UE5 Product Visualisation - Apple iPhone (Cinematic animation/lighting breakdown + walkthrough!)

[Music] [Music] all right I'm back the iPhone in Unreal Engine 5 I'm going to go over how I made this animation show you the lighting scenarios how I imported the product how to get all your shots together and a few other tips let's just jump straight in okay so I'm in Cinema 4D with my model by the way I got this model for free on sketch Fab you can do the same I'll add a link below to where I got mine from it's not perfect but if you remesh a bunch of stuff it ends up working quite well and I remodeled a few bits but overall it's really good for just like a personal project so typically I would advise using the datasmith or cineware workflow however with a bit of trial and error I found that using the fbx workflow worked quite well for me so what I would do now is very simple you have your model ready all split up and organized into the correct groups and then you just go file export fbx and just leave all the settings on default now when you are in unreal you just want to go maybe probably make a folder first so I'll make a new folder fbx uncore iPhone and then go file import into level find your file and then select the folder you want so I'll do fbx iPhone hit okay and now you'll be greeted with this dialogue box I typically like to just uncheck the root node I will make sure the hierarchy type is one blueprint asset so this is one of the main reasons I do this workflow is because it puts it all into one blueprint for you automatically and you can just work with one single object uh make sure all your static meshes are checked skeletal meshes we don't need to worry about and I don't have any materials assigned because I'm going to be doing all of that in unreal anyways so yeah pretty much everything is on default I think if not you can probably just copy what I've done here and then you just go import and it'll start importing your model you can just ignore these warnings and now you'll have this fbx scene fbx iPhone 2 blah blah blah I'm going to rename it to BP for blueprint uncore oh BP iPhone and delete that one drag this new one in and we're pretty much good to go I think there's a bug yes so for some reason there's this weird bug where like I'm moving an actor but it's not the parent of the iPhone all you got to do is just hit edit the blueprint let me drag it over and it's still brought in this default scene route even though I checked it I don't know if it's a 5.1 bug but all you got to do is grab your parent null drag it on top deletes that one hit compile save exit out and now your pivot point is where it was in your modeling software and you can now manipulate this however you want so that's how you fix that bug and now everything's imported so now you might be wondering how am I supposed to do materials because it's all one object you could double click on this and then change the materials but that's definitely not what you want to do because by doing that it only changes this instance of the object so if you drag a new one in you're going to have to do the materials again what you want to do is go to edit BP iPhone here or you can just double click this it'll open up go to viewport uh click on something and then press F to zoom in on it and now what you can do is Select SCT each object and apply your materials to it and if you name things correctly this is where naming gets really important for example lens black I've labeled a bunch of stuff and then you can just click all of them search for a material and apply it lens [Music] black boom and that's all you got to do for that and then you can go to the underside I think my parent null was rotated incorrectly in cinema so make sure you're not is the correct rotation um and then yeah you can just click your next object type in screen or whatever now you've got that and then I've got another screen material that's off and click your frame and then you type stainless I think I've called it yeah so very simple you just got to do it once and then you never have to do it again so just set up your materials and if you're wondering about the material setups they're very simple go watch my beginner beginner ue5 material video or whatever it's called um I just pretty much use a base instance and then uh a base Master material and then instance those out so for example my purple frosted back which isn't uh physically correct but it kind of gives that look where you just have a color overlay I've got a normal map and that's it and then for the stainless steel if I I double click it you can open it up and I've just got a color no Maps involved and then just roughness set to whatever I want and by the way once you set your materials up in here you can then access them in your viewport just by double clicking so you can just double click and then they'll show up here and then I think if you just double click once you go inside the parent and then you can just click different objects as normal and if you see me switching between modes here I'm switching between lit and unlit and I'm just using the shortcut alt three and alt 4 just because I got no lights in my scene currently so yeah that's how you set up your [Music] model okay so now let's just jump into the fun stuff which is the animation so I've got a sequencer folder here and I've got a master animation which is just a regular level sequence you know like one of these guys cinematics level sequence open it up oh there we go it's already open so sorry let me do that again open it up and within my master sequence I have a bunch of subsequences within it where I've laid out all my shots so this is a really great Advantage sorry didn't mean to bump my mic this is a really big advantage of the sequencer in unreal you can start storyboarding and actually cutting your tracks to length within sequencer itself so you don't have to worry about rendering unused frames and you can even drag like audio clips into this and sync it up nicely so that way you minimize post- production work so let me kind of explain what's going on here what I'll do is I'll open up a fresh sequence I can even do one now uh cinematics level sequence shot 08 blank sequence first thing I'll do is add a camera call it cam 1 or I'll actually a cam01 and you'll notice it has this lightning bolt and if you hover over it this item is spawned by sequencer according to this object spawn track essentially what that means is you've made this made this uh item or object spawnable and you can see here in your outliner that this cam is re relevant no what's the word referenced in shot 8 the advantage to this is now if I close this I don't have that uh in my outliner anymore which is great so now all my relevant objects are in this one sequence so now what I'll do is I'll grab my iPhone make sure it's on zero boom go back to my sequence drag my iPhone in and I can make this spawnable as well so right click convert to spawnable and if I save this and close it you'll see now my camera and my iPhone all live within this one sequence so it helps really keeping your scene very clean and organized without having to worry about reusing or jumbling up different lights or phone models that you're using and you don't have to create a million copies of one thing so really good for this type of Animation where it's all previs and you're not you know sending this off to a production Film Studio where that you need to bake lights and all that stuff so if I go back now to my actual sequence you'll notice that these two phones are spawnable so they just popped in and I have a bunch of lights that are also spawnable so these lights are unique to this shot so if I go to here press alt four to go to LIT mode and I'll go to the end all these lights are unique to this file so if I close this no more lights so really really useful for staying organized as well as having specific lighting setups in one level or scene in your unreal file so I'll jump back in let me actually give an overview of what I've done here also another tip if you have a camera cut track but it's not like you don't have any camera text showing up here all you got to do is if I delete this and delete this just go to track camera cut track camera new binding cam shot01 which is this guy here so I can go to it here but you definitely want it in the camera cut otherwise it won't show up in your master sequence so make sure you have a camera as well as a camera cut track so new binding camo one and make sure it spans your entire timeline within your In-N-Out points so the good thing with this is say you have this camera and then you duplicate it I just hit contrl D there to duplicate and you'll see this is highlighted that means it's telling me which camera I'm in and then I'll just rename it camshot 01b I'll drag it underneath to stay organized uh let me change the angle or the position so I'll go here maybe move it move it up to this close let me grab my grid move it here set a key frame move it to the end and I got to redo this key frame maybe it's something something there and boom you can also have this auto key frame turned on so I was clicking it here I actually didn't have to but say I move my I want my camera to be here now I'll need to click add a new key but if I have this turned on I want my camera to be here it'll Auto make a new key frame so make sure you're very wary of this because you don't want to overright key frames so if you're very comfortable in this sort of auto key frame environment then I recommend using it because it can really speed up your workflow and you don't need to click this every time anyway so let me delete this this is my camera movement I think by default your settings will have the key frames come in as um cubic which is Easy E in and out uh I set my default to linear and you can do that in your project or editor preferences or what you can do is if you select both key frames and you hit one that makes it uh ease in and ease out and if you hit four that makes it linear key frame so just a quick shortcut so you can just select make this easy select this make this ease or linear select both and do it to all of them rather than right clicking and clicking your selection every time okay so back to my actual point Sorry for the tangent I have this shot which I like and then let's say I also want my cam shot01 in this as well so new binding camshot 01 and now if I hit my camera cut track I'm going to have my camera movement of 01 and then it'll cut to the uh 01b for the next one so now you can just time it maybe you want your first shot to be a bit longer so you drag that out boom and now this all lives in shot one so this is a typical workflow I would do for a camera shot sorry the sun went down so I've just put my light back on um the next part of this sequence that I want to show you is just what the lights are doing so if I just go into my multiv view here and make sure you're out of your camera cut track if you're doing multiv view because it takes ADV it takes uh what is it what do you call it it overrides both views so I'm just going to click in this one and then go into my actual camera also sorry another quick tip in your camera cut you can't actually move your camera you're just viewing the camera but if you're in your cam shot 01 now you can move it so let me just turn off auto key now I can move it so be very mindful of that as well uh cool so let me cool and then in this you can also go from the perspective dropdown select camshot 01 if it still doesn't change it's because this isn't highlighted boom now that's gone I'm going to turn off my grid cool so I do have a quite a few lights in here but I'll show you what each of them are doing so I just have a fill soft light it's actually a bit too strong now I would say so if I just turn that down 04 the reason the values are so small is because I'm working with such a small object and I've stayed on Candelas I don't know what that means but you can change it here if you want I'm just used to using this unit of measurement so I got a soft light so it's quite thin very low um attenuation radius this is very common in a lot of these shots so definitely play with your attenuation radius when doing this sort of stuff and then I kind of got a kind of a key light which is a bit brighter and then I use them in tandems to get a nice fall off but still get a bit of a highlight towards the top of the phone next I've got a rim left one it's more of like a specular rim and then a second one here to get a nice fall off on the left side so that's these two guys right here and you can see my cameras up here so these are my two left rim lights and then I got the same on the right side so turn them off that's my right corner of the phone so really just trying to get that nice curvature of the frame and a lot of these are ideas I got from references of the iPhone ads or like their images online on the Apple website and then I just changed it a bit to my liking and then yeah I got this room too which is a bit stronger kind of showing the Apple logo as well and then the really important specular highlight is this top on the frame here which really gives that nice metallic engineered finish look and gives a few other highlights here and if you want to look into more detail you can just select your desired viewport and hit f11 and that'll maximize it and then as long as you're in cinematic mode you can now scrub through your animation in your full screen viewport so that's another cool quick tip and it shows you your camera settings as well which is quite nice and you can just minimize that or hit f11 again and then I'll turn these on so for the camera movement all I did was angle a camera where I wanted to where I liked it so if I just go to unlit just put a key frame here and then sort of moved up like this stayed in and set another key frame at the end and then what you can do is you can say for example it's at 150 and you feel like it's too fast then you can just drag out this parent slider cuz maybe you've animated other things and then get a nice speed to what you like also the green and red markers are your In-N-Out point so just be wary of those the shortcut to set your In-N-Out point is the square bracket so left is for the in uh left square bracket is for the in point and the right square bracket is for the out point and you can also use these buttons down here to do the same thing the next thing I did in this scene was just animate the intensity of my light so once you drag your light in you can add a key frame for the intensity so just however you like it position it where you want uh as well as where your key frames are and how slow you want them so really it's just trial and error and then seeing what you like let's jump in into another shot that I really enjoyed so this first shot of the animation is something I really liked as well you can see it's also very simple so if I go into my split screen pressing shift C to go in and out of my camera cut and then perspective shot 05 cool all I've got is I just have this light that I've brought in also spawnable and I've just animated it from left to right as well as animated the intensity so just the transform uh values as well as the light intensity values now what I really like about this is the animation or the ramp of the aperture or the focus distance sorry so if I open up my camera here you'll see I have animated the focus distance so that's something you can also look into doing and then sort of just really moving around these key frames until you've timed it correctly and another thing if you haven't done too much camera work before you can click your camera here in the sequencer and it'll show up in the outliner all the settings and you can get the focus plane to get an exact pinpoint area as well or you can track um an an actor which is essentially like a null object as well so you can just go basic actor and position it and then in your camera just go to track and then focus and then select a null if you want to track a moving object or Target this is really useful for that so yeah really enjoyed this shot super simple setup only two objects or three objects including the iPhone and definitely play around with the cinematics and movement of things as well well the last shot I wanted to go over was shot Seven that also has a internal camera cut in it this one was obviously a fun one to do a lot more Dynamic and also has like a detail closeup of the two phones coming together this one is a good example of where I can show you the curve editor I have mine open already but if I close it what you can do is hit this button here and it'll show everything that you've animated and here is where you get all your curve options so if I select this one for example you have Auto tangents and a bunch of options here linear constant blah blah blah and if you want control uh you know if I do this it changes oh okay it's on by default I've used cubic interpolation here which gives me broken tangents which means I have independent control of each side like this or you can use Auto and that kind of keeps everything flat as a tangent so definitely use the curve editor if you are wanting to really fine-tune your animations where it ramps up in speed and slows down in speed definitely quite simple to use as well in in this uh iteration you don't get uh independent values of where the actual handle is placed but other than that um it's pretty simple to use the lighting setup for this also very similar to the last one so yeah and just come out here you can see I've just animated the phones Oh shot Seven cool I've just animated the phone's transform values here so just rotation and position super simple and then I've only given I've got where it starts and then here is sort of the midpoint and then the last position is just like a closeup position that I've given a lot of time for so that it's like a very slow motion which means it allows it allows for this Final Cut to really have a bit more impact and gravity to it and lets the view will sort of focus on all the details so definitely a fan of this shot and in terms of of lighting I just fade in a few of the intensities I have quite a few lights I haven't named them uh in this one but if I cut jump out and go into this camera I don't know why it keeps doing that there we go you can see I've got like a big key light on the left here I've used gradient gradient Fall Offs that I've made in Photoshop to kind of give like a nice soft fall off to a few of the lights for example Le this top one here um this guy here has like a linear gradient on either side really simple to make just get just make like a JPEG uh gradient in Photoshop or wherever you've downloaded Goos from drag it in select your light and then just import it into the source texture so without it you can see it's like really harsh and doesn't have like a soft fall off and then with it a lot nicer over a fall off and this is really good especially if you have like a lot of specular heavy objects like ferns or glasses or Tech products things like that definitely utilize uh Goos and gradients for your lighting so like I said really I just animated the intensity and then a few of them I've like animated the the movement so with this top rect rectilinear light you can see I've just animated it moving up and down and then all the other as I've just faded in really kind of just giving that strong Rim light towards the edges and I really liked this kind of hot specular highlight on the left maybe a bit too hot for my liking so I could probably reduce the intensity of that guy which is number five I haven't even key framed in which is good so maybe something like that like a 0.1 would work well so yeah that's kind of where I landed with this shot pretty happy with it especially the closeup here so definitely have a play around with moving the lights using different camera Cuts you know punching in and out and also using the curve Editor to get some nice like speed ramps and motion into your scene so the last thing to go over is the Master Level sequence again very simple right click cinematics level sequence I usually call it LS for level sequence _ master and then whatever you want you go in it go to track and first you need a camera cut track just leave that there and then underneath that go to plus subsequences so this is where you can now start adding in all your shots and timing them out I'm just using control and scroll to go to give me more frames you can also type them in here the view view uh the working range end and the view range end right now you won't see anything but if I go to the camera cut track and pilot it or shift C now you can see that I've got my track in here so maybe I'm happy with this length I'm going to zoom out let me add another one sh O2 boom [Music] boom and maybe I want this to be shorter get another track um 03 you can have them all in one line I just like having them over two different tracks just cuz it's easy to visualize and now once you're happy with it if I go back to my actual Master animation you can see I've kind of timed everything here to my liking and there we go this was kind of what I finally ended up with there was definitely some things I could improve with it for sure especially that back material I think could be nicer cuz it's meant to be like a frosted glass but overall pretty happy with it I'm liking the camera movements and the animations that I've got going and definitely a really fun project to work on this was sort of like a throwaway shot I had but I had all the different colored iPhones there cuz they had a cool reference but I didn't end up using it thanks so much for watching I'm keen on making some more videos hopefully you guys learned a few things and I'll catch you in the next one peace

Channel: ali.3d

Views: 9,744

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Id: _FvCMxKaK7c

Length: 28min 47sec (1727 seconds)

Published: Sun Jul 09 2023