Interior and Still Life Lighting (GPU Lightmass vs. Raytraced Lighting) Unreal Engine 4.26

hey everyone i apologize apparently that you need to hit the big go live button and i wasn't really aware of that so i thought i was already streaming so i apologize for being late so let me know if the volume is okay guys um let me know if the stream quality is kind of not good or whatever um yeah just keep me posted i'm still pretty new to live streaming so let me know if something's wrong so i and just before this i had the default archviz scene open so i'm just going to close this and this arch of a scene is fully retraced nothing is baked in here and it looks pretty good right so the scene is awesome but it's pretty heavy like i'm running on 2060 super right now and the frame rate's about 30 frames per second and it's not awesome so uh tonight we're going to take a look at gpu light mass and gpu light math is pretty new uh i think the official release was in 4.26 and this really makes base lighting so much easier before gpu light mass based lighting was a major major pain in the ass it was not fun to work with it was slow um there were so hundreds of settings to work with and it was just you know it was not awesome and it did give decent results but it was extremely tedious and in production you don't have time to fiddle around with settings right you just need something to work consistently and reliably and that's why personally i've usually just worked with dynamic lights even at the cost of quality but it's consistent and reliable right and in production you don't have time if you have a delivery at four o'clock you don't have time to wonder like oh why is my uh why my shadows not baking properly right so um so without further ado let's take a look at gpu light math how it works how to set it up and once that's done we're going to go ahead and we're going to set up a um like a still live scene with a fruit bowl whatever that sort of thing and we're going to compare both uh base lighting and dynamic lighting so let's start from scratch with a whole blank scene and uh go from there so i'm going to go empty level and now we have a totally blank scene right here and the first thing i like to do is creating a post process volume all right so i'm going to go here create both frozen volume and the first thing i do is i turn off auto exposure for one oh hey there vr division let's see you again um yeah so to disable your put your auto exposure you have to set the min ev100 and max ev100 set them both to one okay this disables auto exposure it's the worst thing in the world you can probably disable it in your project settings but this works too the next thing you do when creating a post possible volume is you want to set it to unbound and set it to on so that way you know it just it affects your entire scene close that and now we're ready to start setting up a very quick scene right so what are we going to do so i have a few wall segments here so i can type for wall and filter by static mesh hi there mazzy so i have a few wall segments here and this is these walls right here as you might see wall 400 by 200 so on and so forth um these are kind of all included in the starter content right so if you don't have the starter content added in your project you can easily just click on add here add feature a content pack and i believe if you go to content pack you can do starter content okay you can add all that starter stuff you can add a bunch of wall segments a bunch of base materials effects that type of thing so start a i actually like having the starter content there because sometimes it's just nice to have something to start with so these wall segments right here it they're included in the starter content so i'm going to go ahead and place this there yeah so place it here like that and we're just going to set up a very basic quick scene so i'm going to rotate like that i'm going to set these both to zero come on thanks so much nicholas i appreciate that so there we go let's go start setting up our scene we're just going to make a very very quick and easy uh interior type of level right now that's what i'm doing so i'm going to duplicate this okay and one more time now i know you can't really see much because you know there's no light so i'm gonna create a directional light just like i can see a little bit better and directional light there we go don't worry i know it's panicking and flickery it's fine oh you know what this is actually really annoying i'm just gonna yeah so now i'm going to create a floor because we need a floor oh thanks so much mr toma i can create a floor here something simple and okay i need to disable the raytraced gi right now so raytrace i'm going to disable this and disable all right tracing effects there we go now it's less pan again i got my floor i'm going to duplicate that floor and now we're starting to get now we have a beautiful beautiful room just kidding now i need to bring this deck down here there we go so what i want is just a small just window coming sun coming through a window that's basically the all i'm trying to do right now okay so before we get started with gpu light mask um what we're going to do is we need to enable gpu litemath as a plugin so if you haven't already you need to make sure you enable that because you're not going to find it otherwise so you need to make sure you're on unreal 4.26 you're going to go to settings plugins if you type gpu you'll see gpu light maps pop up make sure that's enabled otherwise gpu light mask is not going to work so want that done restart your engine it'll be back up and running okay so now i've placed my light now don't worry i know we can't really see inside anything right now what i want to do next is i want to open up the gpu light mask window so you go next to the build you see there's a little arrow button next to build up here you'll see gpu light mask okay you're gonna get a new window that pops up i'm gonna make this smaller for now too less space and for the most part you can kind of leave this to default okay so we're gonna hit build lighting and see where that takes us now you'll see at the bottom it says slow mode you can hit control r to exit slow mode so or you can do this here there we go uh yeah of course you need to make sure that your light is set to stationary common mistake so the first thing you need to do when you're baking light if you need to set your lights to either static or stationary i prefer stationary because reasons so it has to be set to stationary for baked lighting to work so we're going to hit build lighting again there we go now we have something i'm going to move this over here so now you can see we have some you know some some some light coming in and light bouncing through our scene right this is what we wanted but of course you know a it looks pretty bad right so at least at least we've gotten this far we've got something to work with and now it's only going to get better from here uh yeah fatigue i'm using a rtx 2060 super um but fortunately when it comes to baked lighting uh you don't need raytracing that's the beauty based lighting you can have a 1080 you can have a 1660 a card that's not rtx and it's gonna work because you don't need it's not a real-time ray tracing thing so uh i'm just using one just one rtx 2060 super i'm actually pretty happy with it great little card so now that we have something what's the first thing we notice here we notice we got some really weird artifacts everywhere all the colors are kind of splotchy the shadows are real bad uh it's if not great so what's the reason for this we need to increase the resolution of our light maps okay so how do you create the resolution of your light maps you're going to select your mesh and in the search details panel you want to type for res to res and you'll see right here in lighting overridden lightmap resolution okay click on that and i'm going to set this to let's say 10 24. i'm going to go a little bit higher um for the sake of this video i mean i would love to have a 30-90 to be honest uh king kong i would love that 390 but they're way too expensive i can't really afford or justify that purchase right now having two that's amazing i don't know if unreal supports multi-gpu at the moment but uh heck i mean if you can afford a 30-90 i think go for it it totally helps and uh for and jesse thorpe a gpu i recommend for ray tracing get the best cards you can move forward either get a 30 70 30 80 30 90 um if you want something more more budget friendly and a 30 60 with a lot of vram is going to be amazing so i'm going to set all these models to have 1024 light map resolution and you can override them here okay so you'll notice we kind of lost our lighting when we change the resolution that's fine we have to rebake anyway now another thing that's really important based lighting depends on what we call light map uvs okay and light map uvs are critically important if you don't have lightmap uvs this is not going to work and get nasty results the reason why i chose these models that are in student included in the starter pack is because they've been uv correctly okay um so how do you verify if you have lightmap uvs it's really simple let's go ahead and open this right here uh yeah fatigue rtx is pretty important for real-time work in general so once you have your static mesh editor open i'm just going to close this one more time just so you can see where it is i'm going to open up my static mesh here double click on that and here okay if you want to see if your mesh has lightmap uv you click on a uv channel button up here and you'll see uv channel 0 and you'll see that the uvs are massive they're outside of the zero one range but that's fine and you'll see channel one right here and these the second channel uh that's the way the light map uv repeat will be so every single model in your scene when you're using base lighting needs to have light map uvs this is critically important there's no way around it okay because the lighting is effectively baked to that second uv channel okay and that's why i wasn't really excited about baked lighting in the past because it just makes that much more work to do of course you know just doing a second uv channel uh it it's fine but it is much more time consuming right you have to do two uv channels for every single asset in your scene and in production when you're in a rush you don't always have time for that and thanks miguel you need to make sure that the uvs don't overlap at all if they overlap it's just going to not it's going to break it's not going to look good at all so as you can see here in this uv channel here there is no overlap okay so if if you have you know like a uv shell they're overlapping for it to save texture space you can't do that your second uv channel needs to have no overlapping uv shells and yeah so it's not as important for it to be as efficiently packed as your first uv channel as long as there's no overlap so now that that's out of the way i'm going to close this and we're going to hit the bake button one more time or the build lighting sorry and now it's in slow mode you can hit ctrl r to get out of slow mode and you'll see right here slow mode is more of a way to quickly preview how the light's going to look in your scene but it's going to build much faster when you go when you turn off the real-time mode now we're because we've increased the resolution of our light maps uh you'll see it's much slower to build now this is normal this is why like when you're generally when you're lighting you want to keep your resolution of your light maps pretty low or as low as you can um while still getting okay results and when you're ready to finally be done with your stuff then you can uh then you can increase the resolution afterwards yeah vo division um uvs are a nightmare i hate uvs if they're terrible i wish that you could just try planner everything at all times it would be great okay and there we have it now we've got something much cleaner we're getting much much better results now right so one thing you may notice one thing that's very important when you're baking light is make sure that you actually turn off your ray tracing effects because epic has stated themselves in the documentation uh i will link the documentation for gpu litemath in the description below after we're done with the live stream uh they actually recommend turning off all raytracing effects okay so i've already turned them off and hi big negative let's see uh so you can there's a console command for turning off all raytracing effects okay so it's called r dot ray tracing dot force all ray tracing effects zero okay so i have it set to uh to zero right now turning it back on we'll uh sending it to one we'll make richard's effect on setting it to zero we'll turn right tracing effects off and now you'll see we get all these weird you know splotchy jittery things like this it's not it's not very good it's not awesome uh you'll notice in the in the shadows things just kind of get wonky like this um this is not good so epic actually recommended you turn off rage rating effect when using baked lighting so i'm going to go ahead and turn that off again because there we go so now that we've increased the resolution of our light maps uh you'll see everything's much cleaner right everything much better but you'll notice we still get a little bit of some weird things here we get some artifacts up here we've got some you know some really splotchy when you get up close you see things are very splotchy it's not perfect it's not um it's not great yet there's still some improvements that we can make but we've you know we've established something pretty decent for starters and it's like i said it's only going to get better from here and it's pretty simple so what do we want to do next the first thing we're going to do is we're going to try turning off ambient occlusion because these black lines here are caused by two things either your light my resolution is too low or ambient occlusion so in the post process volume i'm going to go to details panel i'm going to turn on go check for ambient occlusion and in intensity i'm going to turn it off so see if i if i exaggerate it uh i don't really like the effect are you going to turn it off entirely because when you're making light you don't really need more ao on top of that so turning off ao is another pretty good thing to do so once that's done the next thing we want to do is there's a few other settings in uh the gpu light map window here that are pretty useful okay and we want to make sure that you use irradiance caching so click on that and click on first bounce ray guiding and you can leave all the settings to default you don't need to play around with the numbers just yet you'll see pay attention to i'm going to bake again and pay attention to how much brighter our scene is going to get okay so i'm going to build lighting one more time i'm going to turn off slow-mo there we go yeah totally agreed nicholas i uh bloom is one of those things i kind of like bloom but agreed ambient occlusion i usually turn it off when doing base lighting stuff for sure and big negative how was your experience with uh rtgi i haven't really played around with it yet um i haven't compiled a new build of unreal but hey if it works for you what was your experience like hi iron scavenger thanks for joining there we go and now notice how you may not know because we had to wait a while but you'll see like our scene got much brighter our scene is uh it's definitely a lot better than it was and that's because the irradiance caching so if you mouse over it says irradiance caching should be enabled with interior scenes to achieve more physically correct gi intensities albeit with some biasing so without irradiance caching the results may be darker than expected and it should be disabled for exterior scenes so once that's done so we've got one more thing figured out here now we got another we've got this thing with this here this is oh i don't want to have this nasty artifact here now though this is often something that shows up when at intersections okay uh so when you've got like a wall corner of a wall and light kind of bleeds through so unfortunately fortunately there's a setting for this and if you go to where is it yeah it's in corner rejection so i'm gonna set this to three and i'm gonna bake one more time yeah i played with the caustics build and uh just a little bit in the uh in my previous race racing video and it was really cool i'm really impressed and i don't think it's not an official release yet but it's getting there oh thanks so much cinematic captures i really appreciate it i've really been a big fan of your work as well so thanks for joining come on so yeah sometimes it's probably a good thing to tone down the resolution of your light maps just to get you know a little bit faster bake and like i said earlier once you've established your lighting and say okay i'm happy with this bump up that resolution for your final render okay and now now you'll see we still get it and this is honestly this is probably my fault we still get this thing here um either i can try bumping corner rejection even more but what i recommend even more is to uh is to just not use a plane give us a mesh with thickness instead that might actually work better for you so i'm going to go ahead and delete this and i'm going to go add a a thicker mesh up top so fortunately if we search for ceiling up here we have one that we can just use so basically this is just a box with thickness and that should get rid of our really nasty seam that we were having earlier up in the corner of the wall there we go so i gotta leave that there and make sure i have the same material bits wall poop there we go and let's he'll build lighting one more time so that's the thing with base lighting it's um it's kind of it's a lot of trial and error but once you've kind of nailed all those settings correctly it's awesome hi raphael uh yes this video will absolutely be saving my channel so it's not going anywhere it's not going to be unlisted at the end of this at the end of this live stream it's here to stay and you can watch it whenever you want hi there owner one on one sir okay and there we go now aha so you'll see now we added our ceiling and i made a mistake i forgot to increase the resolution of my light map of this new ceiling model and that's why we're getting this kind of big bleeding thing here because there's not enough pixels to uh to get a proper accurate shadow so what am i going to do i'm going to bump this up res set this to let's say 512 for this guy build lighting one more time hi alexandra thanks for joining come on come on come on come on hi there gee i would pronounce your name right thanks so much nicholas i appreciate that okay and there we have it now we got our ceiling up there with no nasty artifacts in the seams so again it's uh it's all about you know having thickness on your mesh and playing around with the corner rejection now there is one more thing that i want to take a look at with you guys in order to get the best possible quality when it comes to baked lighting hi christian and antonio welcome so you may notice i'm not sure if with the quality of the stream if you're gonna see uh this kind of nasty splotching let me know in the chat guys if uh if you guys can see this or not uh you notice how you got like these rings you've got this odd stippled gradient hi martin welcome um let me know if you guys see this or not and it you get this really nasty splotching it's uh yes exactly thanks nicholas uh it's not really good and you know for now it's fine um but this is probably not what you want your final render right um so there's a really easy way to fix this and that's by going into the world settings up here okay i'm going to undock this because my stupid face is in a way and if you don't have if you don't see world settings uh go to the window tab and go to world settings right here okay and in your world settings you're going to want to go ahead right down here where it says compress light maps okay so when you mouse over it says like whether to compress light map textures or not disabling light map texture compression will reduce artifacts but increase memory and disk size by four times so use caution when disabling this and yeah it's oh thanks andrew i'll uh try cranking my audio up thanks anyone else uh notice if i'm a little bit quiet don't feel don't be ashamed of letting me know so i'm going to um hit uncheck compress light maps and yes it takes up more space but it's the way that uh it's the way to get the best results so i'm gonna increase my volume here how about that guys is that a little bit better let me know thanks again i'm pretty new live streaming so uh yeah learning it's a learning process so now that we've unchecked compressed light maps okay uh we're gonna go i can redock this up here there we go and now i'm going to take a screenshot i'm going to do this like that and now great awesome thanks guys i really appreciate you letting me know okay so now that we've unchecked compressed light maps we're going to go ahead and build lighting one more time and i've taken a screenshot so we can compare the before and after oh thanks uh i can't i had no idea my volume was so low uh obs tells me that it's well written range but thanks stefano i appreciate it so building lighting uh that's a good question actually i don't know uh abraham i'm not sure i mean you shouldn't you should be able to do gpu light math even on a mac i think i don't think gpu light math is an nvidia setting specifically i mean i could be wrong but i'm not sure so now that our bake is done let's take a look now there's no more nasty splotching i'm gonna go get my other screenshot here where are you there we go so here's my my screenshot and i'm going to zoom in to actual size so see this was before and this is after so notice how we had some really nasty splotching and now now all that splotching is gone it had to do with the lightmap compression so i recommend leaving it on when you're you know what you're you're uh when you're working and when you're setting up your lighting but when i come to get that final delicious render uh turn off that compression because you will get the much better result as you can see right here it kind of speaks for itself thanks so much omar i appreciate it i'm glad it helped so there you have it that that's really the the main thing that you need to do to get a decent bake okay so it's really as simple as that um gpu light mask makes things a lot easier to work with uh it's just really nice it's fast it's so much faster than the cpu bake uh gpu light math is fantastic now the reason i went with a very simple basic unsexy scene like this is because when you're playing around with lighting and familiarizing with those with the tools you want to factor out as much complication as possible right you want to um it's pretty important to to just not be swayed by materials or detailed models or anything you want the bare bones to just to to to make the whole process a bit faster and understanding what the settings do right uh yes alexander i will leave this video live after you can watch it whenever you want uh so yeah and just a few tips now if we go to the world and our outliner again and we select our post process volume okay uh yeah nicholas i will have a q a actually so in your post profit volume we're gonna search for indirect lighting okay so you have a global elimination we got a few settings here and i want to show you guys this really nifty pretty cool feature uh that i really really love because it's non-destructive so if you check this little checkbox here and you play around with it you can accentuate your indirect lighting as much as you want you have full control so let's say you baked your lighting and you're not really happy with uh with the results you know he's like oh instead of brightening your light or darkening your light you can just play around with the indirect lighting setting here okay so this is very useful when you bake your lighting excuse me it's not destructive so that's how you would do it so now the next thing i want to do is i'm going to throw i'm going to set up a scene that looks a little bit better um this is with the very basic scene just to show you guys the very core fundamentals of gpu light mass and now i'm going to just take the time to just create a similar scene but with some better models so i'm going to go ahead and go out of here move this and i'm going to find my other models if i got well here and i've got wall here actually i think i have this scene saved already so i might save some time uh note save okay so see you'll see here i've got a very simple office scene and i'm gonna don't worry i'm gonna delete all the lights i'm gonna start from scratch for you guys so i'm going to go ahead and click on the hdr backdrop delete that delete directional light and i'm going to so now we have some base lighting but that's okay so i'm just going to move the light and there you go so we have a very simple scene the reason why i want to get this scene up is because you know it's got some more interesting shapes it's got some moldings up here some different textures on the walls uh a better floor that sort of thing so we're gonna start the lighting from scratch one more time and this time i'm gonna bring in a skylight okay so and tyler uh no i didn't add light math important volume because it's not it doesn't quite work the same way with gpu light mass uh it's only partially supported and i'm not going to pretend that i know exactly how gpu light math works with the light math importance volume so yeah so yeah uh you're actually absolutely right gaurav i i am actually a little bit distracted because there are so many questions i want to answer all those questions so um i think i'm going to answer questions while it's making just because it's going to be a lot easier that way so now i'm going to create another directional light and i'm going to have oh man thanks so much gorov i really appreciate it so what do i want here i want a light coming through the window and i'm going to add a skylight so i'm going to have an hdri backdrop i really like it because it actually has a sky dome and with the texture projected on it and if you don't see this you need to enable the plugin for that okay so again if you want an hdri backdrop go to settings plugins and type hdri and make sure that hdri backdrop is enabled so i'm going to place this right here move this down also just to clear clear guys i know this is a live stream and i'm answering questions but i will be making a specific video on gpu light mass in the future so don't worry there's going to be like a short and sweet version of this video as well okay just so you know so don't feel bad about me just like blabbing off and ranting so we have our hdri or sorry our hdri backdrop here and so that's what i mean i i kind of like this because it's got you know you actually see something outside the window right so i'm going to make sure that i align the sun with our actual directional light whoops and rotate this so you kind of want to make sure that the sun in your hdri kind of lines up with your directional light as well because otherwise things might look a little bit weird so i'm gonna want let's say i want my sun to shine through like uh let's say something like that so i'm gonna make sure my hdri is lined up the same way something like this and with an hdr backdrop you need to make sure that the skylight inside the hdr backdrop is set to stationary so we're going to scroll down here and you'll see i select my hdri backdrop and you see skylight inside here click on that and make sure you set that to stationary super important if it's not set to stationary your lighting is not going to bake properly and in light i'm going to set this to real-time capture there we go and now we already have something a bit more interesting we can see outside so we have our directional light stationary as well just making sure and now i think we're ready to bake so i'm just going to save this and we're gonna hit build lighting okay i can answer some questions now uh let's see yeah i i at hd suits though i think the compression is probably for video games that's a really good point actually um games you need to comp you need to save a lot of space um you probably need to optimize a little bit so it's probably related to a games thing so i'm not using a a light math important volume right now uh i don't think you actually need it um i might actually just create one just to be on the safe side but i don't remember seeing any major differences i could be wrong though i seem to remember that um the light mass important volume only really works to help out with the volumetric light maps so i might just for good measure add an important volume right now um antonio you know what i'm i don't think i will because really all i care about right now is just getting a decent result and i'm not going to go into the physically accurate result but you can definitely do that there's no right or wrong answer here oh my goodness all the questions i'm so sorry guys okay so now that our lighting is baked now um you'll notice it's a little bit dark so the main reason for that is our skylight is not very bright we can probably bump up the intensity of our skylight um and i'm just gonna make sure my post process volume that i haven't set um the resolution wrong not the resolution sorry the indirect lighting okay so if i set the 10 for example 20 you'll see now we're starting to get some pretty cool some pretty cool results um but i think i need to bump up the intensity of my lights for now so i can set this back to one i'm going to create my sun's intensity to something like 50 at least for now and my issue our backdrop i can set that intensity to four or five not 55 5. um greetoma a good question actually it's a really good point because there's a way to verify what the textile density of your light maps is and that's by there's a totally useful feature for that and that's here in lit and you go to optimization view modes and you can go to lightmap density and you'll see you'll get a better feeling for what is too dense and what is not then so you can kind of know what the um what the resolution your maps are so this table is obviously way too low so i'm going to bump up the resolution of this to something like you know 5 256 maybe yeah that should be fine okay so going back to lit i'm gonna bake my lighting one more time erdog uh in terms of mega scans while using ray tracing especially on wind on plant voltages that definitely seems to be a ray traced um a raytrace skylight shadows issue with wind specifically so if you turn off the raytrace shadows on your skylight you should get rid of your wind shadowing issues on your grass and foliage and stuff oh it's in slow mode there we go i'll be much faster this way and yeah i'll definitely be doing something in materials in the future for sure then again material is a pretty vague topic right it's um very vague there's a lot of ground to cover there that's a good question tyler i'm not entirely sure because i haven't actually tried um i think so but i could be wrong and okay now we've got something a little bit brighter i may have to accentuate these values even more so i'm going to go in my indirect here process volume whoops and probably bump this up a little bit more so now we're starting to get something we're starting to get a decent result so this is why aha so we're noticing up some few weird things here that might be a resolution thing might be a light map thing um yeah this looks a little bit weird but for now um this looks pretty narrow pretty bad but yeah so we're starting to get some results that are actually not too bad here notice what's really nice is getting you know this kind of lighting up here that you're just not going to get with ray traced lighting or at least in its current state thanks diego i uh i wasn't sure about that so that's basically how you get any kind of light to work so when we've got our skylight we got our skylight coming in let's say for example i were to hide my directional light and only wanted skylight light to come in i can go ahead here and i'm going to hide my directional light and i'm going to increase the brightness of this hdri backdrop i'm like 20. and i got to build one more time uh flash gun i'm i've only been using stationary lights so maybe they fixed it i'm not sure i've never knew that the stationary life didn't work with gpu light mass i mean yeah oh you're probably totally right nicholas um i also generally like to work with real life values but then again i come to from the philosophy of hey if it looks good that's what all that matters but you wouldn't be you're definitely not wrong to use real real you know real life settings so to speak as long as everything else in your scene is also set correctly you know proper properly set up materials you know your roughness values are within reasonable range that sort of thing as long as everything is kind of within real reasonable range then that's a great way to work oh thanks for joining nunzio the video will be here for you to see later so don't worry about that there we go all right so now i've hid my directional light so my directional light is not actually casting light anymore this scene to being purely lit by the skylight okay so now we got some light shining in and in fact everything kind of looks a bit better except for this this looks a little bit weird here um and that's kind of the thing that you need to be aware of when working with uh base lighting you're always going to encounter a few odd things and that's probably actually probably has to do with the fact that my ground is just a plane so i'm going to delete that and i'm going to duplicate this so my ground actually has thickness are they really flash gun that's interesting i mean just out of curiosity i'll i'll try with static light and see if it works but yeah so far i've only been using stationaries and it works so i'm going to exactly something like that leave that like there and change the material to wood let's see what kind of material they can put in my floor now ah try that yeah i might have to change the tiling a little bit but that's fine for now and let's build lighting one more time that's the process with building lighting is it's just constantly you try again you try again you try again and that's why um i'm actually leaving my resolution higher now because i can take it give me time to answer the questions but when you're working yourself i totally recommend that you work with lower light map resolutions for starters once you're happy with your lighting then you can start bumping them up um i'm not sure josh there we go no we're still getting some wonkiness here what i'm going to do is i'm going to create a light maps light math important volume right now just so we can factor out that so to create a light mass important volume we're going to go to volumes here and there's a ton of volume so i'm going to type for light mass importance volume you know just for good measure scale this up you want to encompass your entire scene uh yeah nicholas definitely if you're uh only working with dynamic lights uh you can't really bake so you're gonna get a much better visual quality with baked lighting in general um but with raytracing now it's getting really close like you're getting really really damn good results with just you know dynamic lights um for now bake lighting is still kind of the way to go you want the absolute best quality uh but i would definitely say that it's um i personally prefer working with purely ray traced lights totally dynamic lights just because it's more responsive what you see is what you get there's no unexpected wonky issues so yeah almost done hi there william welcome to the stream thanks for joining yeah no so maybe increasing like like i wanted to you guys said including the the light bias but for now you know it's okay where i want it to be okay so this is kind of fine so this is what's nice about working with base lighting is it's just really clean and it's snappy and it's fast like i'm still 120 fps here um if i wanted to get the same look with purely ray traced lighting uh my frame rate would not be anywhere near 120 fps okay so that's kind of the trade-off you can get pretty darn good results with raytrades or dynamic lights at the cost of performance okay and so something it is easier and faster to work with dynamic lights but if you have the the know-how and the time to set up light map uvs and bake your lighting excuse me um the performance gain that you get will be totally worth it maybe that's going to change in unreal engine 5 but who knows so now yeah no this is this is getting we're getting somewhere now so i'm going to see what my indirect lighting is yeah so something like that is probably that's really weird though maybe if i uh scale this this way i'm going to bake one more time just to kind of make sure that it's just not my floor that was causing the issue there we go in what scene are you talking about there tyler bake my scene one more time did you find you can't get out of uh slow mode by doing ctrl r you can go to a little arrow here and disable real-time override and it should go back to you know fast mode oh yeah yeah gaurav i really absolutely have hit the tried the apartment scene that's awesome i've i've used it many times in a few my previous videos uh 101 sir your card is an rtx a gtx 1060 i mean not gonna lie 1060 starting to be a pretty old card uh i mean i think that's the same and my laptop has a 970 so it's about the same power the 1060. um if your pc is frozen i wouldn't be surprised if the gpu related but it might be something else but which interior scene are you talking about tyler are you talking about the uh the apartment scene the archbishop of the apartment scene there we go oh that's uh no i don't have a deal dlss plug-in right now so i'm going to go here and now you'll notice the one thing i really miss now because i know epic had recommended you turn off ray tracing effects but i i really like the ray tracing effect like raytrac reflections really make your scene so much better so if i wanted the shiny reflections on the floor i can probably turn on you know screen paper reflections but they're not they're never great right it's uh they're fine but like i said they're not awesome i much prefer ray trace reflections because they're that much better so i'm gonna go ahead and turn on ray tracing again and now you'll see now we got some better everything just much brighter in our scene you see our reflections are kind of showing up on the ground i'm going to bump a disabled by eight or something there we go so you'll see now we're getting of course we're getting the stippling from the raytraced global elimination but you see we actually have some proper reflections on the floor it just kind of makes the scene just a little bit better so whoa whoa so that's pretty much that's just the basics of gpu light mass um we've covered basically all the settings that you really need to change so again the main things you need to change are user radiance caching use first bound ray guiding you don't really i mean if you really know what you're doing you can play with the gi samples and stuff but for the most part it's it's not super necessary um the default settings work pretty well out of the box so yeah so it's all about your light map resolution and just having enough just waiting for it so what we're going to do now is we're going to i'm just going to set up take the time to i got some mega scan dash that i got from bridge and i'm going to start laying out um you know like a small little scene with you know like a fruit basket light still life scene and i'm going to go ahead and light that which we can do a little bit of boat we can do a little bit of uh just dynamic lighting and baked lighting and we can see hey what looks best so without further ado i don't think i'm going to need the entire thing but i'm going to go ahead and create a level sequence call it uh interior lighting there i'm gonna save so i'm going to create a camera i'm going to close this for now and the first thing i like doing when i create a new camera uh so you notice i created a new sequence in here i created a new camera the first thing i do when i create a camera is i select it and i change the cell the fill back i don't like 69 digital film i prefer working in 69 dslr it's a little bit wider okay so it actually has the same um film back settings as a full frame dslr and that just makes the most sense to me so it seems you guys want to have a little bit of artificial light so i can probably do that too of course so i can go ahead and create a just a small little spotlight here or something made a little point light i'm gonna go ahead and delete my hdr backdrop just so that we don't get that light in yes the stream will be saved on the channel later so you can view it whenever you want so i'm going to go here there we go i'm going to move this light here so let's say all we want is just like a little bit of a a light on top of your scene like this okay i'm gonna increase the source radius a little bit by like five something like that okay so i got my just a little point light up here and i set the stationary and i'm just gonna bake this see where it takes us let's see gpu light math open that build it thank you here oh uh dariarman yes gpu light mass is way faster than cpu big like it's not even it's not even funny how much better gpu light math is it's a lot easier to work with and because it's faster it also means that you can iterate changes much faster as well so like you can learn from your mistakes much faster right you can learn you can make new um how how would you say it um a life philosophy that i why there we go so a life philosophy that i really tend to abide by is make mistakes faster and the reason i say that is because the more mistakes you make the faster you learn and the faster you learn the more you progress that's an artist right so it's because gpu light method is so much faster you can learn from your mistakes that much faster as well which means you're just going to get better and better way faster so tyler uh the reason for slow mode is because you can get it but you can actually change some settings here so you can actually bake only whatever you're looking at so slow mode will give you a faster preview of what the lighting will look like um at the cost of taking longer to make the whole scene yeah i figured you were watching yahia i i know i i know your channel and i know your face but i couldn't remember what your name was so so thanks for joining okay so there we have it we just placed a small local light up here and now of course it's it's terrible lighting it looks like you know a light you turn on in your bedroom it's not it's not very cozy at all right but you'll see we got our shadows baked we got our indirect lighting shining underneath the table this behaves the way i would expect it to behave right um you know so yeah so this this works with uh local artificial lights as well you can change the uh source length here too so if i make this like this i want to make like a fluorescent light you can do that as well did you guys see what i just did there so if you go to source length the bottom on your point light you can change the width of it and by changing the source radius you can make it thinner or fatter or whatever so i'm gonna move this over here they got this sweet sweet like led oh i'm gonna put it right over the desk yeah kind of like a typical gamer setup i'm gonna make it like blue or whatever thank you here i'm gonna put this here move that there typical uh and in theory this should bake nicely as well this is actually the first time i bake lighting with this type of light specifically so i guess we'll find out how this looks right maybe one there we go and let's bake this light and see how this looks oh man but i have to make it rgb because then like what's even a point in having leds man if it's not rgb like is it even worth getting leds at all i don't think so how's everyone else gonna know i'm a gamer if i don't have rgb come on exactly you gain fps by having rgb so there you have it so now so this actually worked i'm actually glad to confirm this so when you get increase the source length of your spotlight or not just about light your point light um it will it will bake properly but now i kind of have to make this rgb so i'm going to make this sweet sweet like red or something yeah that's what i'm talking about and maybe have another one in the corner that's like blue something like that yes all the rainbow puke there we go i mean how is everyone gonna know i'm a youtuber without these led strips everywhere right i'm gonna make the source length even longer like that make this one like blue or something and put another one in the other corner and we're gonna make this like green there we go something like that and now let's hit build lighting oh it did go from an office to a brothel and the next time we bake i'll show you guys another advantage of what the slow-mo or not slumber the slow uh the slow bake thing does and how you can only bake small portions of your scene instead of having to bake the entire scene no my hair does not have our taste reflections enabled um it uh if anything i need to increase the groom count of my hair because i'm losing it all okay and there we have it now we have our bake and our scene looks really terrible never light your bedroom this way it looks awful but you can see it like this basically behaves the way i would expect it to so i'm gonna delete this light because this is really ugly and um i'll show you guys a neat little trick when it comes to i you know i'm gonna delete all these and i'm gonna use the directional light because directional lights just look better i want that nice cozy at late afternoon feel there we go something like that yeah make this light a little bit warmer something like that and now we're going to go ahead right here in the gpu like math window okay we have you see here we have full bank and bake what you see and that's basically what you would expect it to so do make what you see and let's see what it does so what this essentially is doing instead of baking the entire scene it's going to bake only what your camera is looking at okay so i'm going to hit build lighting to show you guys what i mean and now you'll see it's baking much faster because it only baked what i was looking at here right so that was like super fast and what you can do then is hit the save button and wait for it to save all the light maps funny saving the light map takes longer than baking the actual light there we go oh no oh no no no no what oh i forgot to hit stop there we go yeah don't forget to hit stop but you'll see the rest of the bedroom didn't bake but next to the office it did i'm going to increase the uh i got a 75 there we go and build lighting one more time there we go so now you'll see it's building so much faster because it doesn't have the entire room to bake then you can hit save so gpu light math is not doesn't have anything to do with reflections actually your reflections unreal are either ray traced or they are screen space so the reflections in general are totally irrelevant to the lighting so now i'm going to hit stop because i've already saved and you'll see notice notice here how like over here is all pixelated because i haven't actually baked the lighting in that area it's only baked where i looked at so this bake what you see feature is super super useful um because it can kind of you kind of just piece your scene together bit by bit instead of having to wait for the entire scene to to bake right so i'm going to go to my post process volume and i'm going to set my indirect lighting and i bump this up it's already at four but i'm going to say like 10 or something just so i can get a better feel of the lighting and so now we've got this you know late afternoon vibe again but i just wanted to take the time to show you guys the make what you see mode because that's so handy how's the frame rate by the way guys let me know in the comments because you know i'm kind of see a preview of the stream but it seems a little bit choppy um i'm not really quite sure how to fix that but um oh man thank you so much tyler that's uh that's amazing you're way too kind so so now that i've kind of showed you guys the artificial lighting and a few other gb light math tricks now we can carry on i'm going to take two minutes to answer some of your questions and then we're going to move on towards still life lighting so guys get your questions out right now we've got two minutes starting the countdown right now so it is 908 so at 9 10. oh we'll get started so yes the semantics it isn't gpu litemas is a new plugin so if you have um unreal 4.4.26 you can just in the settings here go to plugins and type gpu litemas thanks warner uh antonio uh to be honest i think uh i would probably just stick with the gpu baker even for the final bake because the results are at least from what i've used before have been good enough um i haven't actually had to use baked lighting for production yet but for my own personal work gpu light math has been awesome uh nicholas i think the donate button i think it's called a super chat i i'm pretty new to all the terms so i could be wrong any other question guys we got uh still got one more minute before we take off on uh still life red lighting uh yes i believe you can said to have a bigger stream pool i think you change that in your project settings somewhere um so if you change it to your project setting then you won't need to set it change it ever again i think uh that or in the uh um you can probably change like the actual startup file in unreal as well oh hey vernon fish nice to see you thank i love your work so uh thanks so much for joining oh totally agreed um i actually ten i do leave i usually turn raytracing off when i'm doing bait lighting um aaron the only reason uh so here's the thing things behave really weirdly with when you're baked lighting because even if i turn off you know uh raytra uh yeah raytraced gi it still shows up even if i turned it off in a post process volume here so i've had weird mixed results with having ratio everything on so i tend to just disable ray tracing entirely with the aid of this console command that's called ray tracing dot force all ray tracing effects zero so yeah epic themselves i can i will link uh include a link to the description in the description below um about the documentation on gpu litemas epic clearly state that they recommend turning off ray tracing effects when you make lighting and one last question from antonio one more with the lighting bake noise so there should be uh which noise are you referring to you mean over here uh if so that's only because i haven't actually baked this lighting yet i only baked this and the noise it's pretty much non-existent i don't see any noise here it looks pretty darn good so just you know just for this just for for your sake i'm going to do full bake one more time build this lighting and you'll see we're not really going to have any more lighting big noise because of the denoisers i am let's see now oh man thank you so much nicholas i really appreciate that you're way too kind man guys i wasn't expecting the super chats at all um i'm touched honestly it means a lot uh no it's semantic my light knots are not all green in fact they're all red i'm actually pushing them way higher than they need to be so as you can see um antonio i don't i don't have any more noise in my scene the debate is actually quite clean um even over here we don't have that weird uh issue anymore uh so i'll answer your one last question tyler because you're awesome uh gpu litemas does support god rays but it's kind of a different way it's not really gpu light mass anymore gpu light mass is only about baking the light god rays are a post effect with fog so okay so with that out of the way um we're gonna go back to getting a still life scene set up so i'm just gonna use this table for now for to be honest like i said earlier the first thing i do when i create a sequencer if you don't know how to create a sequencer go to cinematics add level sequence and hit the camera button here to create a new camera and the first thing i always do is to change the film back the film back by default it's set to 69 digital film it's really tight it's really narrow i much prefer working with a wider field of view and so i set it to either a full frame dslr which is much wider or 16 9 dslr okay i have another video coming next week and i'm going to be covering exactly what film back is and how to make your stuff more cinematic so stay tuned so i'm going to uh hmm i'm gonna move this right here and i need to find some assets so fortunately i already took the time to download a bunch of mega scans assets uh earlier this afternoon so i'm gonna go ahead and add like a bowl i need a bowl right so you're going to do a still life you need a bowl which one do i like better yeah and i need to exit this there we go so i'm going to have a bowl here move lights like this so don't mind me i'm just going to take some time to just set up a quick scene and um you know add some fruits and other things to kind of get a still life scene set up uh alessandro yes i definitely turn off ambient occlusion because i don't think it looks good because uh raytrade ambient occlusion will give you a few some artifacts some kind of jittery artifacts it doesn't look very good and screenspace ambulation is well it's screen space and it's not very good so if you're baking your light correctly you shouldn't even need to have extra ambient occlusion anyway so let's see now oh god this has really bad lods yes so mega scans by default has some really aggressive lods i'm gonna go disable them because screw leds i don't have time for that so we're gonna go right here set the number of lods to zero or one hit apply save close this there we go now we got the full res model here close this i need to find my mega scans 3d assets static mesh there we go so we got some oh nice we got the apples got a pumpkin heck yeah pumpkin don't worry i know the lighting is totally wrong right now that's fine i'll probably just make this lighting dynamic for now i'm going to set an hdr backdrop because i want to see something outside there we go i just did i just saw your comment uh one or once or after i placed the hdri great minds think alike so i'm going to add an avocado because heck yeah avocado toast and a potato because everyone likes french fries carrots apparently carrots help you see better at night i don't think that's actually true is it i'm not sure i've got an eggplant because everyone knows what the eggplant emoji means right there we go and let's see a turnip sure oh and pleasured mine uh igor i'm glad i could help you i've seen a lot of people starting to use the anamorphic book lately um in quite a few scenes and i it's really awesome to see because i i think i'm a sucker for anamorphic the anamorphic look it's just it just looks so good so i can put this here move this apple there so yeah don't mind me like i said guys i'm uh i'm just doing my thing here placing some stuff yes pavel um i will definitely have the the stream available live later so you can watch it later oh that's great to hear nicholas thanks it's definitely the environment light mixer is super useful i use that all the time in production now it's so awesome avocado [Music] potato now you'll notice like these all these fruits are super kind of low poly and garbage because like i said earlier mega scans had really aggressive lods which it's a good thing but for this for the sake of this video i don't want any lods so i don't want a low poly avocado don't have time for that there we go so i'm gonna open my avocado turn off lods i have to do this for every single fruit and vegetable it's super i mean they're probably the console command actually now that i think about it i don't remember what it is by heart oops but if anyone knows what the console command for disabling all little ds do let me know turn this off here okay that's done come on eggplant i want you nice and round okay now we're starting to look a bit better still a few more left thank you josh oh my goodness i'm gonna try that right now all right dot fourth lod zero if that works i will love you well look at that that actually works thank you appreciate it josh you're the best uh yeah tyler i'm always up for collaborations for sure now if i was smart i probably would have set up like chaos physics to kind of get my fruit into the bowl in a convincing manner but i'm not a smart man yeah josh deserves a cookie um that force lod trick is uh it's really nice thank you so much i really appreciate that i gotta put this eggplant in here oh that's a big one no no i didn't mean that to sound like a dirty joke but it is a big eggplant now what else could i have on this table what would fit feel good here so i think i'm going to add some herbs maybe some some kind of plants yeah i totally agree uh yahia josh is definitely a lifesaver i'd i'm going to be using that console command a lot from now on oh this looks weird there we go i'm gonna get some herbs i have some plants here there we go some kind of bay leaves or something no not that so now we have some fruit in here i'm going to go back in my camera view and go here and just kind of frame the shot nicely right so i'm going to make this table bigger why does this keep coming up there we go and i'm going to set this and move whoa there we go sometimes it's really easy to accidentally add stuff to your sequencer there we go i'm going to set something like this now after you've worked with um oh thanks josh again good to know after you've worked with baked lighting for now for the start of this uh still live scene i'm going to be using totally dynamic lighting okay so after you bake lighting you might not want to have your baked lighting anymore right like i want to actually i want to get rid of my base lighting so what do you do you can go again you go to your world settings i'm going to move this here because my fat ugly head is in a way and in world settings to get rid of your base lighting in the search details of the world setting search for force no complete pre sorry force no pre-computed lighting check this box and once that's done you can just hit the build button again and then it gets rid of all your base lighting okay so now we only have the lighting from our directional light in here okay because sometimes it can really get annoying when you're trying to change the lighting and stuff um you don't want that baked information anymore right so that's a super handy tip for just eliminating all the base lighting data from your scene so now that we have this i kind of want to have my ray tracing stuff back so i'm going to go to fourth all right treating effects to one and now we should be getting our stuff back so i'm going to go my post process volume i'm going to turn on the ray tracing stuff back on so maybe my final gather there we go something like that now ignore the artifact stuff that's normal that's fine for now i just want to kind of establish my framing and get a basic lighting setup done for now and i think i'm going to move all the fruit away from the window like that there we go and i think i don't want to see the wall either so i'm going to remove all this whoops getting a nice delight is all about getting a uh a good a good composition right it's it's super important to get it to compose your shots well i'm gonna extend this a little bit i'm going to duplicate this wall something like that there we go just because composition is important in just about every aspect of create fcg making images right so i'm gonna make all this and move this into the sun there we go and i'm going to use a longer focal length right now it's a 35 i really hate the 35 millimeter focal length it just it's the default setting in most 3d applications and it's just the worst i'm going to go for 85. 85 is much tighter but oh man when you get that nice creamy depth of field in there it's like so good oops like that there we go and we're starting to get something interesting there we go so see how 85 millimeter kind of compresses everything nicely and brings the focus really on to these onto these plants right whoops not the plant but the fruits and veggies there we go why does this keep going up i keep yeah that's not a bad idea actually if stefano autofocus would probably be pretty nice i i never even thought about that but that's a really good point there we go so now whoa what the heck do i keyframes or something there we go now we're starting to get whoops i got the wrong so just to say 1.8 there we go something like that yeah i i will but i think the reason for the hdri was because i think i keyframed it and uh it was in my sequence for some reason so that's probably why what no where did my camera that's weird why did i happen okay that was weird so i'm just gonna keyframe my camera now so it doesn't stop it freaking stops moving now that this there we go something like that okay okay from that and now we're gonna move stuff around maybe something might move the pumpkin back a bit i realized this is a pretty tedious guys so don't be afraid tell me to move on to something a bit more interesting say 2.8 like that and maybe some bay leaves excuse me thanks so much pyro okay something like that so now it's really just a matter of finding a competition that just works something that looks good something decent um composition is one of those things that photographers spend a lifetime trying to master right like there's no one's ever a master of composition there's always more to learn like that and maybe what else what could be nice here what have i got look pretty cool oh yeah that looks pretty nice so like i said this is totally dynamic lighting right now and we're going to bring this to the next level later we're going to bake the lighting and we can compare and see like oh man like yeah baked lighting did look much better or the other way around the nice thing like i said earlier the nice thing about about direct like direct sun light or dynamic lighting is that it's what you see is what you get there's no guesswork involved there's no unexpected nonsense uh it's it's all um i i really like the what you see what you get approach of it so why do i have a potato here i'm gonna delete that i think i'm gonna want to get more apples one more apple up here there we go i think we're starting to get something that looks decent at this point and once this is done i i know the guys this is super boring um right now uh nicholas i haven't actually done much physics uh stuff yet i really want to jump into chaos now that you can actually download uh the chaos build of unreal and that has fully dynamic simulated physics which is going to be amazing but no i haven't actually had a chance to jump into that yet so i'm not totally informed as to how it all works yet okay so i'm actually starting to get pretty happy with this now which is just the general look of things just general framing it's not intended to be there's not meant to be a masterpiece here okay i'm gonna move this so again i don't think i have ah that's why i made the field look bad again temporarily upside down zero i don't think i needed it in this scene but you never know and now let's say for example i'm happy with this lighting for now okay maybe just rotate this not lighting sorry i'm let's say i'm happy with the framing and the composition of the models and stuff in this scene i'm gonna move this guy here last thing i'm gonna do i promise i know we can move on to the juicy lighting bits so give me 30 seconds and i think we're going to be ready to jump back into lighting so okay i think we can jump back into lighting now so now that i've set up i'm going to save my scene let's say that this framing and this bowl of fruit is the best damn bowl of fruit i've ever made in my life how do we go ahead and improve the lighting of this okay so what i'm going to do now is i'm going to give myself two uh two layouts two windows to work with so i can set this here and set this to camera and lit there we go so now i have two cameras so that means i can work in one and still see my camera in the other this can be pretty heavy performance wise um but you know let me know if the stream is really laggy because this may be too much of a strain on my system so let me know in the comments guys oh man ali el hashimi i really appreciate that you're awesome um thanks for the kind words i don't know what to say um i'm i'm touched i haven't been expecting all this so thank you so much i really appreciate it so let's say that like i said earlier again let's say this is the best damn bowl of fruit i've ever made how can we improve the lighting so we're going with the totally dynamic lighting here and what we're going to do is right now i have a directional light as you can see right and everything is updating in real time all the shadows nothing's baked um i kind of want to make this a little bit more interesting so i'm gonna maybe move this wall a little bit i'm gonna move this over here so become a little bit more of a backlit look back lighting is always gonna look better backlit light coming from behind your subject just always looks much better um here's a great example right here okay so i'm gonna grab my light again uh directional lights like this here i'm gonna move this here so let's say for example i want if i want to make it front lit front lit never looks good because whoops oh i'm just going to place another light to simulate the front lighting i'm going to hide this and i'm going to add a wrecked light here front lighting well this actually looks pretty cool in general front lighting is not very good but for some reason it actually looks pretty awesome here terrible example but but hey what do you know um uh peter viggersma i'm sorry if i butchered your last name there but peter um yeah you can get a plug-in called chaos um i think it's a plug-in but you need to down a whole other build of unreal to get the chaos to work and chaos is unreal's new physics simulation system so right now for the sake of this uh this was a terrible example because actually this kind of looks pretty cool but in general i try to avoid a front lit look so back lighting is always going to look super nice so now let's say i want to simulate kind of a late afternoon feel this is going to be a little bit too bright i'm going to turn this down to 50 maybe a little bit darker and then i also want to soften the shadows a bit now i've talked about this in my in last week's video uh softening the shadows is done in the source angle so by default the source angle is set to 0.5357 and that's actually corresponds to the right size of the sun so your shadows will be not perfectly sharp just slightly soft if you want to make it even softer let's say bump this up to one or two or three let's say 10 even notice how the shadows just got way softer uh i don't recommend actually like 10 or 20 but you get the point it's noisier but the shadows are softened a little bit right and that can be a really nice look so i'm gonna leave this a five just to soften it ever so slightly and if you want to get rid of the noisy samples you can increase the samples of your light so just to for example sake here i'm going to set this to 10 right here and you'll see the noise gets really out of control but you can bump up the samples here so i'm going to go to samples in the details panel and set this to maybe 10. and you'll see it gets it's less noisy it was still noisy but not as bad and so it's a sample that will basically help you with your the quality of your shadows this is especially the case with soft shadows so i can set this back down to one so yeah again if you have soft shadows and your shadows are really noisy samples per pixel right here in the ray tracing whoops in the ray tracing tab of your light is where you fix this so i'm going to revert this back to a more reasonable size and see the difference here between source angle 0.5 and you know 10 uh it's going to need a little bit of art direction here there's no right or wrong answer i like it a little bit softer but you can do whatever you want oh my gosh god gary thank you so much uh you're amazing i don't know what to say thank you very much uh you're welcome antonio so now you may notice okay like how how often can we improve this lighting right now right now i'm not super happy with the the indirect lighting i think it's it's kind of splotchy we see it here i got to make this full screen again and it's still kind of splotchy let's go ahead and check out our post process volume so right here that professional you can type for ray tracing just type ray in the details panel and let's take a look at our settings here so i've turned off raytrade ambient occlusion earlier because we were baking the light um now i'm going to turn this back on and obviously there's not even that much of a difference so i'll just leave that oh that's why yeah there's not even that much different i'm just going to leave that there for now final gather turn this down refres roughness 0.8 generally tone this down as well um ray tracing reflections tend to be really noisy from the get-go so in order to increase the the quality of your reflections you're going to want to increase the the number the samples there's not that many crazy reflections in the scene right now so i'm just going to leave this at one until later but for now uh i think the next thing i might want to get a little bit of like a kind of a god ray effect in here right just like a soft light coming from the top right corner how would you do that so we're going to go ahead and go into visual effects and add a exponential height fog now you might i dragged it in my scene it doesn't seem to do anything i need to here we go and what we're going to do is select our exponential height fog scroll down into volumetric fog here and now you'll see the scene changed a little bit see like toggle that on and off it gets a little bit hazy so only slightly um but you're going to see why soon uh sure edel i'll uh check later on instagram so next up in your directional light now to make sure that you enable volumetric fog okay and in your directional light we right here does a setting called volumetric scattering intensity again in my directional light i have my directional light selected and in indirect oh sorry in volumetric scattering intensity we can bump this up so you notice how it's kind of getting hazier like that this is basically how you're adding like god rays so to speak so if i'm going to go to 10 or 100 and go you know maybe not 100 or 200. 50 maybe 20. i'm just exaggerating the effect now but this is kind of how you get a haze in here it's hard to control that falloff so just to show you guys what it's doing i'm just gonna whoa wrong scene there we go so you'll see it it's affecting the fog in our scene now now why this should be casting that's weird normally you should be getting that's very strange normally you should be getting guidance coming through the window so something is different here so i'm not entirely sure why that's happening maybe i did i don't think i did though oops now right right and shadows are on but i know i've i had this set up earlier so i'm not entirely sure why like i literally just did this earlier so i'm not entirely certain why it's not working right now it was working fine anyway well that's uh well ignore that why would it be doing that sorry i'm just gonna take two seconds to kind of figure out why because i know i got this to work and it did work with ray tracing guaranteed hmm turn off this and then ah there we go no you were right it does retreat shadows i had to this yeah i remember now thank you thank you josh i appreciate that so what i now remember what i was doing in production so in order to get god raised to work you need to make sure that your directional light is not casting raytray shadows so you need to uncheck cache ray tracing shadows and then it's going to work right so now when i turn this on like this you'll see i need to turn off the damn indirect lighting here and there we go so now we can see we have proper god rays coming in right but unfortunately these shadows are not ray traced anymore so what do you do there's a little bit of a work around here that you can do so what i'm going to do is i'm going to select my directional light and i'm going to duplicate it i'm going to hit ctrl w to have a second directional light so now i have two i'm going to move my outliner out of my way out of my stupid face so you guys can see uh i have two directional lights they're in the same position one of them will have raytrace shadows and the other will not okay now so you can see right here one with one and so in directional light two it's going to be raytraced that's here so now we have two lights but you'll see i don't want to have twice the intensity right so what i can do is i'm going to set the intensity here of my first one so let's say i'm going to call this one god rays and call this one uh normal light but because of the way i'm going to group these together there we go so this is the god ray's one and i'm gonna turn the intensity way down something to like point one or one okay so it's not really affecting our scene okay and then we can go ahead and bump the volumetric scattering intensity to like 300 or 1000 something ridiculous a ridiculously high number because to compensate for the low intensity and now you can get both ray trace shadows let's go back in our camera view here now we have both god rays and soft ray traced shadows that's how you would do it it's uh it's really hacky it's not a great solution but it works and i mean it all keep in mind it's also twice as much power because you have two directional lights costing twice as many shadows so so as you can see i'm going to turn down the the the crazy intensity of this god raise one maybe like now it's set as you can see here it's set to ten thousand if i bring that down to five thousand it's still you know okay there we go so now it's a soft one so if i hide this whoa that's really strong yeah see you'll see you're kind of struggling to get a balance of the two it's really weird it like i said it's hacky but hey it's like most things that are unreal a lot of things in unreal are pretty hacky right now so take that with a grain of salt so i hope that it seems you guys are getting pretty excited about that tip um it's a really hacky work around but yeah um gaurav i hope i pronounced your name right uh i don't think you you would probably have to add like actual particles in your scene to get dust um there may be a smarter way of doing this i'm not aware of it though yeah i thought so too kevin i um i was kind of in a rush for work i'm like okay i just need to have both god rays and raytrace shadows so but honestly with a happy accident i kind of discovered it by accident so total bob ross moment um so i'm glad you guys like that one so now i still think this is a little bit too strong so i'm going to turn down the god rays maybe down to one thousand five hundred zero why is it not there we go anyway yeah i'm not i seem to have lost control over the fog but hey cool go figure but yeah so now we're um so now we're starting to get something that's kind of interesting kind of a cozy cozy look here what in the world okay there we go i'm just gonna try and figure out why that doesn't work anymore yeah it's kind of hacky but hey so you know like i said this is kind of a late afternoon feel this is what these are the main things that i do i think you should normal light maybe i'll try i'll try that oh you know what thank you carlos thanks there we go thank you i don't know why before i can yeah it that's what this is actually an issue that i've had in production where when i use this trick sometimes unreal gets confused and doesn't know which one to use and in all in all fairness i should be controlling the god rate with the god raised light but sometimes it just breaks so uh thanks carlos for the tip i appreciate that so now i'm going to turn this down maybe down to 25. there we go just a little bit i should want a hint of god rays in there right so if i if i yeah i'm just going to leave that there for now oh of course when i hide and unhide everything just breaks again so yeah you guys see what i mean by hiding and unhiding both lights it kind of got confused and i kind of switched the values again so take this with a grain of salt it works sometimes but it's kind of iffy just so you know it's uh it's not a it's not a great solution so these are the main things so far that i that i do when i'm just using um what's the word dynamic lighting i'm going to go ahead and bump the indirect lighting a little bit more of my normal light here i'm going to call this indirect so all your lights your directional light for example you can control the indirect lighting intensity with the indirect lighting intensity slider okay so you can this basically controls the amount of bounce light that you get in your scene with the help of ray traced global illumination so just uh so you do have a way to art directing this at first it's kind of i didn't know it would hide in the light i thought if i leave that that one and in my outliner i'm going to search for my process volume and i'm going to go to raytrade global illumination you would think that you have a way of art directing the intensity of the indirect lighting in the post process volume but you don't control it there you control it in the settings of your light so again i'm gonna go to my directional light and control the indirect lighting here with indirect lighting intensity so i'm going to bump this up maybe this is probably a bit too much but it's good to know so i'm going to let this a one maybe so that's pretty much all i do that's why i think working with dynamic lights is so much more easy so much easier sorry um because like i said many times what you see is what you get and there's no like you're not going to run into this issue like oh suddenly my shadows are all disgusting you're going to see it right away and it especially sucks when you you know you've bumped up the quality setting let's say you're baking your light and you're going for a final bake you bump up the all the settings to max and suddenly you you wait an hour or two hours for the light to bake and then something doesn't look good something messed up you're like ah not to wait another two hours to to make the lighting that's not that's not a problem with dynamic lighting right so just kind of keep that in mind so i'm gonna take a screenshot here and do this and what i'm going to do now is i'm going to don't save so i'm going to kind of make the same scene with base lighting this time around okay and we can compare the results see if you know doing this would worth it or not yes exactly yeah or the pc crashes while baking it really sucks especially when you've been waiting for a long time dynamic lighting is way easier to work with in general but it comes at a slight cost of performance and a little bit of quality you do get better quality lighting with a really good bake just that's just how it is so i'm going to make sure i'm going to go my world settings and i'm going to search for forest no there we go uncheck this because i want to bake my lighting now and now i don't need to have two directional lights anymore i'm just going to have normal lighting garbage i'm going to delete the god rays one and i'm going to turn off i'm going to sit ray traced actually i'm going to turn off raytrading entirely so i'm going to do this here there we go now in order to get better or good soft shadows with a directional light when you're baking your light you need to change this angle in two areas okay so we talked about changing the angles to light um earlier to get soft shadows and uh but you need to change in two places you need to change it in a source angle and you also need to change it i'm just going to search for angle here you'll see light source angle and in light mass i'm not sure what that's probably grayed out right now because i need to bake first normally it's not grayed out but you need to change the light source angle to five and five in both so i'm going to open up gpu light math again i can oh i know why i can set my directional light to move stationary sorry and now when i search for angle there we go now light source angle should be set to five sets of five on both okay this will give you a slightly softer look and now i'm going to just make the lighting and i'll answer some questions so please get the lss for dynamic light it's day in the evening i'll definitely try dlss i haven't tried dlss at all yet so uh i i do want to get on that oh yeah i also need to change the uh light map resolution on these bad boys so i'm going to go here optimization view modes light map density these are actually not too bad right now i'm going to increase this a little bit something like that how does that look yeah that's fine and same thing here me five twelve and this one probably 256. yes it's red red just means it's gonna be sharper green is might be a little bit too blurry for my taste so yeah oh yeah scott totally agree like fill cards work pretty well but the thing is indirect lighting and unreal is kind of like it's kind of iffy if not great yet if not perfect um but when you're baking lighting you can totally use the fill card that works actually pretty well so you have like big white bounce card you can use that in in unreal uh yes is 3d to make light into models you need a second uvw map unreal can create its own as well but it's better to do your own for sure so i'm gonna go bake this again and see how this looks i'm gonna fullback yes yeah nicholas i do want to play around with dlss i think the last time i tried to install it it didn't work so well because i needed to get like the latest graphics card driver and i didn't i was too lazy to install it so i'll be playing around with it soon for sure but actually one the main reason i haven't used dlss is because it doesn't it's not supported with the movie render queue so i i use unreal to render out frames and if i can't use dlss to render up my frames well it's kind of moot at that point so that's why i haven't used it but the day that dlss is supported by the movie render queue that's going to be a game changer i uh phillip i have not tried the nvidia rtx gi not yet but i will probably be doing my own custom build of unreal to get that feature because i do want to play around with it there we go now we've got our baked lighting and right away now this fog is a little bit too intense i'm going to turn this down i'm not really happy with that how intense that is there we go maybe something like that that's better now right away i can tell you that like this is already looking so much better look at these apples we're getting so much better bounce here um let's let's compare with the uh previous version comparing here like this we're getting look at this awesome bounce light happening on these apples it's just much better gi in here with baked lighting same thing with underneath the bowl this looks much better here right around this area that i've done here and the on the dynamic lighting version that's here on the left everything kind of even you don't get these nice big pool spots of light the uh the base lighting version on the right is much better now the only thing that doesn't look very good is this onion stock thing this looks really bad i'm not sure why that is um i might have to play around with some settings here but uh you guys can let me know in the comments guys how do you guys feel about the the baked lighting version do you guys like it better or do you prefer the raytraced or fully dynamic version what are your thoughts let me know so i mean apart from this if i just hide this man uh i think it's day and night this looks so much better than uh than the ray traits version so the difference so nicholas uh yes and no i think you're gonna get much better results i could do brute force uh in a raytrace settings with that because so here's the thing before i get carried away i'm gonna go to my po frosted volume and let's take a look at the raytraced uh global elimination settings okay so right here we have two modes okay we've got final gather and we've got brute force so final gather is only one bounce okay if you set the max bounces to like 50 it's only gonna count one bounce that's what final gather does it's only one bounce of lighting you can't even no matter how high you crank up those bounces you're not gonna get more bounce you can use brute force right here the the the second one and that will calculate other more bounces more consecutive bounces uh but it is unusably heavy like it is so heavy i mean i'm just using a little rtf2060 super uh it kills my frame rate it makes unreal virtually unusable even in small scenes it's really not ideal so that's why i'm not a big fan of raytrade gi at least in its current state and we can see again i'm just going to show you guys the example here i mean the the baked version is so much better of course except for the uh the the green onion stocks here this looks really bad there's probably something it's a very silly setting that i need to change to fix that but the rest is day and night it looks so much better here uh josh yeah i totally agree i mean it is probably a little bit easier to art direct this way and all again if i go my process volume i can go ahead and type indirect and i can totally arch or direct this as well i can tone this down i can turn it off completely and only have direct lighting or have it way stronger or you know like this it's it just you have way more control with the baked lighting if you take the time to uh to to really bake your lighting correctly man the base lighting here is day and night and yeah phillip i totally agreed the the onion looked much better um in the dynamic lighting totally for sure so yeah that's kind of what i wanted to show you the nice thing about baking your light is it's a little bit more time consuming it's a little bit more tedious and a lot more can go wrong but there's no denying the results are that much better oh hey peters thanks so much for stopping by you're the best man i i was just talking about you um the other day and i just had to say you're a real sweetheart man you're great so you keep doing what you do so yeah guys that you got now it's time for it's already been two hours wow time slides um now it's going to be like a nice little q a session so if you've been saving all your questions up until now now's the time to ask them so i'll be giving you guys maybe another 10 15 20 minutes so let's go with the questions thanks so much peter by the way oh nicholas if you're trying to do better arch with interiors base lighting is hands down the best way to do it i think it's one of those things where it's more about speed versus quality if you need something faster and that gemini looks pretty decent from the get-go dynamic lighting is the way to go but if you if you have the time and you need the absolute best quality go ahead and bake your lighting with gpu light mass tone mapper sharpen 1.4 phillip yes i can try that let's do that right now it does make a bit of a difference to sharpen stuff i actually don't really do any tone mapper things phillip because when i render i actually remove the tone mapper in the movie render queue i i just get rid of that tone mapper entirely because i don't want it no worries uh enzytes or however you say that um the stream will be on my channel forever so if you missed it don't feel bad it's gonna be here to stay um uh i don't know carlos if port lightmap portal works with gpu light mass i haven't tried it uh one or one sir what about fill light uh usually i do feel like it depends on if i need it or not right so i can i can always add an extra little light there um add an extra area light so i love you for fill light i love using direct light and this it kind of makes this big nice soft area light here right um that's that's a great way of adding fill light you tone down the intensity there's no right or wrong answer if you need it add it if you don't need it don't use it and yeah jaw josh i totally agree um combining rage rate reflections with gpu light mass is the way to go for archways hands down for sure right trace reflections are just looking so good nowadays uh tyler what setting should i focus on for adjusting if your scene lighting is looking a little blown out with gpu light matte so when you say a little bit blown out you mean like overexposed what you can do is up here you can probably just change the exposure so i can just go ahead and tone it down or brighten it up like this does that make sense uh tyler i hope that i hope i'm understanding your question properly and yeah nicholas i totally agree if you're you know when you're on the time budget and you know you're kind of on in a rush dynamic lighting is the way to go but if you have the time baked lighting will give you much better results uh alice i use aces at work uh in production in a film production yes unreal's support of aces is questionable at best it's kind of iffy and doesn't work that great so for now i don't use aces in unreal in animation uh great question christian actually for animation you can't really bake the lighting because things are moving right so you can bake lighting for your environment for your static meshes but for your character you're going to need dynamic lighting on them uh nicholas i'm actually considering patreon eventually i don't think it's quite the time for it yet um but it's if there's enough demand for it i will definitely consider it for sure yes uh fairy indra my graphics card is a rtx 2060 super so it has ray tracing if i need it yeah alice i totally agree i there i can i will link in the description once this live stream is over there's a live stream on from epic where they talk about aces and how to set it up properly and you'll see it's really tedious and really annoying and it i think they got it to work but it's kind of eh it doesn't work that great yet it's it's very uh i think you can't get it to work though if you absolutely need it there is a way but personally i haven't had to use it yet uh phillip how do i deal with you know learning in real four with everyone doing everything differently most tutorials are outdated even in real academy and at some point you don't know who's right you're totally right and this is actually a problem that epic reached out to me about um and they were telling me like they're they're working on a system or a new way uh called epic um unreal online learning and they're trying to centralize all the tutorials now there's always gonna be people making youtube tutorials and there's a hundred different ways of doing things like you say um but i agree it's really easy for people to get lost um in in the sea of tutorials right so i think epic epic is aware of the problem and they're trying to to to work on a way to get better more reliable and more up-to-date information centralized in one place um oh my goodness so many questions guys yes i'm going to save the stream let's see when's the next stream uh that's a good question yeah yeah i'm not sure yet and that's a great point peter it is all about playing with unreal and what works for you there is no right way of doing anything it's all about you know getting the result that you want if you did one thing and you got the right result hey good for you there's no right that's not a wrong way of doing it right so there's of course there's a set of you know core good practices that you should follow but you know all roads lead to rome as we say in french uh is3d so with uh that's a great question reflect reflection probes or also known as reflection capture actors they work differently with ray trace scene than they do with rasterized scenes so with ray trace scenes um catcher reflector actors only capture i think it's the last reflection if i'm not mistaken you can read up about it on unreal's own documentation they have a they mentioned this in their ray tracing section so reflection probe work very differently with ray tracing than they do normally just keep that in mind uh nicholas no i don't have a roadmap because honestly i have a list of things i want to cover um but i tend to decide on a week's day on you know at the last moment uh what my video is going to be for this week because it all depends on how much time i have uh how busy the week's been so sometimes like oh i need to get a video out so it needs to be very quick and so the topic is just very spontaneous sometimes thanks so much yahia i definitely will consider doing more livestreams for sure uh ali el hashimi yes i will be making more cinematics for sure i really enjoyed that project that was a very good learning experience so there's more to that to come for sure errands how would you go about having a dynamic character or object in a baked scene um so that's that's the thing about the stationary light stationary lights will light your static object but they'll also affect dynamic objects as well so stationary lights are kind of a great hybrid for that very reason so that's how you would do it tyler how would you combine gpu light math based lighting with ray trace reflections that's easy you just enable raytracing turn off all the other ray training effects except for ray traced reflections i think there's even a console command to specifically disable raytrade global elimination so you don't get those weird artifacts and you can just leave raytrade reflections on so that's how you i would do it peter uh thanks yeah i mean like i said i i'm definitely thinking about patreon for sure um and i mean i'm honestly flattered by how supportive you guys have been and i said this before in my thank you video but guys i'm overwhelmed and totally floored by your support and your encouragement and your general positivity it's been it's been so surprising to me i never expected this i really love the community of people like people like you peter and people like you yeah ahima um sorry i mispronounced your name you both have been so awesome uh you're such good people you're super friendly you're super encouraging there's no toxicity and i i really appreciate that i i think coming from uh coming from a photography background where the photography community can be very toxic from what i've noticed and it's just not been very fun um i i really like how supportive you guys have been so thanks so much for everything guys you've been so great and yeah same goes for you peter um if you have any questions for me my dm's are always open to you as well uh fairy indra i have an rtx 3060 ti awesome man lucky you for even getting a 30 60. those are hard to find but when i render a shadow and reflection it's really heavy so are you talking about shadows of reflection i'm assuming and of course it depends on your scene it's really hard to tell you why uh without seeing your scene oh thank you so much javier i i really appreciate that thanks for watching uh alice forgive me if this is foolish but i'm new to virtual production but i should be thinking about distance fall off inverse square law or if it's better to cheat it uh that's a really good question and i'm not entirely sure how to answer it honestly i just leave the settings and default and play with the intensity it's kind of what i do um if it the rule of thumb that i tend to follow is if it looks good it works right um but the inverse square law is there for a reason i think it's enabled by default you can d you can disable the inverse square law if you want to i never do i i think i like using my life in a way that they were that they should behave in real life so i i hope that answers your question alice it's not a it's not a silly question at all is3d thank you so much is 3d i i appreciate that i i hope if you have any suggestions for other videos do let me know um i'm always open to any of you so feel free to poke me on instagram i try to get back to all the comments on youtube uh but it's really quickly becoming a full-time job and i really i'm really sorry if i can't get back to all of you um i try to but it's sometimes it's pretty hard to uh jacob did you have any trouble with high resolution rendering movie render queue i had any plans of touching this topic uh that's a great question i haven't thought about covering that but i guess i could make a video about it that's uh that's useful um what kind of issue did you have with it um it's kind of normal to uh to run to issue because you're gonna have some issues with screen space effects like bloom particles sometimes even motion blur because the scene's split in four right so that's the common issue that you're going to have with it i recommend that you read epic documentation on the movie movie render queue and the high resolution tiling that might answer some of your questions milagro yes it's going to be on my channel later nicholas yes i actually plan on getting a sequencer video out with animation uh as well that's on the list so i don't have a real map but that's definitely on the list uh christian yes a hundred percent i will let me know actually just a bit more specifically like poke me on instagram or something uh if you have any more suggestions for studio lighting specifically oh my goodness so many questions oh man uh karen karen sharma yeah i already have an outdoor scene with dynamic lighting um in my i think my last last week video i covered that a little bit so check that out thank you so much jessicorp i appreciate it antonio now do you have mentioned your photography background and video like things like using a physical camera and unreal and its features oh okay yeah yeah gaurav mishra that's you know what i i don't even know how i manage both to be honest i'd try to get at least one video out a week so in one video it's pretty reasonable it's it doesn't take too much time out of my week so i do this totally out of my spare time for fun right so i kind of have to make sure that um i work on the in the evenings after work or really early in the morning so uh because i have a day job that's not this so uh mornings and evenings are usually when i do my youtube stuff um jakub um i have a video about crashes actually you might want to check if you haven't already that might be useful for you when it comes to running out of memory is3d uh yes there is um you can i can't remember off the top of my head but yes you can get an alpha channel in your exr output thanks so much peter thanks for watching i'll you keep rocking on as well uh yes my issue guys are looking for my instagram name it is at william underscore foshay that's my personal one and at william dot foche dot vfx posted that in the chat there on my instagram i think it's william.bfx i need to check but it's one of those um thank you so much gary hi gary house i really appreciate thank you thanks for watching thanks for the kind words josh oh man thanks josh i really appreciate that and again thank you for that console command tip that was a life saver i i really appreciate that so um yeah i'm i'm happy to help guys i think i'm gonna have to call it a night it's been uh two hours and 20 minutes i don't want this video get too long but thank you so much for all your questions thank you for watching guys thank you all for the donations as well the super chats um um my heart's swelling i'm floored i i didn't expect this at all so thank you all of you you guys all keep giving me the motivation to keep going and i'm so thankful for all of you so just keep being you keep asking questions i'll try to get back to you um as much as i can again i can't promise i i'll get back to every single one of you but i try to so again thanks so much guys have a good night and i'll see you guys next time you

Channel: William Faucher

Views: 31,241

Keywords: UE4, Unreal Engine 4, Unreal Engine, Cinematics, 4.26, UE4 4.26, UE5, Realtime, realtime rendering, rendering, CGI, 3D, 3D Artist, interior lighting, GPU Lightmass, gpu lightmass 4.26, still life lighting, lightmass

Id: 7RF8qlqSDh4

Length: 135min 28sec (8128 seconds)

Published: Thu Mar 25 2021