Physics Asset Editor Updates in 4.18 | Feature Highlight | Unreal Engine Livestream

[Music] hey there Yui fans welcome to the Unreal Engine news and community spotlight our first news item is that jess has written another wonderful blog post in her for Indies series so this is public speaking for Indies she's done a wonderful job of explaining you know how to put together a presentation sort of your mannerisms what how you need to prepare for it because any time you're at a networking event or even in your office talking to your fellow employees that's all public speaking and it's a really important skill for you to have especially when you're on a show floor or out showcasing your projects so definitely go check that out there's a lot of really wonderful information and thanks to all those folks that helped contribute and answered some of her questions or gave our feedback for that so check out the public speaking for Indies on the block our second really major piece of news is 4.18 released on Tuesday huzzah there's a lot of really great changes in there we've had updates to the media framework the physics asset editor has had a major overhaul and there's volumetric light Maps update there's additional support for AR AR kit and a our core in there definitely go check it out there's a lot to download and dive in and check out those new features in the release notes as always we have our community spotlight those folks that are answering questions on answer hub and you know helping out their fellow community members we always love to give a huge shout out to those folks so this week's helpers are every none static void lull da Shadow River una unagi cold steel 48 knocked mare Neelix 32 kai yoshida and Rojas thrush so thanks guys you're our karma weekly karma earners for this week on to our community spotlight it's um the first one is an all-in-one spline generator so this is a tool they made it to you make complex fine spline meshes with a few clicks it's and they've done a really great job of trying to make it user friendly you know they have a it's it's fully in blueprints it's configurable through the details panel and it's just supposed to be able to work with both simple and complex base materials and have just generally light or user friendly parameters so you can jump in check out this tool just looks really handy and it might help you folks out on your projects to our second community spotlight is called blessing alien escape so there's this cute little alien and he's on he was thrown down to earth and his name's blessing which is kind of adorable and you know earthlings are really harmful and it's a dangerous planet and so he disguises himself as various office or these laboratory items and you're evading trying to hide away from the humans and not let them spot you as you shape ship shift into random things and avoid the guards as you're solving puzzles and just I really neat I love the aesthetic here and so the premise of the game it looks like a lot of fun so there's an alpha build if you want to go check it out on the boram's [Music] [Music] and our third and final community spotlight member or winner for this week is the it's a modular fantasy town by William Lafleur it's a personal project we did that he's done over the last couple months and I just think it's a really beautiful stylized little village and he worked in ZBrush and substance to put it together they're almost exclusively modular so you can combine them in you know a bajillion different ways and he even has her breakdown of how he in addition to the the shots here he has a breakdown of how he set up his materials and developed them in ZBrush and all that so I always love to see those breakdowns it's really helpful and lets folks know like different workflows and styles that they can use to achieve their own stuff so great job everybody we love seeing all your amazing projects for this week we're always in general alright so thank you for joining us for our news and community spotlight hey welcome to the Unreal Engine livestream I'm your host Amanda bot and with me today I have Charles one of our lead technical animators and then Thomas all the way in the UK as one of our senior programmers so welcome to the stream guys thank you we're excited to have you on and they're gonna talk about the most recent updates to the physics asset editor so you wanna dive in yeah basically all righty comes with they've been around there since before really just bolted it to a newbie why nothing pretty much all of your assets just changed but there's a whole bunch of kind of quality top level work brand-new state-of-the-art set which is the news for all the other animation editors and that's given us a relative useful news it's also got like little call it CLI features like I mentioned before I can say the old cats you started editor every single time you have to move the camera in the direction and then you have to kind of Luke you couldn't move at all that movie there so in one see it then didn't have an option now there's a whole lot of tools of light brown colors into place rendering is all Knights things like that never feels like you're in a much and Chelsea oh it's gonna go through a setup of one of his characters and new features yeah so real quick could you when you're speaking Thomas could you try to speak a little louder they're having a hard time understanding you I will thank you thank you all right so um so yeah so we've got a this fun character from Paragon his name Dan our bash he is got a lot of stuff going on with him but you know we'll just kind of start at the beginning here so this is just opened up this is this is a mostly finished physics asset here I that takes a little longer to set the whole thing up from scratch so I kind of wanted to start from slugging this little blender so we can really show you some of the good stuff but some of the initial features you'll notice is like this basically looks exactly like persona which is our animation a skeletal mesh editor you've got the the buttons up here to quickly go back and forth between the animations and the meshes and the skeleton just like you do in persona and it's also got the preview scene settings here which gives you control over everything in seeing you know an old persona if you had a character like this who part of him was was uh in one mesh and part of Moe's another mesh you had no way to combine those things together so now that we have this we can very easily go in and you'll see over here we've got some and we can put animations in this is our art base mesh but down here we have additional meshes we can go in and throw in our parts mesh and now we can have wardroom complete while we're working on the physics assets we also have the ability up here we can go and pick from some animations so let's get him doing a little bit of marching band here this is one of his one of his marching animations and we can you know then pause and we can scrub and do whatever we need you to show all this off and to really look at our physics asset in ways we couldn't before so we're gonna put this we're gonna turn this off for a second yeah pretty much yeah generate new stuff and you would just change that up here you switch this over and when you switch it you'll see it changes this and it's it shows that you know you haven't applied this to the asset so it's not a permanent change so you switch it over and you hit apply to asset and then it makes that the permanent the the base match the bet mesh that it uses when it's simulating bodies and stuff like that so we're gonna leave it on this one for now but so now we're gonna go in and I'll turn on the body so you can kind of see what I've got so far narva she's got a lot of got a lot of stuff going on on him so this is kind of just any initial setup but I wanted to go what you'll notice down here so really quick showing this off there's a there's a whole bunch of new settings of here before you could just kind of set some of the default settings now you have the ability on the bodies to do things like you can change the opacity of these you can have them as bright or transparent or solid as you wish also under constraints you have the ability to draw constraints either as points which I don't have the mom let me turn them on here so if we turn on all positions you can draw those points now or you can draw him as your positions or you can show your limits and all that type of stuff and you can also change the constraint scale so if you're working on these you can you know make them big when you were going on here and then when you're getting close on some small detail you can shrink them down it'll turn those off for now we're going to turn on this option here which is a very useful option it's only selected our only selected solid so what that's going to do is gonna show everything transparent so you can see your mesh a little bit better it's show everything clear essentially and then whatever body select on its going to make that one solid and only those and it you know works a multi-select too so we're gonna go in here and actually I wanna we have this chain so I want to show you how to set up this chain cuz in in previous fad you never had the ability to set a multi-directional constraint you couldn't pin the chain over here and over here you'd have to do some very complicated weird setup that's not super intuitive on this character previously we had a joint here and a joint here and then we had another joint in the middle and we I was doing a linear translation motion on this so it bounced up and down I kind of give me sort of that swinging motion of the center and then I had a look at constraint in the blueprint for these two joints to aim at the center joint where ever it was which time to work but it forced me to have to smooth-skinned the chain which means the the the the links didn't stay solid and it's a whole bunch of things about that that weren't necessarily ideal but now what we can do is we can go in and create a full-on chain and have it linked on both ends and we'll do that really quick here so I'm gonna go over here we now have also a lot more settings over here to show off to work in the skeleton tree so one of the big things that has changed the there's no longer when you go to your details panel there's no longer a you'll notice there's no longer a button for constraints or bodies there's just the constraints and bodies listed over here so if we turn on show constraints now we're seeing the body for these Pete bodies and the constraints that go along with them and when you select one or the other it just automatically switches your views so you don't have to worry about going back and forth and switching between a button you just find your constraint and your body and you select him we can also then show joints over here so we're gonna show all the bones and we're going to turn off a hide parent and we'll leave that on it doesn't matter you can also show primitives which is kind of a cool new thing because you can actually see the primitives the bodies and the constraints all in one view and you can work with them and you'll notice this down here this is the new graph which is essentially a more of a graphical view of what you've got here but if you select a body for example you're gonna see the body here and then you're gonna see its parent constrain its parent object and it's child objects and then the constraints that go back and forth through them so you can use this to windows select ball constraints or bodies and edit him however you need to that way so there's lots of different ways to view things right now what I wanted no you want to select something like the old version you have to kind of switch to constraint and just you couldn't go got in the way yep so I'm gonna go let's turn off primitives let's turn off constraint so let's turn off bodies so we just get the skeleton here I want to go in on this chain I should be at the top and we've already got a body there - no it's good so if you look at the bodies here this is a 8 so we're gonna go from 7 down we're gonna select these guys now we're gonna leave that one off and we're going to add a new body so all the everything is context-sensitive now so if you're either you're in here or you're in here go right click on something everything you're gonna get is is shown up everything you need is gonna show up here based on what you have selected in your right-click menu so we're gonna add replaced bodies and that's going to give us bodies for all of our entire hierarchy pops up a little dialog yeah so you do all that right here in this tools tab which can be found through the Windows menu as well right there so that created our body so I'm going to go in and set all of these so now I have all those bodies selected let's go to the details panel we're gonna give them just a little bit of linear dampening we're gonna set a decent amount of angular dampening because we want them we don't want them to be have too much energy when they're bouncing around or they'll start to tear apart and then there's this there's this other new setting down here which we wanted to point it out which was added in it's basically a uh it's a scaler for inertial tension so if you've got a body that's you know this big but you want that to be the collision for it but you want it to behave like a body that's this big you need to you can't do that with with old fat you couldn't get it to work like that so you can actually with this now you can scale it on all axes are on certain axes and it will actually make it move like a bigger body so it's it's really what it's doing is its scaling the the inertial movement down on that given axis so you can kinda make things slow down you don't want to set it too high if you set it too high you know anywhere I found that anywhere from like 1.1 to 1.3 is usually good depending on what you want to do sometimes if you have a hierarchy that you're gonna have something swinging from you might want to set the first body to a much higher amount and then taper it off as you go down to the lower body so you get kind of that that nice whipping swing at the end of it which can create some pretty nice motion so we're gonna just set this to 1.2 for right now just to kind of slow those down a little bit and then we're gonna go in and find our constraints so we'll turn off constraints turn on bodies and let's turn off bones as well so we don't need those anymore they're just getting in the way all right so now here we have our our chains so this is the one that I already had set up we need to turn on our straight view disability nowadays and now so yes and now here you can see on this one we had its set up a certain way so many of the rest of these right now they're all default settings so we're gonna get the rest of these to look more down along lines that so I'm gonna select all of those and we're gonna set them over here on our limits we're gonna give them all a little bit of limited motion we're just gonna give them a super small amount the reason we do this is because when when when this chain is linked at the end here to the body it's gonna naturally as these pull it's gonna want to put pressure on that chain and it's gonna want to pull at it which is gonna give you sort of a little bouncy and add energy to this into the system so if we put a little tiny bit of a motion on that allows it to pull a part of each link just the tiny amount which is enough to kind of dampen that down but not force it to break apart so you know so won't separate enough to see the actual links come apart and then we're gonna give it some angular limits and we'll set them to forty forty and ten just so we have a tiny little bit of twist and mostly just straight linear motion and we'll leave everything else the same for these for now so now if we go in here and oh one more thing almost forgot so we gotta set these guys to naught or to be actually simulated so you'll see here there's the physics type you you wanna you want to manage that and everything I I don't ever leave anything at default you typically I mean default is gonna basically set it to whatever the default is set for your project so you kinda I like to control it either salt make sure anything so your full ragdoll that way just here right now if you're doing a full rug building you probably want to control that at the high of it yeah so you you would from a character blueprint or from a game blueprint you would set the whole thing to be simulated on the fly so that the character can be running and animating and then going to simulator so at this point we press play you'll see we get we get that chain moving and it's moving pretty well we got some movement on the drum over there already so but it's not linking it's not staying put there so let's let's set that up next so now we want to go in and I want to take this last joint and you can right-click on this there's a whole bunch of options in here now but we can go in you can add shapes regenerate bodies will recreate them based off of whatever the defaults are or if you're doing a convex pulse you can regenerate them based on that if the geometry changes or whatnot so then you know collision exposed now it doesn't work very well right now yeah could you what what tools are exposed well things like like Mirror Mirror tools been there for a long time um but it's it's it's never been in in previous versions of fat you there was no menu button there was no button for it anywhere it was just kind of a hidden you have to know to press the M key and in order to do a mirror and because it was never exposed in where people generally didn't know that it was even there um and like Thomas said it's it's it needs some work right now um it kind of mirrors but it doesn't quite do it right so we're working out fixing that in a future version so we're gonna add a constraint a new constraint of this guy so this is a custom constraint so I'm gonna constrain that I want it to be following the pelvis its character so I'm going to constrain to the pelvis that's going to drop in a new constraint right here so pelvis to the main drum so that's going to drop in the extreme edits and put it at the pelvis so we need to move it over into place now so I'm going to move it now when you move things and rotate things you can move it you can do in two ways you can either move it just with the the cursor by itself or you can hold the Alt key down while you do it if you hold the Alt key down which I'm doing now you'll see that it separates it so that's going to basically leave the center of the constraint here but it's going to put the the the actual it's going to leave the reference point of the constraint back here if you want to get that back you can right click and hit snap it'll snap it all the way back to where it is so I'm going to just move it without that so that because I want the whole thing to be at an in an all-new position so we'll get this guy kind of lined up over here quick and I'm not gonna do it perfect because we're trying to get it roughed in that's the wrong spot so over there all right so that's kind of where our new constraints going to be and then we need to go set up some settings on it so again we're gonna we're gonna leave this locked but we're going to middle constraints yeah exactly okay so let's put some limits on this guy now you can see it came in similar to the moving it came in in a weird rotation so we want the X to be pointing down the length so I'm gonna switch over and we're gonna hold alt this time to move the whole reference frame I'm gonna angle it down and kind of point it roughly down the change it doesn't have to be precise because it's gonna stay within this cone anyways but we'll put it a ballet then I'm gonna angle it down a little bit because I want to make sure that there's plenty of room going down this direction when it goes because that center of that chain when it when it simulates the center this chains going to pull down which is gonna pull the whole thing down and if it hits the limit it hits this limit here when it starts calculating the soft constraints it's not gonna do a very good job of not jittering so it's gonna start to jitter as it hits that end and it's pulling out it trying to these bodies are going to be saying hey you should go past it but it won't allow it to so that's gonna create some extra energy we don't want so we're gonna do that and we'll put this again just to help with that we're gonna put that about 50 we'll make this about 20 and we'll just make them there whereas 30 maybe and we'll give it a little tiny bit of twist so that should give us what we need there now just really quickly we could be able to simulate and see it locking into place so it looks like we got some issues there I think the issue we currently have with it bouncing up like that is actually collision because when you create a body by default it's always got collision with everything else in the in the scene so we're going to turn off our constraint so I can see bodies here we're going to select that guy and this body down here with those three and let's turn off collision for those so that now you can see if we turn off selected only you'll notice that it shows anything that's blue when you have a body selected it's gonna have collision with so there's s collision with that and as collision with these which you would want to turn off collision off on all these to do your final assets so that you don't end up with things colliding in ways that you don't want to but right now we've turned those off so those three don't have collision or those two don't have collision with that anymore which should be fine this one we kind of want to collide with it because when the leg moves up and down we want it to push it a little bit and similarly over here this one's got collision with the drum so that's that's disable collision there get selected for some reason from that one and we'll disable question there to justice otherwise that's what I'm pushing it out so now if we go and simulate you get a nice dangling chain and this is where the fun begins because now you can get in here and you can start pushing it around and you can poke it and see how it's gonna behave and that's all the stuff that you could do a normal fat you know you could hold control and right click and grab bodies and drag them around the environment and and see how things are going to behave and that was all fine and dandy but now that we're in fat we have the ability to do some things like this we can go and show all bones well hide these bodies in constraints just to simplify things now we can go in here and we can grab our thigh bone oh and again because it's all in Persona now we can start filter which makes it much easier to find things so we can grab this guy and now we can start doing this we can simulate and push it around and animate the leg and see how it's going to behave and and you can really get an idea what your physics assets gonna love think of how it's gonna react to the world before you ever put it in game before you would have to test this much more much more rigidly like while running around a game to really see all this and it was much harder to do that way yes and then you can also go in and do things like this we can take and turn on our animation while we're simulating I resent that yeah we right now you can change yep all you can do is while it's simulating go in here I can grab and put on a different animation and have him rocking out now and doing all kinds of fun stuff that's awesome now the other third thing is we're not gonna show here because we don't have a we didn't make a full ragdoll physics asset but you can actually go in and you can have an animation plane let's go back to that marching one you can have an animation playing like this and then hit simulate while it's playing and it will immediately start simulating so you can have a running animation and you can kind of time it just eyeball it for testing and right when you get to the point where you want him to take a bullet hit you can press the simulate button and they'll immediately go on a rag doll and they'll just kind of maintain their motion and they go forward and they just start rag dolling and fall and so you can see the whole simulation how it's playing out it's really really really is so much better audio penetrating animation and you never quite sure wherever you've got like a nice little sandbox and you can you can put them in another example you could play their idle animation on them and have them standing there idling turn on simulate and and like hold control and use the poke to poke the bodies and see you know how the body might behave when it gets that takes a hit or or you know there's all kinds of ways to use it so the next one I wanted to show we're going to show a couple different types of simulations here just to just to give you some ideas on ways you can use this so war drum here in our bash war drum was his codename so that's what I always call him cuz that's how I want our bash has he has a lot of fat around his midsection area kind of a big guy so we wanted to make sure that that had some some jiggly motion to it so I added a body here just to kind of give him some motion so you can kind of see his fat in jiggle which is always fun your focus the focus jiggly fat but I wanna if we want to add on a luxury kind of what we want to do there so let's find the belly joints here so we got a bunch of belly joint so we're gonna add a little more to his belly on the side over here so I'm gonna add a new body and now that came in small like that because again the the his torso is not the default mesh if I were to change it to the default mesh over here I would have used your skinning information to create the body the correct size to encompass that so I'm gonna this one is gonna be a lot of linear motion it's not going to be as much angular limits or angular rotation so I'm gonna make the body kind of at an angle here kind of fill up the space that we wanted to jiggle around and I want to go in and set its settings here first just get that done all right so I'm gonna give him just a little bit of linear dampening a little bit of angular dampening and then again with this I'm gonna give this a little less because I want it to have plenty of jiggle motion to it so got our settings here and again we need to set the physics type to simulated then we're gonna go and get the constraint strain isn't showing up all right they saw that's because the constraint doesn't have a name that's why what is this what's that what do they normally come in as you said it doesn't well it comes in its name isn't belly it's its it shows the name of the object it's linking in the object it's linking to so it's it's more of a link connection it just displays that information so it probably isn't finding it as a string I imagine that could probably be fixed right Thomas so I already as we're carrying on working on this thing all right so right now our our body is centered right on our our constraint so I want to actually move the body a little bit off just to kind of give it some a little tiny bit of rotation so it doesn't pivot perfectly around the center which will go to a very circular rotation as opposed to more of an orbital rotation so just because it'll give the fat a little more motion I'm going to move that out the side a little bit and then let's set some linear limits here I'm going to set this to a pretty big number 15 and it will show our limits up here so we can see that so now when you go in here you can see that it's got linear remove it off a little more so that's a body constraint move it over you can see it's got its got linear limits of 15 and all that in all angles and all axis right there so it's basically what that means it's gonna move within within that range and rotationally we really don't have to set any limits on it I usually do just to be safe but you really don't need to set much phone so I'm just gonna turn those on for right now then the next thing we're gonna do we're gonna leave the soft constraint so we're never really gonna hit them anyways on this so if we simulate this as it is right now that fats just gonna kind of fall it doesn't really maintain it doesn't act like it has any any connection to the the actual body it just kind of floats around so we want to have it kind of stay right in the center there so I'm gonna go and select that constraint and we're gonna put some motors on it so I'm going to turn on its linear motor give it a value of about 300 or so and this the number on this you can't really you don't really it kind of depends on the size your body how much it's gonna be because then and and things like you know if the body is perfectly centered on the constraint it's not gonna the body is not gonna apply much friction or much tension to the constraint so it's not going to need as much for like angular motors or anything to to hold it into place but if you know if you took the body and moved it way up here so it had this big distance that's gonna really want to pull and then you're gonna need even more especially like on the angular so you kind of got to just play with it and see what your settings are there's no really set number on these but I found on this one that [Music] could you repeat that for them um yeah so essentially not sure I understand exactly can you tease that a little louder I don't think they can hear you very well okay okay so anyway we added added some some Springs to that now so now when you activate it it's gonna kind of try to hold itself in place and it's gonna rotate it's got a little too much rotational angular motion there so we'll set this up a little higher and then yeah so now we're starting to get a little better idea it's still probably moving translating far another trick that you will see is if you go in here under these you have the option to show the body drawing while in edit mode and the body drawing while in simulation mode so if you take and turn this on to solid in simulation mode now when we simulate it the body doesn't go away so you get a better idea of what's happening to it because when it hides it sometimes hard to see what's going on so you can see there it's kind of dropping out so my linear motor strength probably isn't high enough so let's crank that out 500 looks like yeah oh I know it's pushing it out haha I always forget about that so it's got collision this body turnoff simulation this body has collision with that body which is why it's pushing it out so now if we see money there we go so now you can see it kind of matter where I pull it it's going to try and go back to that area it's gonna have more of a jiggly sort of fat feel to it and a lot of this is skinning too you can go in and you don't kind of want to skin your bone and place your bone a little bit inside the body kinda in the center of your fat mass and then smooth skin it out very radially and you want a smooth skin and out in a large area so that it you know effects a decent sized area around it and you know if you put multiple bones like that you can do pretty nice jiggling with with overlap by having those kind of blending in with each other quite a bit so that's kind of a setup for a fat type of body or muscle type body and then one other one that will do here excuse me is the shoulder so we're gonna go in here so we've got the shoulder pad bone up here for this giant skull which is a pretty cool feature of gnar bash so we're gonna add a body and for this guy and again it didn't make it correct size because of the preview mesh but that's okay it's a really quick thing to scale this guy up so we'll just do something like that now I'm gonna have this one I want it to be pushed by the arm here so I want the arm when the arm raises up to push the shoulder pad up and have it kind of bounce off of that arm so I'm gonna go in and place it just generally just above it so that it's not clipping cuz we don't want it to push it when it starts the simulation but we want to kind of just lightly drop down on it and again I said it simulated and decent amount of damping on this one and a little bit of this again again this this inertial tension scale just kind of takes the edge off really now let's go to the constraint and we'll set this to I'll leave it locked on linear and angular we're gonna set it when you give it about three on the x-axis and then I'm going to do 15 on the Y and two on the Z which are the sorriest and on Z and two on the Y which is gonna give it kind of a allow it to move we want it to move up and down a lot but we wanted to have a little bit of side-to-side motion and a tiny bit of roll so it kind of rolls around the arm a little bit so that's all those numbers before just to give it a little bit of those motions and then we'll go and again we got a rotate you can see that the constraint is facing the wrong direction now that's one thing that's kind of key to setting up physics assets if you when you build your joints in in my or in your DCC app or max or whatever it is you're using you want to build as much as you can with the X down the length of the bones that during out of the direction of the bones gonna move from and use your Z as your up axis and then let Y be your roll because that's what it uses by default when it creates the bodies so while you don't have to do that you don't have to be limited to that because you can always go in here and just rotate them like this just hold down alt and rotate this guy down 90 degrees and now it's set up basically that way it just adds extra work to do it that way there's also a shortcut which if you hold Q if you hit Q it actually just toggles it between those axes that toggles it 90 degrees on each axis one at a time so you can kind of use that as a quick shortcut there too but if you build all your bodies that way to begin with it's one less thing you need to do say it again Thomas exactly well that's why we're doing this this trick stream to show everybody else now you're revealing all these secrets to to our community for us all right so the other thing we want to do here and just you know you could actually get away with this piece not actually colliding with the arm if you want to you can go in and set so again with the the rotation if I rotate this up like that not holding the Alt key now it's gonna rotate only within these limits so it's already gonna start off when you start simulating at that limit so if you simulate it it's just gonna start right there it's not gonna drop anything even if I pull off if I pull off collision with these you'll see that even even though now there's no collision there it's still it won't drop down there it's it's at its limit so you can kind of do it that way but then when you do that then when the arm goes up it's not going to push it so we're gonna put collision back on just with the arm there and then now when we simulate you know it's not much to see right there but you know it's gonna bounce up and down and do its thing but now when you go in and start messing with things the joints when you go grab that upper arm again now we can start to push it and bounce it around and see how it's going to bounce off the arm when we actually are simulating that oh and you can anytime you move a joint this and kind of a key thing that is important so if you're placing joints and posing joints and moving things around in here and you wanted to get back it's gonna retain that position even if you play in animation and if I rotate its arm way forward and play in animation it's going to use that motion that I've placed here as an additive motion to what the animation is playing so you want to make sure that you go and you can do a select all joints or you can just do it to the individual want to just do reset select to bone transforms that's just gonna reset it to its default just in the viewer it doesn't actually change anything in the mesh it doesn't change anything in the animation it doesn't edit anything there and it doesn't save with physics s that when you close the the editor and reopen it it'll be back to where it was by default it's just kind of a while you're in preview editing mode something that you can mess with to to test things so you can always put them right now so now if we go and simulate this guy and play an animation let's turn off our bodies so we can see it you can see that that shoulder pad is now bouncing up around me pushed by the arm and giving us some nice extra motion up nice so yeah so that's that's kind of a the majority of what we wanted to show as far as the creation side of things I want to show you over here so this is kind of the the full final cleaned up I basically cleaned up everything out of here for the most part so we can kind of play around to this needling you'll notice a few things here just to give you some more ideas went in and to this necklace thing here we added a body up here at the top and joined on the cowbell and then I added some collisions in here to do sort of his his chest shape and same with up here there's a we got these big clavicle bodies and some bodies up here on the shoulders on the spine three so that the the hair can collide with that I've got on him I've got these bodies back here which are the triceps let me turn this off so I stopped selecting those are the triceps so they're more of the fat jiggle stuff that you get down here and there's a lot of different things you can do another one we did you know we've got dynamics on the cymbals a little bounce around and then you'll notice this odd shaped body around the drum so there's really no way to do a big cylindrical shape like this using the bodies that are by default we have five fears we have pills and we have boxes essentially or we have convex hulls this is a convex hull and there's a few different ways you can set that up you can make a where's my content browser you can make a a static mesh so I've got this static mesh of the drum and you can go in and use the witch trying to show simple collision you can use the collision here to use two out of auto convex so you can use any of these to actually create a collision here around that and then when you get in here you can right-click on if you right-click on the drum you can actually where is it copy some collisions that are much then you can go in there copy the collision from the static match by selecting it that'll put the collision on there or you can use you can use the under or is it add shape oh no sorry so that was over here where's my tools tab new artists so under here you can do you can do you can switch it to single convex hull or you can put it on multi convex hull and multi convex hull is gonna give you a decent shape single comm or single convex hull is gonna be a decent shape and it's gonna be a little faster to do multi is gonna give you a much more accurate shape but it's gonna be a lot slower to make we're not gonna do it here because it takes a few minutes for under we don't want to sit and watch our progress bar but you switch it over to that and then you go over to here you right-click on the body and you do regenerate bodies and it'll regenerate it based off with the settings in the tool so you can make that's how we made this shape earlier so now we have the shape that does much better collision with collides with this over here better and gives us a flat surface on the top to collide with and the reason I did that is because I also wanted to set up this so I went and put for him I wouldn't actually put a body on the front of each of the the drum handles and one on is his pointer finger here because we got some fun animations our animators made for him a while ago particularly we have this one here so we've got a drum solo where he's actually drumming and pounding on the drums and he actually you'll see the bodies kind of interact with each other but there's not really much movement like the cymbal doesn't move and the drum doesn't do a lot of movement other than the movement it's getting from the body but if we do that same thing now let's turn these off so we can see it better if we turn these we simulate it now you'll notice that now the drum is getting pushed by those drums and he's actually hitting the cymbal and actually drumming on the drum which is pretty cool and we also have this one which is fun his recall animation he is all depressed and puts his drumsticks away oh you got to give a thumbs up then he uses that finger body I put on there to tap the drum the symbol so you can do a lot of fun things with this once you start to really understand how it works and how these bodies are gonna interact with each other and that that would normally have to be hand keyed by an animator but in this we can just let it do its thing yeah and you can you'll see that you know that that chain is holding up pretty well and collides when you when you do some of these other animations it collides pretty nicely with with his leg and gets pushed off and it all works pretty good nice yeah I think that's dance about it I think pretty much anything else you want to say Thomas Thomas yeah you're gonna have like shove that slow down a little there's a new profile which is old that's right here this allows you to manage previously all you had to manage this catalyst and just like eating them was really cumbersome to go into and then delete something don't have the same name and then make sure that sacred eyes you couldn't undo that all these things so now we've just made it you probably you could assign an unassigned body was in constraint bit more straightforward to manage it's not entirely and I think really the only thing is letting so you know people like Charles using it and other to use we're getting a lot of feedback yeah because it's new and we're going to continually improve it over the next two versions so during problems we know that's issues with paste awesome yep yeah we're we're gonna we've got a I've already sent a Thomas of a lista quite a way he's quite quite a long list of things that we want to fix so he's he's got plenty plenty of stuff to keep him busy over there I know some folks have some questions so if you don't mind we'll start going through some of those and so you kind of touched on this a little bit before but they're wondering how how performant was it like he has a lot of capsules and collisions on him is that really taxing or is it actually pretty it's so with the new there's the new rigidbody solver that we use in blueprints that you plug it through what's it called again timing yeah when the enema what's the book rigidbody note [Music] runs simulates these things they don't need to kind of use the entire physics there are a lot more efficient and a they were able to run them like asynchronously so performance of other things so while you've got a lot of physics you probably won't see much in my frame rate particularly expensive especially if you use and things like convex hulls converging here they obviously Spears or capsules but you know using the rigidbody stuff then by all means go time we really have pushed system as far yeah and you'd notice with him I mean there's a lot of places on gnar bash where I could have used boxes or I could have used different shapes but I try to stick to two pills as much as possible one thing that we do have that we're using on a internal project right now but it hasn't gone into release build yet is tapered capsules which will be super super big is the ability to basically you'll be able to put like on an arm you can put a big capsule here and a little capsule in the middle and a big capsule here especially on like the calves of your legs and you'll be able to it'll it'll collide just in between that that's similar to the cloths fears that apex has if you're familiar with apex yes yes that's true good point but we'll be putting those in at some point and yeah I mean narbacular on him right now is currently simulated in a shipped version of him in Paragon it's just it was simulated all using anodyne Amex and by all accounts from what we can tell rigid bodies are no more expensive potentially cheaper in some cases than anodyne Amex so I don't I mean he's got this guys right now I got 85 bodies and I think to finish him off I'd probably be around 108 range and it it probably if I take out the rid the anodyne Amex on him and put this in in its place it would probably be just just as performant so and that's in a ship version of Paragon so I don't I think performance wise as long as you're using the rigid body the new rigid body note to play your your physics assets it's pretty pretty good okay and then do you know if these are done more on the CPU or the GPU side they were wondering if I would be for Utah I'll see if you see Butte did see they're running can you keep mine like toggle filters for showing the bones you were going into the menu to like hide the capsules and things like can you keep buying some of that or setting up in a skeleton yeah we've been talking about some different ways to to optimize that because it is it is a little bit a little bit cumbersome to constantly be going into here I've been talking to Thomas about maybe pulling especially these three display groups off onto a little tab that could be docked over here or possibly having you axe yeah having all of this and we might have like these buttons might be just docked under here under the search filter type of thing so that they're much more easy go and then yeah ideally I'd like to keep buying several things like one thing I want to key bind is uh like if you have a body selected and you want to go to its constraint you can just hit a single button it'll pop right to the constraint for that body and then hit that button again it'll pop right back to the body so you could really quickly go back and forth so there's a whole bunch of improvements that's more stuff on the lid that big list of stuff it's definitely above parity in my mind because it's it's way better than the old version you guys have done so much to it they're actually wondering when you imported him did you import all of the parts like the drum the chain the shoulder pad and all that together or separately to bring them in you talking about the mesh or those uh yeah his so he he's two two meshes were actually four in Paragon were doing in the content browser here you'll see for the for the way we're doing the part system for like skins and things like that we're splitting certain things off so he's got two meshes so he's got the fat stream or the the parts mesh and his base mesh and they were just imported us to separate meshes but they they share the same skeleton they share all the same animation everything so they're just you know two separate meshes and then you know because they share all the same skeleton and stuff they can both be brought in on top of each other okay not sure if that answered exactly what they were wondering but probably and then can you assign different collision profiles or object types to individual bodies that's we go ahead dump bodies could be assigned and then let's see well we've got to wrap it up so I'm gonna call our our QA there again thank you both so much for joining us there's clearly been tons of features that have been added or reworked here and you're improving that pipeline and trying to make make it all better for everybody so we're having to have you on real quick before we go don't forget to keep submitting your projects for the Nvidia edge program our epic mega Jam is actually coming up next week so that'll launch or the theme announced is next Thursday and we're actually going to do a quick prayer or a prep stream on Tuesday at 2:00 p.m. we have a symbol on they're going to talk about how to set up perforce and SVN and work with that and then also we have a couple winners that'll be our guest from previous jams that are going to talk about you know sort of best practices for game jams and what you know how you can succeed and what makes that process easier for you and I'm gonna drop a link for our survey so if you have feedback for us how we did what topics you'd like to see in the future please feel fill that out but again thank you both so much for joining us and we'll see you next week for having us it was fun bye [Music]

Channel: Unreal Engine

Views: 52,054

Keywords: Game Development, PhAT, PAE, Physics Asset Editor, UE4, Public speaking, 4.18 Released, Unreal Engine 4.18, UE 4.18

Id: 1avvVfvK-nc

Length: 60min 32sec (3632 seconds)

Published: Tue Oct 31 2017