In this video I want to show the simple process
of creating this interior. Without pretensions to photorealism or some
complicated techniques, the video is aimed at beginners who are taking their first steps
in the knowledge, in the study of Unreal Engine and its application in architectural visualization. Well… What are we going to do? We will do Close-up, we will make the main
shot, and will use just such a palette of colors. In order to start creating our file, our project,
we need to go to Launcher, go to Library and here launch the version of the engine that
is relevant for you while watching the video. Now, this is version 25 point 3 for me. You must have Lightmass; baking on a video
card. So, we select a clean empty project. No Raytracing, no Starter Content. Choose where you want to save it - you select
here the folder where you want the project to be saved. Name it. Next > Create Project. And we are waiting for the opening of the
level. Now, we’ll remove some assets from this
starter project, and we’ll use this free pack with really cool floor and materials. Although this asset is paid, but it is relatively
inexpensive, and we will use the side table from it. This pack will also participate in our project,
and although it is paid, it is also relatively inexpensive. And we’ll use these carpet models and this
picture. So, we have opened a project. I'm removing the floor from here, we don't
need reflections, the sun… oops, I missed… we don't need the sun either. Yes. Then we press Control + S.
We are creating a level - since this is a game engine, we need to create a level. Name it. Press Enter or Safe. That's it, we have saved the level. Now you need to set it so that it will be
the by default. Settings> Project Settings, we go to settings
> Maps & Modes, set the saved level by default. And going a little down the list of Project
Settings, we select Rendering in it. Going down the list, we will set a slightly
better quality of reflections right now: the maximum is 2K here. We'll set a thousand - that's enough for this
project. Turn off the glow – uncheck both of Ambient
Occlusion checkboxes and Auto Exposure. That’s all. Done. Now let's move on to geometry. We create a box. We will cut one box from another, one box
is a little more, the other is a little less. Let's set 640 (along the X-axis). Get used to it - in Unreal all models are
in centimeters. That is, respectively, the height we have
is 3 meters, plus 20 cm on each side for a small reserve. After that, we create a smaller box that will
be cut out of the larger one, press Control + W.
But if we press it, you can see that copying occurs with an offset, so we click - and in
the World Outliner we can see it - Control + C and Control + V, we do copy-paste. And for the second box, which has now been
copied, we enter without those 40 centimeters. But nothing has happened now, you see? We need to select Subtractive for the second
smaller box so that we can subtract it from the first. Next, we create a smaller box - 90 centimeters
in height, this is our height of the windowsill. We put it here, in order to navigate where
this height of 90 centimeters is. If you opened Unreal for the first time and
don't know about navigation, I'll tell you quickly. We hold down the right mouse button and rotate
it - that's a simple navigation: rotating the view. If you want to move, then do it as in the
game: W, A, S, D - this is moving forward, backward, left and right, Q - the view is
lowered for us, and E is a hot key: the camera rises. And there are moving, rotation, scaling here,
there is also snapping to the grid - we will turn it off for now, there is an angular snapping,
a rotation of 10 degrees, and a scaling, 25 percent. These hotkeys for moving, rotating and scaling
are the same as in 3DsMax, these are W, E and R.
So, we set, attached our box in such a way that we can roughly understand where the windowsill
is, since we create such an additional box. Then we create another box, which we are going
to cut out now, this will be a window. Let's see how the snapping is carried out:
put one box above the other (in short, the object that has collisions) and press Enter. So we have a snapping. Next, here we set a value of 150 on the x-axis
and 100 on the y-axis, this is the size of the window that we will create. Now we insert it inside the wall. And for this box we also select Subtractive. That’s all. We chose, and now we go inside our box, our
interior. And right away I'll create the cameras. First, you can find the camera this way - here
in the search – Cine Camera - a cinematic camera. Or you can choose an approximate view and
click here – first of all, this is Cinematic Viewport, it's more convenient to set up the
camera. Then open the drop-down list > Create Camera
Here > choose a cinematic camera CineCameraActor > go to it and put the created camera. And let's create a simple material for our
walls. To do this, in the Content we create a Material,
call it Material - M., and then write - Wall. Open it by pressing Enter twice. I hold the number 3, left-click - this is
a node in which we can set the color. I've already set up the color, we have this
palette. You can transfer a color from a project, created
earlier by copying the color index; how to do it? Go to Material. Only in this case we do not need a sofa, we
need walls. We go to this index, double-click on the color
node, go to the settings of our planes, our walls and select the plane. To select all the planes of the smaller box,
we press Shift + B, then go up. We just assign this material to the walls. Well, here is our node. We inserted the index into this node - Control
V, clicked OK. So, look. Color connects to Base Color as Defuse in
Corona or in VRay. Don't forget to save after that. Our changes will take effect and we will see
the color of the walls. Here we saw it. Next - we hold the number one and left-click
on Canvas. Next we connect it to Roughness. Let's take a look at what Roughness does. The larger this value, the rougher and the
more matte our surface is. Here let's set, for example, zero point eight. You saw that the material was glossy before. Now it will be semi-gloss, closer to matte. That’s all, we created it, made changes
and saved it. For our box, which cuts out the window, we
select one plane, for this we press Shift + B and drag this material. That's it. We can bake. And while this is baking, I’m telling you. So, now the value 32 of Lightmap Resolution
is set for our walls. And such geometry has an inverse relationship. This means that if we have set a higher value,
then there will be less Lightmass, that is, the light unwrapping will be less. We have everything black here now, because
I forgot in the Sky Sphere to remove the check mark for Color Determined By sun position. We need to set the sky, the zenith, and all
the colors, so that they are white. Ok. Here we check everything. Then at Skylight we need to set that we have
Captured Scene going on - yes, great. And strength - Intensity Scale is the brightness
of the white that fills the space. Done! Now we click on Build again. We had light, but it was, firstly, not white:
a shade was taken from the sky, and, secondly, the intensity was set to one. Now we have increased it three times, that's
it! Build occurs fast, but as you can see, the
quality of the shadows is feeble, right? Now we're going to fix that. So… quality’s not great… In the values for the camera > now I will
type in "cam" in the World Outliner > here I’ll select the camera - and here we can
edit the exposure directly from the camera > Exposure Cam. We set the value four point zero here, yes,
and just we see that the light is baked, but it is not very high quality. How to fix it? I'll do next. I’ll select those planes that we can see
better, that is, we don’t see the back wall. Therefore, we will not increase the Lightmass
for it. So, once again – this is an inverse relationship. That is, the lower this value, the better
we our shadows and light is baked on the selected planes. So, we pressed Build again, now let’s see…
our light was baked for approximately 5-10 seconds, right? Now, it will take about 30 seconds. Plus, I have screen recording, sound recording
at the moment, and my video card is not very powerful – Nvidia GTX 1080, mobile version. If you have a better video card, the baking
will be a dozen times faster. The baking is done. In Swarm Agent we will see how much time did
it take to bake the light. 30 seconds. And, as you can see, we already have a better
quality, it’s baked. The next step is to transfer the assets that
I talked about at the beginning. To do this, we need to go back to Launcher,
then back to Library, and those assets that we bought or downloaded for free from Marketplace
- there is a lot of free content there - all this purchased content will be here. In short, it's purchased and free. And now, we're inserting into the project
we're currently working on. This is, firstly, the floor, and secondly,
two collections - modern apartments (we added them to the project) and the last one, it
is called something like Essential, this is it, yes. From it, as I said, we will only take the
side table. That's it, let’s go… here we need to press
import… go to WoodFlooring, then to Materials, and let's use some material. We just drop it on the right surface and it
is instantly applied - it's like creating a multi-sub material. Next, we will need to take a sofa from the
first collection – let’s turn it right away. We will turn on the snapping and set it at
90 degrees- so we can to turn the sofa faster. This is one thing. Next, we need a plant; we need… where is
the table here?... - this table - let's reduce it right now. I decrease the height and make the width proportional
along two axes - that's the way I make a table wider and larger. I will lower the speed to a value of 2, the
camera doesn’t move that fast. And at the very bottom we will choose the
decor - one, two ... what else will we need? We need another lamp ... what else did I use
there? The lamp is too huge - let me reduce it right
now; I will use hotkeys, but you can use the button icons at the top. So what else do we need? Let's go to 3DsMax: we need to transfer these
two simple objects into 3DsMax using DataSmith. Since these objects are simple, their unwrappings
are also simple. DataSmith copes well with these unwrappings. If the models are complex, then it is advisable
to create them manually either in 3DsMax, or in the editor you are using, but it is
best to use Rizom for unwrappings. Because the automatic unwrapping doesn’t
work well with complex furniture. Besides, it is best to use a well-prepared
model for commercial projects. We save it as a DataSmith object. In Selection we only need the selected objects
here. Export > Done. Now, let's go to our project. Here we don’t see the DataSmith button yet
– so we need to go to Settings, then to go to Plugins, enter DataSmith in the search. We need to go down to the bottom of the list
> activate> agree, click Restart Now and here we also click Save Selected. In order for the DataSmith button could appear,
we need to reload the project. So, we saved it. Save your project more often! Unreal has a good back-up system, but still
- the more you save it, the better. That's all. The DataSmith button appears, and we go to
where we saved our two assets - the painting and the carpet. We save it to Content. Here we need to specify value of 256 for auto-unwrapping,
we do not need Lights, Cameras and Animations, but only Geometry, Materials and Textures
to transfer. All done! Firstly, I will go inside the camera, because
there we have the exposure adjusted. And now I'll find - here is our carpet, here
is our painting - in short, we arrange these assets. We turn it 90 degrees - we already have an
unwrapping, and we set it up. Here End will not work, because the carpet
has no collisions, but you can somehow do it, collisions are easy enough, but let's
not waste time on it. Let's make it so that there is no gap between
the wall and the painting, we put it like this. And also ... you know what else we need? We need to take a mirror from here, from the
first collection. We are looking for a mirror, here it is. We put it, and press F, so we flew up to our
mirror and turned it. Look at this, there is some blurring of the
picture, right? This is because our camera has a strong aperture,
we will return to it a little later. I'll scale the picture a little, scale the
mirror a little ... like this. Well, basically, everything is ready, look! In the same way as we did with the wall, we
need to do with the material of sofa – that is, edit the colors a little; I don't want
it to be gray. How easy is to track it? Here, you can see - Base Color, this is Defuse. We follow our link, our node tree, and find
Color, right? And here, in the project that I have already
created, I found the shade that I need - a shade of blue. We go in, by double-clicking on the node,
and copy the index. Everything is the same as with the wall. Yes, we have already opened this node and
the palette too. We enter it here > Ok > then we saved > done. Let's do the same thing with pillows. So, we need a yellow color - we go to the
node that is responsible for the color, copy the index. We go to our current project we are making. So, what do we have here? This is Fabrick_2. That's the title, and you can see the title
of the tab. We enter the copied index and click Ok. Is this that project? - No, this is not that project. The wrong one opened, this one is needed. Let's just minimize it. But only here the saving takes place - soon
it will be saved, but now, it is inactive because of this. Remember to save the project for the changes
to take effect. Here, now we need Fabrick_2. We have already copied the index, we go into
the palette, paste it here, Ok, save - now we will have a save. That's it! Now, what else do we need to do? We need a sofa. From it, having edited the geometry, we need
to create a poof. This action is "buggy" enough for Unreal,
because the editor is not that good. Just remember to save from time to time. So, how to find Static Mesh, our geometry? We click on the object we need, click on the
magnifying glass icon, or press Control + B.
Here is our model in Content, we right-click - we can copy, or just use the hot keys Control
+ W. We can rename that this will be name a poof,
we can double-click to enter the model, and I advise you to save completely here. So, Control + S will save the entire level,
and the Save All button at the bottom saves the assets, that is, the models and the levels
are saved separately. Here we need to go to Mesh Editing > here
we select Edit Mode. We choose that it will be an Element, select
all the objects that we want to delete, press Delete and ... we also delete these legs - we
do not need them at all, we need to leave the poof itself. We do this by holding down Control. Look here - yes, this can be, when you press
Control + Z or Control + Y in this mode, Unreal may hang or crash. So just remember to save, and although these
back-ups work well, they always push us back to the last changes. Control + S > don’t forget to save here
> Save All, and we put our poof. Let's turn the poof. Now it is not very convenient to rotate it. Now I’ll choose the moving and by holding
Alt, I will move the Pivot, also holding the Scroll. So, we hold Alt and also hold Scroll. Now we shift our Pivot, and fix it - right-click
Pivot > Set as Pivot Offset > and now rotate it 90 degrees. Let's make the poof a little smaller. And I'll edit the current view right now. I’m going to CineCameraActor, here you can
type it into the search, select the needed object from the outliners. Then, for Current Focal Length I set a value
of 20.0. Everything is almost ready to bake, I have
to correct assets a little bit. I want to enlarge the carpet, move it closer
to the sofa and expand it a little more - in order to create a more beautiful, more interesting
composition. I also forgot about side table, now we will
put it here too. It’s in the second collection that we downloaded. Let’s put the table there. Well, I think that's all it takes, we can
bake. Control + S > and Save All. Let's click on Build and wait. The second time we have a lot of furniture,
we have a larger walls resolution than the first time, right? The first time we rendered 10 seconds. And so the light can be baked for about 2
minutes. From a few minutes to several hours the light
is baked. It usually happens - it crashed, press Send
and Restart. It's okay - we saved it. Do not forget, most importantly, to save this. Most often this happens when you have made
changes to the geometry, and then did the light baking. A frequent situation. Let's wait… So ... It's already loaded… It’s loaded, yes. We go to the Camera and press Build again. Now, while baking is in progress ... what
can I tell you? Yes, like it if you like the suggested format. If you like it, then I will do such high-speed
lessons, telling you some interesting things. As I said, this video is intended for beginners
- so write in the comments how you feel about this format, because I read in the comments
that people ask to tell simpler things about Unreal, about interface, to do these such
simple analyzes. I think that this type of lesson - it is a
basic level, right? So that you can make your first renders in
Unreal. But if this is too easy for you, then let
me know, I will write something more difficult, maybe in a more complex technique, and I’ll
show you some of my commercial projects. Don’t hesitate, welcome to the comments,
we will chat there. So, what else did I want to tell you? What should we do next? I'll tell you right now. In Settings there is a function called Engine
Scalability Settings. This is the quality of shadows and materials,
anti-aliasing, in short, everything. Install Cinematic here, and then on next launches
your engine will produce Cinematic quality. By default, I think, this option is Epic or
High. I mean, medium settings. Here we have a Screen Percentage in the drop-down
list. Even though the screen is small, if you put
200 here, then roughly speaking, the picture will decrease, but it will be scaled to the
current resolution. That is, due to this, your antialiasing will
be of better quality. Ok, what else can we do here? You should definitely check - there is such
a standard error, when a blurry picture is obtained, especially for beginners, if you
set the current aperture to a minimum here. By default, it’s set to two point eight
here. But you need the maximum DOF, which depends
on the aperture value, to set the maximum for this value. Then the DOF will be either minimal, or none
at all. But usually the values of Current Aperture
and Current Focal Length are set in the top tab – I’ll find it now. Now, look at this: so that we can get rid
of DOF, that is, from blur, in the Current Aperture we set 22, this is the maximum. Lens Settings contains the Minimum FStop and
Maximum FStop indicators. Right? So, if it is limited to a smaller value, then
in the Current Aperture you will not be able to put a larger value. And the same thing with the Minimum FStop. Okay. So, we got this picture. Well, not bad, but there are not enough reflections,
right? We got such dark reflections. What we need to do? Let's choose Visual Effects. Here we need the Spherical ...
No, not spherical, let's choose Box this time - you see, our reflection starts working right
now. With and without our reflection - what does
Box Reflection do? In a nutshell, it copies the reflection, the
image and applies it to the surface, to the reflective material - that's what happens. Here you can click Build Reflection Captures
in Build, and that’s it! In terms of what remains to be done, it is
primarily... we did everything we could - we improved the quality, increased the scalability
and indicated the value of 200 here. Now we press the Tilda button. Here we’ll write Sharpen and let’s make
Sharpen value of three. As you can see, we have a sharp picture now. After that, we can select our camera, click
Control + W, and go to this copied camera. There are the values at the top here, but
they will most likely be hidden for you - so, you will need to open these scrolls. There are also Sensor Width and Sensor Height
here, you can control it like this. For example, another view like this can be
saved by pressing Control + W. The third camera that we have - is Close-Up. And now we go into this camera, move our view
closer and now let's put it like this, for example. Going to the camera, first, let’s set the
Current Aperture – we set the lower value, so, you can see that DOF starts to work right
now. If you want to set the Min FStop even lower,
that is, the minimum value, you can set it even less if you wish. And then - we need focus, so here in Focus
Settings we take an eyedropper and click on the object we want to focus on. And look what beautiful backgrounds are here,
great! That’s all! The next step - we need to save ... you see,
in this area, the quality needs to be slightly improved: for Lightmap Resolution,
you can set the value zero point one (one tenth) here. (на экране - 1.0). Well, it will take a little longer to bake,
but these dots, this mess will not be on the wall. Now I won't waste time on this, but if you
want to repeat it for your project, try it. Next. To save the images, we need the High Resolution
Screenshot in the drop-down list at the top left. Here we set the value three or four. The maximum value is 10 here. What is it? This is a multiplier. A multiplier that will multiply your current
image resolution by the specified value. That is, if there is 500 here and 1000 here
- then with a value of 3 there will be 1500 and 3000, respectively. Well, that’s logical. And then we click “Take a screenshot”. A window is highlighted below in the right
corner. We can click on it and then the location of
the saved screenshot of our render will appear there. Let's open up and see what you should get
- something like this. Let’s go into another Camera. We take a screenshot in the same way and go
into the next Camera. As you can see, the renders renderings are
made as quickly as possible. I mean, it's enough to bake the light once
and you can shoot an infinite number of renders from the scene. If you are confused by enough contrasting
shadows, then we can go to the Camera. And there are such a parameters as Exposure,
which you already know. There is Slope - this parameter will lighten
your shadows, this also affects the contrast. There is Gain here, which can be increased
and the shadows will also be lightened and the overall visualization will be brighter. There’s also Gain for shadows separately. Just go to every parameter in settings, try
to change each of it and you will see what it affects. You can increase a bit the value of Global
contrast, contrast of Shadows, Highlights and Midtones. There’s also Saturation. In short, these actions are no different from
Photoshop or Tone Mapping in Corona of V-Ray. So, that’s all I wanted to show to today. If you liked such format about the basics
of the engine – be sure to let me know, like this video, support the project and see
you soon. Bye!
