How to Create Your Own Real Time Sci-Fi Environment in UE4

this tutorial is sponsored by the 3d coloring book a project specifically designed to help empower artists who are struggling with texturing a substance painter and to help show you that anyone can create beautiful pieces of art with just a little bit of practice and guidance to instantly gain access to hundreds of pre-made professional level models and hours of high quality tutorials click the link in the description and begin your journey today [Music] hi my name is thomas herrera and i am a 3d environment artist and this is my level farewell and for this video i'll be going over how i design the station some of the challenges and finally go over the workflow i used to create the meshes in the beginning of this project all i knew was that i wanted to create a sci-fi crypt with ai and coffins so one of the first thing i did was to create story elements i did this to help inform me about what i would be creating i think it's very important for there to be reasons for things existing plus it helps to ground the space to be more believable one of the questions i kept asking myself is what is the purpose of this facility i also had keywords that helped me stay true to my original intentions the keywords were dark mysterious and uncomfortable i wanted the space to feel somewhat cold and off-putting the story that i developed is about how we would handle the dead in the future people would bring their dead family to use facilities where their bodies would be preserved and their memories saved in servers people could visit this place and actually talk to their dad via the ai that would use their memories to act out personalities and carry on conversations plus it made sense to me that coffins would be cycling through the wall shafts um kind of hinting that there's more to this facility it's like we would store dead and giant spaceships the the initial story informed me that i needed ai coffins servers uh engines and wall shafts but as a project progressed i started to shift their inspiration to cle to include greek mythology and ancient crypts when i show you the progression shots uh you will see how this changes my level i started to include the myth about charon and the river styx i really like the idea of the dead paint chair to ferry them across the river to the underworld and in a sense this facility became the ferry that would connect the living to the dead the the ai even has a paddle to hint that he is the ferryman so these are the references that i gathered and this is not all of them it's it's just only some of them the main ones that i used and i kind of wanted to go through why i chose some of the references that i chose what i was thinking so in the beginning i chose this piece by shauna priester called holobay and the reason why i used this piece was to help me with the visual design visual design is one of those things that's very tough to do especially sci-fi hard surface it's really tough to nail that stuff but i really liked how shana priester did did that in his project another thing that inspired me was this piece here and this was the one that actually um made me think of a sci-fi crypt because this little model right here reminded me of a coffin actually uh moving on to my lighting reference initially i really like this this green color with these highlights of red and i really wanted to go with that it what inspired me was actually control i was kind of exploring that game and i really loved the art direction for and i kind of wanted to do something with that but as you can see as my project progressed things really changed the reference i grabbed here was to help inform me about the lines shapes and angles one of the things that i used a lot in my piece were these 45 degree angles i have them almost everywhere in in my piece as well as as well as looking at these this panel work right here it was really cool seeing how they broke up their shapes with smaller details and this was something i really wanted to pull off in my work because i felt like my previous work lacked that high frequency detail that made things look really cool moving on just showing you um the references i chose for the servers and it was just to give me an idea of what they look like the filling of of uh what you would think of when you see servers and this is really cool so this the colors here is what i use for my final lighting i really like this light blue with these kind of orange yellows as as secondary colors and the reason why i chose this is because i started to go with old crips as inspiration for what i was doing in my project so this is the progress shots that i've took and this is going to go from the initial block out to the final level and i think that now is a good time to talk about my workflow a little bit i like to every week i like to take progress shots and the reason why i do that is because i get to reflect on the work that i did and really think about does it meet the goals that i'm trying to push for this level and i'll be honest this first initial blockout i was so happy i thought this was amazing but the more i thought about it the more time i gave it the more i could see some of the issues that i had with it and one of the issues to me was the floor was just way too noisy all this information right here is super noisy and the issue with this is it just doesn't look good compared to the rest of the level for example the ceiling looks super bare compared to this floor even these areas right here just look bare and then on top of that because it's so noisy it's taking away from my focal point which is the ai going to a a different angle shows another issue i have with this floor is the fact that it flows this way and then just terminates and because it's doing that it's almost like it's going from one style floor to different style floor and like i said as a whole it doesn't fit another issue is all these trip hazards this is an example of me trying to add way too much detail and because i'm adding too much detail it just doesn't make sense design wise a floor shouldn't have all these trip hazards because people need to be able to walk on the floor it's one of those things they're super simple but when i was making it i didn't think about it and that's why it's good to take these weekly progress shots so this is the new floor design and i could talk to you about how i went about designing this some things i had in mind so one of the things that really bothered me here were the lines that i had in this image and if you look at them i'm spacing the lines almost evenly apart which just doesn't look as good when you split it about seventy percent thirty percent could actually there and i actually use this everywhere and in more ways than just splitting up the lines and i could give you an example um right here i'm splitting it up about sixty percent five percent and 35 percent and then here i'm splitting it up about 70 percent 15 and 15 and that just helps to keep it more visually interesting another way that i use this is how i'm splitting up the simple detail versus high detail for example i'm still doing this seventy percent thirty percent and this is about seventy percent about thirty percent and that's why i have these areas here which are like higher detail just little detail pieces here and there but i only have them split up about 70 percent of this image and the rest of the floor is actually very simple another thing i'm thinking about are my leading lines because this is the focal point all my lines should help lead me to the focal point so that's how i think about my level i think about what are my focal areas what are the areas of interest that i want you to focus on and then the rest of the level serves as a way of leading you to those areas finally i also split up my my shapes into big shapes medium shapes and small shapes but i also do this in a way that kind of follows a 70 30 rule where i'm splitting up between 70 big shapes about 25 medium shapes and 5 of the small shapes and you can kind of see that here where i have these very big shapes oops and then i have these secondary medium shapes and right now i'm actually not incorporating some of the smaller shapes and that's because uh right i will be adding those later so i like to work between getting my meshes in my block out about 80 done so that if i like where it's going i could continue working on it or if i decide not to use it it won't be as much of a big deal for me to make changes so now we're kind of exploring the rest of the images um yeah something interesting about this was how i started working on getting these angles in while additionally starting to raise the roof so and also changing some of the details in the ceiling and i could let me talk about the ceiling first the main reason why i started changing these details was because it became very obvious that i was just reusing modular meshes so this is one modular mesh and i just duplicate it and i move it over and it was really obvious here so on when i was redesigning it i really tried to get rid of some of that modularity as well as when i was raising the roof there's actually a reason why i did that and that's because as i started incorporating some of these ancient crypts one of the things that i kind of kept seeing were these these influences from churches where they kind of have these cool arches and they all looked very grand and i kind of wanted this area to feel a little bit more grand and raising the roof really helped to do that additionally it was suggested to me from another artist to angle these walls and he actually did a paint over for me showing me basically just like this and when i seen that pain over it it just made so much sense to me to to do this and this is getting into uh shape language a little bit where a lot of my angles are about 45 degree angles here here even in here and getting the walls to match that angle better just help to really push the shape language to be more consistent and it's actually to me very very pleasing to have this angle of the wall additionally something that i was trying to push was to have these pipes but when i'm doing pipes i'm trying to incorporate them into the geometry more than just simple pipes that people just kind of lay on like for example if i just put a pipe here on the outside of this it would it wouldn't really make sense but having the pipes here and having a space for the pipes and then having them turn and go into this area makes sense as well as i have these pipes in the ceiling but they're into the ceiling they're incorporated into the ceiling as well as can't really see here but i do have pipes going into the engine finally as you start moving actually to this image you start seeing me incorporating more of of the crypt lighting reference right here and one of the things i did like were with these highlights coming in of these nice blues and then bouncing off and and lighting the rest of the scene and then you have this cool almost secondary source of light that's a lot warmer and when it comes to lighting that's one of the things that really look really good in lighting is having cooler colors contrasted by warmer colors so i decided to use that and right here is where you can see me really pushing those ideas where i have this warmer yellowish orange lights coming in and right now they're very minimal so as i push the scene i actually start adding more lights into the scene to help push that as well as bringing in that yellow color on these pipes and on my actual final image i start adding these decals decals which help to push that same color throughout the whole scene as well as you're starting to see me starting to implement final meshes for like the engine and also for the servers which you can actually see but i'll show you an image of the servers in a different clip now if i go down here i want to focus on this door now doors are or natural focus areas because like i said but before we have these leading lines kind of leading you to my focal area and doors almost become a natural like secondary focal area and so you start getting leaning lines toward towards those doors so it's really important for me to nail that and if i move down here's an example of the door in the early stages and this is what i was really thinking i was going to go with the design and i don't know about you but looking at this it just did not feel right at all so this is another tip i actually brought into photoshop and just did a simple paint over because you have to remember even though it's a 3d space when it comes down to is line work so how do you break up those shapes again right where i have these primary shapes and then it starts going into secondary shapes and then finally i'm getting these small shapes in here that really have to sell it and again following the about 70 percent 30 percent additionally the way i break up the lines where i have a good variety but i'm mainly going between these big let's say 70 in here to 15 15 and again let's say i'm breaking it up from here seventy percent thirty percent so i'm constantly using that everywhere and let's go back into shape language here we go again about 45 degree angles is something that i'm pushing because that's part of my shape language and here's something interesting i just threw this in there to show you the very very early block out in blender when i was working on it um this is again back to the first where it's like very noisy here and just so much this is before i started adding the story elements actually of having an engine servers what is the purpose of this facility and so right here is super simple and and here's something interesting as well look how low this pedestal is to the ground with this ai and it actually makes this ai feel very insignificant and going back to like old crips and everything you'd have these statues and the statues were very grand so one of the things i did was raise this pedestal so that even when you're inside the level as a player anytime you look at this ai you're looking up and that's giving them way more importance to the level than other things so for this video i'll be going over the workflow i used to create most of the modular meshes along with kind of explaining how i used two uv sets and how i combine those two uv sets into one material inside of unreal engine and just some of the technical things that i ran into and just how i fixed some of the issues that i had so for all of my meshes i actually have two uv sets and right here uv map is my first uv set and i use that for all my toweling materials so the typical workflow making an environment and using towelables and this is an example of the albedo for my for my painted metal and then i created another uv set that has trim sheets and let me pull that up for you this is the normal detail of the trim sheet and in my second uv set i'm basically just mapping all of the details that you can see on this model so if i just pull up this little strip right here you could see how i mapped it onto this texture and if i move it it just moves along with it and i basically use this for all the details and then something else that's interesting is for any of the areas where i didn't want any any detail in i mapped it to a very small flat area so right here you could see all of the details that would normally pop up if i uv mapped it i just moved it over to a flat area and scaled it as tiny as i could just in an area where there's really no information all right so for now i'm going to go over basically making a quick mesh for you and just kind of walking you through the workflow that i used i'm going to assume that you know the basics of just creating uh a simple mesh uh making them modular pieces fitting to a grid and i'm just gonna talk about some of the interesting things that i use that kind of separates my workflow from other typical workflows something that i see some beginners never really using is they don't worry about the shading of their model so whenever i'm making a mesh i'm actually using weighted face normals to help me get smooth shading on some of these bevels and i'll show you how i do that right now to do this i'm actually using a yavny plug-in which is something that i think is really great and something that if you're using blender you should definitely install [Music] okay now that i got the typical shading that's going to be inside of unreal i'm going to add some of the i'm going to add a little bit more detail so that i could add in the information in the trim sheet as you can see as i added more detail into the mesh it kind of broke my shading so i have to reapply the face normal influence all right so once i'm done with uh creating the model now i get to the interesting part where i start uv mapping the model [Music] and for this uv map i'm focusing on just the uv set one i haven't even applied a second uv set yet [Music] [Music] [Music] as this is just a demo i'm not going to focus on making the uvs perfect [Music] [Music] now i'm just going to apply one of the materials i created so that we could see how it looks you [Music] at this stage i'm gonna create the second uv set and i actually renamed all my uv set twos to trim sheet as you can see i already created the shader and blender to implement the second uv set so now i got to go in and uv map this mesh again so again the first thing i do is i try to move the mesh into a flat area and scale it down as much as i can to just so i don't have to see all the material or all the little details from the normal map showing up and then from there i go about mapping the parts that i mean to map [Music] [Music] [Music] so whenever i'm using a trim sheet for some of these areas right here that i curved it's important for me to actually straighten those out all i'm doing here is just making sure that all of the edges match up and then i just apply my textile density and as you can see some of these areas do not match up all i do is grab those and flip them inside the uv map [Music] [Music] [Music] and then right here i'm just going to show you a cool little trick if you have these cool little panel lines intersecting with each other i just triangulate these areas [Music] sometimes i have to clear my seams so that i could uv map them properly sometimes when your tools are not working properly i real quick just reset all transforms and that usually fixes those issues [Music] and as you can see when you have intersecting panel lines when you attack them this way it they seamlessly go past one another and then of course again because i added more geometry i need to fix my shading [Music] [Music] you [Music] [Music] [Music] [Music] [Music] something i'm noticing here that the shading is not quite matching up so i gotta change those a little bit and this is in my trim sheet information there you go [Music] okay just to reiterate i have my second uv set here which i named trim sheet and then i have my first uv set name uv map and if i grab everything this is the uv map that i have for my first uv set and then this is what i have for my second uv set and i use this in all my modular meshes and that is it i'm going to export this out as an fbx and then i could bring that into a new [Music] engine now whenever i'm exporting things into unreal engine i like to have everything on my desktop i find when i save out my exports to my desktop i usually don't have many issues inside of unreal engine [Music] okay now we are in unreal engine and i'm going to import that cube and i usually do not generate collision for my meshes other than the floor for the floor i make my i make a custom collision for it usually and i do like to generate light map uvs and because i'm generating light map uvs this is where some of the import issues come in and i do not create materials or import textures okay let's drop our cube in it looks like it's got the shading okay so we got our our cube in here and now i can show you some of the issues that it's gonna have as soon as i apply the materials okay and this is the issue that we're running into as you can see it is not mapping the trim sheet how i mapped it inside of blender and that's because i'm generating uv uh the light map for it now to change that you have to change some of the settings in in the build settings so under source light map index yes i'm going to keep that as zero so what this is doing is it's telling unreal engine to use uv channel 0 to use the uvs and that and to make a light map out of it now if you remember uv channel 0 is actually my uv set 1 which is meant for my toweling materials i do not use my uv set 2 for creating light maps and there's a reason for that that's because i kind of tear up my uvs in all these weird different ways so if i took that light map it would create really wonky light maps just to reiterate uv channel 0 is my uv set 1 and uv channel 1 is my uv set 2 which is where all my trim sheets is but right now it's actually my light map so and that's because normally it says destination light map index which is set to one i need to set that to two which is going to create a third uv set and that's going to be the light map apply changes and now we have three uv channels again uv channel 0 is my toweling textures uv channel 1 is my trim sheet textures uv channel 2 is now my light map and the light map is actually used for whenever you're baking lighting into into a static mesh so in anything static basically the lighting isn't going to change on it and because i'm i'm baking my lighting it's going to take that shadow information and put it into my light map and then it's going to use that for all my shadows and just to make sure i am using baked shadows in this environment there's one more thing we have to change now light map coordinate index is telling unreal engine which uv set to use for the light map so if i leave it at zero it's gonna try to use my uv channel zero but because my uv because my uvs are outside of the zero to one space which is right here it has no information to bake to so actually if i was to use it as is and bake all this would be black so i actually have to change that to two which again here's my light map uv channel two light map coordinates index two then once you make those changes it applies the normals correctly [Music] okay now i'm gonna go over how i created the master material to combine the two uv sets here we go it's actually really simple so right here i have an input that i created for just my albedo base color then i have another input for my for my uh mask map and for this one i use i i call it mrao for metallic in my green in my red channel roughness in my green channel and ambient occlusion in my blue channel and then i have an input for my normal map so what i'm doing right here is to change some of the settings of my textures so i'm multiplying a color and this i have set to pure white right now and pure white sets it to this is the color of the texture right here but if i was to change my color multiplier to red then the material would pick up that red color as well the same thing with blue and so for a lot of my materials i bring in i usually allow myself to multiply the color just so like if i'm using paints i could create any number i could use the same textures and just create different material instances with different colors and then i do the same thing with my roughness and in my roughness i have a multiply and what i'm doing here is i multiply one it's the roughness that's currently at but i could change this to say 0.5 and it would make the material should make the material more shiny and there you go and then if i bring it above one let's say 1.5 it'll make it more rough and i usually keep that at one and i i want to i want to let you guys know that for most of my materials i try my best to have my base color and all my my roughness values metallic values ambient occlusion and my normal map to be made how i want it to look when i import it so i don't actually like to change these too much same thing with my color multiply and and that is because i could get really crazy to where i'm making all these changes but the more operations you're doing like i have this multiply here this multiply here it actually adds to the complexity of the material and i could actually show that to you real fast if i go to optimization view modes and go to shader complexity you could see that anywhere where it's green is really good and then it starts getting darker green and basically you have this gradient here where anything green is good and as it starts going up it's getting more complicated in the amount of uh sorry in the amount of different operations it has so i could go crazy and start adding multiplies and contrasts nodes and even just combining a lot more materials the more texture sets i have adds to the complexity and that could actually kill frame rate so right here for my glass material i'm using an expensive glass material and if i was making this for a game most likely i would have to simplify this material especially if i'm using it in more places than one and then you can see right here this is the effect and because it's generating a bunch of these little planes and because they're overlapping and they're translucent it's actually this is actually causing overdraw and that's why it's becoming pink because overdraw is really expensive okay and now moving down to my trim sheet i have an input for the normal map of my trim sheet and the ambient occlusion map of my trim sheet and i'm just using these two and i find i found that just using those two baked maps really helps because then it puts in the shadows in the crevices where light wouldn't reach as far because of the ambient occlusion map and then it's still affecting the lighting with the normal map and it's actually really simple i'm using the texture coordinate and then the texture coordinate right here normally it's set to zero so if i actually set it to zero oh man it's going to make my it'll make everything super wonky right now but i set that to the coordinate index one and i just want to show you again it's asking for this and so uv channel one is where i have my trim sheet mapped so for my texture coordinate since these are mapped to my uv set one channel one i have to set my coordinate index to one then all i do is just combine the information so for my ambient occlusion all i'm doing is multiplying the information oops the information of my ambient occlusion here and i'm multiplying my trim sheet on top of that and then i'm just using that as my ambient occlusion and for my normals to actually blend these i use the blend angled correct normals so if i look for it blending blend angle correct normals and this is what you use to combine uh two different normal maps so again i'm just combining my base normal with the trim sheet normal and taking the result and pumping it into my my normal my little normal node and that is basically it for for combining two uv sets it's a really simple material and i found that it really doesn't add too much to my performance because it's not a super complicated material so i was actually really happy with how it came out and because i am doing it this way i'm able to use the same trim sheet in all my materials there we go so all these materials are using the same exact trim sheet [Music] okay so i also did want to show you something else i thought it was really cool i created hold on i need to actually hide this i created this decal and something i really like about this decal material is that when i move it let me turn this off when i move it the damage inside actually changes as well so as you can see right here i have it actually aligned to the world for for my opacity and the reason why i did that was because it was an easy fix for me to place dk the same decal around the whole level and get different kind of damage going so that i would have variety with the same decal and i could actually show you how i did that with my material all right let me walk you through this material because this one could look actually very kind of scary if you've never seen this before but it's actually simple as well so what i'm doing here is i have a world aligned texture and this is what's actually setting the texture to be aligned to the world i also have a world aligned texture for separate channels and i'm using this one because my texture here again is my metallic roughness and actually i took the ambient occlusion out and instead of ambient occlusion i have it as my opacity and of my opacity is actually what's driving this right here how it's making it look like the paint is damaged and peeled off in certain areas that's due to the opacity map and finally i have my world aligned normal little node here and this is what what you'd use for the normal maps and to point something out you can't use a a normal texture i forgot what they're called hold on so if i just bring in my albedo it's uh called a texture sample and normally when you're creating materials you're using texture samples but if you look at these this node it's it's a world-aligned texture and it doesn't have any spot for a texture sample so what you actually have to do is convert to texture object and use these to plug into these world line texture nodes and then from there it's just asking for the texture size um which is it says v3 which so it's looking for pretty much this which is just a three constant three vector and this is how you set different colors bring in different colors here and all i'm doing is for this one when i bring up the colors i'm actually setting the red channel the green channel on the blue channel to 1024 so this is actually setting the texture size or resolution per per meter and i set mine to 1024 and then for that i have to plug it in into the texture size for all of these and for the word align separate texture what's kind of cool about this is it's basically asking me for the texture size in my r channel texture size in my green channel and texture size in my in my blue channel so if i actually wanted to change that i could set it here where i could set my green to maybe 512 or 2048 and when i plug it in it would only it would take that information but for me i wanted all of them to be the exact same so i just plugged in the same 1024 by 1024 into each of this red green blue channels and i also did the same thing for my world line normal and then right here this is the exact same material tweaks that i had in the other material i showed you i pull the xyz texture and it actually corresponds right here x y z so z is up x is the the x axis and y is the y axis so if i come in right now since this is z if i only had z in here it applies it this way which is top down or down up [Music] so the xyz texture so i could bring in just the xy texture which means that i wouldn't include my up down which is right here and i'm just using all of them plugging those in i actually want them combined in this case so that i don't have any issues but you could actually use that for like if you just wanted it for the for the z up for example if you had snow on top of on top of a uh like a rock any of the world line textures would be only for the z up texture if i just wanted that i could use that but in my case i'm just using all of them i again i'm just multiplying so multiplying different colors right here and the only thing i'm doing here is for this mask that i brought in see if i could see it there we go so for this mask i brought in i'm actually separating the colors a little bit differently so i'm creating a mask in different channels so in my red channel this is where my mask is in my green channel this is my mask and in my blue channel this is my mask so i'm actually using all of them red green blue and if i go back here i am taking my red information and multiplying it by color and i'm doing the same thing for my green channel and multiplying the color and you can see red is right here so red technically is coming out as just white when i take out just the information it's it comes out white and i'm multiplying it so in my texture anything that's red i could change that color into whatever color i want and the same thing for my green channel everything that's green i could change into whatever i want so if i was to open this change it to red it should only change one of those squares as soon as it loads there you go so as you can see this is right here and now it's turning red and then i'm doing the same thing for my blue channel multiplying it by that color and then i'm adding the colors together and then i'm moving that into my multiply so it's it's technically the same thing i did here the only difference is that i'm using just the red i'm separating the red green and blue channels into separate different masks and then multiplying that into the color and then i could show you the texture i'm using here and the reason why i did this is so i have i could only bring in one texture and the reason why i only wanted to bring in one texture is so that it drops down my draw calls your your so the more textures that you're using uh each one is actually a draw cost the same thing for mesh it's a draw call and so what i'm actually doing is i'm bringing in only one texture so one draw call and i have this set to different maps so i could change this stripe into any color i want and then i have the same thing for my green channel which says stand clear i could change that to any color same thing for my blue and then when i combine some of these colors then i get this information and again i'm changing those colors as you can see here i'm changing the stand clear into red these little caution stripes i'm changing into yellow and then the reason why i did it that way so i use the same texture and i'm bringing it over here and i don't even have the stand clear anywhere here so this is just using the caution the caution stripes and then here it's just the stand clear i don't have the caution stripes and that's because of the way i set up my material okay and then right here all i'm doing is allowing myself to change the the roughness by multiplying it with the value just the same way i did in my other material so remember these this is separate channels and i have mrao which means red channels metallic green channels roughness and my blue channel is ambient occlusion so because my green is roughness i'm just multiplying that and giving me a little bit more control over how rough uh the material is and finally i have an opacity blend and this is what i'm using to actually get rid of some of the different uh information so right here i only have my red channel showing and my so yeah i only have my red channel showing and my green channel showing and i could actually show you an example of this i'm gonna duplicate my material instance i'm gonna open up my parameters so that i could show you how i'm changing that and remember this material is meant for decal so i pull up a decal pull it into the world and just size it how i want to and it's still got all the information of all the other decals but here i could actually change and bring up all my materials i mean all the different channels so again if i go here it's basically all these channels so opacity level a is my red channel which are the stripes if i turn that to zero it should just show up and my opacity level one if i turn that to zero it gets rid of that channel and my opacity level c is my blue channel if i turn that to zero that gets rid of that and opacity level a which is my red channel if i turn that to zero also gets rid of that and all that is powered right here so as you can see right here i have my red channel going into being multiplied my green channel being multiplied and my blue channel being multiplied and the reason why this works is because opacity is just a it's just a value from zero to one zero being black and and one being white and so if a texture is white if any of the information is white it will show up and if any of if if any of the information is black it's it will be fully invisible so that's why i'm multiplying it by value and of of one so because this parameter is set to zero anything multiplied by zero is zero so one multiplied by 0 is 0 and that turns that part of that image black and then i'm just adding that information together and then i'm combining that with the opacity in this texture object and then i'm pumping that into the opacity in the final material [Music] you

Channel: Stylized Station

Views: 33,384

Keywords: blender, tutorial, blender tutorial, blender (software), blender 3d, blender tutorials, blender grass tutorial, blender fluid tutorial, blender animation tutorial, blender 3d animation tutorial, blender fluid physics tutorial, tutorials, tutorial (media genre), blender3d, blender render, beginner tutorial, blender water material, blender guru, modeling tutorial, blender online, blender curves, vfx tutorial, 3d modeling tutorial

Id: Zj3edYYaOCo

Length: 79min 20sec (4760 seconds)

Published: Wed Aug 19 2020

Reddit Comments

[u/TenragZeal]

Looks neat! I’ll give it a look when I get home! Thanks for doing the work to put this together!

[u/ObisidianZ]

Your channel is great, please bring more ue4 tutorials!

[u/Husyelt]

Nice work, I’ll have to check this out on my weekend.

[u/CakeSheep]

Awesome, just saved to see with more details later.

Thanks 😁

[u/jhettdev]

Id be interested in chiming in on tutorials, i work proffesionally as a tech artist, drop me a DM

[u/SickCarBro]

something for artists, noice