Creating Mars in Unreal Engine 5 [Livestream]

all right and we are live so again as always guys let me know if my microphone is too quiet still a learning experience great to see you here tonight guys thanks so much for joining uh tonight we're going to be creating this is going to be a very chill live stream this is not going to be a specific topic this is just going to be me kind of just kind of creating an environment um i've opted for a mars landscape a because multiple reasons not to begin a we get a lot of free stuff from epic with unreal engine five and b i want to play around with lumen and i want to play around with some of the atmosphere settings and this is what should be the atmosphere settings are kind of the main reason i wanted to make this environment tonight so i hope that's an interesting topic for you guys i know you're probably tired of seeing rocks at this point because you know red rocks are uh a thing that we've been seeing a lot in the past few weeks right so um i hope you're excited i'm happy to see you guys here so let's get started great to see you everyone so as you can see here i've got a very blank scene all i did i went to file new level created a blank scene started from scratch um we're just going to take a quick look through my project setting because i know some of you have asked for that in the chat so i'm going to go to project settings right here and let's take a look at the rendering tab i'm going to scroll down rendering so we can see i'm going to scroll down to the lumen section virtual texturing is on global elimination using lumen reflections lumen let's see okay global tracing and virtual shadow maps all right and this is pretty much all we need to know for this uh yeah so let's get started so as always the first thing i'd like to do like i'm going to create a post process volume as you can see i've changed my interface from an unrealtion file so in the settings down here in the content browser sorry no sorry that's not true not there in window up here if you go to uh i believe it's in load layout you can load the default editor layout uh or the unreal engine 4 classic layout i find this really handy uh because um you know i don't really like the whoops i don't really like the unreal engine 5 layout it's yeah i just kind of prefer the old unreal engine 4 layout so you know bear with me so now that that's being said i will create a post-profit volume and as always in detail panel i'm going to go for unbound whoops unbound i can't type tonight all right click on that and set the auto exposure off disable auto exposure because it's the worst and now we are ready to get started now uh epic has created for us a series of awesome stuff for us so i'm going to go to ancient content blueprints and i believe it is in if i get to do this let's see geometry there we go so you can kind of see the epic create that the whole series of blueprints for their unreal engine 5 release the reason for this is uh just so that we have something to the blueprint just a collection of a whole bunch of mess of assets i'm going to get into this later so i'm just going to place something here and this is obviously huge so i'm going to actually delete that and why can't i delete this there we go before i do anything i'm going to go to window and go to sorry window tools oh where is this environment light mixer there we go i've been looking for that so environment liquor for those of you who are not familiar with it um this is a very easy way of creating lights it's just going to create a light system an exterior lighting system extremely easy in just a few clicks so i'm going to do that one more time if you didn't catch that go to window and you're going to go to environment light mixer open this and you'll notice i don't have anything on my scene right now all you need to do is click create skylight create atmospheric light create sky atmosphere and create volumetric cloud now you'll see nothing shows up we're going to hide and unhide the directional light and now we have a sky so this is a very quick way of establishing um just establishing a default light system that works pretty well out of the box it's very quiet in just a few clicks you get a whole system that just works right so this is uh i made a tutorial on this so yes i went fast here but there's a tutorial called how to use the environment light mixer made by me go check that out and i kind of go through it step by step to show you how it works so uh yeah so the environment like makes it for those of you who don't know it's amazing and it just works out of the box so now that we have our you know just a sky in here i'm going to go back to my content browser and [Music] lower just a little bit and you'll see that we have in the ancient content folder we have the geometry and if i have a filter here called blueprint class so it's going to show all the blueprints and i'm just going to drag and drop something in here and you'll see it's huge it's a really massive environment um or not environment sorry but just a massive asset it's really really big so i can change my camera speed there um it's really just a collection of a whole bunch of different individual meshes okay so i'm going to start establishing an environment by using and kit bashing all the stuff that epic has made for us in the underlying 5 demo right and yeah as bacon's bath says in the chat um the environment light mixer is a pretty new tool that was released with unreal engines with 4.26 um so that just came out i think i want to say january and december or so it's pretty new so uh definitely go use that so before we even start placing stuff we're going to start taking a look at reference because i want to make a martian landscape i want to understand how atmosphere works how it looks what the kind of general mood that we want to go with right and for those of you asking yes the stream will be saved for later as always none of my streams are unlisted after the stream ends my live streams are always available for your personal viewing after the fact so if you have to leave or you know life happens you can watch it later so let's go ahead and google some martian landscapes right here so i'll just google mars sunset and you'll see mars sunsets are not red they're blue which is interesting um i'm not smart enough to tell you why the sunsets are blue but apparently due to the scattering of the atmosphere the sunsets are blue i'm just going to look at more mars landscape for example and obviously it's very red it's very rugged we've got a really interesting you know atmosphere going on here the sky is very orange it's just there's not much hue variation happening here right so fortunately if i take a look at this i don't know if that's a mars landscaper that's just somewhere in california um i probably should be looking at references from nasa themselves but hey whatever gets us that mars feel right so we notice here that we got like lots of rocks lots of sand and some very kind of bluish desaturated kind of atmosphere going on so that'll kind of establish that i'm the first thing i like doing when i create an environment because i'm not making a playable environment um the first thing i have to do is i set up a camera okay we're going to establish a shot we want to establish the framing of your shot as soon as possible right so i'm going to turn my frame right here there we go so it's really important especially if you're making a 360 playable environment like a game or something then please just this story please disregard what i'm about to say um but in this case we're not going to be making a playable environment we just want to make a pretty picture right and that is why it's so important to set up your camera as soon as possible so what we're going to do is we're going to go to the cinematics tab up top add level sequence and i'm just going to save this as live stream camera save that and i'm gonna dock my sequencer right here okay so sequencer is for those of you who don't really know what it is sequencer it's basically unreal's i don't really know what to call it sequencer is kind of unique to unreal it's basically it's renderer it's where you render everything it's where you animate everything and where you load in all the things you want to trigger the events you want to trigger it's where you add all your character animations it's where you you know do so much stuff uh there's a lot to unpack in the sequencer so if you're not familiar with it i recommend that you take a look and learn a little bit about it yourself and before i forget i'm going to save this so i'm going to save this level and call this live stream mars there we go okay so now we have our sequencer we're going to go create a new camera and first thing i'd like to do into my camera is i'm going to change my camera settings because i don't like the aspect ratio so it's 69 digital film i'm going to set this to maybe 69 dslr there we go i like 69 dslr because it's basically a full frame um it's using a full frame sensor essentially but crops for 69. and for those who don't know what full frame sensors are it's basically a full frame a 35 millimeter camera uses the full frame sensor so uh for those of you wondering i'm just going to take a just uh tell you explain this real quick i didn't make this in five minutes this asset right here is made by epic this was all included in the valley of the ancients demo that you can download for free on the marketplace uh so just no don't worry i didn't make this in five minutes i cannot take credit for that so with that being said i'm going to establish my camera right now and because i don't really know what i'm going to do yet i'm going to set it to zero i'm just going to place the camera right kind of low to the ground for now until i've kind of figured out what direction i'm going with my shot so again this is going to be a very chill live stream i'm just going to experiment a little bit and play with some different settings until i get an image that i'm satisfied with so uh let's see now what other assets so as you can see here so i've downloaded the entire valley of the ancient demo that comes with unreal engine 5 and there's a whole crapload of assets here and you'll notice they're not static meshes they're blueprints why is that you might be wondering like why did epic epic include a whole bunch of blueprints uh instead of you know uh proper just static meshes right uh the reason for this is you'll see we have a whole collection let's say i drag and drop this blueprint here and i'm gonna get out of camera mode you'll notice that all these blueprints are actually a collection it's an amalgamation of a whole bunch of different static meshes together this means that artists at epic could spend you know like a month or something or i don't know imaginary number of a week or a month kind of just piecing together and just making a whole massive chunk a massive art to really make a really pretty chunk of assets together so if i open up this blueprint for example come on load up you'll see there's a whole series of static meshes in the blueprint now where is this viewport yeah so you'll see right now see how this is um this is my blueprint actor here and you'll see there's a whole bunch of different static measures in here if i scroll down open this list here you'll see there's a bunch of static meshes right and so this is basically what the best way of explaining this imagine just a collection of le so yes exactly so think of it as lego okay so imagine each individual static mesh here is an individual lego block and together they create a bigger lego you know a bigger lego piece right that's how you get like a tie fighter out of lego and out of those individual pieces and this is how it is exactly a gossip patel blue appliance it's just like a collection in blender essentially um blueprints is that's actually a very big um simplification of what blueprints is but this is one way to use blueprints okay so it's really just a collection of individual assets and if i open up this big one here this big bad boy uh this way i'm going to open him up here if you port oh it actually this is one big static smash interesting okay i didn't know that but let's say if i open up another one you'll see this one here is this massive cliff phase here uh this is a collection of a whole bunch of individual static meshes right now this was not really possible in or recommended to do in um what you call it on religion 4 because this creates a absurd amount of draw calls okay and the reason for and now the reason why we can do it in on religion 5 is because nanite all these meshes are using nanite and manite handles draw calls very differently so what this was not possible or recommended to do in unreal engine 4 but it is totally doable now the inner kaiser thank you so much for the super chat man i really appreciate that cheers man so i hope that kind of explains you know what the blueprints thing is doing here right so it's um it's like again it's just a collection of a bunch of different assets and that way you can really kind of make these super structures right so if i just you know wanted you know if i just selected this one chunk here on its own it's not very impressive right but as part of a collection it becomes a much more impressive hero cliff face that's why this is interesting exactly luca fagun um because then i erased the polygons that are not visible exactly um nanai has a ton of stuff happening under the hood that i'm actually still researching right now and i will make a dedicated tutorial on on nanite and how it works and why it works um but that's a work in progress i'm still learning how it all works myself i don't want to make another tutorial like my previous lumen tutorial last week because i'm not a big fan of making tutorials where i'm like oh you know this works because i don't know why it worked but you know i'm just trying it's not very professional you know i want to make tutorial where i know what i'm talking about and i think you want that those kind of tutorials as well so i'm not a big fan of making guides or you know videos about a subject that i'm not a hundred percent confident in so with that being said i'm going to close this and now we can start you know i'm going to start working on my camera again and let me just answer some questions real quick desk greetings from oslo william do you think you'll be making more for movie render queue in ue5 or sequencer um hey man welcome uh welcome to the stream uh so yeah i'm definitely going to be using movie render queue moving forward i tested it yesterday and movie render queue does work in unreal engine 5 so that's a very good thing um um project storm have you had problems deleting landscapes uh i haven't played with landscapes yet because landscapes are not actually supported by lumen yet so no i have not all right so let's go back to my camera now i'm going to place a camera kind of a ground level something like this again i have no idea which direction i'm going for with this shot but that's kind of the beauty of art right you just kind of try new things and eventually you throw a ton of mud at the wall and eventually something's going to stick so i'm just going to change the aspect ratio here make it a bit more widescreen because i'm a big fan of the 235 to one aspect ratio and i'm going to exit this there we go and i think i'm gonna yeah so i'm gonna go create or go get some more assets here what's really annoying is that whoa okay where did this go okay that's actually really small i don't like that somewhere okay i'm not a big fan of the way that unreal engine 5 handles placing objects like i would say that's a little bit different than it used to be and that's kind of annoying like normally at least in ue4 if you drag and drop an object you know at that spot it would you know kind of show up at that spot but now it's not it's kind of showing up in midair maybe it's because it's a blueprint so that that could be so these mountains here are great for you know distant mountains they're really big so these are awesome for kind of establishing the background and the horizon i'm gonna go back to my shot here move this down i'm going to start getting some depths in here and really just kind of pushing these far away and establish my horizon line because that's that's really the key to any to establishing any shot you really want to kind of figure out what the heck is happening in a world space right so i'm going to move this over there how big is this yeah okay no move this down a little bit i really want to lock my camera so i'm going to just play leave this here like that maybe and i've okay i can pin this perfect there we go that's what i wanted to do so for those of you who don't really know uh this is kind of an old trick but if you select your camera in your sequencer you can and you select the camera you'll have the kind of the preview showing up in the window here you can pin that so it's kind of always visible so let's say i'm going to go move this mountain over here it's really nice for kind of getting an idea of dressing your shot because now you can get a preview of what it looks like in the camera but without having to be locked into camera view mode so now i gotta establish this gonna move see what other assets we have uh these are obviously okay that's really small don't like that it's really hard to get a feel for how big these blueprints are some of them are huge some of them are small yeah see why what why is this i think that's an unreal engine 5 issue uh because i don't remember having a problem in unreal engine 4 where i think would just be placed in midair somewhere so maybe it's a blueprint thing maybe it's unreal engine 5's thing i'm not sure yeah these are measures they're probably going to be good for you know more close-up stuff more hero stuff so i'm going to leave that i'm going to delete that let's say i'm going to call but there we go okay that's obviously way too small again way too small i'm just going to drag a series of them out here and see which one i might fry my pc here uh mockity should i download the 100 gigabyte project tp to get these assets yes absolutely these assets are amazing and i do recommend that you get them just the fact that you can play around with the value of the ancient demo example scene is really really really handy it's so useful it's so fun to kind of take it apart and rip it apart and see how they approach things uh that's my favorite thing of playing around with epic assets is that you know you get to learn how they approach a certain you know challenge for lack of a better word uh yeah okay this is actually i love the detail going on here this is from pretty gnarly stuff i'm gonna place this close to the camera i think that's gonna be pretty awesome now i've already established or decided that uh well what happened here i like that it just disappeared that's weird cool i'm awesome scale this up there we go wow what is going on okay well i'm not gonna use that out of it anymore cool um i already know that i have a little astronaut dude that i want to use so i'm going to go ahead and get him and bring him to my shot so where did i put that guy astronaut suit mesh mesh there we go i'm going to bring him in here now why again really annoyed that uh assets should get spawned in midair instead of on the surface very irritating okay so i'm actually really far from my camera here i'm gonna move this guy i'm gonna go into camera mode to help me out here there we go so i know that i want this this little dude i'm gonna call him george he looks like a george and he's gonna be my subject of my shot so where i want him in the scene i'm not sure i haven't decided yet open to zero where is origin now okay so that's origin there we go so i'm going to leave him here i'm going to leave my camera here as well arthur tasquin william what about your patreon i've been swamped with work uh and totally caught by surprised um by unreal engine 5's release i was not expecting it so patreon's kind of taken a back burner for now i've just been i've just been too busy to finish it up so i'm almost done and the way the patreon works is that you kind of pay for the whole month so it kind of renews every first of the month so i kind of feel obligated to release it on the first of any given month so i think it's going to be a july first release uh unfortunately um that's just kind of the way to patreon works uh so i apologize for you know i know i said i was hoping for a june 1st release but that was before unreal engine 5 came out yeah blindsided everyone uh in lives in the woods game can you please stop spamming that's um that's a lot of chats and yes there will be a discord for the uh for the patreon so discord channel discord server is going to be for patreon supporters only for the time being uh mostly because hey i have no idea how you know or what involves yeah i don't really know how moderating a discord channel goes so it's i wanted to be you know baby steps start small and you know eventually the discord channel will be open to everyone but for now once patreon launches it's going to be patrons only so okay i'm going to set up my camera here and change my focal length i'm going to go to 85 mil because i really love 85 it is my favorite focal length oh i gotta delete this there we go move the focal distance back here there we go something like that now obviously the ground looks like crap it's a big kind of pile of turd it doesn't hold up very well up close it looks awesome from afar but not up close so i will have to change that so for now this is kind of okay i guess uh again i'm not really super happy with the direction this is going for now so i'm just gonna oh that's that could be cool do have a kind of a cliff thing i think a part of getting any shot to look good is experimenting no artist ever khan i mean it happened that some artists had like this vision in their head where you know they just kind of get it right on the first shot that's not how it works for most people i think getting a good a nice looking environment a nice looking shot uh requires a lot of trial and error trying different things seeing what works seeing what doesn't work um just like i said earlier they're throwing a ton of mud at the wall and eventually something is going to stick that's how it works in photography like if you go for those of you who don't know me i've you know been doing photography for uh what 10 12 years now why my frame rate going bad there we go and you know photography is one of those things where like you just try different things and eventually why is the world is that happening that's really what is happening with this blueprint okay uh yeah there we go oh i know why i added it to the sequencer that's why okay that's weird that's one thing about sequencer is if you're not careful you can accidentally add assets to the sequence i think with the f shortcut so often when you're moving around and navigating your scene the sequencer will add those assets to the sequence and things get weird so just kind of keep that in mind okay i'm gonna move whoa see ah i'm so annoyed like placing stuff blazing blueprints is really frustrating so i'm going to go to my camera and place them here instead hopefully that works i have a drag and drop maybe i know maybe something like this here there we go so as you can see now guys just to kind of explain what i'm doing i've set up my camera i'm kit bashing uh we have a whole time ton of amazing assets that are made by epic and we've just got a very very very basic lighting setup done thanks to the environment light mixer that you can find in the window tab up here env light mixer click on that i've made a tutorial about it so if you don't really know how it works go check that out so again and sorry if i'm i'm not really patient to the questions guys this uh there's just so many questions and i feel like if i read all the questions i'm never gonna get anything done so i'm not intentionally trying to ignore you just so you know um let's see now okay so i'm gonna go back and get some more assets and let's see what i can get here i like these big flat areas so let's say this thing move this up this can be a decent little ground thing so i might use that as the ground for my dude for george here it's kind of pretty well detailed it's not too bad there we go there there like that see how this looks in the shot it's all about that's the thing when you're set dressing a shot it's all about the shot what happens outside the camera what's outside the view that you're seeing in the shot none of that matters so you know if for anyone who's worked in film anyone who's worked in vfx uh you know that like you know when you're making a beautiful shot for you know the next you know avengers 7 or something nothing when you open up those maya scenes or open up those levels it just looks like crap because everything outside that camera angle doesn't matter right so uh yeah so just to explain why i'm not focusing on like the haze all the atmosphere stuff i'm just kind of establishing the geo first i place the lights initially just so that we can kind of see what we're doing i'm establishing the landscape first and then once i've established all that and that's done i'm going to start playing with the lighting play with the atmosphere play with the post process effects i'm going to you know then i'm going to start looking at my render settings and i got to start rendering you know rendering my shots and thinking about how i'm going to tackle that color grading in davinci resolve or premiere or whatever your package of choices and um yeah i kind of went off on a tangent here but for those of you who are familiar with photography you don't always get the perfect photo on the first try you try you take many photos you shoot once twice three times ten times and just to give you an example national geographic photographers back in the day back in the film days they used to shoot maybe one photo out of you know a thousand was good so you know that's a lot of rolls of film that were just you know not good photos uh one in a thousand was used or and printed in their magazines now with digital i think it's over 10 000 images a shot for just one that's printed so just to give you an idea uh even some of the world's best artists they just kind of spray and pray right like i said you sling mud at the wall eventually something will stick so again now i'm just establishing my horizon and just playing around with seeing what works and what doesn't i don't really like this i kind of like okay and i'm gonna go here oh my goodness this is so big it's just such a ridiculously big asset it's crazy there we go go back my camera there we go you might even have to scale this up actually when you get to like very distant things or scenes there uh don't be afraid of just exaggerating the proportions in the scale we all do it i'm a big believer in the end result is the only thing that really matters i don't care if something is like a fake or a hack where you know some as long as it looks good that's all that matters agastya patel i've tried real world scene but how do you keep up with the proper scaling and positioning like i said the end result is all that matters of course you want to try and keep things within a reasonable scale um of course that that kind of goes without saying but when it come when things are arbitrary like the size of a mountain there's no real like how big is a mountain right there is no you know physically correct size for a mountain it just you know a mountain the mountain right so as long as it doesn't look ridiculous and long you get you know a good balance of high frequency and low frequency detail you and just scale this bad boy up to like you know freaking huge it doesn't really matter now of course if i exaggerate it like this you'll notice it starts to fall apart because um you know the size of these things doesn't really make sense considering how far away it is right so the the detail doesn't really match the distance and the size so of course don't exaggerate it don't blow it up completely out of proportion uh but as long as it feels you know as long as it feels okay just try whatever so now that we have something going on here i kind of want to kind of emphasize maybe like a cliff face here i want to have him kind of watching over a cliff uh so how what am i going to do here so i'm going to move probably just rock here like that so we can hopefully we can see it in the shot is this going to be our framing i'm not sure i think we'll we'll see how it works there but i might have to change this rock asset because i'm not really a fan of like you know you can kind of see these uh rocky the edge of the cliff doesn't look very convincing to me uh i might have to rotate this like this or something yeah i'm not i don't really like the jagged edges here like this doesn't look very realistic for now it's fine we're doing placeholders it's okay we're just kind of establishing a shot so again i'm not worrying about the lighting right now because the light is going to change i just want to have lights in my scene so i can see what i'm doing we want to establish the geo and the shape and just the general look of our shot before we do anything else that's the first thing we want to do so um yeah i think i need to establish some kind of something more interesting at the bottom here this feels very empty and well it is empty so let's go back to our shot and let's focus on the things that needs a bit of love so we need a bit of love way down here right uh this kind of feels low poly and kind of bl i think you guys can all agree like you'll notice i don't really get that separation between this mountain here and the one in the mid ground here lighting will help with this right so if i change the lighting you'll see now okay now we're actually getting that separation between this mountain and this mountain so obviously lighting can really help you you know can really help with your composition lighting is essential to that so sometimes a good way of you know it's good to play with your lights and just kind of try and see like okay this works um and just kind of work on it from there so for those of you wondering about the astronaut asset i got this on the epic marketplace if you just search for astronaut um he's there i think he there's a sale going on now and so i got him there originally he was orange so in the the acid itself when i bought it he was an orange he had an orange suit but you know an orange spaceman suit with orange rocks on an orange atmosphere or a red planet um it's not going to look very good it's got everything kind of all going to blend together uh i made him white purely because i think the white suit is going to contrast better with the orange environment and that's really the the only uh reason why i made them white um briggle smack are you making a sunset maybe i haven't decided yet that's kind of the beauty of art um it's all subjective uh i rarely make an environment with a pure with a really clear idea of what i'm gonna do i try i experiment i try different things um and it turns out like usually by the end it's never really what i had in mind at the beginning so moving forward let's go find some more assets here uh let's see i kind of like this i'm just gonna duplicate this and bring this down scale this bad boy just so we have something filling up this empty void there this is not really gonna be in the camera so that's why i'm not too worried about how it looks right so like okay this girl oh actually it is in the camera okay so if i move just like that yeah i'm going to have to do some work here uh with the bottom part here i'm not sure what i'm going to do yet so i'm going to delete that save why can't i say contains invalid data that's interesting i've never seen that before contained reference livestream camera does not exist huh cool so i can't save my scene question mark that's never happened to me before wow no i did not download the player model but contains invalid data okay can i save as say current level add i'm going to v02 okay cool so i can save a version too that was weird i've never seen that before so you know uh if um if you guys had that issue just kind of go to file up here and do save level as no idea why i couldn't save for a while did that was very very strange okay going back now [Music] um right now i'm just trying to fill in this empty void that's at the bottom here just a matter of duplicating stuff and just filling in the blanks kit bashing is the best way to do this so things obviously don't make sense you know from this angle but it doesn't matter because we're just letting for a shot we're creating a shot now of course my sequence disappeared there we go there we go now we're starting to get up something a bit more interesting here i need to find a better more interesting cliff face for this thing here so i'm going to go to my content browser and find a more interesting cliff so what have we got here let's see we've got this i'm gonna try and bring this in here okay whoopsie i did not mean to do that damn it where is my astronaut there we go uh there we go so it's important when you create a camera in your sequence uh don't forget to keyframe the camera so that you don't lose the position so i'm going to select my camera here and i'm going to hit the s key so that you know if i move my camera by accident right i'm like oh no where did my camera go you can just do this i'd play with the timeline and your camera will snap right back to where it was um this is kind of um you know important thing to do so now i'm going to move this i'm going to try and bring this here see how this looks this is some pretty deep this is pretty detailed i kind of like this this looks fine how does this look in the shot so obviously now you'll you'll start noticing how things you know lighting played the big role here there we go like that yeah there we go something like that that should be fine for now okay again i'm gonna play with the lights a little bit i want something like that or like this what is casting the shadow on my dude oh and here i was wondering why my dude was in the shadow did the humongous rock on top of them that explains a lot sergey saracev hey will this may be off topic but if you want to ask high quality fg dust effect is it something you can do in unreal or is it uh you would impose a nuke or with like a position pass you can i mean honestly there's no right answer here uh niagara is amazing and they've used niagara in the unreal engine 5 playable demo and valley of the ancients and niagara looks fantastic i think you're going to have more control in nuke doing it in post but again there's no whatever looks good right what if which if for some people uh the effects in unreal is not going to look realistic enough you don't necessarily have enough control uh so yeah i don't really have a um a good answer for you i i personally like doing that kind of stuff in effect like houdini and then combing that in with nuke or resolve or whatever but yeah it's it's up to you tyler corbin frisch does the astronaut mesh have bones or animation uh yes it does so it actually has the same uh skeletal hierarchy as the ue4 mannequin so you can use a bunch of different enemies there which i'm going to actually use right now i'm going to give him the idle or not idle i'm going to give him walk and just so he has you know i can make him look sad maybe or something or maybe idle and idle's probably better all right there we go so now he looks a little bit sad but you know or he's looking down that's kind of cool so yeah the space guy the the astronaut that i got from the unreal epic marketplace is available uh for download and it comes skin ready for animation so okay now this mountain here bothers me i don't really like how some of its shape i'm we're lacking that all that fine detail this could be a nanite thing that's lodine because it's so far away i'm not entirely sure but now that we're we're starting to get a bit more of an interesting feel here so i'm gonna what's happening down here i feel like we're losing oh okay that might be some fog or something maybe let me see if there's fog and i don't think we have fog in here i don't think i placed it yet no i did not okay before we go much further i'm going to organize my scene a little bit because i am a big believer in keeping your scenes organized why why that's annoying okay so it seems to be my sequence file that's just not huh camera that's really interesting so it seems like it's having issues with my sequence file all right well hopefully unreal doesn't crash so um i'm not sure what to do about this actually i'm gonna go save current level as i guess i'm gonna do a version three and then open up sequencer again we go i got to do this every time that's annoying but what can you do show grid and i want my grid to show up okay so next up i'm going to add some fog mr dinko hey how did you get the ancient content into your own project i'm actually using the ancient valley project itself and i just created a new scene it's really simple as that so i'm gonna go for fog up here gonna add some exponential height fog and you'll see like whoa things are crazy oh yes i got distracted as always i'm gonna organize my scene create this i'm going to create a landscape i guess and i'm going to create everything that has to do with the light and select these and put these in a folder called lights did they fix the outliner they did not fix the outliner man i really was hoping that unreal would have fixed the outliner for unreal engine 5 but i guess that was too much to ask for everything is still in alphabetical order i really want to be able to organize my outliner the way i wanted to uh okay so obviously this looks terrible i need to play around with the uh whoa uh where is it where'd the fog there we go turn this down now the first thing you should know about working with uh fog what the heck come on oh there we go so when working with fog when you place your uh exponential height fog so i got it right here just so i'm gonna move this over when you select your exponential height following your scene you'll notice the whole bottom of the hemisphere becomes kind of bluish-white when working with the sky atmosphere so we have a sky atmosphere in here right so if i hide this we have we have our sun and blue skies i'm gonna hide the clouds so this is our atmosphere the sun and the horizon there and if i hide this you'll see we don't see an atmosphere so when you work with the exponential height fog and the sky atmosphere it's really important that the fog in scattering color here is set to black and i believe the in scattering i think sorry the directional and scattering as well it should be set to black i'll explain to you why in just a second so i'm going to increase the fog density here just exaggerate it for for effect here now you'll notice everything it doesn't yeah i'm making it intense for a reason so you'll see it doesn't take on the color of the sky right so you'll notice that you know as the sun gets closer to the horizon the whole sky changes color but the fog doesn't doesn't take on the color of the sky why is that that's because the fog and scattering color that we see at the bottom here okay is set to like a bright blue with a very bright value and the falcon scattering color all these things are additive okay so they add on top of each other so that's why you should set this to black okay and i'm gonna set the directional and scattering color also to black and now you'll notice that see how we look at the bottom the bottom half of our frame here notice how now it's taking on the color of our sunset okay does everyone see that this is why it's important to set the in scattering colors to black because like i said they're um additive so now our fog takes on the color of our sun and our sky so this is super you know it's really good to know of course if your art direction requires you to have a different color that's brighter than black that's fine that's totally okay there's no right or wrong answer here i'm just trying to you know show you the good practices the things that you're really how it works and you know just how i do things so now like i said our fog takes on the color if i hide the fog right you'll notice you know now it goes from totally pure black here to we have something and you'll see around the sun there's like this big kind of halo not halo but big gradient and now we've got some fog in our scene i'm going to go back to my camera and you'll see whoa this is starting to feel a little bit more martian because it takes on the proper color of the sun so obviously this is way too strong and too dark i don't want i'm not going to make it a total sunset come on something like that now we get a bit like that so again lots of trial and error um i think i might hide the fog for now because i'm not okay i got clouds there yeah so the fog is adding quite a bit of depth to our scene we're getting a bit more interesting hey here i might have to tweak that value because it's still a little bit too strong for my taste but i think you guys get the idea so now let's see okay so the stream's almost been going on for an hour now i think i'm going to add maybe a little bit more detail in the mid ground here and maybe the background just a very very different background and then i'm going to start focusing on more a little bit more on lighting a little bit more on some of the atmosphere settings that i want to use because this right now still looks like earth this does not look like mars anywhere doesn't look anywhere close to mars yet so we're just going to uh duplicate this see what i can do to kind of make the background a little bit more spicy this looks not not good no bueno how does this look in the background again lots of trial and error playing with different settings and i really have no idea which which direction i'm going to go with with the shot yet whoops that no i don't really like i really wish i had more a more mountainous shape um it's very possible i might go make my own real quick because right now like you'll notice like the top of these mountains are all very flat it's very grand canyon esque uh that's not really the direction i want to go i don't necessarily want to recreate the grand canyon i just want to make something that feels a little bit more out otherworldly so let's see yeah something like that move just out of the way yeah i totally don't worry about the clouds guys i'm going to adjust this properly for now i'm going to try and make them a little bit more wispy because you know there are clouds on mars and like you say but then again i'm i don't know anything about mars i'm not a nasa engineer i don't really yeah so i'm just gonna try and go with whatever looks good and we will art direct these clouds a little bit more um but now let's see let's see what else we got here i'm trying to find some interesting silhouettes here so i'm gonna find maybe something with an interesting shape and yeah i might just open up gaia and make a very quick mountain or something scrolling through here it's all kit bashing is all about finding the right pieces of the puzzle right so i'm gonna move this way down my scene that seems i'm not sure how big this is but come on there we go scale this up and just kind of send us way down in the background again this might not be the right scale but because in the distance it's so hazy it's so out of focus it's probably going to be out of focus so i really just want to get an interesting silhouette in the background for now let's scale this up let's see how this looks yeah i'm not super convinced this might look a little bit weird there sometimes i just it's just a matter of getting an interesting shape in the back if i rotate this ah this could work actually no not like that again trial and error seeing what works best whoa sequencer move this back there we go again sorry if i'm if it feels like i'm ignoring you guys in the chat i'm not i just you know if i if i read all the questions i'm never going to get anything done maybe move something like this and kind of open up oh maybe opening up this um this valley a little bit might help so there's a lot of um trial and error here as i said getting some layers in here i might have to move this guy back even more way way way more something like that maybe all right um all right so now just to kind of help make this feel a little bit more mars-like what can we do let's go take a look at google one more time and i'm going to you know just search for uh mars atmosphere i cannot type tonight and i get from the surface i i didn't really want to see it from this from the from space surface atmosphere google will fix it so again it's always tricky finding reference because you know you don't really know what's you know made like an artist's impression versus actual photos of mars but i mean just taking a look at this which looks very very very cool if i just look at mars sunset or sunrise again we got a lot of my scattering here we got a lot of this kind of stuff happening the blue sunset feels really weird i don't think i'm gonna make a blue sunset i kind of kind of make it feel a bit more warmish than that but i do love this like notice how this looks really cool it feels very otherworldly um so i love that kind of weird scattering it just looks like the atmosphere is very thick it looks like it you know i i love this look that it has and fortunately we can replicate that pretty easily in unreal so let's dig in so i'm going to go back in my camera mode here and i'm going to lower the sun just a little bit for effect and i'm going to hide the fog for now okay that should be fine now in the sky atmosphere okay this is where things get really interesting in the sky atmosphere we have a whole series of other settings uh right here called atmosphere dash my and that's my scattering and this is where we're gonna start making things feel very cool so we're gonna place play with this here and you'll notice like whoa now by just adjusting one single slider now we're getting you get you we're getting a very similar feel to that um to that mars sunset here right now whether or not it's an actual fake or a real sunset this is still kind of a look that feels very cool like i think he had a similar sunset in you know uh was it not interstellar but um blade runner you just gotta get this really gnarly dusty feel in the sky right and that's kind of what we're getting here so that's what i love about in the sky atmosphere we've got the my scattering we can play around with this i'm going to move the sun down a little bit more and now we're getting something that looks really gnarly and i'm gonna go i can remove the camera now we're seeing like these sky these clouds we haven't changed the clouds but things feel way more uh you know wispy even though the clouds themselves before we tweet them were just you know very billowy for lack of a better word so my scattering is a really awesome way to just make your shots feel very different play around with it so i'm going to move this back here i'm going to move the sun again there we go so i hope you guys got that gives you guys a good idea of how to art direct your skies a little bit sky atmosphere i'm gonna do it one more time by default it's set to something like this so this feels like you know a very uh late afternoon in california or something in southern california billowy clouds we see and just with one single slider in the my scattering of the sky atmosphere we can just play with this and boom suddenly we just get this a very different feel here obviously you need to use it tastefully but i kind of like the direction that this is going even though it's a very you know it's kind of an artsy shot right it's obviously not um there's nothing super impressive about it there's no crazy detail but you know it's one of those things it's just a pretty picture and that's kind of what we're going for today today's live stream is not about some crazy tutorial about how to achieve so and so this is really just me kid bashing and having a bit of fun so again if i just yeah i'm gonna leave the clouds in there for now i don't think i really need to touch the clouds that much because these clouds kind of feel nice they're very wispy but it just adds a little bit of extra detail in our sky and i i do i do like this a lot so i might bump up the uh skylight a little bit though whoops like that and maybe now the one thing i don't like about this shot is that so now everything feels very dark right i might have to um i might have to you know what the word you know brighten this up a little bit but yeah um kit bashing means just basically taking a bunch of different kit pieces a bunch of different you know assets so for example like this mountain and that mountain and just kind of bashing them together to create a bigger mount mountain that's really all that means it sounds very violent i agree scorp hi man nice to see you thanks for joining so let's see ganja farmer do you know how to make less clouds well i mean i could always just tweak the material of my volumetric clouds or just hide them right i could just have the clouds off so that's i mean did that answer your question i guess um so i'm going to play with my sky little a little bit and i'm going to what happens again lighting is all about trial and error and i gotta try a few new things there's no right or wrong settings to use of course you want to use like a perfectly physically based act physically based lighting there's some setting that you should use but for my sake i like playing around with values that are not necessarily physical because real life is not always pretty so just bumping the skyline intensity just to bring a little bit more detail to our foreground here and maybe if i bump up the intensity of my sky something like that i mean another alternative just to give you guys an example another thing i could do is i could leave my lighting settings at default so a skylight intensity scale of 1 and my direction no light to 10 and i can just play uh with the exposure here right so that's another way to do it um yeah there's no right or wrong answer unreal cinema jumping in the stream a bit late but your stuff always looks so amazing look forward to going back and watching your whole process on this thanks so much man i appreciate that again for everyone the my live streams are always available for everyone to see later uh so if you missed the stream or you missed something don't feel bad not a problem oh i kind of just see just moving the camera like this um i suddenly like this composition a little bit better uh so i might just leave that like that whoops that's not what i meant to do come on where did my son go there we go where's my sun there we go moved something like this kind of like having the sun sort of behind the cloud just slightly i wish i could rotate my directional light a little bit now where is my direction light i'm gonna move it somewhere more in the camera so i can rotate it there we go and now what there we go so i like having the sun sort of only half visible like it's sort of hidden behind the cloud i think just kind of adds a little bit more mystery to the scene now i think i'm gonna try and add a little bit of heat haze um for those of you who noticed in the valley of the ancient demo the heat haze like the kind of shimmering effect that was all done in the post process material so i'm going to select my post process volume in my outliner and i gotta add prosperous material so we got podcraft material in our post process volume and i'm gonna add one and they're the material that's called i'm gonna type haze i think it's called heat haze okay so there's several different types but let's add it there we go i'm not sure if you guys can tell in the stream but there is a subtle amount of haze going on in there so i haven't actually made this prototype material myself just so you know um it's uh it's done by epic and you can get it in the valley of the ancients demo that's part of unreal engine 5 the one that weighs 100 gigabytes so um yeah i'm going to go find that again go to the mat so the post-graphic material is really just this okay and post-processing materials can do a multitude of effects you can do a whole bunch of stuff in there you can do heat haze you can do lens effects you can do lens flares they can do vignetting there's so much you can do i'm i'm not even going to get into that but there's a guy on art station called alec tucker who made a blog post on all the series of um a post-profit material you can make and he kind of goes in-depth on how to make them so alec tucker on artstation go check him out he's awesome great artist super nice guy i had a brief chat with him he's worth following i'll include the link to that in you know what i'm gonna go search it up right now i'm gonna find it for you guys because alec is a great guy and he deserves some recognition let me find it so i like tucker art station blog so go follow this guy here and so yeah he made a guide called cinematic post processing tips and tricks um go follow this dude on our station and in his blog post section uh he is he makes a bun he tells you about how to make postpartum materials from scratch and you know different vignetting types he you know barrel distortion bloom different kinds of bloom how to tweak things so definitely go check him out um he worth following all right so just to try to show you guys whoopsie did not mean to do that there we go so now that we have our heat haze in here um it is subtle but we do have a little bit of heat haze and now i think the last thing i kind of want to do is maybe art direct my clouds a little bit better um so we're gonna probably i think you know what we're gonna do we're gonna do what i did in my tutorial from last week on how to art direct volumetric clouds um just to kind of show you guys one more time how it's done so we're going to go to the content browser and in order for this to work you need to make sure that in the plugins you've got volume metrics enabled okay so if you search for volumetrics and plug in make sure the volumetric plug-in is enabled uh it's pretty awesome once that's done we're going to there's one more thing you need to do and that is in the settings you need to make sure that show engine content and show plugin content is enabled it's checked here and then we're going to go to all the way down you're going to get a whole bunch of more folders in the content browser you're going to go all the way down until you get to v where it said volumetric content we're going to go to tools cloud compositing blueprints and we're going to create bp cloud mask and a is that it yeah bb cloud mouse bp cloud math generator these two baby cloud mask object and bp cloud mask generator i'm going to make these thumbnails a little bit bigger so we can see more clearly there we go these two thing we're going to drag and drop these in here you might be wondering where they are i'm going to select this where is this thing uh one second okay so so it is there why is this whoa okay sometimes it shows up like i'm not sure if this is an unreal thing but sometimes where you place things in your scene when you drag and drop objects into your scene things just don't show where they're supposed to so okay so there it is okay there there's the bad boy so that's this is the actor i'm looking for cloud mask object and move this up like this and yes it's normal that it is huge don't worry i'm actually going to uh lift up my sun here and change the sky atmosphere back to default just for the sake of art directing these clouds once that's done then we can go back to our nice little mars guy that we had okay i'm going to place this here and i'm going to select my volumetric cloud actor and we need to change the material here so i'm going to go back to my content browser in the volumetrics content folder we're going to go to content and go to sky maps oh no not map sorry materials and we're going to find a whole series of other volumetric cloud materials here again don't worry i made a tutorial about this last week so go watch the video on art directing volumetric clouds i'll include it in the link in the description below after the stream ends so you can watch it at your own pace okay so don't worry if i'm going too quickly i made a whole tutorial on this so we're going to go find i want a billowy for now just because i know it works so i'm going to grab this guy move it there and now in theory i should be able to start art directing some clouds here there we go see how they're showing up in the in the sky there we go now we got this cloud showing up in the sky there now with this actor we can kind of place clouds wherever the crap we want and that's awesome obviously this requires a little bit of tweaking as you see because this cloud does not look like a cloud that belongs on mars obviously and uh yeah so i know about clicking the f button but sometimes the assets don't really uh you know show up at the right place that's my issue right now so going back here there we go so obviously this is pretty quite big move this back here and you'll know there we go now we're starting to be able to see what the heck our clouds are looking like now why does it disappear oh i know why okay that's a bit of a bummer but i think i might be able to fix that i get the distances i'm using here are very big so that's probably why this is happening that's fine no worries we'll figure it figure this out and duplicate this something like that and i'm going to change the noise on this thing noise settings set this to 1 or something just to break it up and in the volumetric cloud we're going to play around with the height and this is how you can kind of art direct the position of your clouds a little bit better now this may actually not end up looking just i'm not actually a huge fan of how these are looking i think i preferred how they looked before so i may actually omit these entirely again this is kind of part of the process it's all about experimenting it's very rare for an artist to get everything right on the first try no matter how good you are no matter how many years of experience you've been you've had in the in the industry there's always you know there's always a trial and error process when you are making a shot and yeah i mean mars does have clouds if you just search for uh mars clouds they're more wispy they're not billowy like like i have here but if i just search for clouds on mars there is stuff in the atmosphere um as you can kind of see here um but yeah it's it's very subtle so don't i won't i don't think i'm actually going to keep this because i'm not a huge fan of how they look but keep in mind we're not really going to see the clouds that much because of the my scattering as we i showed you guys earlier so if i can go back to my sky atmosphere i'm going to scale up the my scattering and now yeah these clouds look a little ridiculous so i'm actually not i'm not going to use these at all but still i'm kind of glad that i showed you how you can arc direct your clouds um and just remind you to do a tutorial about it so i'm going to revert this material here and just use the default cloud material they're a bit more wispy and i think that just works better for um come on there we go that works better for this type of environment now where there we go and rational light yeah there we go something like that maybe i'm gonna bump up i'm gonna do like a 75 lux maybe make the light color a little bit reddish tiny bit just subtle just to kind of cheat it a little bit there we go now we don't even interestingly enough uh we don't even see the background mountains that i play so i'm wondering if there's a way to tweak the intensity of that sky atmosphere setting that i just changed earlier there should be ah something like that maybe uh let me play with my clouds again all with the trial and error we're playing with different settings here playing with different values um it's always an experimental thing and i think that's what differentiates you know a good art director from you know just just a bad artist it's just an art director who's gonna it's gonna try different things but he's gonna know when to stop he's gonna know what generally looks good what what feels good what feels bad um and that's that's the whole thing you sling mud as a wall and eventually something is gonna stick but you need to know when it sticks only you can know that uh now let's see directional light and i i'm going to tweet the clouds because i don't want the clouds obscuring that sun quite as much there we go something like that maybe tweak the sky atmosphere a little bit because that is dense so you can kind of control in the settings there's like there's an art direction folder or section of the sky atmosphere at the very bottom and you can kind of control how intense that effect is if i hide these ah there we go right so now we can kind of tweak the intensity of it but still have a decent amount of control and still get the same feel that we had now why is this looking a little bit weird wait there's one mountain in the background here that's kind of messing with our fog i'm not entirely sure why let's go play around with that and see what's going on yeah i think something's odd it's happening let's see now come on yeah you know what i think i'm gonna probably leave it like that and then i'm going to select my distant mountains and move them closer just so we do get those layers because i did like the layering effect that we got that we had earlier something like that and even if you don't see far that's okay we still want just want to get some depth in our scene with the help of these layers and when i say layers i mean like you can kind of see like mountain one you can kind of see the silhouette of mountain too that sort of thing so it's all about you know playing with the the sky atmosphere and getting a look that works for you we're starting to get a pretty cool looking shot here again this is not at all the the shot that i had in mind when i started but you know that's how it goes christian eichner something i struggle with is realistic rain for such a photo scene have you got any tutorials that for that topic or are you planning on doing some it is more convenient to add it in photoshop and post uh i'm actually working on trying to get some decent looking rain on my scene kind of right now on the side project um for now realistic i haven't seen very photo real-looking rain in unreal engine i've seen there are lots of rain plug-ins there's lots of rain materials you can add and it doesn't look photoreal and it's much easier to add in photoshop i'll be totally honest with you for now but i'm trying to find a way to get it to look real i'm using some houdini sims and stuff to really push it to the next level because right now it just looks very gamey so yeah so now the only thing that i would like to do i'm going to select this guy here i kind of want a bit of a rim light but there is some sunshine going on here so i might cheat it with whoa performance is weird i might cheat it with a little wrecked light here with the help of um what they call it lighting channels i'm going to add this guy here and i'm going to see how this looks in the shot i want i want to kind of highlight the rim of my dude just a little bit just to get a bit more for the to pop out from the background a little bit but it it might not be necessary let me make this bigger though let's call this a 256 by 256. make it a little bit more red um something like that just a little bit of a something to make it you know dude i'm not sure you guys can see but just get a little bit more of a rim light on our scene right character right here uh let's see okay sorry if unrelated what frame rate would you use for archviz videos is cinematic 24fps better than the smooth six in your opinion um honestly there's no right or wrong answer to that i think it depends on what your needs are if you're trying to make something that feels like a movie go 24 fps but you're if you're trying to make something less looks just good for your client 60 might be better um i think it's really up to you and your client to decide and as chris hill says here it's 24 fps it's really mostly about the motion blur than anything else so yeah there's no right or wrong answer to that personally i love 24fps i think that's the way to go but you know it for our choice it's a little bit different so i'm going to move this background right here now i would love to add some effects stuff like some some dust and some wind and you know some more yeah some more dust effects but a i'm not an effects artist and b this pack or the the valley of the ancients demo doesn't really come with any decent effect stuff it has amazing effects in the playable demo but they use a very advanced type of like you know painting system that i'm not very familiar with i don't really know how they did it so yeah unfortunately oh okay thank you so much for letting me know guys i'm not sure why the stream is suddenly very laggy give me one second okay i'm back i'm just gonna try and make sure what the heck is happening with the stream not entirely sure why it's suddenly very laggy not receiving the video hmm yeah okay i'm working on it guys why is this happening what in the world hmm all right um that's very strange i'm not sure what's going on here okay let me know if that's better guys what the heck my do file okay cool yeah i think uh i think what happened is that uh unreal was just affecting my gp my gpu too much all of a sudden out of the blue so that was weird i'm relaunching unreal engine 5 now but uh yeah i don't think i saved in a while so hopefully oh well it saved everything cool thanks so much for letting me know guys i appreciate that um still don't really know what happened though it's youtube's still telling me that the stream is very laggy um yeah it's very possible to have a memory leak or something okay let me go back to my cinematic here and okay so it started seeing like it's saved everything um let me know if it's still lagging though it's very possible that it is and i think you know what that's probably a good a sign for me to say that it's a time for a q a little q a session before we move on to the stream for tonight um i blame ue5 for the stream behaving so weirdly yeah that's very strange okay good thanks so much guys okay so yeah uh q a session go ahead and ask all your questions and you want to ask now um i think we're going to call it a night for now due to technical issues that i'm not entirely sure what happened so go ahead and if you have any questions now the time to ask so what respect for ue5 ue5 recommends having at least a 2080 super and 64 gigs of ram that's a recommended spec but you can use i think all the way up down to like a 1080 the more ram you're gonna have the better uh mr yes they can absolutely run this with an rtx 3060 but uh eight gigabytes of ram is a little bit low death any chance you'll do a tutorial on the master chief scene especially the walk cycle it looks absolutely incredible i'm i'm working on it actually it's on the list um i have a lot of things that i need to kind of work on uh before i get to that but it's definitely in the works let's see uh akash dimmery how can i get dust and smoke in this scene dust and smoke you can buy lots of packs on the epic marketplace so um yeah that's one way to get them fine okay open up the marketplace here and go to the marketplace in theory you can go ahead and find come on marketplace you can find lots of stuff on the marketplace up here if i search for you know like dust effects uh you'll have lots of effects you can download there that may be good enough for your needs uh duffy why does bridge not import displacement for surfaces uh displacement doesn't really work with uh unreal engine 5 so far i've had issues with it i think it's a nanite thing so yeah displacement is not really supported in unreal engine 5 right now so that's kind of a bummer let's see now okay how to add a color coding into the outliner i don't think so i haven't tried but no it doesn't seem like they did i i'm so fed up with the outliner in unreal it's really bad everything is alphabetically sorted there's no way to color code things everything opens up the moment you click on something it's really bad so i really hope that with the final release of ue5 they fixed this but you know now that i've seen it in ue5 now i'm not holding my breath uh let's see a tutorial for aovs and unreal that's a great tip that's a great suggestion actually because aovs are kind of iffy um right now in unreal like they have some basic aovs but they don't have that many good ones that you need uh subject value how do you feel about rt being deprecated um i'm not too worried about it i know you know people are running like oh how can rachel anything be deprecated i'm pretty sure the epic are working on something better under the hood they're not just going to strip a feature away out of the engine just because they feel like it uh ganja farmer do you know if glass works in ue5 no it doesn't it doesn't work in ue5 right now or not with lumen you can if you don't use lumen uh you can use translucency but um toxic produce how long have you been doing game development uh i worked in game for about five years before i started working in the film industry so i've been working game for five years and in film for like what five or six years i think yeah it's been a while uh coffee mongolia gioia what's the difference between nanite and full ray tracing there's full race racing is more of a lighting thing nanite is a geo thing so nanite is virtualized geo um but yeah so it's two totally different things ah let's see whoa goodness so many questions guys okay let's see if i can answer all these um ocelot l do you think displacement is going to be back in the final release yes i think so definitely i think there's no way around it you need displacement for your scenes right so uh let's see big martian please answer 16 gigabytes ram 2.7 gigabyte cpu nvidia 920m graphics card can i run this engine please answer uh you're gonna have a hard time i don't think you're gonna be able to run unreal engine 5 on a laptop or not that specific laptop an i5 is pretty old um a 920 m it's also very old let's see killer sneak isn't lumen the full gi thing and then like the high poly import yes that's correct so nanite is all about the geo and lumen is the lighting uh kate rhodes have you thought about working with unreal engine youtubers like loacher filmed unreal cinema or cinematic captures uh yes absolutely um i talked to peter at larger films you know regularly he's a great guy so maybe we'll have a collaboration sometime i'd love to uh reek qa do you have any recommended ground fog ue assets uh for ground fog hmm that's a good question usually i probably make that myself uh with some localized fog but that's a great suggestion for a tutorial race off no i'm not norwegian yet yeah [Music] so no i'm not norwegian so uh tobias nielsen is nanite scalable resolution wise um you know what i can't really answer you that because i don't really know yet i'm still learning nanite myself a proper tutorial is going to come out for that within a week or two um today is muhammad why is lumen's screen space like it's not really screen space actually uh some things are but some things are not lumen is kind of new tech it's a very weird piece of tech um repeal i think people are still kind of figuring out how it works uh let's see now um i'm gonna answer a question for another few minutes and then i think we're gonna call it a night guys um it's definitely easiest for me to like see your questions if you go with super chats because there's so many people writing it's really hard to see let's see um squad fpv i'm it's nearing the end of the stream yeah uh uh leandro where exactly did you get those assets again this is part of the um hidden or ancient valley pack that comes with unreal engine five it's a hundred gigabytes of assets so you know you can definitely find it you can find them all there amazon sadiq lumen does work well with interiors yes there's a certain amount of you know trial and error involved but it does work pretty well if you look at any of the archviz forums uh lumen has been pretty good rosman slot how do you find the lumen performance on the 2060 super it runs quite well on my 2080 ti i love lumen i think lumen does work very good surprisingly well considering i'm on a 2060. let's see question does your mrq tutorial preset still relevant for ue5 thank you uh that's a very good question um for the most part yes it's some of the console commands may be different because it does you some of the console commands are ray trace based uh but with that being said the rest of that remove a render queue tutorial still applies here so i can actually do that right now if i go open up the movie render queue uh where is it right here and i can just add my shot here so i can just what's this live stream camera add my sequence there just add my all everything you need to know here the movie render queue behave the same way in unreal engine 5 as it did in ub4 so my tutorial from ue4 is applicable here for sure uh tom lasota where are you from i'm from canada i hail from a smaller city just outside montreal so i'm french canadian question hi have you encountered the problem with static mesh is no longer rendering their materials when nanite is enabled uh i haven't had that specific problem but i've had meshes disappearing entirely so yeah i'm not informed i don't know nanite well enough to know what caused that exactly unreal cinema i'm having issues with lumen and the emissive lighting when the emissive source is further away from my cine camera it stops emitting light any advice i've also noticed that i've had the same issue i think there's a solution there's a setting somewhere i think at the project setting but i'm not entirely sure i haven't managed to fix that myself yet so sorry let's see now beginner blender here should i use unreal is it easier to get into i think blender is an amazing tool uh unreal also has an amazing tool set they have different i mean blender on its own i want to learn blender i don't know blender at all but i need to learn it because it's amazing whether it's better than unreal i think that depends on your needs unreal's strength is that it has mega scans and excuse me and a whole bunch has the documentation that comes with it it's amazing i'm not in a position to tell you that unreal is better than blender so i hope that answers your questions uh let's see rasmus slot is there a good place outside of youtube to check out the stuff you have made with ue uh i guess my art stations probably but most of the unreal stuff i've made in unreal have been on my youtube channel okay tony leonard love your work will i love to not fit into today but maybe next time you can tell us about green screen compositing in ue using composure yeah i think that's definitely on the list so i'll definitely make a computer tutorial eventually regular storm thank you so much for the super chat man i appreciate that i ordered a 24 core threadripper 64 gigs of ram rtx 3080 what else do i need honestly i think you're good to go threadrippers are amazing a 3080 is going to perform exceptionally well um i don't think you need two 3080s so yeah i mean congratulations on new build that's an amazing piece that have and congrats on getting your hand on the 3980 those are hard to find okay let's answer a few more questions before we call it a day [Music] can we paint directly textures inside unreal five no unreal engine five is not made for texture painting you're gonna probably gonna want like you're the quixle mixer for that or substance painter or something along those lines let's see now i'm just going to make a quick animation here just something like this real quick just so we have something to show for the end of the stream come on why is this not working there we go animate this camera something like that go to last frame do something like this and now we're going to just fix that curve i'm going to make this linear and where's this linear thing come on there we go this might be a little bit too fast so i'm going to make this longer and move just like this there we go all right sorry questions again uh would you make a tutorial for making interiors in ue5 i already have the tutorial on my channel about exactly that topic lighting interiors regular storm again thank you so much for the super chat i'm working on a television series and don't know a third thing about unreal are you available for side work i'm offici i'm unfortunately not available for side work right now um i'm just way too swamped with you know three jobs at the same time so sorry okay um i want this to loop there we go uh let's see when will we see you making interior scene again i've already made a bunch of tutorials on interior lighting there's two live streams about this and i've also made a tutorial on gpu light mass so yeah unless you're speaking about unreal engine 5 then that could be an idea for another live stream let's see how many years until pasteurizing in new games come to fruition that's a very good question uh it's a little bit impossible to say right now let's see now okay whoa so for those of you wondering how i did linear frames um i just selected my camera click on this little button right here in a curve editor this opens the sequencer curve editor so my transform of my camera i can select my keys and just right here we've got the linear interpolation all right so i think think that's it guys i think uh you know we've kind of established something really quickly tonight uh thanks so much for watching guys i hope you learned a little something and you know what if you have any questions hit me up leave a comment down below i'm going to include the link to the script to the um videos or tutorials i talked about in this live stream in the description below so go check that out and uh i really hope that chris hill yeah i should really get some chat moderators i'm very new to streaming so i don't know how moderators work that would be a good idea so i'm gonna look into that so thanks for the suggestion buddy um yeah so thanks so much everyone thanks so much for joining uh i think we just hit like almost 600 plus concurrent viewers tonight and that's amazing so thank you so much for joining tonight i really appreciate it you are all the best and again i hope you've learned a little something and i'll see you all in next week take care guys

Channel: William Faucher

Views: 209,233

Keywords: UE4, Unreal Engine 4, Unreal Engine, Cinematics, 4.26, UE4 4.26, UE5, Realtime, realtime rendering, rendering, CGI, 3D, 3D Artist, evermotion, archviz, exterior lighting, lighting outdoors, ue4 exteriors, exteriors, how to light exteriors, how to light exteriors ue4, lighting tutorial ue4, lighting tutorial, unrealengine5, unreal engine 5, lumen demo, lumen, nanite, mars environment, global illumination

Id: H_U_JNuwz_A

Length: 101min 48sec (6108 seconds)

Published: Wed Jun 02 2021