Let's Create an Unreal Engine 5 Environment in ONE SITTING | 3D Livestream

[Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] so [Music] hey what's up everybody welcome back to the saturday morning 3d live stream and today we are creating that piece of art you saw in the countdown live from scratch from start to finish and i'm gonna try and do it as fast as possible um one of the reasons i mean there's a lot of reasons why this art and why i'm doing this but i'm trying to learn unreal engine 5 i've been trying to learn it for years and i'm really tired of the number of tutorials on youtube that show you a really nice piece of art but then they don't show you how it's done they'll do an overview but they don't get into the details like we all want to know how it's done because i know i want to know how it's done specifically so that's why i'm going to show you guys how to do it this today step by step uh no added plugins all for free in unreal engine 5. um i'm such a sucker for these environments let's just hop right into it and i'm gonna show you guys uh what is up here let me do a couple of switcheroonies and boom you all should be seeing this yeah so this is the scene you know bam bam bam we're going to create um we're going to talk about the water we're going to talk about some foliage we're going to talk about some rocks i'm talking about this lighting's overcast lighting which is a big part of it um and but first we're going to talk about the reference right so these pictures were inspired well not inspired me my buddy adam the guy who wrote the music uh the ambient music that you all heard at the beginning of the stream we went to newfoundland to st john's newfoundland specifically um to capture fog on film and we went to a place called signal hill in st john's and this is signal hill i think there was like a battle of signal hill at one point and it was beautiful very windy very very windy y'all may have seen the mortality run art that i did a while back uh with the car in the ocean and the factory in the back if we were to take this camera and pan to the left you would see that ocean this is cape spear very very close to signal hill as you can tell by the weather the lighting et cetera um so what i'm doing is i'm using my own photography as reference and this is the the shot that i took at signal hill in st john's newfoundland and we're going to recreate this today as quickly as possible we're just going to get through it we're going to get to it then i'm going to go over all the challenge winners um for the weekly challenge which happened to be monument as well this is kind of a monument in its own so let's get to it this is pure f by the way link's in the description i got you a link to unreal engine 5 if you want to download it and mess with you know some environments along with me here today um and a link to pureref this is how i'm looking at my uh reference imagery which will just be off to the right side of the screen um we're just starting from scratch guys we're gonna get into it um let's uh let's go file new level i'm going to start with basic we're going to create this thing uh yeah yeah yep yep yep ctrl shift s or rather let's just file save as we're going to save current level as signal hill round two signal hill round two um we got a super chat render rise what's up yo uh thank you very very much you say loving the content uh one of my greatest inspirations oh gosh oh gosh uh keep it up keep doing some good stuff uh keep getting inspired i appreciate it we got a lot of people in the chat here today we got 584 people popping off what is up everybody um i see we got visual one of the moderators up in here i always got sodamonte in my ear behind the scenes so he's hanging out with us through the entire stream um these are the moderators on the creative clinton discord server linked in the description also below um what's up everybody we got mr ants what's up mr ants chillin from india yeah zeus creates good to see i loved your art that you created for this weekly challenge let's get into it y'all here to learn so let's learn all right we started that new level right if you hold right click and use wasd you can fly around q and e will boom up and boom down as well you got some icons here this is some uh basically our different we got some lighting essentially we got some volumetric clouds chilling up in here um we got some sunlight uh what else do we got we got a skylight you know if we turn off the skylight you can see all these things kind of do different stuff uh william foshea actually released an incredible tutorial yesterday it is lighting for beginners in unreal engine it's a 44 minute tutorial um definitely check it out after this and he goes over all this stuff and i'm gonna be you i'm gonna be using all these things that he goes over in that tutorial so if i think if i hit ctrl l and use yeah i can kind of move the sun around and stuff and you can see how it hits uh it affects the clouds differently this is super super powerful this is unreal engine 5 and where it's default set to lumen when you open up the program there's a couple things i didn't show you guys when you first start a program i'm in a i believe i'm in a uh it's either tv and film or games it honestly doesn't matter but i started with ray tracing clicked on in case we wanted to switch to ray tracing i'll get into that a little bit later um but the first thing that we want to do is look at our reference and ask ourselves okay well we have to figure out this overcast lighting and we need to figure out like what elements are going to go into our scene i'm going to be using quick soul mega scans because it comes free with unreal engine 5. believe it or not it's insane how accessible epic games makes all of this um and then there's some shrubs that we're going to like paint on we'll talk about painting on the shrub brush and everything and i'll quickly model this little totem here in c4d you can do it in blender whatever you all want uh simon what's up dude thank you for the super chat you've been watching since corridor since you were nine or ten you're 20 now that's a long that's a straight up decade keep doing your thing love the vibe thank you simon much appreciate it thanks for being here thanks for learning with me um let's make this easy for you guys let's make this easy so we're in our scene like i said right click wasd to move around um the first thing i'll want to do is kind of lock my camera figure out what my camera is what i'm looking at and i'll probably start with uh let's see i'll probably start uh with that totem that i modeled i already have it um that's that'll show me my scale so i mean otherwise let's see let's do where would you be mesh monument b2 i'll just drag this out right into the middle we can have our we can just zero this out over here on the right side on our transform values so we kind of know our scale this is something that i made in c4d beforehand um you can place whatever you want here you can place a mannequin you can place a box this way we just know what our scale is and i know this is just a little bit smaller than a human um so like i said we want to get our camera going first off figure out what we need to fill with stuff with assets because we only need to fill so much we don't need to fill the entire environment that's going to take too long we just need to fill a certain we need to fill this much right that's that's as much as we need to fill um so i'm going to go over to the top left here place actors and type in camera and we should have a cinematic camera actor right here i think if we type cine it might be a little easier boom the cine camera actor i'ma drag this out and you see a little preview here i'm going to right click it in our outlier or our outliner apologies and pilot this thing so now when we right click and move around with wasd we're in a nice cinematic camera i'm going to leave these settings pretty close to default because it kind of matches already what i'm doing but on the bottom right you'll see your camera settings so if we scroll down here to the film back it's it's set set to 16 9 digital film and that's basically you know your 1920x1080 standard aspect ratio you can change these and work on different aspect ratios um type in your own this is imax right but 16 9 digital film is totally fine for what we need um let's go ahead and set the focus right because we want the focus to be on this all right on this this monument on this totem so if we go to focus settings we can change that to tracking right set that to tracking and then under actor to track i can just eye drop this monument and now no matter where i go if i check the d uh draw debug tracking focus plane we can see that our focus plane is right there that's a box for some reason there we go no matter where i move the focus is always on this totem or the monument or this pillar whatever i don't even know what this thing is um so we got that set all right i like our focal length of 35 you can you know we can do 25 if you want see a little bit more that's not bad you know somewhere somewhere in here yo mto what is up thank you very much for that super chat very generous of you and no problem no problem i just hope you guys are learning something we're all trying to make nice environments right in unreal engine um and it's a pretty confusing program at first but once you're in it's actually not that bad especially with quicksole it makes it really easy all right so we got our camera set up generally right um i'm going to clean this up a little bit so we have a lighting folder i also like to select the camera let's let's make a post process volume really quick so just trust me on this we're going to need this thing post process volume we'll drag it into our scene and in the attributes box here the details panel i'm going to type unbound and unbound essentially if we check this box infinite extent it doesn't matter where we are in the scene this post post process volume will affect the entire scene okay um okay i'll select the post process volume hold ctrl select the cine camera actor click on this folder plus folder and i'm going to make a camera folder yup yup and then i'm going to select the floor and this totem make a folder i'm going to call this geo for geometry just so we have everything kind of tidied up a little bit from here let's see if we can't um get more of an overcast look for our lighting oh snap we got william foshay up in here son oh i was just talking about your lighting for beginners tutorial you dropped yesterday i think was amazing i watched it last night and it's just such a great if you guys don't know anything about lighting and unreal that's definitely one to check out um and even if you do know a thing or two about lighting and unreal or trying to figure it out and get a grasp on it he does a great job of just like making it really easy for everybody yeah will you you're the one dude you're the one he says kudos for setting up the camera early most important most often overlooked step yeah because we gotta see like we're not making stuff for over there we're making stuff for right here all right let's see if we can't get our lighting kind of roped in here um exponential height fog yeah it's a foggy scene right so exponential height fog is gonna be a big part of getting that look um so let's first things first we'll check on this volumetric fog box that just makes everything better um and then we're going to crank this to like point two or something point three all right we can crank this to one if we want but that's a little much i think point three is fine for now um you notice that these shadows are still sharp so we wanna soften those things up there's a couple different ways to do that many many different ways to do that um one method that i learned uh well actually yesterday from from will foshay is to do it with an hdri and that's probably the fast quick and fast way of doing it the way i did this in my scene last week was actually messing with i believe the skylight was it the skylight or was it um the sky atmosphere yes it was the sky atmosphere specifically the my scattering scale if you crank this up i believe it'll start to make it really overcast that's a little bit much um there's a tutorial in the description that i have linked to a guy that goes over all this stuff he talks about getting this overcast look it's also at the end of willfox video his newest video so i'll mess with the scattering scale i also believe um we can take the skylight we can crank the intensity intensity scale we can take that up a little bit right um this is stuff that i'll kind of like rope this stuff in once we have our stuff in place this is good enough for now just to start placing our different assets from quixote now the first thing i want to do is i'll hide this box you can hit g to hide all the stuff all right that we don't want to see now like i said qixel it's built in right quicksilver bridge let me open this up it's built in to unreal engine right so you have access to all of these assets for free it is some somehow they're they're doing this i don't know how they're doing this for free but it's a thing um and what i did is i basically looked at my reference and i was like okay we're looking at some rocks we're looking at some grass and lucky for us they have a tundra pack we type tundra we go 3d assets nature yup yup yup they got a lot of good stuff that really matches the vibe right so if i hit this tundra rock and i think i can like should be able to open these up full screen anyway you all get the point right we're trying to match this vibe here so it's just a matter of like scrolling through here finding your assets that work for you and you can click on these related collections so i'll click on the tundra related pack and it kind of has everything that matches and goes with each other in this thing so you can see i went through and if you hover over these assets you can hit the little favorite button and i'll go through all the ones that look like they could work and i'll favorite everything and for some reason why it does favorites is set to zero oh it just needed to update so throughout the week when i built this right i favored all these assets ones that i think would work together and all you need to do is download them right you can set the quality and i set it to nanite and basically nanite is allowing you to have you guys have heard to pitch millions and millions of polygons millions and millions of triangles in your scene um with little to no performance effect right so you're able to just pile on as much stuff as possible and be able to fly through your scene with a high frame rate um so i'm selecting nanite for all these you just hit download boom and then add to your scene and do that for all the stuff that you think would work for whatever environment you're trying to create um if you're trying to recreate the ones that i'm doing right now i got the tundra rocky ground we got huge tundra rocky ground tundra rock formation tundra rock formation two tundra rocky ground two rocky ground three right it just goes on and on just a bunch of these tundra grounds and then i'm using wild grass specifically just this wild grass here and the blue lupine that's it just these two i didn't use the other ones um and i didn't even use this swampy ground surface material right it's just these photo scans plus these two pieces of grass and this custom little totem that i made so with that right you bring everything in it makes a mega scans folder so we'll go to 3d assets and we have these different assets that we can start placing right so the first thing that i see in my reference is this totem is standing on like a rocky it's more rock than grass right and it kind of trails off to the right here so first let me let me hop out of the camera really quick so if you right click the cine camera we can stop piloting or actually if we right click and pilot top left here you can just click that and stop piloting and let's um let's just kind of place these assets around our scene and see what we're working with right so if you just drag it out boom it's looking super nice um and i'm gonna do that for the rest of this stuff i think i had this guy kind of like somewhere in the background and we'll just go through and see what we're working with this is a really nice one it's half grass half rock i think this would be good for like kind of a foreground element that we can later paint some grass onto um another deal like that yup yup yup what else do we have more rock yeah this is good stuff very good stuff what else do we have to work with this is a nice little little piece there this stuff is awesome really high quality we'll work our lighting in once we place all of our assets i think we have some auto exposure going with the camera as well so we'll need to adjust and fine-tune that stuff later okay that's the same deal yeah this is really good really really good stuff really good stuff this is the one yo this who's the one son this is the one that we're going to use for the actual totem that the totem will be standing on get out so i'm just gonna scooch all this mess over to the side we're gonna get this thing down and it's in place it's in place okay it's in place we're gonna fine tune it and then we have one more this one i actually grabbed uh why does it look weird it probably looks weird because i messed with the material instance so if we go to the material instance i double click that right and it looks like yes i did set all this stuff up um i changed the saturation i changed the albedo controls i believe brightness just needs to come back to one contrast i think needs to be back to one what why is it [Music] roughness specular roughness metallic contrast brightness saturation interesting i wonder why it's just darkness oh i unchecked no that doesn't make sense either anyway i'm not gonna really work okay it's back maybe it was loading who knows not going to worry too much about that right now ctrl shift s will save everything if you go file save current level control s you know but save all control shift s so i'm constantly hitting ctrl shift s when i'm doing this uh mto creations what's up if ue5 landscape workflow is easier and more versatile than c4d is there still a benefit or point to making them in c4d yeah actually um you know i that's a good question because you all know i've been using c4d for a very long time and i wanted to learn unreal engine i knew that unreal engine was like a great thing to learn just from the awesome stuff that was coming out of you know uh the epic games and the quicksole uh youtube channels and whatnot there's just some really cool stuff being made with it and it's in real time i'm like oh i wanna i wanna get into that because in my mind um if i can get to like whatever's in my head right the coolest thing that i see in my head the the movie i see in my head the the environment i see in my head whatever if i can get that out of me onto the computer or onto a paintbrush whatever whatever as quickly as possible as efficiently as possible that is where i want to be i just want to be able to create you know without any lag from my brain to the computer screen and i saw unreal engine as a way to do that and it's all it's kind of a real tough start for me because it's a deep program um but luckily nowadays there's tutorials are coming out they're getting real good william foshea shout outs yeah that dude's the best i'm trying to do some stuff you know trying to make it easy for every everybody make it uh make it fun for everybody um and then i'm like okay well yeah c4d right so i gotta go back to c4d and you know there there's a quality difference between c4d and um an unreal engine it kind of reminds me of the days of using physical renderer when like you had to type in all your global illumination settings you had to type in all of your bounce settings you had to type in all of these render settings and you're like constantly moving back and forth between all these different render settings to try and get the most realistic look well you know redshift octane arnold all those non-biased renders when you hit render it's just perfect it's real life it takes a little bit longer um you know cycles and eb i assume are the same right it's i don't use blender but i know that those are the renders that blender uses when you hit render it just looks nice you don't really have to adjust settings in unreal engine you have to adjust a lot of settings unreal 5 makes it a lot easier because of lumen a lot of this stuff is happening behind the scenes it's happening automatically but we still have a lot a lot more settings to like balance between to get that nice look so it is nice to use c4d you know or octane or redshift just a renderer where it's non-biased and you just hit render and it's looking good um but you know it's just a tool it's another tool it is a deep conversation that's a very deep conversation i can go on and on let's get back to the art yeah um okay so we have we have some uh we got some good stuff here let's hop back into our camera and start placing these things so right click pilot the camera let's pull up our reference and kind of see what is going on here so i'm curious if you select the photo and hit spacebar it'll snap to the photo itself right and i'm just going to kind of like dock this down here for you guys so we can get an idea of what's going on and what we need to do okay so first thing this totem is gonna be up here now if you're snapping if these different things are snapping right like and you want to turn that off you want to get more precise with it you're just going to untoggle these little options up here this is grid snapping this is angle snapping and scale snapping so now you're free to move around and this looks to me like if we look at the reference we're seeing we're kind of above it right so we need to kind of lock in our angle a little bit more so once again right click and press e to boom up and i want to kind of shape this little pond area this this this little like uh this puddle area with the back of this rock probably something like i don't know something like that looks good and i'll actually scrunch oh down on this thing and we can bring our totem i'm hitting spacebar to toggle between position rotation and scale and we'll just kind of orbit this guy just a little bit like that and that's generally okay like you know we're gonna we're gonna rope things in right we're gonna rope things in um we have a nice little like rocky horizon line so i can probably grab some of these guys i can scrunch this down as well you don't want to go too far with it but um just kind of work it in a little bit this guy can come in and fill in this area just crunch them down a little bit and we just want to fill in all this this stuff here let's uh so we have this lake that we gotta fill in all right we can scale this down because if we look at this puddle it's like a little triangle boom a little triangle tip and i think that's why i grabbed this asset is because it's shaped has a triangular shape to it so i'm just going to scale that down uniformly and kind of move it over here we're going to populate and paint a bunch of shrubs onto this in grass so it's not going to be just that the rocky coal um what else what else we have some really nice grass in here in here we can bring this guy in we have this nice little rocky outline that we can bring in over here this can help populate and fill in the area over here this can prop hey you know this can probably come in over here we can probably duplicate one of these guys holding alt will duplicate for you space bar to toggle between position rotation and scale and i'm just gonna i'm just gonna get that nice and nice and nice you know still in the cinema camera let's um flip this around because it's kind of like an embankment that goes up and i'm going to scale it up boom now we're starting to get a thing this floor you know what i'm saying we don't even need it okay we don't need it and i'm gonna show you guys about the water here in a second um because it's getting to be about that time i'm going to alt drag this down i'm going to scale this up and flatten it not too much but just enough because this is where our water is going to go and you know we'll um try and shape let's see let's find like a nice little outcropping some some grass something like this this has got uh you can kind of rotate this around to find a nice little area here and i just kind of want to shape this uh this pond area let's see it kind of curves in and loops in and connects right there so i think what i can do is rotate this to something like that and we can even angle it just a touch drop it down just a touch so we get that natural kind of curve right boom kind of curves around like that and we can even rotate this a little bit more this is like the fine tune right fine tuning it just touch and maybe maybe cuz i don't want this giant boulder anyway either something like this something like this yeah um there might be an area over here that needs to be filled in so i'll duplicate this guy holding alt get this in boom i'll flip it something like that this is not half bad not half bad yeah okay so based off the reference right it looks flat here and it kind of curves up just a little bit up to this area right so i think what i'll do we we almost don't need this i'm going to delete it this bit you see what kind of comes up here is a little lip well maybe maybe what we can do is just angle it like that drop this down yeah that feels that feels pretty good let's rotate this guy yes we want more of the grass so that's feeling a little bit better to me [Music] and we'll drop it down we'll scoot it over something like that looks pretty good to me okay so just already with the lighting that we worked in uh and it's just a quick sketch we just quickly sketched the lighting in um but we've placed our camera we've placed our assets mainly at this point um the next thing let's get the water in here because the water is a new thing that came out later in 4 2 7 ah who knows um and it's still a thing in ue5 of course so let's talk about the water i'm quickly going to select all of this geo and put it in the geometry folder cool cool um it's looking a little bright i'm going to in our let's see in our post process if we type brightness we check min and max brightness and set this to 1. you can also set this to like oh let's try two 1.5 maybe cool that way it's our it's locked we're not having any auto exposure going on and we can return to to the lighting here in a second but let's see if we can't get some water popping off all right so i'm gonna stop piloting no i'm gonna stop piloting this top left we can click that bam all right awesome awesome awesome yeah there's some holes but it's fine you can't see them um now water works with landscapes okay so let me try and remember this is the first thing i did earlier this week i think the first thing you got to do actually we got to go to plugins type water and you check these two you'll have to restart your engine but you have to check these in order to get the water and i believe if you just type water up here then you have all your water stuff right so i was messing with the lake and if you try and drag out a lake it's not gonna do anything because it needs a uh the landscape to live on essentially right so i'm gonna make a landscape top left right select mode if we go to landscape or shift f2 we're going to create a landscape or essentially just a floor or a grid for landscape stuff to happen on this is way too big we don't need this much so i'm gonna take the i'm gonna make this seven by seven number of components we could probably just do four by four we really don't need that much this is plenty okay um and i'm going to create this okay now we can paint a bunch of different hills and stuff but we don't need it for that really i'm gonna undo that we just need it for the water because the water is going to populate this right so um let's go ahead and go back to select mode okay and let's grab that landscape and i'm going to reset the psr that brings it like over here all right okay basically like that is all we really need right and we can probably raise it up a little bit [Music] we'll get there we'll get there okay let's just get some water so with water selected um or typed in on the place actors window we're gonna grab that body that lake body and boom look at that and i think we can hide the landscape at this point and it's just it's water yo this is some water okay and it doesn't look good it doesn't look good we gotta make it look like this you know this is very different looking water smaller ripples no there's no waves it's more of a still kind of situation right so let's see what we can do you're gonna control your water from two places mainly and let me see if i can remember what the heck is going on i might need to hop back into my other scene to see what's good with it um but first right up in here if we scroll down with the water body lake selected okay and we scroll down to wave uh we're gonna have some options and i think the first thing we need to mess with is the wa is the wave source and right now it's set to water waves asset reference but if we set it to gerstner waves and then we drop down this waves box and we drop down this wave waves box we can unravel all of these settings here and mess with the waves okay so right now these things are going ham okay uh let's try and just have it be still let's get it to stillness and then we'll start working in some motion so let's mess with these settings and see what we can do right number of waves what happens if we change number of waves let's try it 200. whoa okay we are in some sort of bubble dimension is not cool let's set this to one and see what what happens if we set it to one all right closer closer closer they're a bit more still not as many waves but we still got some rolly rolly roll in here that we want to get rid of um what can we do what can we do minimum wavelength zero okay i did nothing maximum wavelength zero disappeared what if we set max wavelet to one because we need something okay okay it's coming back to me now let's try 20. let's try 20. all right so we have a bunch of like really steep waves that are rolling in this direction let's talk about direction really quick while we can tell what's going on um direction bam we can change the direction of the waves see which way they're going we kind of want them coming towards camera because in the reference the water was kind of blowing towards camera but it's really intense i think it's the amplitude that's killing us max amplitude is too much we just let's try point two ah so much better so much better okay guys we're we're doing something we're getting there um let's take the floor let's drop it down let's maybe take this bit and give it some a little bit more thickness let's take this and maybe give it some more thickness just a little bit we want to go too much with it and maybe we angle it a little bit like that something like this cool we can take the floor and and maybe just bring it up a little bit this guy we can probably drop down a touch there we go yeah we're starting to get a little something this is much better much closer to what we're going for so let's talk about the direction and the ripples and all that good stuff right so direction angular spread that's gonna kind of break up the water um if i set that to zero wow it looks like nothing happened but if i crank it to 3000 looks like nothing happened so most of my time throughout the week creating this art was basically messing with the water settings so many water settings okay um or not so many it's more just fine tuning finagling these things to like get the look you want and i still wasn't quite happy with the look i want the reflections aren't quite right either we're in lumen right now um also let's note here that this water right is you know it's it's it's kind of weird looking um which brings me to the water settings let's talk about those so we have right we dropped the lake on the landscape and we have these points and we can bring these points in to just kind of be the area that we want so that's what i'm gonna do i'm gonna hit these points bam amazing amazing amazing now we just have the area that we need and we should be able to just move this this works yeah it's totally fine uh if you select something and hit f boom you'll snap to it and we'll hit g to get rid of all these icons right so now we don't have any water chilling outside of the area that you know that we need it and of course we still have our camera or cine camera to hop into and this is what our look is gonna be like okay um okay so we kind of have everything like ball parked in at this point we have our water ball parked we have our lighting ball parked um we have our our like terrain more i'd say more than ball parked in um it's really lighting and water at this point the only thing that we need to add would be our shrubs and to paint our shrubs in so i'm just gonna grab some kombucha really quick not sponsored by the way but this is my favorite brand gotta say gts pops off um and then we're gonna we're gonna get some shrubs in here okay and then we'll fine tune our water we'll fine tune our lighting we'll make things look nice yeah [Music] big dutch asking if i'd use fresnel to have the water look a bit more realistic one thing i think the biggest thing to have the water look more realistic is to change our reflection method so if i go to my post process volume and i type reflection and the method right now is lumen but if i change it to say screen space we're going to see you know that totem or that monument right up in there in that reflection which is kind of what it should be doing or you can go raytraced and have it look really nice and that's what i did my final render in was ray traced so once again i'll show you guys what this looks like final boom so that's ray traced water um i tweak the settings we're going to do that we're going to tweak the settings we're going to get these shrubs in here there's wind if you notice the wind here is looking really nice so that's an easy check box and our lighting looks a little bit different so we'll go over that and obviously our little pillar is textured got some camera shake that's done in after effects i have some film grain that's done in after effects vignette after effects but you can do it in unreal and i'll show you how to get that because it does help the vibe it helps kind of like once again rope it in we're not we're not we're like 50 there at this point so let's um i'll leave it to you guys do you guys want to tweak water do you guys want to lay down the bushes and the shrubs or do you want to do the lighting to get the lighting right what does the chat say christopher i appreciate that man thank you i'm glad to be here as well all right tyron says lighting tweaked the water we got lighting we got bushes we got shrubs we got lightning we got this is tough lighting light and fog lighting lighting lighting water water lighting everything it's all going to happen no matter what let's get the fog let's do some lighting and then we'll hit the uh with the water so lighting wise so far what we've done a recap in the we have exponential height fog popping off that density is doing its thing point three you can break the slider and go beyond right so like if you try and crank it it's going to go to 0.05 but if you type in a value say 10 you know it can go beyond so i'll crank it up to like point five another big note here is this volumetric fog box is checked and that is very important um we have a skylight where we took the intensity scale to two all right so it was at one i bumped it to two and you see how in the reference the it's more milky kind of lighting um this is looking kind of blah right now um i think i need to diffuse the light more so so in our directional light we can let's see let's see let's see i'm gonna take the temperature and actually warm it up just a touch i know fog and stuff goes cool but i the reference image is a bit more warm we're still getting a kind of a direct sunlight look if i go to my sky atmosphere and again we scroll down to the atmosphere my the my scattering scale if i reset that to default um it's looking like direct sunlight but if we crank the my scattering scale to like two it's really going to get that overcast look but i think this is too much it's too bland in my opinion so maybe we try setting it to one maybe we try setting it to 0.5 um 0.75 and messing with that that could help um the scattering scale could help too so 0.03 let's try like 0.2 oh okay so what that's doing is that's like um i have a tutorial link below and that is like pull air pollution if we take that to like five it's gonna turn into like some freaking mars level stuff but we don't really want that i'm gonna reset that to how it was continuing down the list my scattering absorption scale let's try point two point five one and i just kind of push these values really like zero what does this arrow look like i reset it it was at 0.004 the anisotropy 0.8 let's set that to one zero and it's just me messing i'm just really messing with these different values and i actually like we have exponential distribution as well so that that's doing a lot to actually smooth it out i like that okay so exponential distribution can go up to point er to two that's looking better um but it still looks a little washed out and the shadows are just looking a little i know what it is i know what it is okay so the scattering scale we can go back to like point point three point four point five okay and i think it's our skylight perhaps the intensity on the skylight the intensity scale so if we set that to 0.5 okay it's going to be a little darker now which is looking a little bit better but it's still not quite there let's go 1 1.5 let me try a different method let's try um [Music] let's try doing this with an hdri just just to experiment so settings plugins you're going to type hdri check that restart your engine and then when you go to lighting boom uh where's it lights bam you'll have your hdr backdrop and we drop that in and drop it down we don't want that that background we definitely don't want that background and i'm wondering so the exponential height fog is kind of covering it but not really so i think there's another way to do it like if we go to our if i turn off where are you hdr backdrop we turn that off if we go to our skylight i think we can load a cube map should be able to load i'm not exactly sure the way to do this um and i know will focus talked about it in his tutorial on lighting yesterday i wish i knew i wish i knew uh well anyway those are options i'm just gonna keep tweaking i'm gonna keep doing it the way i had i had it going um your source soft angle on your sunlight um i believe if we adjust this it'll soften out the shadows a little bit if i set it to like 100 that does a pretty nice job of softening those shadows and i'm also gonna take this rock i'm gonna boost it up a little bit and drop it down yeah alwyn alwyn my dude um my chance of failure is absolute zero you know i remember you saying that last time and that that did a lot for me because you know you're kind of right it is absolute zero because no matter what i do i'm doing something okay um exponential height fog maybe we need to do um secondary fog we can do some secondary fog that'll pop some stuff off just a little bit but we don't need too much of it zero i'm just messing with stuff at this point guys um directional in scattering you set that to zero it was at four by default set it to 100 it's not really doing much for us okay okay g b dude gamer god godrays you want god rays love the content from canada where from canada i love me some canada this technically was taken in canada newfoundland right is newfoundland canada it's up there um god rays see the thing is though god raise is not really a thing in this you know this we're going for overcast you know god raised up in here skylight okay i'm just kind of going through here volumetric clouds sky atmosphere um atmospheric height i'm gonna set that to oh okay so that's doing some stuff it was at 60 by default if we take it to 50 40 20 10 5. the difference between five and sixty is a thing and i kind of like five a little bit better um i need to mess with these my settings exponential distribution i think the sky just needs to be brighter but the thing is when i boost this skylight it just like i set that to 10 yeah that's obviously way too much um could it be the sky atmosphere see that looks better i think it's the sky atmosphere that's graying it up like that um sky luminance factor aerial perspective 21 okay okay oh that is great height fog contribution okay so back at default it's one let's try setting it to three yes okay five yes much better much better i'll i'll do it at uh at five and i'm just messing i am just messing here this is the art direction tab and certainly help me art direct it maybe even six all right and then let's do some vignetting so in our post process volume if we type in vignette and we turn on the intensity we can really work this vignette in because in the photo there's some vignetting going on here there's definitely some vignetting going on so in the post process volume once again we're gonna get some vignetting and let's go back to our exponential height fog and maybe set it to 0.4 if we set it to 0.2 0.4.35 perhaps is looking pretty pretty nice all right so one thing i can do is also bring down the brightness of these uh these assets so we're still talking about lighting we're gonna hop over to the water in a second this is looking a little bright so what we'll do is we'll select the asset we'll double click this rocky ground tundra and we'll set the brightness down to like 0.5 i'm just going to move this off screen so you guys can kind of see what is happening bear with me okay here we go so brightness was at 1 if we set the brightness to 0.5 why is it yeah we should be doing something oh it's the wrong asset that's why that's why so with the asset selected on the right here you'll see materials we can hit this folder with the magnifying glass it's gonna find it for us then we can double click it and that's now the right one so brightness we could bring that down to like right that's zero obviously we don't want that 0.5 contrast is one so i'm just kind of adjusting it to get a better look the water is looking a little green it's looking a little washed out let's see post process let's try some saturation uh global saturation we can try 1.2 yeah that's looking a little bit better and in the post process volume if i type in reflections oh we're still doing ray trace let's switch back to lumen that that's looks yeah okay so switching between raytraced and lumen i was in ray trace that whole time right so it kind of a different look here when you're in lumen and i like working in lumen because everything just looks really nice we can switch back to ray tracing later as well um i think these rocks are looking a little spicy so what we can do is select that asset make sure we're not searching for anything we can find the material here bam double click it and you know one thing i like to do is mess with the reflection or the specular and the roughness to get more of that catch light bouncing off the rock and it's really spicy right now so we can kind of scroll down to the max roughness and by default i believe it's set to one but i think we need a little something because it i want it to feel like wet rock bass specular is at 0.5 right now if we set that to zero it's not going to reflect anything we set it to one you know it's gonna reflect one's worth point five is point five's worth and the roughness basically smooths out it makes it more matte so if i set it to one that's like super matte right like uh the back of my phone case or something or the top of uh like a macbook super matte right still reflective but matt if we set it to zero it's like a mirror almost you can see a reflection in it so we'll find a balance somewhere 0.35 maybe yeah that's not bad that's not bad and you can do that for each one of these rocks and that's like a big big thing that i do here is i'm going through and picking different materials and kind of just be like okay does this need to catch more light you can mess with the brightness the contrast that helps that certainly helps and this was all adjusted based off of my previous scene i'm gonna come in here and just kind of like reset these back to to default yeah that one's default i think it could use a bit more like if we just crank the saturation what does that do for us okay a little something i i want more green we need more green and i think that's gonna help with the shrubs you know what i'm saying so um let's let's add some shrubs and then we can keep fine-tuning keep fine-tuning keep fine-tuning yeah so we're gonna get back to the water as well but let's go ahead and control shift s save all and work in some shrubs all right so same deal guys i went to this little top left this box up here right i went to quixle bridge and i favorited some stuff but if you go home and you go to 3d plants you can find whatever 3d plants you want i've already favorited some and specifically i'm using the blue lupine and some wild grass okay and if you download it i'm going for the high quality right so you hit download and you add it to your scene and it'll automatically pop into your scene so under mega scans we got 3d plants and let's start with the wild grass okay so we have a bunch of different pieces of wild grass you can see automatically they're animated with wind and everything it's so freaking cool all right but we don't want to we don't want to plant like plant these one by one that's gonna take far too long so i'm gonna undo this and let's just let's do it the right way shall we um because we have a lot of grass we gotta place in order to fill this out okay so how do we do that well if we go to the top left select mode right and we go to foliage or shift f3 that's going to bring us to our foliage painter kind of layout right and it's asking us to drop foliage into here i think you can probably click this and add stuff if i type wild grass wild underscore grass i can select the ones i want or i can just drag and drop these guys and i think that's what i'll do so i want to make sure i'm getting there's no right and wrong wild grass but we double click this that's like dead dead grass for sure these should all be loading i think these are more dead so i'm gonna go for the ones that are live these guys yeah so let's drag all of these bam anything is a static mesh i'm just going to drag them up into here and by default they're checked on right so that means when i'm up in here with the brush right i have it set to single instance mode i don't want that i want to uncheck single instance mode and i just want to paint shrubs everywhere everywhere no i don't want to do that because that looks like that looks like butt i'll undo that um but you notice that hey it works it totally works they're just big right they're a little big so what i'll do is i'll select all of these guys and you can see bam automatically this dialog tree came up or this menu tree right i'll shift click everything and scroll down to touch we can um oh you guys can't see this let's get let's get my big old head out of here for a second so thank you soto thank you soto cheers i feel like soda needs a mic so he can say what's up everybody but he says hello um so the scale right bam set to one cool we want to chill these out so like 0.5 if we set them both to 0.5 that means we're only getting 0.5 scale graphs and that looks a lot better but let's do something between like 0.35 and 0.65 that way there's a bit of scale variation in our graphs i think it'll make it look a bit more realistic and what i'm going to do is just come in here based off my reference which i'll have on the screen to my right and i'm going to start painting grass where i think grass needs to be okay so definitely on this embankment here we'll have some grass i'll leave that rock there boom it's looking good and we can change the density if you guys want to change the density as well but i think i think it's fine for now just get up in there back in here it's looking good i think it's still a little big actually so i'm going to take the max 0.5 no matter what and then uh 0.3 for the min so anywhere between 0.3 and 0.5 is going to give me some scale variation sweet yeah get back here so that's looking good and then i definitely want some foreground dealies up in here um some shrubs here because they you know they're growing by the water they feed off the water they live off the water so they're gonna be by the water you know what i'm saying bam looking good we're gonna just kind of get up in here a little bit scatter them it doesn't need to be thick just sprinkling these guys back here i think could use some it's a little i don't like that super saturated green so we can get those guys popping off i'm gonna leave the rock silhouette as the rock silhouette we can get them up in here too we can have some shrubs growing up in here in the water probably we'll have some little water buds don't like those though and shift i believe will erase yeah shift erases very good to know we'll get some little buds back here not on top but just back in here kind of back in here as well and i'll get a little silhouettes i think some silhouettes back here are justified just popping up over the horizon a little bit right maybe one there this little guy back there this little guy okay not bad not too shabby at all boom maybe a little bit more in here and you notice i'm not i'm not going out and like trying to do all this it's literally just our view right here this is all we want is this view right here maybe i can touch a little bit here because our camera sometimes will sneak over just a little bit give us a little bit more something like that i think the water is actually not looking too great right now it's hurting our image um so we'll get to that in a second i'm going to place a couple more shrubs though because we want some variation so that's where that blue lupine one i was talking about um yeah blue lupine now this one i don't want to scatter i don't want to just chunk them all in right so i'm gonna select all these i'm gonna delete them actually no i am not gonna do that i will select them all and uncheck them and then i'm gonna drag these blue lupins in and they should be deep by default checked on yes so i'm gonna select all of these and i want the scale let's um do a test okay they're massive so we're gonna do 0.3 to 0.5 and that's a little bit more in the range of what we're going for okay so we're going to undo that yeah now i want to do single instance mesh mode so i'm just going to or single instance mode i'm going to check that box and it's going to cycle um so all selected or cycle through selected um it's basically like the same thing all selected it's gonna go through all these and give you a different one every time it should are those the same it's hard to tell it's kind of hard to tell cycle through selected yeah those are different cool so i'm just going to go through base again based off of my reference i'm going to go through and start placing these guys so there's some here on the left there's some here right in the foreground there's some on the right there's some in the back they're just sprinkled around a little bit so i'm gonna go ahead and uh and start sprinkling these mugs let's do um definitely one up here in the foreground and i have to click a couple times because i think scale wise let's actually beef the scale 0.5 and 0.6 0.7 yikes okay 0.5 was right i think i just need to deselect the smaller ones so we'll just keep these big more bigger ones there we go there we go much better much better awesome and we'll just kind of paint these guys in they're a little big still a little big so we'll take that down to 0.4 i'll check these guys on too just because a little bit of variation is good and just kind of populate this area back in here as well and shift will delete if you guys don't like what's going on there's a lot back here i think i went a little a little heavy on that side but that is not bad that's not too shabby sweet and you can go to town you can throw in whatever you want any sort of variation um i think the biggest offender at this point is the the water but before we get to that let's just pop a quick material on this totem so if i come up to this thing and remember right we set our our focus settings earlier on so we're always looking at this this is the focus of the image right so let's do same deal guys same deal let's go back to select mode right so we're back in as normal if we go to qixel bridge we can look for now go home we can look for surfaces and we can find a metal a rusted metal somewhere in here metal um corroded yeah something in here i think i selected one i already favorited it favorited favorited it that's hard to say i didn't but i know it's in my scene because i used it my previous one all right so if we go to surfaces and we bust out rusty metal it's either this one it's definitely this one look at that it's beautiful already it's by default it's looking great we'll come back here post up and work on our water you can also work on our fog a little bit too center it up nice okay so the water yeah the water's the hardest part i talked about like these settings here right the uh the number of waves the minimum wavelength etc etc and we can talk about how the water moves and then we can also talk about how the water looks and they kind of go hand in hand but let's see if we can't mess with the setting the water settings um to get a more realistic look so i'm gonna select the water body lake and try and find the material that it's using if we scroll down we can find under rendering the water material we're going to hit that browse button browse to and it'll pop us right up in here we have this material instance for the water okay so [Music] let's see what's the best way to do this yeah i'll just have it off to the right i guess so default water default distant water speed if we set that to zero it's just gonna do exactly the same thing okay negative one all right so that's that's changing some stuff um default distant normal like i just went through all these settings just to mess with stuff and see what happened default distant water skill oh here we have near water scale and this is definitely near water default distant default near water scale 512 what if we set that to zero well we set that to 2 000 i think default is probably fine i don't know why it's not updating is it not updating there we go um all this stuff i think what we need is the global parameter or not no not global parameters we have somewhere here here we go water shading so i have messed with this water so much to get this kind of look um you have albedo right so that's going to change the color of your water i think it might be a little saturated in our case so we can desaturate it maybe darken it up a little bit so that could help we have water fresnel roughness okay so point one zero and one all right so that's gonna make your water like i don't know whatever whatever that look is uh we have metallic and metallic i was using that to catch a bit more of the reflection but this this doesn't look bad certainly does not look bad i think it's moving a little too fast and this setting default distant water speed if i type in speed yeah it looks like this is the only option for speed and i don't know why if i hit okay that's better that's certainly better it's more chill these plants i know are moving right you're not really seeing them in the viewport because you're getting a kind of a blurry view of this motion what you're seeing here it's kind of difficult to tell but it's blurry it's just blurry if i were to select one of these plants um we'll get back to the water in a second i am a scatter brain person so um if i select one of these plants right and we talk about wind for a second um let's try and find the plant i know it was where are you mega scans plants blue lupine okay if we pull up blue lupin material the material instance okay and we scroll down you have this check box for enable grass wind and by default it's turned off um but if we take like the wind height to like two it's going crazy you can kind of see how it's like doing this weird blurry morph into what looks like a wind effect and it doesn't look right wind intensity let's go back to like you're kind of losing it you're just losing it entirely but know that when you render this out with anti-aliasing you're going to get a much cleaner looking wind and i'll show you once again there is none of that weird blurriness right here you know it looks nice and crisp and that's because anti-aliasing is checked on with 64 samples this is also a ray traced scene and we'll kind of toggle over that at the end of the stream here right so that that that's that's crazy that's going buck wild okay that's too intense um but i just wanted you guys to know that that when you render this out it's gonna look better it's not gonna look blurry like that i'd say the biggest thing i did for lighting um with the water and it was d it was like at least the full day of just tweaking water settings um water body lake right if i have it selected and i scroll down here to these different waves settings i was just messing with this constantly messing with this alright so that looks horrible i'm going to set the steepness of these waves to zero amplitude fall off like all of this stuff does stuff it's just very um set that to zero there we go okay so that's more of like a still lake 200 waves is way too much though 20 all right that looks more that looks like something but not right two go one now the wavelength when you crank this wavelength up it looks a lot more still now because the waves are a lot they're just coming uh they're bigger the wavelengths are the waves are larger but the the smaller you get the wavelength down the more of the ripples you'll actually see and the number of waves it'll start to make it look like almost like an anisotropic effect where you have so much noise so much small long stretched out noise that just doesn't look good so it's really like balancing between these two settings here to find the best setting and the best look for what you're going for number of waves set to one is probably the way to go for me at least and then that's not bad that's certainly not bad now if we go and set this to a ray trace look so post-processing volume reflections from lumen to ray traced i think the water just looks a lot better to be honest with you guys um it's deeper um you actually catch the reflections a lot better here so my render my final render was with this ray trace lighting i think it looks really nice um we can retrace the lighting mode we can oh hit lighting for reflections that is actually a setting that makes when you're in lumen it makes it look a lot better so if we go to project default upgrading to hit lighting for reflections and if you just hover over the stuff it'll tell you what it does gives this method gives the highest reflection quality but greatly increases gpu cost as the material needs to be evaluated and shadow rays traced so boom and then you can update the lighting quality you can crank it up but still i find it going to just raytrace looks the best um and then we have rave traced reflection settings all right so samples per pixel if we crank this up to like 32 it's going to chug but it's going to look better now i'm going to show you at the end of the stream here once we get to this point how to export the highest settings um because you don't have to crank this if i go to uh what is it a little burger up here top left and i go to show fps we can see we're running at 8 fps you don't have to crank your your highest settings in this little viewport view i'm going to set that back to one but we can do you can use console commands later um through the movie render queue to just export the highest settings we're previewing it on you know still settings that look nice but we want to export the highest quality right so now that we've switched over to ray tracing i'm just going to grab this rock here and bring down the or crank the roughness a little bit because it's it's a little bright um so we can go like 0.5 just to chill it out a little bit 0.6 that looks better that looks better yeah and the more you can go back and forth between the actual reference and your art the better most certainly but this is looking pretty darn good guys this is looking pretty good i'm trying to think if there's any other like things we should talk about um because i'm probably going to do like i'd love to export this and show you what i'm doing in after effects to to bring it to the max but let's try our post-process volume i'm gonna show you guys grain real quick if you type in grain we can check film grain intensity and just you know yeah it's on set it to 1 set it to 0.5 you can get a nice little subtle grain effect going on here which looks really nice um but i do this in in after effects afterwards but you can certainly do it there and same for vignette right like i'm gonna do my vignette in in after effects as well but you can have some vignette popping off here that looks really nice um what else what else do we need to talk about we talked about wind we talked about some of the water settings um we talked about painting the foliage the fog maybe i'll touch the fog up just a little bit more before we render this thing um so under lighting exponential height fog we can maybe go like i don't know point four zero is obviously not what we want we want some fog in here hmm we have some secondary fog direct directional in scattering i remember that was not doing anything scattering distribution 0.2 we can try 0.5 we can try zero i always like to max out my numbers to see what happens i try and get the most extreme effect first and then go for the subtle extinction scale okay okay okay so this is like fog is coming closer to us ah okay this actually looks let's see not bad 0.5 that way we bring some of the yeah we bring back some of the shadows but based on the reference i'm looking at the the values here this totem is a little brighter and it's there's definitely something diffusion going on which we can do in after effects so maybe i just i leave that at one but it's good to know we have that there 1.5 maybe one yeah that's not bad view distance [Music] yeah we definitely want that i think how it was static lighting scatter intensity 20 ah okay so zero and five no zero and two one by default i think default is good [Music] oh epoxo thank you bloom yeah so bloom that's another thing in the post process volume bloom thank you thank you sir so we can check the method on we can check the intensity on and we can check the threshold on okay so if we keep the method at standard i know convolution is a thing that's apparently like more accurate for cinematic uh then it's expensive for games is what it says but we are here for the cinematic experience so i'm gonna leave it to convolution i'ma crank it nothing is happening because i think there's a weird thing where like you have to do it in standard and then go to convolution and it's still not working i don't know why that is the case so i'm gonna go back to standard so we crank the bloom but then the threshold is what determines what is blooming the brightest part is it your whole image or is it just the brighter parts of your image so the threshold will determine that um 0.5 i think is you see a little bit of that yep we can try point three and kind of get a little bit more which is looking nice we can try point two even that's getting a little something and i think that helps a lot papaxo that's good stuff man thank you and let's see if we can't make the shadows the highlights and the shadows of this water more contrasty and this is something that i did in post but i'm wondering if i can do it here inside of unreal engine hmm okay so i'm gonna go to the water material by selecting the water scrolling down and grabbing the water material searching for it and then double clicking it and popping back in here let's see if we can't mess with this to give us uh kind of what we're going for metallic we set metallic to one ah it's not quite it's not quite doing it um we can set the fernell roughness to one i don't like that it makes the water look like foggy and i hate that our sun is here i'm gonna actually adjust the sun a little bit and see if we can't get a better uh a better setup water roughness yeah i feel like the water doesn't need to be rough it needs to be crisp sharp reflections and the specular of course is doing nothing okay let's see about angling our sun our directional light and see what happens so if i hit g it'll bring up art oh my god it'll bring up icons let's get that thing out of the way let's get this thing out of the way where's our sun at where you at son directional light get down here and let's rotate this mug okay so the sun is doing a great job of like actually brightening up the sky for us which we want and the question is like is it noon is it sunset i don't like the sun reflection in the water so i'll probably do something like that uh-huh and i think it needs to be a bit more overcast so i'm going to go to the sky atmosphere hit the my scattering scale it's at 0.5 this is zero let's try 0.6 yeah that's a bit more overcast i like that a little bit better [Music] boom a secondary can we add a secondary noise to the water i'm not quite sure i'm sure we can let me show you how confusing this is um so if we go to the material instance we pull it up and we want to go to the master material let's go to the parent this is the parent okay so we'll go in here and then the parent of that is the water material which is all this stuff which is actually not too crazy so we have our waves this is what makes our waves it's crazy this is this is deep this is deep for sure um we got our normal maps we got our basic water shading which looks like material functions which yeah this gets deep so it gets deep and deep and deep and deep and i'm sure if i was a mad scientist i can get up in there but you know there's only so much i can do only so much i can do let me let me render a version for you guys so you can see what i'm doing in after effects um sure you could do a lot of it here in unreal engine like we can go to the post process volume and we can work in the color correction if i type color and we hit the global settings global gamma let's like drop that to like point eight already looks so much better yo already looks so much better doesn't it um we can hit some shadows we can drop the shadow uh offset isn't gonna do much for us that looks like booty um that looks way better dropping the gamma always looks nice um i found that like i would rather have my like super atmospheric photography looking a little bit more underexposed than overexposed i think a darker dimmer image is just simply moodier and i think dropping dropping the gamma like that helps a ton i forgot i did that in my last scene so that looks much better in my opinion oh let's set up uh depth of field yes so under our camera okay um let's close this out and let's find the lens settings okay so lens settings our f-stop is 1.2 but we're not really getting too much depth of field if i try to take that to like point two um oh i'm sorry i'm doing the wrong i'm doing the right thing but i accidentally did the right thing first i was trying to do the wrong thing first to show you the difference let's just change that back to 1.2 because those are our lens settings if we go to our focal length right we can do our focal length right i have that set to 25 our current aperture that's what we want to change if we drop that to say 1.2 we're going to get a little bit nicer depth of field but let's say i want to go like 0.5 and just break it it's not going to go below 1.12 and that's because in our lens settings the minimum f-stop is 1.12 if i set it to 0.5 or just as a hero um let me do what i want you know what i'm saying no restraints let's go 0.9 and let's try 0.2 it's gonna look that looks bad for sure and it starts breaking at a certain point but if i go to like 1.2 maybe 0.8 it's going to match my film photo a little bit more right it's blurry even this is blurry and that's something we want to talk about in after effects we're gonna do that it's not crisp and clean right um but i i think 1.2 is probably fine um but let's let's let's try and render this thing so i can show you guys what's up uh current aperture 1.2 is good okay i'm liking this let me take off the bloom let me take off the vignette let me take off the grain okay so that's all in our post process volume bloom where you at be gone okay you're chilling and you're cool i dig it but we're gonna get you later all right green a necessity but we're gonna do we're gonna do right vignette all right same we're gonna get you big difference right big difference but we're gonna get you later okay we're setting up for render get you looking nice okay um so what we will do is um in order to render this we we can go up here and we can click on high resolution screenshot and we can set the multiplier to two so it renders two times the resolution but scales it back down to our current resolution or no does it scale it i don't think it does it just makes it bigger and better we'll go there and we'll find boom this is what we just rendered out okay so you can do it like that or we want to do a movie we're here to make movies right so what i will do is we want to do this through the movie render queue all right and in order to do that we need a level sequence we essentially have to have a timeline it has to know how many frames we're working with all right so if we go in our content browser right we just go to content i've done this before but i'm gonna do it again with y'all if we right click up in here and we go to animation level sequence we're going to make a level sequence all right that's essentially a timeline and we're going to hop into our timeline which is 150 frames with nothing in it just like in da vinci just like in premiere just like in after effects you you know you got to have something in your in your in your timeline we have nothing right now so we need to bring our camera in it needs to know what angle do we want to render from so we just drag our camera in boom there you go right so it we're kind of in live view we can change to our let's see where you at under perspective if we go to cinematic viewport and i believe we need to select the camera yes if we select camera and this existing camera we should be seeing this i don't know why cinematic viewport do we need to pilot this thing again pilot it okay won't let us pilot it default viewport forget the cinematic viewport i was trying to do a thing but now it's not doing anything okay g hider stuff let's get back into this camera why can't i not get up in this camera let me delete this and this and try again uh yo i don't know what is going on but it will not let me up in this camera right now maybe that's a restart do i need to get out of the sequence do i need to delete the sequence let's try again okay yep we'll try again uh animation level sequence let's get up in there let's drag our camera in i know we need that camera um and we have it to 150 frames that's really all we need at this point and we want to export this right we want to export this i also want to be at well this doesn't matter 30 fps we'll change that later we want to export this to the movie render queue and this little clapboard right here if i hit the ellipsis you can choose which one you're going to go through we want the movie render queue all right that's going to give us a lot more options uh to export this in the highest quality possible right bam movie render queue brings up this dialog box right here now for some of you that might not be available that's because you need to go to settings plugins and you need to type render queue and check movie render queue on that's what you need to do to use what i'm about to show y'all restart your engine and you'll be good to go alright so up in here we can click on this unsaved layout we don't want to export a jpeg sequence we want to export a exr sequence and i think the dwa compression works the best holds the highest quality for the lowest file size all right we can get rid of jpeg sequence all right we just want that exr sequence it's going to give us the most control over our image later when we're doing color correction and whatnot um output let's find a place for it so yeah i did 10 tests this is uh the stream render that's where it's going okay going in that folder output res 1920x1080 is good i was doing um 4k so by 2160 you guys can do what you want but for this we're keeping that resolution we also want a custom frame rate of 24 fps because the cinematic frame rate is 24 not 30 not 48 not 60 it's 24 fps that's what our eyeballs are used to seeing in the movies right um that should honestly be everything we need uh for this output it's going into the right place right resolution right frame rate okay but there's one more thing we got to do that is the move and that is how we get the highest quality settings so if i go to settings and i bring up console variables okay this is the secret settings the secret sauce and i have a video that goes over all of this in detail um which i will probably link to once this stream is over but it's like all the things i learned in unreal in a year basically is the name of the video or something it's like the the dance club scene i go over my whole process on that and we're going to add these console variable variables right we're going to add a bunch i already have them saved as a preset console variables um rtx right i'll pull this one up console variables boom and i have all these console variables screen percentage r dot screen percentage this one is the best okay so what this does is let's say we're exporting it 30 40 by 2160 no thanks i want that 1920 by 1080. yep what it's gonna do console variables it's uh by default it's set to 100 so if we just do it as 100 and we hit render it's going to render a 1920 by 1080 image but if i type in 200 it's gonna multiply it by two you can do 150 as well if you want to do by 1.5 but it's going to multiply it by whatever number you type here and it's going to render out a larger in our case two times it's going to render a 4k render but it's going to scale it down to fit 1920 by 1080. so it's gonna look really crisp i love that one that's such a good one um and then we have all these other ones ambient occlusion denoiser zero direct uh diffusion direct denoiser zero we're setting all our denoisers to zero uh we're maxing out our motion blur quality um we are maxing out our depth of field quality we're maxing out our bloom quality we probably don't need that because we don't have bloom that's okay i to be honest don't know if having the console variable set here adds render time if we don't have bloom in our scene i don't know that yet um tone mapper quality is five so these are all settings based off of um unreal engine documentation that they suggest for highest settings use these and then we have our ray tracing settings and that's what i was talking about earlier where you don't have to view the highest settings in your viewport because it's you're going to be chugging but you type them in here so when you render it renders the highest quality so we have the ray tracing global illumination denoiser set to zero we have r.raytracing.shadow.samples per pixel set to 64. and i think to be honest it's supposed to be shadows plural ray tracing reflections samples per pixel set to 64 and ray tracing reflections shadows set to 2 alright um y'all can just copy this when you watch it later when you're doing this um and definitely make sure you save it as a preset so you have to type these every time please and the last thing the thing that's helping our plants look nice and crisp in the wind is anti-aliasing so that's another one that we go to settings and we grab anti-aliasing and the one thing i'm doing is i am setting this temporal sample count to 64. so it's going to render 64 images per frame essentially i'm going to set this to 32 just for example on the stream so we can get through our final image a little faster and then i'm checking this override anti-aliasing box okay and that's all you got to do for the anti-aliasing to set it up right we'll accept and i am going to cross my fingers drink some water and hit render and see how this goes you'll get this low quality preview which will pop up and we just make sure that we're rendering the right from the right camera and it looks kind of like how it's looking in our scene so let's see what it looks like real quick whoa i know what's happening we're we're um we're seeing our floor so let me cut this off when you hide stuff in the outliner it isn't safe from the render the render catches all so the floor bye bye i think that's what was popping through landscape go bye-bye let's try it again shall we save everything ctrl shift s render local and now we should be getting a uh a more reasonable one um patchy you said it's it's ray tracing shadow not shadows you might be right but uh the other day it it said it was wrong and i and i thought it was shadow but it actually is shadows and it might be a different shadow thing i'm i'm thinking of but all right so it's going it's going and it's taking a minute right it's gonna take a while i'm gonna stop this and i'm gonna do something just for the stream that is reasonable so whoa let's uh let's bring it back around can't be a stream unless you have a crash just one right oh papaxo you are right we can check um uncheck visible so if that floor was still there we can uncheck visible um all right let's open the level round two yes let's pilot that camera um and i will say guys this is the difference between doing this on stream and taking a day tweaking all those settings that i was tweaking so they're similar it's a little darker here but it's not much different to be honest with you this let me just grab this right here and let me open up the other one open level round two we'll go into the camera and i'll snap this real quick um we'll compare these in pure f all right so that's what we just did and dang it come on now i'm just curious i'm curious boom pilot this thing bam this looks like a little darker maybe the water is lumen water so that's the difference it's just a little darker the shrubs are a little darker um i think lumen does a nice job of getting some nice shadows in those bushes and this is just setting tweaking settings tweaking tweaking tweaking my settings um the difference between these two but we're going to make it look nice in after effects so um if i go back to my orig or to the one that i just did with you guys and we set the lighting let's go back to our post process and we type in reflections oh no not there sorry post process type reflections go back to lumen yep yep yep okay i wonder if there's like a lighting uh let's see let's try global illumination is lumen if we did raytrace global illumination yeah that looks nice so let's just changing the lighting method lumen global illumination we could set uh let's see ray trace global elimination advanced reflections ray trace reflections screen space ray trace ray traced um ambient occlusion ray traced ambient occlusion yeah why not um let's set that to like four or something um ray tracing translucency will that help our water perhaps check those on path tracing we can we can try path tracing i don't think it works with the water or the fog but um let's let's render this out again shall we let's do it um okay post-process volume i think i'm gonna go just one more time with the color correction and our gamma and i'm going to go with 0.8 i think it looks a little nicer and i'll take the fog see i can just tweak forever you know what i'm saying take the fog to like point four wait why is that not doing anything oh it is but it's just like a subtle thing okay all right let's do it let's let's do it let's render okay let's render let's go back to our sequence let's pull up that dialog box okay um let's load those console variable settings anti-aliasing let's just set it to 12. no 16 16. console variables the screen percentage i will probably set this to 100 default so it doesn't do it just for the stream um yeah exr and tlsing high settings good stuff let's give this a shot if this doesn't let me make sure my output is good if this still takes forever i'll just do like 1280 by 720 or something foxtrot yes there is a way to convert all models in level to nanite all you have to do is select all your meshes right click them go to the very top option called nanite and enable it that is it that is yup all right so it's still taking a minute per frame but it's okay it's okay because basically i'm gonna show you guys just like what i'm doing uh color correction wise uh to spice up the image and all we need is really one image to do that on and we can kind of work as it renders oh i am running 4k at the moment thank you sir and you are right it looks no see look look look look look look r.ray r.raytracing.shadow dot samples per pixel it doesn't recognize that console variable and i think that's because they changed it i think it needs to be shadows boom plural crazy huh um you're right 1920 by 1080 accept save render we doing it right secret gupta yes all my live streams are always available after the fact i never take anything down so you guys will be good it's running a lot faster now let's open up after effects and see what we can do oh new project let's go ahead and open up our stream render boom bring it in drag it into a new composition okay so here's a little tip for you guys ctrl k in after effects will open up your composition settings um this is in this is in terms of time i don't want time i want uh frames if you control click the time code over here you'll go to frame count and then if you hit ctrl k again bam we'll get our frames we want to ensure that this is coming in at 24fps so if we right-click we go to interpret footage main 24 is the way um if it's coming in as something different if you go to file project setting nope if you go to edit preferences import you can change the default import frame rate and i have it set to 24. it changes based on the project i'm working on so i'll change that so i have to keep changing it you know what i mean let's open this up now if i right click this and i reload the footage it's going to update with me but i'm going to drag it out like you saw me just drag it out right um and soto actually do you mind just dropping my little my head down below into the corner there that'd be nice or even top top or bottom right no bottom what is the chat no we can just go i don't know somewhere other than there i trust you you know i'm going to be in the bottom left working anyway so um let's see what i was gonna say was instead of having to right click and reload and drag this out every time i learned this one from ren if you right click you go to time enable time remapping you drag this out once all the way to the end you just drag it to the end and then you turn it off you uncheck that stopwatch every time i right click and reload it'll auto update like that i don't have to drag it out every time [Music] let us i'm gonna be i'm just do this not the right way and desktop this i'm i'm unforgivable um what are you gonna call this stream delete i don't need this later um okay so color correction first and foremost uh alt ctrl shift y it's going to make an adjustment layer or you can go to layer new adjustment layer and this is just something that is invisible unless you put something on it and i want to put a lumetri color for color correction and i am using vc console i think is the name of it from video copilot if you hit control spacebar you can type whatever you want it is a game changer fx console is what it's called i think basic color correction let's uh we we want deeper shadows oh i made a null object i'm telling you guys the wrong shortcut ctrl alt y that's what you want all right so probably some deeper shadows i know i want a vignette let me actually start with the vignette so control y for a solid we're gonna choose nearly black dark gray is good make it comp size hit okay boom if you hold this down this little mask option we can select ellipse and if you double click it it'll just default get out with the solid selected if you double click this it'll just default to uh the bounds of yours your composition and we're gonna set that to subtract f for feather and we're gonna feather it ctrl shift h will hide your different uh you know ui stuff or you can just click this little button here toggling the mask on and off um i like to set this vignette to overlay it's more of a natural blending option and i'm gonna adjust let's this do like 600 or something yeah that's looking pretty good i could even do one more or rather just bring this back come on now and just give me a little bit there yeah that looks nice i'm happy with that now we can kind of adjust our color correction so let's drop the shadows a little bit um let's get some bloom going so i'm gonna duplicate the render ctrl d and i'm gonna give it a tint to turn it black and white i'm going to give it levels so we can really crunch the contrast and then i'm going to use a plug-in called frictiloof fl out of focus it's the best camera blur plug-in that i've come across free schluft fl out of focus or you can just use fast blur whatever the point is we just want to blur out this background okay so basically we're focusing on bloom here i want to first crunch the image let's turn off tint for now let's first crunch it so we only want to deal with that white sky will crunch the heck out of it maybe bring the gamma down [Music] something like that it looks horrible and then we're gonna hit tint because we still want a little bit of the natural color to come through but not too much that's fine and then we blur the heck out of it so like i don't know what does 5 do 20. 20 might be the the move and i might just kind of come back on that a little bit also i think if we're if we hold alt we can switch to a 16 bit project file you hit the 8 bit and you'll notice the difference we have this banding if you hold alt and you change to a 16 bit project file that banning really cleans up but you guys probably won't see that on the stream um now if we set this to screen we got some bloom but that's obviously too much so i'm gonna hit t and just turn it off completely it's hit zero um and then let's kind of walk it back in it's 20 percent enough is 50 probably a little much maybe we go 35 percent so it's subtle right um and then let's go ahead and boost the highlights so it's a little bit just a touch brighter i like that yeah that's pretty good let's reload our render right click reload footage bam right so we got these plants moving we got the water rippling it's looking nice um it's too crisp it's too crisp okay so i want to just soften it a touch this is a 4k monitor so at 200 percent it is a little uh low-res right because we're going beyond what we rendered but if it was a 4k render i just want to throw a quick fast blur on it so i'm gonna throw a fast blur of one on the render which is too much 0.5 is too much 0.1 is probably all we need it takes it from crisp render to filmed with a camera so a little bit of blur goes a long long long way i'll probably just do 0.15 on that or something cool um we have our bloom which is helping we have our color correction which is just touching up those shadows a little bit and we have our vignette which is doing most of the work for us now we have grain to talk about as well so you can bake in your green from unreal if you all want that's totally fine um what i do though i use a thing called we got overlays no no no where is it gorilla grain is what it's called stock footage lens effects gorilla grain brain 35 mil pack fine clean that's the one i love it bam this is very subtle y'all you probably won't be able to see this too much on youtube but you're probably seeing more than i assume you're seeing i set that to overlay and by default i think it brightens our image so i like to throw a little bit of levels on it just to get the gamma right in the middle there and that will maintain our brightness level but that goes a long way it's very subtle but it goes a long way takes it away from a render and more towards like it was shot with a camera boom um that's pretty much it guys that is pretty much it uh another thing i did was add a little bit of camera shake to the final so there's definitely different ways to do this um both of them require you to select everything hit ctrl shift c and pre-compose your image i think you can also right-click and find pre-compose bam right here you want to pre-compose all these different layers into its own folder we're going to move all these attributes into the new composition so now we just have all of our stuff in one place you can do a quick expression so on the position right you can alt click the position and we can hit wiggle right that's going to allow us to wiggle the camera um i think the first number is the frequency the second number is the amount let's find out so if we have a frequency of 100 like i said i always like to go overboard to see what's going on and we want to move it in x or y direction by five pixels we should get some really intense micro shake yep so i was right first number's frequency second number is um like the amount like the distance how far it's shaking so we probably don't need anything more than like five let's see what that looks like that's too much it's definitely too much i think it's um frequency needs to be like two and the distance needs to be like three super subtle even that i feel like is is not quite right i think maybe a distance of three and maybe a frequency of six getting closer we can do five and two not bad that's a little bit better yeah okay something very subtle um you'll notice it's going beyond the frame here um you can see yep that's no good so you can just scale it in this case it's not shaking so much we can just do like 101 and you're set right and that is that is it you know you get your buddy to record some music for you some some ambient music you put it to this and you're having a good time that i think that's it guys that concludes uh concludes the environment i did it my goal was to get to a final as quickly as possible um i guess the one thing i didn't show you guys was how to model this totem in c4d y'all are probably in blender um but that's okay maybe i'll give you a quick overview how are you guys feeling you guys doing good um that was fun that was great like i had so much fun setting that up and working on that environment over the week i think it's a really good way for me to learn to create stuff that i'm proud of and ultimately prepping for this stream um at the same time it's the bob ross method you know he painted three paintings the first painting was done before the show we got a grasp on what he was doing the second painting was the live painting during the show and then he did a third painting after the fact taking into account everything he learned to paint the painting that was like the painting um i don't think i'm gonna do this a third time but i'll do another environment and i think it's it's really fun if you guys like this definitely consider subscribing if you guys learned something i'm almost at a million holy crap i am almost not a million so if you all are not subscribed to this point definitely y'all know what to do hit the bell do the stuff um and just come back hang out with me it's always chill here we're always learning something new trying to create cool stuff together um so good vibes only good vibes only uh yeah it also like you know you guys know friggin let me know what you guys want to see more of i want to do more of these environments than unreal i want to help you guys learn unreal i want to demystify the program it's not as scary as it seems um you're never going to make progress if you don't hop in and i think now it's just becoming easier than ever to hop in especially with william foshea doing his tutorials especially with unreal engine 5 just making things a lot easier now's the time to get in y'all get in while the getting is good um but i'm gonna hang out with y'all for a little bit answer some questions if you guys have any questions please just add me here i'll answer any questions you guys may have about unreal about life um and then we're gonna get into the weekly challenge winners i'll announce those and i'm probably gonna go get some pizza get some pizza yeah heck yeah that was fun that was super fun i feel very accomplished with this one um it gave me a chance to revisit uh st john's newfoundland that place is the freaking best if you guys are all about fog and stormy weather go to st john's newfoundland because it's amazing one thing i don't think i touched on actually um and i may have mentioned this i know i mentioned this but i don't know if i mentioned it here um coming up with ideas right coming up with ideas for renders it can be difficult sometimes and i love very very much going out with this camera right here this is the film film camera it's a nike matt ftn it's the camera i used to take the all my film photos on it is rusted now this thing has been rusted so i have to get a new film camera it makes me very sad this thing is the best it's like six pounds seven pounds of just metal all mechanical this thing's the best it was a japanese camera in the 70s late 70s um anyway i'm a scatter brain right back on topic going out taking photos whether it's with your have it be your phone it doesn't have to be a film camera whatever gets you excited to take photos that's what you want to be doing right go out um go on a hike go on a trip go out of country whatever go travel please go travel if you can go travel i know that covet is a thing but it's starting to ramp down it's been ramped down i'm ready to travel i am dying to travel bring a camera with you take your own pictures learn how to use if you want to step up from the phone you know grab a cheap digital camera um sony has a lot of good stuff um learn how camera works because then you're gonna learn how to better direct your scenes in 3d it all comes from this right here so long story long story i'm out taking photos love taking photos i come back and i have a batch of photos that inspire me to create more 3d stuff and the whole point of me saying all this is use your own photos as reference to recreate and then you can add things to them that weren't there originally um you know the mortality run piece of art i did with the car rocking with the wind and the ocean and the factory in the back that's that was inspired from a photo that i took in newfoundland as well um and i just added a bunch of stuff to it i just kept going kept adding kept adding and i can certainly do that to this you know to this thing that we just created and you guys can too it keeps your art original you're referencing you're copying your own stuff that's freaking great that's great copy your own stuff all day long recreate your own stuff um and it also keeps it more original too because it's from you it's your thing it's a great way to learn so next time you're out take some photos maybe do some recreations could be fun but let's get to some questions you guys are up in here with some good questions we still got 470 people in the chat i really appreciate you guys thank you for hanging out with me um people who are working in unreal for should they move to ue5 yes finish your projects in ue4 finish them and move on to 5. in my experience yes in my experience yes if you're part of a big studio and you know there's so many people working in unreal 4.27 or whatever version they ended up on that's a higher level decision there might be reasons why it's not safe to move on yet because five is came out it's publicly released it's not in beta anymore there's a lot of beta plug-ins i mean i love five because it it builds stuff for you it does stuff for you that you would have to like spend so much time tweaking tweaking tweaking to get looking right lumen takes care of that also nanite allows you to just fill your scene with so much stuff um so i love it hypoxia am i excited to judge the rococo loop challenge heck yeah heck yeah well it's gonna be me uh wren i think peter and william foshae the four of us with sam from rococo we're gonna be judging these loop uh renders i've seen some of them from y'all on the discord and i can't wait to dive in it's gonna be fun um where are the clouds in the render yo there are no clouds in the render because well technically we're in the cloud in the render because it's fog so we're in a cloud um snowflake films my textures and meshes look blurry when i import them from qixel into ue5 as a way to fix it i use nanite quality setting in quicksole they look blurry um i don't know i don't know you can try disabling nanite in the mesh try disabling nanite and see if it looks better also try rendering it and seeing if what you render looks different than what you're looking at in the live viewer perhaps but it's kind of difficult to to say without seeing it um can i share my comma music playlist yes it is called ambient for vfx and reflection let's see it's on spotify if you type ambient underscore for underscore vfx and reflection i'll share this with you guys right here in the chat um yeah i listen to this music all the time to let's see let me grab this uh copy link bam uh ambient playlist for you guys boom yeah i'm up on that all the time it helps me it inspires my work i listen to it i listen to it all week while making this piece of art um so it's a it's a no-brainer for me uh is it possible that lumen and nanite come on apple silicon who knows man i don't know um it's a shame it's not on there at this point but yeah i'm sure i am sure need more unreal streams for sure ghost trigger i got you definitely it's gonna happen maybe get william on for another stream i would love that i swear every time he talks i learned something new i agree yup you're speaking the truth um what else astronomy live is ue5 compatible with making vr experiences yet heard it wasn't compatible with vr out of the gate um i am sure you can do vr stuff with it but i'm just talking about but at this point i've never done it myself um yeah i i know that like vr is them is literally the most taxing on unreal and i don't know soto is telling me here in my ear he doesn't think lumen and nanite work with vr because it's like a it only works with one camera as opposed to two cameras at the same time so i don't know if it works for vr yet i do not know um will my wife make a stream appearance probably not probably not maybe her arm will pop in at some time and like give me a cookie or something she does it sometimes she'll like bring me a kombucha or a cookie but i don't think she'll say who knows i think she did one time like early on but she usually hangs out with friends while i'm streaming so digital boost your lessons have made a very wise man have made you a very wise man you know i do what i can i do what i can as to you or trying to try and get through this and uh learn as much as possible but i appreciate that anish does fong angle matter when importing mods from c40 to unreal five um it's looking unsmooth sorry very new to unreal five um i don't know if phong angle matters in unreal five to be honest with you i don't know um but i think i've ran into that problem before i would check the stream i did with steve begin it's an unreal stream i did with steve begin back in the archives um i think we may have ran into that in that stream so check that one out and use if you're doing c4d use um the data smith importer so you're gonna go to plugins in unreal engine and you're gonna type data smith you'll check that import your stuff that way from c4d i think that could also help you um what else have i thought about doing some interior design experiments in unreal five we normally work inside of redshift and c4d but the looks of things unreal could do a decent job for some setups absolutely man yeah i want to do some interior stuff i want to do um a series on like uh um like steam rooms saunas onsen kind of stuff i love mia's theme room uh the lighting in there is nice it's foggy it's totally up my alley so i want to do some interior foggy steam room stuff um but yeah i mean with lumen i'm telling you with lumen and the bounce light the global illumination is off the charts interior design is perfect with unreal five this is amazing ah what else what else you guys got a couple more questions and then i'm gonna do this weekly challenge let's see thanks digital boost have i seen the new season of death and robots i have actually i've seen half of it i've seen half of it um i thought it was pretty cool yeah i thought it was pretty sweet uh definitely the last episode was my favorite in terms of the look i watched episode three the one y'all said was like my render challenge is there's no way that that that it's the same thing like a dude is dragon you know she's dragging her dead friend across the wasteland if i were to drag anyone across the wastes and you're tethered together is part of the story i'm gonna do it that way also there's only so many ways you can capture that action going through an environment so it was just it just happened to work for their story i don't think it was a thing but it looked like it didn't it was funny um what else is unreal 5 worth learning if you're into making movies i started learning blender for vfx yes worth absolutely absolutely um i i will say that like you know you know when you buy two video games and then you don't finish both of them or either of them right like you kind of want to finish one game and then go to another i wouldn't say it's like exactly like that but it might be like that especially at first because if if blender is completely new to you and you start learning it's like learning the piano and then you learn the trumpet as long as you keep learning them like just don't whatever you got to do for you to keep that fire going do it unreal is deep unreal unreal can be very um intimidating so honestly like keep watching these streams check out william foche he he'll he'll guide you in the right spot um he'll make it seem easy for you so check him out just watch this tutorial see what see what's good uh wind bush is another good one too uh the one thing you never really find online is niagara vacant dealing with getting the ability for ffx for players to follow terrain slope the loving in-depth tutorial i don't know much about that i'll be honest with you um yeah i'm not really about making games in unreal or rather that could be mistaken um it's not what i'm trying to use unreal for i'm trying to use unreal for cinematic storytelling so i i don't know i wish i could offer more on that spidey gaming thoughts on zbrush yeah i had difficulty with it uh using it this year for uni use blender variant for final project instantly felt more comfortable look i would say whatever whatever uh program or software gets you excited to create that's the program you should be using so at a certain point maybe zbrush will be your answer because you might find there's limitations with whatever you're using now and then it's like i gotta figure out something next and zbrush is you know z brush is there it's not going away um i have not used zbrush like i used it once maybe 10 years ago but creating characters is on my list it's it's probably next it's such a weak point for me i need to get better at it will i add houdini to my workflow probably not i'm gonna keep going with unreal for now and then it's all it all comes down to the art i want to make right um and for me that's environments atmospheric environments i love it it's the best and unreal makes it so darn easy so yeah yeah but i'll learn as i need to you know i'm not saying no to anything it's just a matter of what i'm trying to do all um couple more do you recommend any art books i remember uh remember you recommending some before like construction zone dude i'll yeah yeah absolutely absolutely oh what steve begin i was just talking about you i was just talking about you um we had a question from someone saying when they bring stuff from c4d into unreal everything looks jagged like the phong angle is it doesn't look smooth and i remember us running into that problem i don't remember if it was like on the stream but do you do you know how that works is there a way to import something and like have like a ball you know your sphere imported from c40 looks smooth as opposed to like a freaking geodisc um that's great that's freaking great steve began popping in like right as we were talking about you i don't know if you were here when i brought you up first but that's pretty great can you link steve or uh can you link will focus tutorials just google how to make unreal cinematic and he's the man guy with the beard filmed from like up here this angle with a nice soft box that's your boy um do i have any resources if you want to move from doing renders in unreal 5 to actual game design oh i have not looked up game design tutorials i would start with just a youtube search from there um i would look up any sort of tutorials i go to like epic games or go to unreal engine uh the unreal engine resource page in the epic games launcher and they have a tutorial area like a resources area and they have a bunch of like courses and stuff for free so check that out namaste from india yo yo thoughts on c plus and its importance when it comes to unreal five i don't know a freaking speck of c plus plus so maybe it makes you better in unreal five but i don't i'm not using it um thanks ronin for [Music] for grabbing will's channel there i'll pin it okay guys let's let's talk about the weekly challenge winners all right because the challenge was uh was monument you had a week to create a monument render uh and we're gonna talk about this right now so soto if you can share your screen which it looks like you already yeah can you share your screen so i can see what's going on and then we'll hop into it uh let's see let's see what are you hold on guys we'll be there in two two seconds yeah restart it weird it's just oh wait no there it is there it is all right sorry guys all right let's talk about these uh these winners here are review let's hop on over yeah okay so like i said the weekly challenge was monument you guys had a week to render whatever that meant to you i picked the winners we got some honorable mentions to get into this is all done on the discord server linked below you guys get 15 points if you win five points if you get honorable mention um and that upgrades your rank you can level up and everything um and climb to the ranks and have a sweet badge to show off so first off the first winner of the monument weekly challenge is elliott with the classic classic render y'all from 2001 space odyssey i think this is so well done it's your lighting man your lighting is what looks so darn good i wonder if this is unreal i wonder um but dude your sky looks great your lighting looks great very soft and buttery your composition is spot on the blocking and placement of the apes is spot on um your grass maybe you can use a little bit more but whatever it's looking solid dude your your assets are placed nicely uh your render quality is really really great you're firing on all cylinders man so congratulations elliott for the challenge winner roll this week you get into that pro tier lounge um it's going to be a good time you get those 15 points it's gonna be solid who do we have next we got oren cloud up next yes dude i love you need your own art book because all of your renders are looking so darn good they're in this style what a beautiful portfolio you have it's so cool to see you putting stuff out of this quality every single week another thing too we have streaks so if you post i think if you do uh consistently post three times then you will be on streak and you'll get uh your your badge your art badge will go it'll catch on fire super sick um this looks great dude holy crap the lighting on this is ridiculous the composition is ridiculous your colors are amazing framing is really nice um the skulls look a little they almost look like they are untextured i know they got some subsurface on them it looks like but i like part of me wants that skull texture you know what i mean um but my goodness congratulations to you for winning the weekly challenge oren cloud super solid stuff who do we got next it's our boy ronin our very own ronin one of the moderators and when a moderator wins everyone can win okay just because someone's a moderator doesn't mean they can't win this is purely based on the art alone okay um no one's getting any special treatment the art if the art's good the art's good and if we have a moderator win like ronan just did right now what we do is that moderator so ronan will choose one of the honorable mentions and gift the challenge winner role to that honorable mention so it's not like he's taking up a spot or anything just just to make that clear this is beautiful really solid lighting i love it when a foreground element is out of focus in this like big scene like this it makes it feel like just so massive and you know there's there's different different movies that do this kind of shot it's a very basic thing it's just a shallow depth of field but when it's across such a wide landscape like this usually you have to have a much you have to have nd filters you have to have a real low aperture lens which it's hard to do in real life especially when you're so zoomed out at like a you know 25 mil or a 20 mil like this might be it's just a really cool look i dig it and it's good color good lighting nice little statue or stash statuesque um it's just monolith coming up out of the ground these two buildings so congrats ronan very good stuff next up we have skye going classic this is definitely this is a monument for sure um it's so good it's lit so well it's so clear it's so clean and crisp it just works it's freaking solid you did a really good job with your composition you framed it well you vignetted it with your natural with those trees there which is always a great hack it's always you know you're vignetting your subject naturally with the trees if you go back to ronan's you can see he did the same thing he's vignetting his um uh those buildings with those foreground pipes and the character and everything so very similar but yeah skye really good stuff congratulations on the win that's looking really great keep it up and i hope to see you doing some cool stuff next week as well and finally the last winner is zeus creates my goodness i love the color on this one man i love the color i know you were here on the stream previously i hope you're still here but man it's looking good i really love your lighting and your color on this um and your angle too it's not a typical angle that you'd see so i wonder like did you use reference for this did you find something that inspired you to choose this angle because it's not like a go-to angle you know i really dig it it's really really nice i think the only thing i'd add would probably be just more detail more shrubs more plants uh on the outskirts of things um could probably help a little bit but man other than that dude this is freaking great your god rays are solid the birds are looking good i'd love to see the animated version but let's hop into the honorable mentions all right we got our five winners first up i want to shout out capes on my back with this nice little monument this forest monument you got your little uh your reference up top little easter egg up top on that thing i just love this lush forest environment i think it's beautiful it's framed nicely it's lit nicely it's composed nicely you're doing really good stuff so keep it up feisty cadaver is next which you got very simon stalin hag extremely simon stalinhack um but he's one of the one of the greats so you're doing doing a good job um being inspired by some of the best you know you're doing a solid job with the atmosphere behind that monolith to silhouette it right you kind of lose it if you just had the trees but you put that cloud layer back there and it really does a good job of uh of making that pop good lighting too uh jimmy dubs is next freaking great i love the red green uh really good color contrast it's a good way to pop your subject out if it's contrasting colors um good cloud layer there too nice and puffy pixar looking clouds pretty nice environment too i think you could probably hide the seam of the water and the rock there uh on your lake on the left side with maybe some more shrubs more smaller rocks or something and a character maybe on that hilltop having a picnic in like a yellow or blue dress that's dying for a subject why is there no something that's even lit there for a subject yeah oh there's a person it's too tiny it's so tiny i can't see it i eat my own words lord cabbage lord cabbage is next classic man super good you're doing the same thing you're framing your uh your subject here naturally with the trees with the mountains shining a bright light behind them to silhouette them and really put the focus on your statue as good composition that's good lighting and i want to shout you out that's good stuff luco is next you're doing cool stuff here i love your lighting i love the idea this is really cool and you dude you're doing it y'all are catching on you got your vignette natural vignette with the rocks in the foreground shaping your image and directing your eye towards the the subject which i'd say is the this this rocky masked character and then your eye definitely goes down to the character just below so you're doing it killing it really good stuff uh mod over mesh we got you next freaking love this man this came close to winning for me i love your color your green cyan yellow such a beautiful palette so lush i love like the painterly layer you have on top i want to be here i want to be here ah you're killing it such a good job great work marcus seem i think is your name you went classic you went literal with it the washington monument and it's freaking great this is near photo reel it's lit beautifully beautifully and you chose a perfect time of day to represent um yeah man hats off to you that's really good stuff metatrox is next real interesting um scene here very like high fantasy kind of vibes i'm getting here um i'd probably move your moon out from behind that rock it's like a little bit make it a little smaller pop it out to the left a little bit more maybe your character on the bottom left i'd probably get them in a little bit more featured a little bit more um i want to see this person on the robot there would be the true subject i feel like your subject is just out of frame a little too much your lighting is beautiful killed the lighting man really good stuff on the lighting um and i think there's some sort of like character holding out their hands with a waterfall cave situation going on in their in their head or their hood i'm missing that a little bit i wish i could see that that is a person a little bit more as opposed to it just looks like a rock if i squint it's just a rock you know so i'd work on trying to frame them a little bit more um you could potentially do that with like a light layer like if you were to oh it's the best way to describe this um on their left side the shadow side they just kind of need a rim light essentially so maybe you pop them out from that rock a little bit more or something i don't know but it's really good stuff the lighting is what is my favorite the colors too super solid of course the atmosphere anyway moving on edward you're next um beautiful man really good detail really good render um your lighting is solid i love your scene again your silhouetting your subject your monolith naturally with those ice walls um and i just loved your lighting and your puffy snow down below it looks it looks really good so shout outs tia and uh next up we have monument to cats underscore cc i don't know if that's your name but i like what you said you said in a way it's the tallest thing in the room and it's basically a monument to cats and your render quality was so freaking nice that i had to give you a little shout out here i think it looks beautiful so congrats purbosky is next this is really cool this is like the i think the only person who went this far modeling wise on their monument and it actually looking this nice you featured it's not about your environment really it's about your monument so i think you modeled a really cool thing um you lit it well it's colored nicely and uh yeah it definitely piqued my interest so it's good stuff and we have game factory shout outs the game factory dude yes freaking love your lighting love your lighting and the angle super solid too great detail great scene that you have going on here super creepy very cinematic uh yeah dude this is killer very good stuff and i think lastly we have triogi beautiful this this reminds me a little bit of love deaf and deaf yeah love death and robots i wonder if it was inspired by that um you had two versions you had an oil painting filter and you just had the render i preferred just the render so i grabbed that one the oil painting filters seem too much like a filter that's a tough one that's a world that i hadn't dipped into yet the filter world but i know there's some really good stuff out there so definitely keep doing your research the trick is to not make it look like a filter that's the that's the hard part um but this is awesome dude you've got some nice god rays coming in here uh it's a really nice setup my only my only thing was like i don't really see the monolith i don't see the monument um so that would be my biggest note because it probably just needs to better match the the prompt a little bit more but i think your lighting is solid i think your render quality is solid so keep it up just try and try and i'm sure you had your way i'm sure you had your thoughts on why it matched but uh i know there's a structure away out there just hard to see and that's it y'all that is it uh congratulations to the winners and if you guys want to participate in the new weekly challenge like i said we're running them every single week down in the description we got the link to the discord come hop in with us we got a good community of people there is a patreon version of the discord server but you honestly you get most of it for free um we are kind of going back and forth on what's free what's patreon and we felt we've always felt that the weekly challenges should be open to everybody because we don't want to hold back the education from everyone um patreon gets you like patreon lounge game nights we'll hop in for game nights once a month that kind of stuff and as far as the discord server is involved but yeah i think this prompt is a useless invention or something like that i'm pretty sure it's a useless invention and uh it'll be fun create your own useless invention should be cool but i'm gonna keep working on some environments i'm very excited to keep going with that um i will be posting a video so this is my stream for the month i stream once a month and i post once a month so two videos per month definitely subscribe if you guys want to catch my next video that's coming out um and it's going to be on how to create an in-depth environment in unreal engine step by step by step by step so it's kind of like what we did here but the 15 to 20 minute version hitting every step along the way with all of my fine tweaking and refining already done right so i'm just gonna try and get you guys there as quickly and as efficiently as possible so that comes out i believe on saturday july 25th uh don't miss it it's gonna be a good one and yeah keep creating keep having fun guys i'll hang out with you for the next five and then i'm gonna get some pizza pizza i need water if you guys got questions hit at punisher here and uh and i'll answer hypoxia no videos today apologies [Music] no videos today hmm oh it feels good like i was saying guys it feels good to to work on an environment throughout the week to get it done to get it looking nice and to it also prep for the stream at the same time so i feel like i know what i'm doing the stream just goes a lot smoother when i do that i'm just happier with the art but yeah let's let's try and get will foshay on here let's try and do an environment we'll will foshay together i think it'd be sweet and we can all do environments together um almost a million subscribers i know i know we're so close i think by the time we do the next community challenge which is coming up pretty soon ish here next community challenge we got the prompt me and the moderators we got the prompt just gonna start building the project files we're gathering the sponsors we're getting the prizes together so get ready y'all it's gonna be another one month challenge you know the deal get the montage together do a nice little judging session with some guests all renders top 100 custom music it's gonna be good it's gonna be good uh favorite pizza topping pepperoni man pepperoni and his pineapple justified i used to think absolutely get this pineapple off my pizza but you know what i think i had the most problem with was the ham i hate i hate ham get the ham off my pizza i willingly order pepperoni pineapple jalapeno and basil pizzas that's a move now you know it's good [Music] did i okay ghost trigger did i figure out how to get the contrast saturation uh uh brightness parameters added to my material instance i did not i did not that is something that i'm going to add to um it's part of the research i'm doing for my next pre-edited tutorial that's coming out on july 25th i'm gonna try and get that included in that video there's lots of little things lots of little tips and techniques to be uh talked about um in that next video in two weeks so it's on the list no doubt sipo yeah soda's in the ear dude he's talking to me he's telling me everything i'm saying he is saying to me a fraction of a second but oh my god i can't talk when you do that we gotta get a mic for soto so we can pop in here i think that'll be great um can you give us a hint to the community challenge topic soto what do you think mods what do you think can we give the tiniest hint or shall we not shall we just say it's coming and to be excited [Music] i don't know one letter of the name m m that is it starts with an m that gives you nothing absolutely nothing in fact you're more confused at this point you know we'll dish out some info as we get closer all right we're going to hype it up like we did last time we're going to hype the release date we're going to hype the name um shout outs to visual for um for for really wanting to do that i think it's a great idea um he put together some cool promo stuff for the last challenge and we're working on we'll be working on some stuff this time too yeah it's gonna be sick it's gonna be sick it's not the america challenge no no it's not that uh it's not macro it's not masculine men challenge it's not the morbius mark twain challenge it's not the meat challenge it's none of that stuff guys it's none of that stuff it's not morbid time no no it's not the macaroni challenge confirmed it's not that okay i promise am i a pro artist i mean pen sketching on a 2d sheet and how do you apply it to hold on no zykro okay am i pro artist who knows what's the definition of a pro artist i don't know what the definition of a pro artist is who knows if i'm a pro artist i just like making art uh i i mean pen sketching on a 2d sheet i don't know what you mean by that but i will i will uh infer that you're talking about a little wacom tablet perhaps they have the paper version of this where you actually overlay paper and there's a special pen where you draw on the paper and the paper like your drawing transfers to photoshop it's pretty crazy um it's the intuos pro 5 paper version freaking sick uh and then how do i apply that skill to 3d art how do you apply pen sketching to 3d art well i don't know i mean i think learning the piano would help you play the trumpet better because you're learning music theory where the notes are chords scales patterns all that good stuff and i'm sure drawing helps with 3d art i'm sure it does i love drawing i think for me my first instinct on how drawing helps 3d art would probably be one it helps you come up with stuff off the top of your head two if you're drawing stuff that exists it trains you to look at what you're creating so you're always using reference and using references the one of the freaking biggest parts of creating 3d art or any art is there always have a reference know where you're going know where you're going just like in civilization 6 a game i've been playing recently am i going for a domination victory am i going for a culture victory you know um religious victory you're gonna play the game very differently based on what victory type you're going for same with 3d the art you're creating is going to be vastly different you can create anything anything so having a having a north star having a guiding point on what you're trying to go for through reference is a great it's great it's a must honestly how that relates to art to art and drawing and drawing your reference there's a million there's a million ways to relate it a million ways i'm gonna get that pizza pretty soon you say pro equals getting paid to do it ian can you be pro and not be paid to do it that's the question i think maybe yeah depending on your skill like if you're so good so good um but you're not being paid to do it either anymore or you have never been paid to do it are you a pro yeah i don't know it's conundrum yeah visual talking about drawing you learn about light form shape composition of course yeah there's so much to be taken from drawing am i wearing vesis no i am wearing socks the red square looks like i have a health bar it kind of does doesn't it that's my stamina bar or my my uh my water intake bar [Music] i mean i don't know what else to do at this point guys like we we did it all we're just making the video longer for people who want to learn how to make 3d art and they're going to be like four hours i'm not gonna watch a four-hour video [Music] look at this look at this rococo sent me a plan y'all for getting married yes that's a little terrarium i want to model this i want to render this thing oh yeah i got married got married big big deal big moves pretty sweet pretty freaking sweet um guys i think that's it you know we had a good stream you guys are amazing thanks for hanging out with me we got 400 people just listen to me rant and go on and on uh you guys are great keep learning keep growing y'all know you'll know what to do weekly challenge in the discord down below sign up on the discord uh it's free sign up freaking subscribe of course that's free uh don't miss the community challenge coming out in very soon ish you guys just stay tuned alright stay tuned um what else july 25th i got a video coming out on how to make more environments in unreal engine and make them look photo real and make them look nice step by step by step um so it'll be like the shorter version of this but with a new environment a new environment i'm gonna bounce it's pizza time you guys are great thank you so much catch you soon stay safe stay healthy peace out guys later bye [Music] tip [Music]

Channel: pwnisher

Views: 276,598

Keywords: pwnisher, 3d, render, challenge, vfx, tutorial, cg, cinema 4d, blender, unreal engine, ue5

Id: 02tEDwb8960

Length: 179min 55sec (10795 seconds)

Published: Sat Jun 11 2022