Introduction to Path Tracing | Unreal Engine 5.1

what up what up when boys here is today I'm excited to show you guys how we can make something like this using the path tracer so without further Ado let's jump right into it so for all you that want to follow this tutorial with a scene that I already have pre-built with all my settings in it I collaborated with the pixel lab you can actually go to the link down below inside the description there you'll find a project file that we have right here and if you just scroll down you can download it right from the website then also while you're there make sure you stop over inside the product shop where they have a whole bunch of new stuff as well and if you buy anything from the pixel lab make sure you use my affiliate link it helps with the channel and it helps me make these free tutorials for you guys now to get started this is the scene that I have built inside of Unreal Engine 5.1 if you look you see we have the tiki statue here we have a couple emissive materials in here glowing against the walls as well and then we have some glass orbs in here because I wanted to show you how the glass looks in the path Tracer then you also see we have a glass bulb here in the background as well and to get started with the path Tracer first let me show you the stuff that we need to turn on if it's not turned on already to get you guys started now pulling up the official Unreal Engine documentation and of course I'll leave this down in the description below so you guys could use it as a reference but scrolling down there's just a few things that we need to turn on so if I come down here in the documentation it shows you everything that you need to turn on right down here in which I'll show you visually how to turn this all on as well now by default this stuff should be turned on already if you're using the film and broadcast template but if not I'll run you through everything that you need to turn on but it's always good to have the official documentation in case you run into any issues so first to get started as I was alluding to if you have the unroll engine project browser open you want to come over here to where it says film video and Live Events and then you just want to start with a blank slate now if you start with a blank slate everything should be on for you to automatically jump into path tracing but for if any reason it's not let me show you the stuff that we need to turn on inside the settings and so with your Unreal Engine 5 opened up you want to come over here to edit and then you want to come down here the project settings and over here on the left hand side we want to scroll this down until we see the window it says rendering which will be right here under engine so you come to engine and then you come over here and you have the rendering settings right here now once you have rendering clicked on you want to come over here on your right hand side and scroll this down until you find hardware Ray tracing so I'm just going to slow this down right here and like I was saying before these should automatically already be turned on for you but if they're not you want to make sure that you have this one turned on right here that says support Hardware Ray tracing and then you want to have pass tracing turned on as well and after you have these two turned on right here you want to make sure that you come down to optimizations which is further down which we have right here under optimizations and then you want to look for support compute skin capture which we have right here you can see that it's grayed out but if it's not you want to make sure that this is check marked on and then another thing you want to make sure you have turned on will be DirectX 12 which it already should be turned on but if it's not you want to come over here back into your settings it won't come down here and look for platforms which we have right here and then you want to click on Windows and then you want to scroll until you see targeted so let me see and right here is where you found targeted rhis and then default rhi and you have direct12 it should already be on but if it's not then you want to make sure you have that selected here's a couple of your other options right there but again we want DirectX 12. and that should be all the settings that we need to officially get ready for path tracing instead of Unreal Engine 5.1 now once we're inside of Unreal Engine 5.1 you just work as normal like you do all your materials the same you do all your lighting the same and inside of here if you come over here where it says lit if you scroll down to path tracing this is actually going to switch it over to path tracing mode now you can see that it's getting extremely granny and this is kind of remnants to anybody that's worked in you know like at other DCC like Meijer Cinema 4D and you used any type of offline rendering like redshift octane Arnold or things of the like you you know v-ray this is going to be very familiar to you but what they added instead of underwear engine 5.1 is this little progress bar down here so before you had to do this with a console command but now it's built in so it's letting you know everything that's calculating inside the scene as it's moving up and once it's completely finished that's going to be what your scene looks like when it's fully Ray traced so working with the path Tracer is extremely easy but what I typically like to do is I'll come back over here I'll just work in lip mode or unlip mode get everything set up the way that I need it to be like with my lighting and all that different stuff my camera moves and everything and then once I want to see how something is looking in particular I just come back over to lit and then come down here to path tracing and click that on now depending on your system specs wraith tracing might take a little bit longer like with this computer right here I have a 2080 TI and I'm using the AMD three Ripper 64 core so it's pretty decent especially in the CPU range but inside the GPU range it could probably use something a little bit better I know the 20 series was basically like the start of the ray tracing era here and so it's a little bit older but I'm still getting decent results when I'm working in the path Tracer so let me show you some of the settings that I use and some of the tips and tricks that I use to get a clean render out of the path Tracer so if I come over here to my folder and if you're following along with this exact scene everything is already laid out for you so I'm going to come over here first to post process volume and then if I come over here in my search bar I'm just going to type in path tracing like so and let me scroll this up so it's a little bit easier to see but you can see everything that I have turned on down here now the first one we're going to start with is Max bounces and if I click on this Arrow you can see by default for you it's going to say 32 but I'm going to bring it back down to 10 because for Max bounces what this is doing is basically calculating the light every time it bounces off a surface so if you have it down to one the light is going to bounce off its surface once if you have it on two it's going to bounce off two different surfaces and so on and so forth but for 32 that's kind of killing it right there I think with 10 you could get optimal results now moving on to the sample for pixels I think 2048 and that's going to be the default I think that's perfectly fine we're going to miss more with the sample race once we get into the movie render Queue at the filter width I'm going to leave this at default at three and if you look down here under the attribute it's giving you example of what it does it's going to set your anti-aliasing at a sharper value if you have it lower and for larger values it's going to make it softer and a little bit more blurrier but I found that 3 is optimal setting for that and then of course if you have any emissive materials like I have in my scene here you want to turn that on and then for Max path exposure by default it's going to be by 30. I thought one was optimal here and that's because I can mess around inside of other settings in post price volume to get it to look a little bit better like let me actually reset this to 30 and then I'm going to come over here the path tracing and let me show you what the difference looks like so you can see with the max exposure at 30 we're getting a lot of different noise in here we're getting a lot of fireflies and everything but let me take it back down to one and show you guys what it looks like at one and this is what it looks like with the max exposure hair set at one so you can see that we're getting a lot cleaner render out of here and we don't have any of the fireflies or noise going on inside of our scene now moving on to the reference atmosphere and this is something I'm going to allude to later inside the tutorial but you want to click this on if you're using any type of exponential height fog inside of your scene with the updates and 5.1 we can now render out in path Trace in with the fog and everything which is really cool and then moving on to the last one here we have the denoiser in which I want to turn this off like it uses the Intel AI denoiser which gives it kind of a blurry type effect if you're doing any type of animation on there because the way that the denoiser works is it's going to denoise per frame so every frame that you render out is going to denoise it for that particular frame so whenever you play the animation the sequence it's going to have like that weird smary look it kind of looks like AI like something at a mid Journey or something like that but if you're just going to use it for like a still then using a denoiser is perfectly fine but for an animated sequence I would suggest to turn that off and so those are my path tracing settings that I'm going to be using now let me move back over to the post press volume into the exposure because there's a couple of settings in there that I found was optimal for making this scene look as clean as it is so if I come back down here in my post process volume I'm going to turn this off and actually let me come over here to lit and I'm going to come down here to exposure it's right under Bloom so if I turn this on and let me scroll this up so you can see a little bit better here like so and so I have turned on my exposure composition I have it turned on too because if you just do it at the default of one it makes it extremely dark in here and the reason that I bumped it up to two is because if you render out your scene that is completely dark you're going to get a lot of noise in there it's just like you're using with a real camera you want to make sure that you have optimal lighting inside your camera so you don't get noise same thing in Android engine 5. so if your scene is too dark you want to come over here to exposure composition and I bump mine up to two but feel free to bump it up for whatever is good for your scene every scene is going to be completely different and then moving down to the men av-100 and the max ev100 I set these values both to one and this is just going to stop any type of automatic exposure that could be kind of annoying if you're doing any type of camera moves so if you set both of them to one your lighting is going to be exact throughout your animation here and that should be it for the Post price volume now moving on to the movie render queue there are a few things that we want to make sure that we have inside there the to get the optimal render so if I come down here to my content drawer I'm going to actually look for my animation sequence down here which I have right here so let me scroll this up it can actually look through the camera so as you saw at the beginning of the tutorial just a really basic camera move let me start this all the way at the beginning here at frame zero so I'm going to click on play you can see that we have a basic camera move going throughout the scene here and if you want to render this out you want to just click on the clipboard right here and that's going to bring up your movie render queue now if I click on unsave config this is where we're going to set our configurations and the very first thing that you're going to want to do is come down here to deferred rendering and you're going to want to delete that because if you come over here to the settings button you can see down here we have path tracing all the way at the bottom so you want to make sure that you have path tracing turned on and then that way it's actually going to render out the path Tracer and not the looming that we usually render out of and so moving back on I usually come over here and I'll delete the JPEG and I'm just going to render out with a PNG instead but feel free to use your jpeg if you want and then I'm going to turn off the alpha Channel because I don't have any alpha or anything in here and then coming back over here to settings I want to add anti-aliasing now this is going to be very important remember that we talked about the samples when we're inside the post-pross volume well we're going to want to mess with the samples inside the movie render queue as well so it's going to be a mixture of a spatial sample count and a temporal sample count so it can be a little confusing at first if you don't understand how these two correlate with each other but basically your temporal sample count is going to multiply whatever you have inside your spatial count so let's say that we want our overall sample count to be 500 frames if I type in 250 in my spatial sample count and then I put two inside of my temporal sample account that means that we're going to get 500 samples overall but for me typically I don't render with motion blur I often do that and post them like after effects using real smart motion blur and so what I'm going to do is inside of my spatial sample count I'm going to make this 500 frames and then my temporal simple count down to one and that's just going to have 500 sample counts overall and you might notice when you put in numerical value instead of your sample counts here you're going to get this asterisks here in which you just want to click on override anti-aliasing and that's going to make sure that your sample counts here going to override everything in there so like I was saying every scene is going to be completely different whether you're rendering like an indoor scene or outdoor scene so this might be something that you need to experiment with and then especially if you're rendering with motion blur you're going to want to bump up this temporal sample counts to help with the motion blur but as I was saying I typically render with no motion blur out of unreal and then just add that later on if I need it and for those of you that are interested in how you could turn off motion blur we're going to do that in a post-pross volume so let me just move this over to the side for now and then I'm going to come back over here the post price volume and if I come over here to search I'm just going to type in motion and then you'll come up with your references for the motion blur and so you want to turn these two on right here where it says the mount you're just going to have it down to zero and Max you want to have it down to zero as well and that's going to turn off the motion blur for whenever you're rendering now coming back over here to settings this is basically everything we need to render out the path Tracer so you would just come down here to Output you would click on your output directory select the three dots maybe just render it to your desktop inside of a folder there and then right here for file name format I'm just going to name this one Tiki so where's the sequence name you could type in anything that you want there but you want to make sure you keep it inside the brackets and then you also want to make sure you keep your frame number there right here it's where you can set up your resolution and everything and I'm just going to leave everything else at default so once you're happy with all your different settings in here you just click accept then that's going to bring back over the movie render queue and you would just hit render local and you would just let everything fire off now with the path Tracer it works as an offline renderer so this is going to really be dependent on your system specs and on top of that note pathtracer now supports multi-gpu rendering so if you have double cards in your system you're going to get double the results whenever you're rendering out and for those of you that downloaded my project file I do have my sample settings already set inside the movie vendor queue so if I come back over here the movie render queue click on unsave config if you click right here where it says load save preset you can see right here where it says pending movie pipeline Master config if I click on that it's going to give you all my settings already built in here inside of the path Tracer but that's if you're using this sample and you want to see how I laid everything out and thank you guys again make sure you check out my brand new course on Raw Engine 5 in 5 days and the playlist up above and until next time stay fresh keep creating and I see you guys in the next video I'll see you soon take care

Channel: WINBUSH

Views: 24,485

Keywords: motion graphics, winbush, tutorial, immersive, school of motion, mograph, creating the unreal, create the unreal, unreal engine, ue4, ue5, looking glass, cinema 4d, c4d, motion, after effects, adobe, artist, epic megagrant, megagrant recipient, unreal engine 5 in 5 days, unreal engine 5, path tracer, unreal engine path tracing, unreal engine path tracer, path tracing, octane, vray, redshift, fireflies, static, how to path tracing, unreal engine 5 path tracing, how to use path tracer

Id: ZRLuaGuvrdw

Length: 14min 40sec (880 seconds)

Published: Sun Nov 20 2022