have your like practicals um but it would be really great if there was a lamp oh can i just search lamp i bet there's not i could make that a lamp this can be a lamp that can be a lamp for me that's fine i would rather it be like an actual so i'm gonna use that if that's all we have that's fine obviously it's not that i just wanted to i just want to see that though clay brick container hardware let's go back into hardware i feel like there's maybe something that this will look like a lamp if i put a light on top of it that's it no i can make that a lamp you won't know definitely won't know it's just something that's actually glowing helps sell the gag a lot better it can i can make this a lamp pretty fine okay so we're gonna fake a lamp that's fine we'll do uh i need something that has an emissive material that's the gag that's what does it but uh let's just place them and i'll put the prop over later it really doesn't matter okay so we have our kind of deep light there and we're keying hard over it which is not the best um but i'll start with this uh if you just baked this it would be beautiful like that would like if i just increased the uh the size of this light a tiny bit and just let it cook it would be great right so when the gps when the gpu light mass situation comes into play i'll do that i could it's probably even performing enough to watch stream so this one does not need much of a radius like it's only for this which is nice because i could stop it from like i'll take its backlight reflection that i will uh so we're getting a little bit um overlit like there's a bit too much lighting her her hair is not super loving that back wipe right so big practical would go there i'm not even sure if it's insane though but that's the correct place because it's pushing the light back into the scene so something like that um ray tracing would help an awful lot but for performance you know it's good we could you can do a lot of it without it it also helps to front like this a bit uh i would definitely make it bigger and then this is feeling like too many lights for me at the moment but you know just to illuminate everything right to start it would be like this okay so the end of that cave is fully gone which is kind of interesting to be honest and it's an opportunity to like change the color a little bit back here um but we've gone pretty monochromatic and so like this is like a very light very bright safe cave feel now because like you can see everything whereas if we just get rid of this it starts to get scarier it's like darker so i'm kind of feeling like you're like way off camera and then we gotta open up your uh attenuation here yeah i love point lights the most appropriate for this but like okay that shadow though ng like super bad i think you could maybe up the resolution of the shadow or something like that but it's not good clearly look at the weird patterns right but this keeps it darker while still having a little bit of a push from here so this is this is loose loosely the vibe and like see how like they're glowing like they almost do the emissive anyway we just stick something over that so this is close this is pretty close there's no light here i wish there's a little bit on that like a special we can add i mean it's cg so you can just add like a light that doesn't affect anything else but this it's not like really the cinematic way to go about it but yep so let's increase the haze overall and here i think that would help quite a bit no lamps yet that's cool i can make a lamp out of anything and we could download one i could make one a blender and by like 10 minutes okay um where's density here's density given to me yes music video haze it's not that much though okay and we can we can tune the intensity per light now oh look at that shadow resolution okay so it's tuning it's tuning time but that's kind of the haze level i was thinking we could go too far and do it perlite for three five yeah okay so let's do it per key let's start with um where are you where is this light i can't click it there it is like a g um right so we can tune the in the how much volume we can give it no effect like there's there's a thought to honestly have no effect from that one oh that's not no that's like that's zero right so i leave it like no real like noticeable haze there so like if i point zero five this one for intensity like it barely has anything like 0.1 i think that's better honestly this one again also it's doing work but i kind of don't like how much it's doing let's point to that could be even like 0.3 can't do this in the real world i mean you kind of can but it's you kind of haze the whole thing and the source it kind of falls off from where the source is like the actual haze and do we like how ripping this one is over here that's kind of cool right so we gotta turn this one down because it's like in shot just a bit i'm gonna have to tune it down just a bit so it's it's a bit of like a we i don't know if there's any bloom in here too i would probably we should check out the post process bloom like how much like seeing a light source like flares out the lum the lens quote unquote but this is it this is kind of the vibrator like definitely needs more like props like things i think going on uh i like that she becomes illuminated in this situation so it's kind of like she's like the main character or something all right like this right okay so this is a this is a rough lighting uh no ray trace ray tracing would help quite a bit but this is no rage rating it's just point light so you could do this on anything so that's and that's kind of how i wanted to present it it's like doesn't you don't need the full i could push this i could push this further with like you know flex the cameras and whatnot but it also does pretty well just like as it is okay so we're in the camera now uh don't like these camera settings that's all so we'll do i'll keep the sensor height that's fine but i'm gonna we're gonna do the impossible film back but times 2.4 it's just like one of the most efficient ways to do it in unreal and we're gonna go for like okay the shadow resolution we could just blow it back and it would probably be okay you hate lighting scenes oh no that's it that's it is this daytime or night time it doesn't really matter because you don't see the sky right you have no there's no reference to it so you wouldn't know but i'm picturing nighttime so 35 we could say like 20. okay this so i'm just dying to shadow resolution that's pretty much it like and it's over lit so we're gonna we're gonna we're gonna slow that down a bit this shadow kills me let's be a little soft there right so we're looking for like the main we're three quarter we're doing like a clean three-quarter on like this hero prop it's centered with her on the third and we're getting a reflection from it show off this quixl stuff and the the water um see what i'm saying about the blending it's like eventually like you did all that blending and it's like really what you're getting is this border and the displacement up here is very nice break up without having to add rocks into it and that is really good i kind of don't like well these are not physically accurate reflections this one here it's close because it's reflecting that probably is what's happening i don't like the resolution and we are at a wonky so i need to go like real slow and kind of scoot around until we get it this would be like director viewfinder world here where we're like hey like the inches matter in like centimeters of like where you're placing the camera heights and whatnot so you go slow this is kind of doing it it's like a big picture about what the composition is it's like this like really playing the ceiling pretty hard here um yeah that's kind of it she's going on her business she's going about her business she's not looking at the scene she's just like walking around kind of throws it off a little bit and the it's the shadow resolution so we could do raytrace shadows for this or you bake it that would be okay it's always nighttime in a cave i don't know thanks art contractor it's the moonlight it's up to you it's you know there is no moonlight it's moonlight doesn't expose no it's moonlight's fake you know so it depends if you're going like again like uh video game cave lighting wouldn't go this approach but for like cinematic like frustum i would so i think like one thing is that i should have named these where's this light did i put it like in lights is that what happened where's my key light there are only four lights one two three four where is that one then there it is which one are you what's that okay so this is a little bright right it takes away from the magic like that's the magic but it doesn't tell you anything about the scene oh is that flaring through the the hay is a little bit odd okay so we're losing shot so it's good to turn that off that's not good that's going to infect the blacks on this which which basically all it just means it's harder to read the shape of it which is what lighting is supposed to do so you know chroma as again like commercial lighting you see it cinematic lighting you just see it you barely see it uh and the shadows shutter resolution and we're fighting it it's not good i'll put these in here keep everything kind of semi-organized this is close it's just the shadow resolution i don't know if like let me just let me just check on these lights if there's like a quick like give me more shadow resolution it probably is ah see that it's really the back ones i should name this let's just start naming this real quick so this is the key light i'm pretty sure i'm gonna say this uh key it's kind of cool often on them this is our background like i'm just getting bg and this one is the bg right and this one must be bg left so these bg left and right ones they're just dying to shadow resolution actually they all are so let me see if i can i really see it on this left one that banding on the shadow so let me see if i can boost the resolution of that i made the cart that big so that the wheels spanned the train track that's what it is basically but it also became like the hero prop of the scene so that's kind of epic steampunk looking okay so it's like shadow something right shadow resolution so if i make this like 10 which light am i even affecting the background left that does nothing that's not it shadow bias 0 that looks like it for sure it looks like that's doing something reasonable oh there it is okay if i like crank that can i make that two this is it that was it done fixed it i'm happy with that that's fine i don't know what that's actually doing but done okay bias shadow bias who knows what that means not me shadow bias two fixed it oh hey okay ray tracing is the real fix but this is working out for me too shadow bias too no that's not good okay so let me what is shadow bias it's like where it puts shadow clearly or something i don't know i have no idea it seems like the shadow resolution you would want by default shadow map resolution that's chosen based on the screen size of the caster is still clamped by max resolution i don't know what my max resolution is would be allowed to use the same track for all wagons it's not a video game where you're gonna go right around it it's one shot but uh yeah i made it so that it fits on there like it's the right size it's like just kind of comedically big some you know some poses for the actors would be great as opposed to like a posing everything like this but you know just kind of getting it in there ah dip the field we have no depth of field so let's um let's do uh let's make this like hyper shallow like two like 1.8 so i can change exposure it is i guess i have to i'll expose comp down and we'll set the focus that's not focus here's focus manual there's no depth of field given this focal length so this is kind of i mean i'll take a little bit i'll take a little bit of smoothness so let me just like max it that's not what i meant and let me see the focus plane i see so we'll put the focus plane about here so there'll be a little bit of sun there's basically no softness in the background this is where you need to like give the whole thing like a mush to hold it together there's probably something like that in the post process that we can do with yeah so it's a bit of post process now it's kind of like the tweaking parts here so nope you bloom yep we need to look at that cameron no not quite so we'll we'll base exposure down to eight two stops ish um bloom not really sure standard i don't know there's bloom okay so not super needed to be honest but i'll take like a tiny bit take a little bit of that's like overall like everything gets bloomed out i'll take a little ao2 or not ao what's it called um that's not here is it motion blur reflection screen space no no we don't have ray tracing on so i can't do this it's not that um oh ca my bad ca that's it this just kind of gives things a little bit of a man like a little blur it's a chromatic blur and i think you can you typically would map aberration to the quad like to like a quadratic like the like the edge of the lens like where the lens the light's not coming in straight into the lens it see it has chromatic aberration and distortion and softness and also just helps smooth cg stuff out a little bit you know because like that's so sharp but like this is a little bit of blur uh yeah that helps a lot it's a little bit of a bloom a little bit of ca and we're sitting at like a and no color grading i haven't color graded it at all but that's that's kind of it i feel like i'm a little let down by like the lack of resolution here like we're not like you we want like a lot of bumpy situation happening there so it's maybe the bump of that sand layer needs a little bit of love it's a little bit late in the process to kind of consider that but maybe it's the right time in the process to consider it once you have your camera angle then you tune to the camera angle so i'm going to try to change the bump of that dirt to be a little bit more contrasty and actually show up so that's the top layer so five nah doesn't do anything let me try this one or does it i can't tell i don't know how this whole i don't know how this works negative point negative negative 0.5 negative 0.5 i don't know what i'm doing i'm trying to make the bump do stuff but i don't think it really is not not really worth it i don't think nah that's okay i just wanted like a little bit more breakup here that would be kind of nice as we're like foregrounding it's so so hard but we are showing the puddle we're showing the rock uh we could do a camera move i guess i was gonna just do stills but you could just dolly into this like slowly and that would be like an interesting motion clip i suppose lower bias gives more contact area huh okay yeah i still don't really know i usually i usually turn at ray tracing i'm going to say that uh we're like reverse vignetting this right like we still have vignette aspects of this into the lighting but like that's too bright this is fighting us this light here so background right that it's almost stronger with it off right like so it's like i mean probably it's stronger but like we'd do like 20. 50. i see even that's a little heavy singing a little bit is cool her hair is not again like specular is a hard thing to get right you can throw off realism pretty hard her hair given that we're not retracing the shadows not good but um getting putting speculating you're seeing like heavy reflections and stuff without like ray tracing and let it cook is definitely potential to always have it be kind of bad looking we're also um this glow is popping through this so this isn't properly occluding the backlight so i kind of want to see what it looks like with off i can't imagine it's better but um yeah it's definitely not but it's flaring through the rock through that so if it wasn't flaring through it'd be much better i'm not sure if i can just source radius can i trick it or is it just it's a screen space thing that's the wrong light dammit it's this one can i cheat this off of it not really no it's so it shoots through that's the issue i forget what this was i'm gonna undo so that light flaring through here is bad i think rachel's shadows will probably fix it possibly i don't remember so that kind of kills it but i'm still pretty cool with how this is all looking right here so it's okay you could definitely use more like small props to fully fill it up but it's pretty much there i'm like a fish in there so something like that i'll take a screenshot see how this went the flare is bad but you know overall i think this is this is pretty okay the cliff now i'm looking at this cave tops a little needs a little help little decals decals will help kind of like muddy this up a little bit like put just to break up the very flatness yeah it's deca i never do i never get to that point where i would do it but uh you know have your art department do decals to to dirty up this very clean rock situation maybe use even different ones but i i think that they actually read pretty pretty well across it like that so i didn't brush if i anything how long has this been three no no only 220 okay cool that's a good time though cool so that was um that was working with the the new mega scans plug-in it was fairly recent like a week ago or something like that they just came out to the new blend material like a big deal like the whole floor of this place is just one plane um not even a landscape so it's kind of like one last thing to think about versus like interacting with landscape materials is very you know there's a big big one i think it's kind of difficult and uh the new base master material for mega scans static meshes you can call it grade the albedo that's like pretty much that's like the main thing that i would use it for and what else i think that's kind of it oh there's no foliage we're not done okay let me add some foliage to this because just gonna have to to complete it and so yeah money parts for foliage you're going to be right here back there back there and tiny bits right there so that'll that'll be it oh it's so dark it's so dark that's okay full foliage that's all we need that's what's missing for sure yeah just little little detailing things so did they give us recommended foliage for i don't think they did for the collection that i was using the the coal mine collection or whatever the train collection i don't think it's there let's go pick some 3d foliage and i haven't seen the new 3d foliage shaders so no that's not okay so let's go to let's see if i can remember how to do this 3d plants definitely dry looking things it's going to start scrolling that's kind of that's underwater so i don't have good taste and voice that's for underwater arid weed seems like a just based on the name dead finnish mushrooms would be cool together so uh let's see cave stuff if i grow up cave and foliage if anything would come up like cave wheat cave weed oh and those yeah okay oh yeah yeah there's a lot of there's a lot of potential that can help clustered dock weed i kind of like that that's kind of cool oh it's like very field yeah i like this spooky oh looks like carnation weed i'm just worried about that if that's going to be too bright but i kind of want to do something like that it should be dead grab dead looking grass so that's probably the most straightforward one i kind of want to do something like fun though i need some small i need some like low-key like low fo like low small ones and then then you're kind of like hero like biome defining ones i haven't quite seen it that's interesting those are good for the low one i guess something chunky like that that's pretty chunky it's a big these are really big i want mushrooms kind of i mean realistically i need two sets i need like a big like something that you really see the silhouettes of them and then i need like the they're just kind of like adding break up to the ground it's i saw the one i knew it was when i should have just done it committed to it that's pretty close that's it i'll take this that's fine it's that that's the service that's easiest no lads get out of here they said that the new one has better lod settings i still found that they were like kind of not obnoxious but like um not for cinematic stuff or just keep give me the full lot i'm not putting that much on there right but for video game uses they're they're probably a little bit more tuned whereas when i did the lods last time it was like you would go back over like 10 centimeters and it would have gone through all the lots already and i was like that's that's that's not gonna work that doesn't work so we're exporting so this will be the first foliage one so i haven't checked out the new foliage stuff i don't think there's anything different other than the new lod settings are slightly different by default they're just like more spaced out the screen space um scales over the laws i'll just turn them off big export that is a lot of different foliage for sure so i see okay it's gonna pre-load it in there i think because i didn't turn that off but that's okay cool i believe by default foliage is painted on that's not how that works it's somewhere somewhere you tell it if you paint it on mesh or not oh here it is nope it's somewhere filter there it is we don't have landscape static mesh there that's great so let's do the oh it does these no thank you so let's those are so hard to see can i make this bigger get big there it is okay so we're going to want to do these four that's not how you select four at probably not i'll try 50 density that's a large brush i should definitely do this with the lighting on but um so plants in here i mean really like it's sand in a cave but still it just wants to be broken up a little bit so how it's still too big that's compiling isn't it yeah i see those are gonna work those are gonna work we'll go home we'll go like even more it seems like it's even more than 100 to be honest like 150. and i'll brush a little smaller and we're going to have to check it out in the lighting but the lighting is so dark because i counter exposed for the camera highest impact of foldage will be like right in the foreground so like even like not in the water i gotta do this with the lighting on it it's kind of kind of useless so dark so we'll just for the for the um for the foliage painting i'll bring the environment back up can't do that while you're here so shift one post process exposure we'll come back to 10. it's so dark oh it's so dark that's that's a good thing i just want to make sure these don't like glow or do something funny at the foliage nope yep okay super subtle is that even in there okay we're juicing this up like a lot we'll do like 300 that's always even there oh they're just tiny okay oh that's fine i guess so maybe that's my breakup here yeah okay i'll take that i could use even way more than that oh are they under the ground because of the displacement is that what's happening i should probably just turn off displacement completely okay so these are very subtle um like at most they even do they even show up here i don't know i'm gonna go even more i'm gonna say 500 density i might just they might be like under the ground and i'm not going i'm crazy with it like but yeah just you don't you wouldn't really see them too much back here so those are the very subtle ones we'll turn those all off and then here's some we'll just go crazy with these that's a lot i don't even need that many variations probably probably just like this those def well we'll see what what's the density okay those actually show up and we want more i'm like these are hot we want high dens for this is even more huh am i doing this wrong there we go that's that's a good density so i'm gonna even need those here should probably paint to camera well that's probably much but like okay so i'll say 400 i mean at this point i'm so picky i just want to paint them one by one here here and wait just like break this whole thing up back here if you even see that i'm only going to paint it where you'll see it okay so we're just going to do this whole thing here i kind of wouldn't mind like bigger ones too i don't know why there's so many plants down here but they're going to help ooh unless they're bad for lighting we'll find out here you bail you barely even see this back here and we're flying back here here i want some big ones uh i haven't changed the scale settings this looks like the big one these two nope just this and this see how big these are i want them like big silhouetted ones those are tiny okay so where's the scaling we're going to say scale x so it's uniform so it doesn't matter say three and two still too small no that's a good size okay yeah i just wanted like to be some slightly bigger ones don't need those in the foreground really definitely could use something big here and back here yeah that's a lot i just want to see it and i wouldn't mind just like one kind of like i would rather do that to frame it's like boom that's a bit much i have to look at it in camera now it's bad here yeah yeah definitely okay that's the foliage pass done quick select here and let's pop back into the camera it's overly overexposed right so ppv back to eight yeah oh for sure yeah that was it now they're a little glowy but um because of because the lack of uh raytrace shadows but that's definitely definitely helping uh the silhouettes and whatnot and you're just covering the landscape that was the breakup i kind of wanted for the ground that does it for me uh do they have winds not really i guess in here don't need it but that does look good when there's like a little bit of motion for like a render if i was gonna do one not currently the plan i don't like this light on their hair but i'm not going to fix it you turn on ray tracing that goes away that looks way better like this let's check this out yeah we're hazing we're hazing through the things but uh yeah so that that seems like the full quasar treatment no decals i didn't do decals so that's that's like what you would really want i think for basically this wall would help a lot to have like some like drippy drippy water decals or just just to break up the tonally and not even like reflection just like tone it's just flat gray flat gray and the way i like it didn't help anybody uh and then probably in color correction 2d color crashing you just add a traditional 2d vignette when you're color grading it would help a bit oh you do that in camera can't you let me try that you could do it in uh in the post process volume i think i think there's a vignette isn't there exposure bloom cameras in here no lens flare image effects vignette here it is green yeah i'll take some grain to be honest like i don't know what the i don't know what normal numbers are for it probably not that yeah water maybe we should go get a decal and do it i kind of want to see it now so we're okay on the time limit oh there's the vignette there so we lit it and then we vignetted in camera so like this d light it i mean that's way better let's be honest i mean to taste i i go overboard with things like that just so you can see it but like you know whoa that's way stronger it's just like look in the middle of the frame right just does it i mean i'm not i i'm kind of like going hard on the 0.7 vignette but it's the look and i kind of think this is it to be honest like that's that almost like one is bad full one is like almost better let me go get some of them water decals that might be fun okay let's see if like i'm just trying to like stretch my limits you know of like what i'm used to doing and so yeah leakage leakage leakage and dirt that's basically it but we can start with just this tileable i don't know if that really matters but i suppose why not see what they got those don't seem like they're gonna work for some reason i don't know why let me look at stamps like i think i want to go with like a long one and then copy and paste it more than i want that tiled one so this seems very metally that looks like a rock because it has like a rock pattern on it i think this one and that one would go kind of well together that looks yeah not that one as well it's kind of that one but it's kind of subtle maybe like that's hard because they put it against black it's kind of like which i get it's like actually i don't get it i wish this was against a lighter color that just like you can like what's that i can't even see it um which i think like how big i want it to be because i'm gonna kick bash them i think this and this kind of go together like this is like the big one and then you put that one over it so let me try it i don't know i should also try the new decals anyway so 2k jpeg i have no idea give it a shot though the camera's so wide that you don't really sense the focus but like if i made a scene out of this and i was like here's the wide shot that's what we just did it's like here's a close-up then i would do like there'd be you know you'd sense the depth of field a little bit more oh it's in the right panel oh yeah you're right it's up there you're right yeah i went too far with the vineyards 0.7 but at the same time i kind of liked it that's that's up to that's pretty so that's a post decision anyway when you necessarily need to do that in camera i just don't like i just want him like center but maybe it was too much okay so do i have to do anything for venus i forget okay so i'm gonna have to do like the let me see if i can do the the um let me see if i can do the decals through the camera because i don't want to have to change the exposure but i will probably not gonna work where is it i don't know if i'm gonna be able to do this there it is i have no idea which way it's even looking right now no i'm gonna have to come out i'm gonna have to come out of camera oh well so we gotta and you can't unlight it so i do have to change the post process i should make like a widget blueprint that just does that for me uh oh so where is it here i'm gonna go up a little bit just so i can see uh okay where's this decal hanging out where did it even go here it is so we're not in camera right okay let's go over here and investigate how this decal looks that's so far in the background i mean do we even okay so first of all let's know how details work right or am i wrong is it it it almost looks right i don't know i don't think so here let me turn snapping on to get it kind of like in like this so uh i mean what's the top of it the top is like it's like this right like that's kind of the orientation it doesn't have like a place to kind of fall off you know what i mean because it has like the cave on it like the um the ceiling yeah you don't even barely even see it um maybe it's a little too bright so this is the decal material what is this what's the master yes this is the decal master so hopefully there's like a color here it is yeah color overlay that's not what i was expecting i was thinking like a brightness thing overall intensity that sure is doing nothing um isn't it is it opacity more than it's what i'm thinking clearly that's just a tint so maybe it's opacity then i wonder if it goes out of focus there it is okay so we can kind of like fade this thing off a little bit though it's it keeps the intensity it just kind of like gets rid of some of it uh i'll put a couple in there i'm not saying this is like done correctly but you know you you break it up and then you do a better job than how i'm gonna probably get done at the moment turn off the snap throw a body oh yeah maybe yeah yeah yeah dress add some some extras some human production value anyway do a better job than that but you know it just kind of like makes it so it's not exactly the same i'm gonna go get that real streaky one and look for like the high impact like where do you really see it and i'm gonna put a big streak through it and it's like there's the streaks there's your where is this projecting from where are we uh i suppose i should be on local it's gonna be a little easier where's the what happened where is it oh i need to be like in the thing i can scale it out like this right i don't do decals much so i'm not like don't have like the the workflow sure so kind of hiding behind the um that kind of crevice that happens yeah so one one more there do we even see this is even doing anything like oh yeah oh no okay it's there it almost reads a shadow which is kind of weird but i'm gonna put one over there too and just like you know it's it's it's more the process then like that it came out perfectly i'm like i added decal so that's me leveling up i never i never i always get bored not bored impatient at that point i'm like i don't want to do this but maybe that's where i come back day two fresh eyes and be like okay this part's actually so repetitive we gotta really break this up like especially if it's being lit up so much like this like that's funny like like under engineer maybe any decals any any game engine with decals you can like let's play borderlands 3 and you can just go run around and find things where like the decal does like that you're like pretty easy to find because imagine it's like the last part of the process is you add those on there i think this wall would be a good candidate for that big streaky one i want to open that big bridge that epic games get put out and that thing has like hundreds of decals on it i was like whoo i don't i don't they just overwhelm me still i just don't use them very much but it's probably like that big big percentage of it yeah okay it's you know i'm not sure i did a good job with it but i'm gonna boot this one over and i want to bring in that drippy one because i don't think we have the drippy vibe i think all we've done is kind of added literally black over it so i maybe there's like some shader work that needs to be done on this thing to make it less just like black it just looks like we added it looks like shadow it looks like a cookie on the light more than it does like anything else but that also could just be like how the lighting is um it helps it kind of like adds like a vin like a darkening there kind of breaks it up let's get the big drippy one try it this one wall rust leakage that's probably not the one you put on a cave though rust so maybe not i'm not we did some decals though yeah maybe a person back here that has to be done to camera but i can see that i don't know how much you see you kind of saw here right so she kind of gives away how bad the lighting design is over here like she's so bright but i'll take i'll take a peek through camera where's that camera we added decals not like well but they're there too bright what do we say eight that's dark okay so where is our extra person i don't want to move the camera i don't know how to lock the camera where did our extra person go is there under here okay she's here somewhere there she is yeah is she here here might be good kind of facing back in the scene not so so oh the shadow from her is nice i like that shadow or maybe i don't i thought i liked it no i guess i don't it's kind of cool it's like if it was moving i kind of like that because it's kind of like she's like she's not seen but like her shadow like implies that she's there that's kind of kind of cool yeah i'm into i'm into like an extra person back there that's kind of cool she is just in a random t pose so we could do like um let me click in here hit g we can do like a before and after decals like if it was worth it right so that's no decals yeah they're just done poorly they look like shadows but it breaks it up which it honestly takes away from like the nice it takes away from the nice rock i think it's better with them off i just did it poorly but you know if you did it nicely i think maybe that one's too dark too big but maybe just like single ones like would have done better i think it's worse because i'd rather look at like how nice the rock is so we added a person so that that'll be the final i think right here but for sure if you did the decals right as it's probably like my my least my my weakest points i'm like okay with the big vignette because it's either you do it with camera you do it with the lighting it would be heavy-handed if you're against a very bright wall but i'm okay with this .7 vignette i like the extra person i like the foliage fully just not screen space reflecting in here is that right ray tracing would have helped quite a bit but a little iffy at the moment still no it's reflecting it just barely shows here it's because it's screen space it's not actually like you i would expect that to be in there would have helped a bit but cool yeah so that's that's like the better way of doing qixel stuff and when i make a like like a forest or something like a small forest same kind of fov scene and it'll be um i'll try to use them i'll use the brush of five material brushify auto material and then do mega scan stuff over it mega scans foliage mega scans uh textures etc oh it was backwards is that the reason i also just don't like the pattern of it i think it was just too much i think i would have been i would have been happier with like one little one whereas like it was just this huge plop of just too much i think more like one one big characteristic leak and i would just use that one all of it all over i just think it was too much but if it was backwards that's maybe why the shader was so like opaque it had like no i don't know something to keep working on it's also very dark so it could be like part of the lighting as well but cool so yeah as a recap for myself and and just for the stream uh updated mega scans plug-in really good more complex though but but good the the blending i think for reasonably small scenes you just use a terrain floor and vertex paint it and that's really really good i mean like that's probably how i'll start almost all my levels it's a little rough if you want to have it like more modulated so it's like you'd have to kind of like sculpt that in like another program but you know next time i'll try it on the landscape material and maybe bring the tile density like if you scale the landscape down it becomes more dense and that would be it well cool this is my time here so i'm gonna head out so thanks for hanging out um the little tips in the art direction stuff like that really helps keep me on point cause there's a lot of things to manage when you're streaming it so uh that wraps it for this one i'll see you on the next live stream or a regular video i'm gonna make a vanishing point video pretty soon too peace you

Channel: Cinematography Database

Views: 35,759

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

Id: _xjoyBmHlWg

Length: 164min 38sec (9878 seconds)

Published: Fri Oct 23 2020