MARTIN: Hi, everyone. Thank you for joining
us today for this webinar about Twinmotion
to Unreal Engine. My name is Martin. I am a Twinmotion
technical marketing specialist. I will be taking care of
the first part of this webinar, and I'm joined also
by Sam Anderson, our technical marketing
manager at Epic Games who will take care of
the most interesting part of the webinar, which will
be the actual demo directly inside Unreal. So let's get right
into Twinmotion to show you the project
we will be using today. So it's this office space
that we can see here. It's an old factory that has
been revamped as a small office space. The scene is pretty basic,
but before we switch that to Unreal Engine, I just want to
give you a quick rundown of how the scene is set up. So we just opened
the scene graph and show you the
hierarchy so you see the starting ground which is
the plane on which the geometry has been imported. We have the project itself. Let's hide everything else. So this is just the basic
project without any lighting. Outside of the windows,
what I did for this project is just create a simple geometry,
a simple plane, like you can see over here,
on which I apply a glow material. It's pretty basic. It's just to avoid the
need of adding details around the project. For this specific project,
I just wanted to focus on
the interior space. So I just added this
basic geometry on which I apply this glow material. So we have just this nice lighting,
this glow effect in the windows. After importing the project,
I set up the lights. So the light setup
is also pretty simple. So we have one area
light in front of each window. So if I select the
one over here-- let's actually hide all the lights
and turn them on one at a time. So we have one light per
window like here, those two. Then we have four
windows on the ceilings. So we have one,
two, three, and four. This is all the area lights. Then we added some Omni
lights for those three lights over here, and we have also
some Omni lights on the back there. And finally,
we also added some spotlights for all the ceiling lamp
that you can see over here. Let's turn them on also. Next thing after all the light
was to add some probes. So the probes is just
to change the reflection. So if you have a look,
for example, at the computer screen
or the framing on the wall-- so, without the probe, we don't
have any information, actually. So when you turn the probe on,
you can see clearly what's
happening behind the camera. And how the probes are set up,
let me select them. So we have multiple probes
at the middle of the room, in the middle of the space like
we can see here, pretty basic. Next, we have a few decals. Decals were especially added
behind some of the furniture to ground them a
bit more on the floor. So just some fake
shadow decal that has been added behind
some of the desks, behind the ping-pong table,
behind some of the furniture on here. And finally, we just added
more detail to the scene with some props that are
present inside Twinmotion native library, like we have
the plants, some magazines, some more details on the desk
themselves like new computers, some paperwork. And that's pretty
much it for this scene. So now the most
interesting part will be how we can turn on
this scene to the next level. Well, recently,
just before the end of the year, before the end of 2020,
we added on the Unreal Engine Marketplace a new
plugin that allows you to open your
Twinmotion scene directly in an Unreal project. So let's check that,
and let's see how you can install those plugins. To install those plugins,
first you need to launch the
Epic Games launcher. Once the Epic Games
launcher is open, you need to go to
the Unreal Engine tab and open the marketplace. In the search bar here,
we just type Twinmotion. And here we have the Twinmotion
Importer for Unreal Engine. So let's open that. Here we have a
couple of information. This feature right
now is in beta, not everything is supported. So we'll see how it
works in a moment. To download this plugin,
you simply need to click on the
button external link that will open this Box
drive in which you can find the different plugins
for Unreal 4.26 and 4.25. You will also find the instruction
PDF and a few different links to help us develop and
keep working on the project. So you can tell us what you
think by filling out this survey. You can also discuss that
on our forum using this link, and you can also,
if you encounter any problems, you can follow the
instructions here to upload the files you are
having some problem with. So we have already
downloaded the 4.26 plugin, and I will just download
the PDF instruction and then see together
how you can set this up. So the PDF has just been downloaded,
so let's open this. In this PDF, you will find
plenty of useful information for setting up your project,
the why we are doing this and for who. You can take the time to
read through all the documents. Right now, I'll just focus
on how you can install this. It's pretty basic. When you download it,
it's a zip file. Once you unzip it, you will
find three different folders, and you will simply need to
move those three different folders either in your installation
folder of Unreal Engine of your
4.25 or 4.26 version, or you can also
move those folders inside your current project. So today what I'm going
to do is the option one. I will copy the contents
of those three folders present in my zip file into
where I've installed 4.26. So let's check that out. So here I just
opened on the left the content of my zip file,
which is those three different folders, and here
we have the installation folder of Unreal 4.26,
so we just open 4.26. I will come to Engine. I will come to Plugins,
and here is the first time I'm installing those plugins. So we need here to create
a folder called Twinmotion, and I will simply move those
three folders in my Twinmotion folder. It's that simple to
enable those plugins. So now that's done. Let's come back to the
Epic Games launcher. First,
how you can install Unreal Engine. It's pretty simple. Here you have
the engine version. You simply need to please
click on the plus button to add a new version. Here you will need to select
the version you want to install. In this case,
I want to install 4.26, but it's already installed. If not,
it will be in this list here. We'll just select the version
you want and click on install. Once installed, you simply
need to click on the launch button to launch the application. So, for that,
I will start a new blank project. Let's start with one of the
templates we have here and select the archvis one. And I don't really need
the starting content, and we'll need ray tracing,
but Sam will cover all that in more details later. So now that's done. Let me just click on
the Manage Plugin. As you can see,
it detected that there's some new plugins available. In the search bar,
I will just type Twinmotion, and here my three plugins that
corresponds to the three folders that I have
moved in the plugin folder, and I just enable
those three plugins, and it's telling me Unreal
editor must be restarted. So we're going to
just click on restart now to restart my project. So as we can see here,
the three plugins are well enabled, and now let me pass on the
baton to Sam that will guide you on how now you can open
your Twinmotion scene in Unreal and how you can just
push it to the next level. Thank you, everyone. And now, Sam, take it away. SAM: Thank you, Martin,
for getting that nice Twinmotion file set up for us. I know I am personally
very excited for this importer. So let's dive in. As you can see here,
I have the archvis template that Martin opened up. These templates
are great for providing a basic starting point. They are going to have
certain settings enabled and contain elements
that are going to set you up to have a successful project. Now, I won't be going in
depth over user interface in this webinar, but will
walk you all through the steps to get a basic
project into Unreal. If you are brand new to Unreal,
it would be worth going through
the Unreal Online Learning portal for more UI and project
management information. Now, before I get started,
I'm going to delete a few things
to get a fresh start. I'll go ahead and remove
the geometry and the notes by going to the world outliner
window on the top right hand side. Select notes, hold down shift,
select terrain, right click, edit, and delete. To import the Twinmotion file,
I'm going to use this
Datasmith button in the middle of the screen. Now, if you're familiar
with the Datasmith workflow for other software,
you might be used to having to export to a
Datasmith file and then import. The great thing
about this plugin is I can use the
Twinmotion file as is. So I select this here,
hit OK, and it's asking me where do I
want to place this project. Content will do just fine,
so I'll hit OK, and then another settings
dialog box is going to pop up, and it's going to give me
some settings that I might use in the future if I want
to bake my lighting, but with this project we
will be using ray tracing, so I'm going to
keep the defaults as is and hit important. Now, as I mentioned,
we are going to be showcasing ray tracing,
which will give the project
a more natural look. It's going to produce soft
shadows and accurate ambient occlusion. It's also going to give us
interactive reflections which can be very important
in representing materials in architecture. If you do not have a graphics
card that supports ray tracing, or if performance is a very
important part of your project for virtual reality,
you can start the template without ray tracing
enabled and continue by baking your lighting. OK. Once it is imported,
a window may pop up containing some information
about the import process. I'll go ahead and
close this window, as it shouldn't
affect our project, but you'll see that the
project is very zoomed out. I'll go ahead and select an
object from the world outliner on the right hand side,
perhaps one of these books, hit F to zoom in
to the geometry. Now,
let's take a look at the project and see how it imported. Looks like the
textures and materials all came in quite nicely,
but let's set up some features
in Unreal that will take this project to the next level. As mentioned, I'll be showing
the setup for ray tracing and lighting,
then I'll go through the post-process volume,
how to make edits to the model, and lastly,
what is possible to achieve with some of the new
features from Unreal 4.26. To get started,
I'm going to turn on ray tracing. I'll go to the top left hand corner,
hit edit, project settings, and then I'm going
to look for platform, windows, and I'm going to be
looking for this DirectX 12 under default RHI. So this is the rendering
hardware interface that will work best for ray tracing. I'll then search at the
top bar for ray tracing. I'm going to make sure
that this is enabled here. So if you followed Martin
for setting up the project, these should already be set,
and I can make sure that the ray tracing is enabled
by closing out of this window, going to the viewport
options here under lit, and making sure that
path tracing is there. I also just wanted to
bring this to your attention that there are different
viewports that you can use, so whatever works
best for your workflow. I'll go back to lit. And I'm going to go
hit show and turn off the grid here so that I have
a nice clean [INAUDIBLE] to work with. So now that I have everything in,
ray tracing turned on, I'm going to set up some views. So they're called bookmarks,
and what I'll be doing is getting to a
view that I like. I'll hold down control one,
and now I'll go to a different
spot of the project. Hit control two,
and now when I press one and two, it will toggle between
these two views. So the control button allows
you to initially set those, but you can also do that
by going to the top left hand corner, selecting the dropdown
button, going to bookmarks, set bookmark, and then you'll be
able to jump between the two that you set up. Now I'm going to add
in two lights to the space. So I'll go to the lights
on the left hand side, go direct light,
drag and drop that in. So you'll see that
when I brought this in, a gizmo came in with it. Now on my keyboard
when I hit W E and R, it's toggling between transforming,
rotating, and scaling, which will be
helpful in manipulating assets in Unreal. So I'm going to rotate
it negative 90 degrees. Now you'll see that it's
snapping at every 10 degrees. You can control this in
the top right hand corner. So you'll see there's
some orange buttons here. If I click it, it's going to
allow me to rotate freely. However,
I like to have it with the snapping on, so I'll turn that back on,
and you can see that I have control
over some of the increments here. So I'd encourage you
to take a look at these and pick the ones that work
best for your speed and workflow. So I'm going to hit W
one more time and then drag this light over to the
edge in front of the windows. I'm going to go to the details
panel on the right hand side, and I'm going to put
the intensity to 1,000, and I want to make
sure that the light is facing the correct direction. So, it looks like it is. If I rotate it all
the way around, you'll see it's facing outdoors. So keep it facing
the correct way. Now I'm going to bring
it up to the window, and I'm going to change
the source width in the details panel on the right to
250 and the height to 150 so that this covers
that whole window. Now,
there's going to be two settings that are crucial for ray tracing lighting,
and one of them is going to be the mobility. So if I go to the details panel,
you'll see that I have static,
stationary, and movable, all those different options. So, static is going to be
at your most cost effective. It's going to be great for
if you have a project that has no moving
parts and you really want to nail down the lighting. Stationary is going to be
good If you have a few moving elements. Say, you have your lighting set,
but you're going to want to control
the color of the lighting. Now,
movable is going to be best for us. We're going to be
working it with ray tracing. We want fully
dynamic everything. So I'm going to set this
to movable right here, and I am in the search
details going to type ray, and I'm going to get this
cast ray tracing shadows. I'm going to make
sure that that's enabled. So once I have that, I'm going
to clear out of this ray here, and I'm going to hold
down the alt button and drag and drop the other
light in front of the window. I can also do this by right clicking,
hitting edit, and then duplicate. So I can go into
the world outliner and hit F2 or right click,
hit edit, and rename,
if you want to make sure that you stay organized as you go. So I'll select both of these
and then drag and drop them into the environment. So now I'm going to take a
look at the sun in the environment that came with the template. So we'll take a look outside. You'll see that
there is a compass. And when I select that,
the SunSky is going to pop up
here in the details panel. I'm going to bring
this down a little bit to take a look
at everything inside. You'll see that when you have
the actual SunSky selected, you'll be able to control the
location as well as the date. So I'm going to
pick spring morning. Let's do March 23rd at 9:00 AM,
and the SunSky is going to have
all the essentials that you need to set up an
accurate lighting condition. You have a DirectionalLight,
which is going to be your sun, but you also have the
SkyLight and SkyAtmosphere. I'm going to go to
that SkyLight here. I like to lower the
intensity to 0.2, but this is a
number that you can play with as you are
setting up your own lighting. So once I have that set up,
I want to take a moment to show
something new with Unreal 4.26. So there are these atmospheric
clouds that you can bring in. I'm going to go to the left-hand
side, go to visual effects, drag and drop the
volumetric cloud in here. So this is going to allow you
to create any type of cloud that you need for your project. Unreal is using a three
dimensional volume texture that is ray
marched to represent cloud layers in real time. Now, there are a lot of
different settings you can use, such as having the clouds
cast shadows on the ground as well as casting
shadows on themselves. There's a lot of different
options that you have, and we aren't going to
cover that in today's webinar, but I did want to make you
aware of the new feature, and I wanted a nice
backdrop for my sky. So now I'm going to go take
a look at the DirectionalLight with my sun,
but I'm going to go into the project by clicking one, and I'm
going to go over to the Details panel for this SunSky,
select the DirectionalLight, and I'm going to lower
this intensity to 5,000 here. I can also change
the source angle number, which determines
how large shadow penumbras are on the light. So it's going to control
how the Directional Light's emissive surface extends on
a plane relative to the receiver. So this allows you to make
the shadows a little bit more diffused. And since we did
bring in some clouds, I'm going to
soften this up a little bit by changing this
source angle to five. Now, before we continue,
we will need to set up a
post-process volume so that we can have greater
control of our lighting. The template has this set up,
so I will go to the outliner,
select post-process, and now the great
thing about this is I can set up
multiple in one space. So say I have a theater
that needs to be a little bit moodier, a little bit darker,
versus an atrium that's very well lit,
I can create two different
volumes for that space and have it in the same scene. So you'll see that
when I come outside, I can see that box going around. Since this scene is just
one large open space, I want the box to be unbound. To do this, I can go into the
search details, type in extent, and make sure that
this is enabled here. Now I'm going to
clear out that extent, and I'm going to take a
look at the auto exposure. So I'm going to
turn that off so that I can have consistent control
and more realistic lighting throughout. I'll go to lens in
the details panel. This is the post-process
volume that I have up. I'm going to scroll
down to go to exposure. Now I'm going to turn
off the metering mode and change the exposure
compensation to zero. I'm then going to change the
min EV and the max EV to five. This number can change
with the exposure settings you prefer for the space
you are working on. So,
smaller numbers for interior spaces that do not get as much light,
and higher numbers for larger spaces
with a lot of windows. This is something you can
always change as you work to get the correct exposure. You can also do some
color grading in here. So I'll scroll down. I'm going to select
the temperature, and you can see I can
make it warmer if I'd like. I can turn down the
saturation a little bit, bump up the contrast,
and then you can also play with
the color wheels also to kind of get that exact mood
and feeling that you want out of the project. There's also options to
make it a little bit more realistic. You can add some
chromatic aberration in. You can add depth of field,
play with your lens flare, maybe I'll add in a
little bit of vignette on the sides of the viewport,
and there are a lot of options here. And I won't go over them all,
but I do want to bring it up so that
you can create a style that you are happy with. Now I'm going to take
a look at the ray tracing features for a few
different components here. Just a reminder,
this is ray tracing for Unreal,
which is a hybrid ray tracer that couples the ray tracing
capabilities with our existing raster effects. This essentially means
that this is a raster image, and we will be layering
it with ray tracing. This will be more
realistic but also more expensive in terms of
computational time, so we will want to bring up
some stats so that we can keep an eye on this. To do this, I'm going to turn
on the frames per second in the top left hand corner,
and I'm also going to hit stat, engine, unit. So you'll see that it pops
up with that frame per second in the very top,
and then the GPU will also be important to see
exactly how much time this is taking to render. So now that I
have those stats up, I'm going to always want
to be looking at them as I'm making changes to the model. In order to create the
illusion of moving images, we need to have a frame rate
of at least 15 frames per second. And depending on the platform
and deliverable that you have, you're going to want that
to be closer to 30 or 60 or even more,
as high as possible to make things very clean and consistent. Now, if you're working on a
higher resolution still image, that number can
drop down a little bit. But regardless,
it's always good to kind of keep that frame per second in mind. Now let's go back to
the post-process volume in the world outliner,
and I'm going to lock it here underneath the details window,
and I'm going to scroll down to
the rendering features. I'm going to close
up a few things, make it a little bit cleaner. You can do that by going
collapse all categories. I'll then open up the
rendering features, and I am going to go to the
ray tracing ambient occlusion. I'll make this a little
bit bigger as we're working through these features. So I'm going to make
sure that this is enabled. I'll toggle in between
this off and on. You'll see that the
frames per second are also changing
when I do that. We'll keep it on for now,
and then I'm going to scroll down and
take a look at the ray tracing global illumination I'm going
to turn this to final gather. If you're looking for
something a little more accurate, brute force will be
the setting to use. However,
it will be a bit more expensive in terms of performance. You'll see that
when I filter through these different settings that
the frame rate is changing. So as we are working,
it's going to be about proceeding with the
right quality and performance. It's about finding the
right recipe for that, and now I'm going to go
to the ray tracing reflections. So if I scroll down-- and make sure that
this reflections type is ray tracing. I'll go ahead and toggle
between the screen space here and the ray tracing. So you'll see that
that tracing gives it a lot higher fidelity,
which I personally love, and I'm excited about. It does change the frames per second,
though. So one thing that can help you
control the performance there is going to be the max roughness,
the max bounces, and the samples per pixel. So you'll see that this
top number is set to 0.6. So this is the maximum
roughness value that ray traced reflections will
be visible before falling back to raster methods. So this means that
when I put this to 0.3, the materials with a
roughness greater than 0.3 will use raster rendering,
which is a little less expensive. So this allows
you to have control over performance
for parts of the project where real time reflections
are not as important. So I'll go ahead and
put this back to 0.6, and I'm going to set
the samples per pixel to 16. And you're going to see
that underneath the table things going a little bit clearer,
but the frames per second
increases quite a bit. So I'm going to set
this back down to two for a little bit of cleanup
without impacting our speed. And lastly, I will turn on
ray tracing translucency. So let me scroll down. Under type,
I'm going to change this to ray tracing,
which the back images look great, but the top skylights
look like they turned black. So I'm going to bump up
the max refraction rays here to try to get more rays
to go through the glass. So this is something
that you may want to keep in mind
while you are building your models that you're
going to want that glass to be a simple plane. I know, in some cases,
it might come in as double geometry, and we'll go over
that in a moment. I do want to note that with
the max refraction rays, we are getting an
undesirable effect here. So for this project,
since the glass is not as important, I can turn on this
refraction Boolean and then turn this off here. So it becomes a
little bit clearer there, but it makes it seem as though
these back glass panels are now black. This is a situation in which I
have two those glass panels. So, no problem. Luckily,
I can make these changes in Unreal without going back
to that original model. I can go to the modes
panel on the very top. If you do not have this,
you can go to edit, plugins, and type modeling tools editor mode. You can then enable this
and then restart it if needed. So I'll go ahead and select modes,
modeling, and you'll see that I have a
couple different options here. I'm going to select transform,
select, and then I'm going to
select that outer layer of the glass for each of these. Now I'm going to go
to the left-hand side, hit delete triangles. And if I'm happy with my result,
which I am, I'm going to accept. So now you'll see that it's nice
that some reflections came back in, but it doesn't have
that z-fighting black effect. Now you may also notice that
the barn doors from the Twinmotion file that Martin set
up did not come in. At the moment, skeletal meshes
and animators from Twinmotion cannot be imported. Without this, you can see that
it exposed the door frame that did not have a UVW map set up. We can click on the door frame,
Go to UV normals, and select UV protection. You'll see on
the left-hand side, I have a few different options. I can choose from. Cube, cylinder and plane. I'm going to keep it at cube,
but I'm going to change the
size of the checkerboard to be a little bit larger. So I'll select five for each
of those and hit enter. Now you'll see that the
checkerboard did not go away. So it looks like it has a
default material applied to it. So to change this material,
I'm going to go to the details
panel and unlock that post-process volume,
and I am going to reselect the door frame. I'll go ahead and scroll up,
and I'm going to come to this
default material dropdown, and you'll see that I have
a lot of materials in here. So these are those
Twinmotion materials that are all available to me, which is huge. It means that I
don't have to create a bunch of new materials. I can bring the ones
from Twinmotion without having to go
reapply it in Twinmotion. So I'm going to type in metal. Let me go to the search assets. Looks like we have a
couple different options that you can choose from. I'm going to pick this
MI_GlossyMetalBlack. If you want to make
changes to the material, you can double click it here,
come to the left-hand side, and you'll see we have a
couple of different options. I can change the tint color,
if I want it to be a little bit lighter. I'll hit OK. You can also change
the roughness amount. So now it's set at 0.05. Let me change this to 0.1. You'll see that the reflections
become very evident. If I put this at one,
it goes away. And if I put it at 0.5,
it has this kind of diffused reflection. So the diffused
reflections are going to be a little bit more
expensive when you're rendering and might want to be avoided. So that's good to know if you
are creating your Twinmotion file. It's actually better if you
keep that roughness amount either with a lower
number or a high number. Now, I'll set this at 0.3,
but this piece of geometry is very small,
so it won't have that much effect on the performance. However,
if you are working with a floor, You might want to play
around with that because it could affect the performance. So I'm going to go ahead
and save this and close it. And now say there is a
reason that you need to bring in that double pane glass. That is no problem. What we can do is
re-import the Datasmith file. So I'm going to go down
to the content browser. I'll right click on the
Datasmith scene, and I'm going to hit re-import. Now,
the same settings are going to pop up that we saw in
the very beginning, but there's going
to be two new ones. We've got this
respawn deleted actors that it's going to enable
you to have the ability to bring in some of the
elements that we deleted. You can also do this
with your Twinmotion file. Say an architect
is making changes, is changing the layout,
the furniture. If the architect
is in Twinmotion, saves that original
Twinmotion file, you can re-import
it the same way. I'm going to demonstrate
this with this plant. So if in Twinmotion the
architect or interior designer is editing the pot. Say, you're creating a new pot. They did it in Twinmotion. They saved it. You can select the asset,
right click, browse to asset, right click this here again,
and re-import it. And you can select that
original file that came in, and it's going to just re-import
the original mesh and not the whole thing. Now,
nothing happened in this case since there were no changes
to that Twinmotion file, but I did want to bring
it to your awareness. Also,
I do want to take this moment to move this plant
around so we can get a good look at the ray
traced shadows and lighting effects. Now, if you want to add in
some more to Twinmotion entourage such as plants
or office accessories, you can do this
already in Unreal. So I'm going to go
down to the view options, and I'm going to make sure
that this Show Plugin Engine Content is selected. I'm then going to go
into the content browser. I'm going to pull up
this source panel, and I'm going to search
for the Twinmotion to and Unreal content content. I'm going to go to the library,
the furniture, home, and you'll see that all
of that entourage that is in the Twinmotion
library is now in Unreal. So I'm going to go into the office,
accessories, meshes. I'm going to bring in some
more highlighters here. Now,
the cool thing about this plugin is you do not have to have
a Twinmotion file in Unreal to use these assets. So if you're
working on a project right now in Unreal
where you think you could benefit from being
able to pull in these assets, you can download
that plugin that Martin showed in the very beginning. So I'm going to show
that one more time. If I go to edit, plugins,
and type in Twinmotion, it's going to be this to
Twinmotion content right here. Now I'm going to switch
to a different file that has the same geometry,
but I've spent some time fine tuning materials,
ray tracing performance, and setting up some
of the new features. Now that I've switched files,
I'd like to quickly show
some additional things you can do with your
Twinmotion file in Unreal. If you have your own
personal library of entourage, that includes animated
features or characters, you can import that
into Unreal using FBX. I'm going to bring in an
animated desk fan by coming down to the content browser. I'm going to open up this
animations folder I created. I'm going to go to the left
hand side and click add import. Go up to import to
game animations, and I'm going to
select this animated fan. It's going to be important
that you have this import animations checked, and then
you can pick the animation length that you would like. I'll go ahead and impart all. I'll close out of this window,
and you'll see that a couple
of new thumbnails popped up at the bottom. I'm going to drag and drop
the animation file, which is the one with the green bar
at the bottom, into the scene, and I'll use W, E,
R to put it in the correct location. You can also do this in the
details tab on the right hand side by going up to
the transform section, and I will add at the scale
here to be 0.5, and then place it on the table. I can apply materials by
using the details panel. I can either hit the drop-down
and add any of the Twinmotion materials in here,
but I can also use files that I've created,
such as these materials here. I'll drag and drop these in. I'll go back to the
scene and hit play. So it looks like the
animation came in quite nicely. Now, you can bring in
other animated features such as any Anima
files you might have. If you're not
familiar with Anima, it is a 3D software
that allows architects to bring in crowds and
walking paths with characters. So I would encourage you
to go to the AXYZ website to make sure that you have
the most recent plugin for Unreal. And once you have
everything downloaded, then you can bring
in the Anima files by going through the
same process we went through, the add, import,
and then importing the Anima file here. You can also go to edit,
Anima drop, and open up the Anima gallery. You'll see that I have
a few characters here. These are ones that are
tied to my Anima account. I'll select the ready
pose and hit send, and this is going to place the
characters in the bottom left under the content browser. It's going to be
this AXYZ assets. I'm going to
click on this folder and navigate to the meshes. So I can drag and
drop this person in, and this is going to be
a quick and easy way to get a scale figure inside. Now I'll showcase the
multiple post-process volumes that I referenced
earlier in the webinar. I'll zoom out of this building
and then hit G on my keyboard to bring up the game elements. You'll see that I have a
couple of different volumes here. As mentioned, this is going
to be very helpful if you have a large project in which you
need to show different lighting levels, but you can use
it as much as you need. So even if I have only one room,
this one open space, I can have the three
different volumes. And I'll zoom in here,
and you'll see that the black and white
aesthetic now is occupying the camera, the space. I'm going to hit G to hide
those camera elements. And as I go in
through this space, you'll see that it's switching
up the visual styles. So you could create
post-process materials as well that could
give you a tune effect. There's a lot of different
variety and options out there that you'll be able
to really edit the visual style that you want and need. Now,
something that could also be helpful is creating a high
resolution screenshot. So you can navigate
to a view that you like,
go to the top left hand corner, select high
resolution screenshot. You can bump up this multiplier here,
if you would like. I'll keep it at one for now. I'm going to put the camera
on the bottom right hand side. You'll notice that
a warning pops up. This is actually just telling me
where I saved my screen shot. I'll click on that,
and then I can open this up to take a look. Now, say I need a particular
resolution or size for that. I can do that by hitting the
tilde key on the keyboard. It's going to pop up
with the command down here at the bottom, and
I'm going to type in high res shot, and I'm going to put in
the resolution that I need. So I'll do 4096 by 2304,
and hit Enter, and it's going to pop up
here again with the folder that I have. So now that the
second option came in, I now have those
two different sizes. Now, if you do have a
camera set up for your view-- so let me switch to a
different camera here. I do want to let
you know that it is possible to have render passes. So, this feature is in beta,
and we won't be covering it in depth today,
but you can explore it by going to the
Movie Render Queue under window, cinematics,
Movie Render Queue. You'll see that I have a
video shot pulled up here. I'm going to click
on the settings to get my configuration correct. You'll see that I already
have a few of these in here. So it can render out the lighting,
the path tracer, which is going to be
similar to an offline render that many of you
might be familiar with, as well as reflections. I can add a few more by
going to setting and adding object IDs for the unlit
version or the non-composited. You can also control
the anti-aliasing as well as console variables. So this is going to be
very helpful in creating a very high resolution
image or animation. It's going to allow you to refer
to the post-process volume rendering feature settings
that we had created earlier in the webinar, and it's going
to allow you to max these out without compromising the
computation time for real time scene that you have. So it will bump up these
settings for the render but won't affect the settings
in the post-process volume. So I'm going to
close out of this and show you the
remote control API. To do this,
I'm going to switch scenes. So the remote
control API is going to allow you to make
changes without having to filter through the settings
in the Unreal window. So, say you have a client
or someone in your office who would like to
make changes but is not well versed in Unreal. With some initial
setup of settings that you would like
to make accessible, the person can
connect to the local host and make those changes through
a web browser on their computer or phone. So you'll see that I have
my iPad pulled up here. The remote control system makes
this possible by running a web server inside the
Unreal Engine that services WebSocket
messages and HTTP requests by remote web applications
through a REST-like API. So you can operate
the engine remotely from a different computer
or mobile device that is connected to the same network
as the computer running Unreal. So here,
let me go over to the side where I have these
chairs and rug. I can showcase
different options if I'd like. So I'll filter through a
few different chair options. Say I want to also take
a look at different rugs. I can do that here as well,
or change any of the
post-processing effects. So maybe I need to
make it a little brighter. Make it a little bit warmer,
turn up the bloom a little bit. You'll have the ability to
access any function that is exposed to Blueprint or Python. So there's a lot of
different options you can do, and you could really make
this web browser your own. I'm also going to show
another remote control setup, so I'm going to
switch applications. This is a beta app,
and I am going to hit play in my Unreal window. You'll notice that the
screen on my computer is now on the screen of my iPad,
and I can use my finger to
rotate around the space as well as walk
through the space. So this is used in
virtual production a lot, but I also think that it
has a lot of possibilities for bringing
architecture products to life or for presenting your
project or idea that you have. For any architects wanting
to explore digital twins, augmented reality, LIDAR
point clouds, pixel streaming, then this importer plugin
can be a very beneficial tool. Architects can choose
Twinmotion today so that they may get
the project set up easily. And as your project grows
in size and complexity, you'll want to use a tool
that has flexibility and control so you can take any idea
you have and bring it to life. I know we at Epic are
all very excited to see what you talented and
creative Twinmotion users can do in Unreal. This is all we have for today.
