Unreal Engine 4 Beginner Tutorial - UE4 Start Course

Hello, everyone. If you are completely new to Unreal Engine, then you are in the right place in this tutorial, we will go from knowing nothing about unreal to creating this photorealistic landscape. Now, I know this might look intimidating, but do not worry. Every step of this process from sculpting the landscapes to creating the house will be explained and shown in detail. This tutorial will go over everything you need to know to get started in unreal. All the assets we are using, the 3D models and unreal engine itself are all free. So with all that being said, let's get started. Every part of this free course has been divided into individual chapters. So if you are ever confused just pause the video and rewatch that chapter. Also, if I'm talking too slow, you can't control the speed of a video by clicking on the cog icon in the bottom right of the screen. Keep in mind, for the first hour or two, I'll be talking pretty slow just to help get us situated with the engine. Now, with all that being said, let's jump into the first chapter, and that is installing unreal engine. But before we can do that, we first need to install the epic games launcher that we can get from their website. Once you have that installed and once you create an account with epic games within the launcher, go to Unreal Engine. And click on library here, we can select any of the previous unreal engine versions to get a new version. You click on the plus icon there for this tutorial. I'll be using four point twenty five below that. We have a selection of all your projects you recently worked on to actually create a new project. You can either select launch from here or you can select the big launch button at the top right here. I'll just launch it from here for now. This brings up the Unreal Project browser at the top here, we have a recent projects. These are all of our recent projects have we used within this specific version of Unreal Engine? Below that, we can create new projects from a selection of templates. For example, if I'm creating a first person shooter, all I have to do is click on games and click on first person shooter. And this project will already have a bunch of star assets used to just get me pointed in the right direction for this tutorial. I'm going to start off in a blank project, so I'm select blank. Click on next. And here with them, project settings keep everything the same as mine and make sure with starter content is selected. That's because we're going to be using some premade assets by epic games to help get a starter within our religion. Below this, we can select a location for our project to begin. You can select three small dots right here. And I'm going to choose desktop because. I want easy access to these project files. We can also name this project. I'm going to call this first project. And click create. After your product has been created, I think it's important to note that if we minimize the project right now on our desktop, you'll see a new file called our products name. And if we double click on that to go into it, you'll see all the data that makes up our unwill project. And you'll also see there's a blue icon. And as new project file, this is actually an executable. So if we double click on it, that will open up our project. OK, so our project is open. Let's go over the user interface, and I know this point, it's going to be kind of boring, but there's there are some fundamentals we have to go over before we could jump into creating our levels and worlds. OK, to start off, what probably catches your attention is the large window in the middle here. This is our 3D viewport. It's basically a window into our 3D world from which we can view different angles and manipulate objects. I'll go over the controls and how to navigate and manipulate objects in a bit above. That is the toolbar. This is a collection of helpful tools that were always going to come back to and reference. One thing that you'll notice that will be dipped from your toolbar is the mega scan's icon. This is because I've already gone ahead and installed mega scans. Don't worry, once we get to the mega scans portion of this tutorial, I'll go over how you can install and get that icon right here to the right of our 3D viewport. We have the place actor's tab. This is kind of self-explanatory. This is essentially a list of commonly used objects that we can place in our world. For instance, if I want to place this queue, all you have to do is a left click and hold drag this into my world. And when I find a good location, I can let go my left click. And I now have a cube in my world. I don't want it there. So I'm just going to hit delete. There's also different tabs that you can go into and a search bar. Below everything here, we have this window down here. This is the content browser, the content browser is basically on Real's file explorer. So just like how on your computer's file explorer, you have folders and then those folders can be other folders and those folders are the actual assets. Same thing with a content browser. You're going to have folders, sub folders and unreal assets that you can double click on and edit. For instance, right now we have starrer content in our folder. All we have to do is double click on this to go into that folder and we can see a bunch more folders. I'm going to click on the folder that says Prop's, click on that. And here we have a bunch of objects. And even with these objects, I could double click on and actually now edit the objects. I'm going to click on X window to get all this. And if I ever want to go up a folder, I could come up here to the folder navigation bar and just click content to get back to my root folder. It's also important to note that right here I have a show or hide. I can just click on this and I can see a more traditional layout of my folders, just like how I would see it on my file explorer. Also, if you don't see the starter content, that's because you forgot to check star content when we were creating our project. Don't worry. You can get that back by going to add new, come up to the very top to add feature content pack, go to content pack and click on starter content. On the top right, we have the world outliner. This is literally just a list of all the objects that are currently in the world you have opened. Probably the best use case is to organize. As you can see, this map has already been organized with different folders that contains different assets. Also, another good case used for this world, Outliner, is if you scroll down here and let's say there's an object behind the table and I can't click on that object because the table is right in front of it, I can temporarily hide the table by coming over to the world outliner and clicking on the icon. I can get back to this table by clicking on the icon again below the world outliner. We have the details, panel. The details panel is context sensitive to whatever I have selected in either my viewport or the world outliner. For instance, if I select a statue now, we'll get all the details on properties of that statue. If I select the chair, I'll get the details and properties of that share. This is pretty helpful because it allows us to edit these properties. For example, what if we have a really tall person sitting in the chair and I want the chair to be twice its actual height. I'm going to come down or transform, going to scale and scale, go the Z axis and change that from one to two. Now, the chair is twice its height. I'm just going to click Control Z to undo that. Also, you'll see we have just a ton of properties, 80, 20 rule, 80 percent of the time you'll only be using 20 percent of a program's features. So almost all of this I never touch or I only touch in very specific circumstances. The majority of your work will be right here. OK, now that we've gone over all the windows that are real comes with by default, it's important to know that unrelenting also has a bunch of windows that are hidden. The most important of these windows is the world settings. To actually bring it up, you can come up to windows and in the dropdown, click on world settings. And this will pop in a new window right next to details with all our world settings. You can customize your user interface by left click, holding all the tabs up here and dragging this around, and you notice it can snap to different areas. So if I don't want my world outliner here, I want it down here. I could just grab the world outliner, bring it down and nest with content browser. I can also get rid of windows by clicking on the X icon here. If you don't see a Windows tab, that's because it's currently hidden. You could bring up a Windows tab by coming up to the top left of the window and you'll see a little orange triangle. If you click that, it'll bring back the world tab. So now you can drag this around and nest it anywhere else you want. If I ever want to hide this world tab again, I could just come down here right click and click on hide tab. OK, so now I've really messed up my interface again, if I want to load the defaults, I can come up to window, go down to load by low layout and click on default editor layout. And now I've gotten back my default view. So let's jump into camera navigation or how we're able to fly around our 3D world and view our world from different angles. But before we can do that, it's important to know that Unreal has two styles navigation. You have standard navigation and then you have game style navigation. First, we're going to go over standard. The first thing you need to know about standard mode is that if you hold down the right mouse button and move your mouse around, you can rotate the camera. So again, right mouse button. To rotate your camera. Now, if we hold down the left mouse button and move the mouse, we can move forwards and backwards. So left mouse button. Move mouse to move forward and backwards and to move up and down. You should hold down both the left mouse button and the right mouse button to go up and down. So, again, to recap for Stanner navigation, right click mouse button to rotate your camera, hold down left mouse button to move backwards and forwards and both left mouse button, right mouse button hole down to move up and down. So now let's go over game style, and I have a feeling a lot of you people out there will prefer a game style over standard because the muscle memory will already be there. The controls, both standard and game style, both share is you want to hold down right mouse button to rotate your camera. Now for game style, you still want to hold down the right mouse button and with right mouse button, hold down. You can use the W as keys to move around. And you can also hold down E to go up. And cue to go down again if you hold our right mouse button. You can use Dubi to go forward as to go backwards a to go to the left and D to go to the right. This is just like any video game you've ever played. And that's why we already have probably the muscle memory there to go around on real quickly. Now, I notice there is a problem, and that is my camera is moving way too fast to adjust my camera speed. I can come up to the top right here. And in this dropdown, I can lower the speed or increase it. Another way to change the speed of my camera is to hold down the right mouse button and use the scroll wheel to scroll up to go faster and scroll down to go slower. So, again, to recap, holding down the right mouse button to rotate my camera right mouse button w to go forward as to go backwards, a, to go to the left, D, to go to the right. E, to go up. Cue to go down. And finally, we can use the scroll wheel while holding down the right mouse button to adjust the camera speed. Before we can talk about viewport settings, we first have to establish what a 3-D object is. So really briefly, a 3D object is literally just a collection of points in space called vertices. And these points in space can connect to each other and create edges specifically in on case when you have three edges. They can create a face and it has these faces that simulate the services of 3D objects. So when you see a 3D object in Unreal, you can think of it as just a collection of vertices and edges. And in a real we can actually see these. To do that, all you have to do is come up here to where it says lit. Click on it and we'll get the view to dropdown within that view Mode's dropdown. Come down here at close and click on Brush Wireframe. Now we can see all the wire frames and vertices of our 3D world. And something cool that you'll notice is we see all these edges and vertices in the far back, really far away back here. We're surrounded by vertices and edges. Well, this is actually the sky. So if I go back to lype mode by clicking again on this button and in a dropdown clicking on LYT, I can select the sky and press F to focus. And you can see that our sky is literally just a sphere with a texture on it. An old games, this was called a sky box, but now they're called Sky Spears' because they are Speirs. And we can click on Asset again to jump back to our level. I'm a click on floor and hit F. Now, Unrelenting also has other votes. See these votes come back up here and you'll notice them all here. We can see what a scene looks like unlit. So the base color of our objects or we can see just the lighting of our objects by clicking on detailed lighting or lighting only. So these view modes are really good when you want to debug a scene, let's say something's going on. You could just switch through those those view modes and see exactly what's happening under the hood. Another neat feature of the viewport is changing perspective so we can actually go to orthographic view mode by clicking on the car icon and click on any of these. I'm going to click on top. And what we will see is either automatically gave us a bird's eye view of our world. And it's best explained like it's sort of like the blueprints of a house. So there's no perspective warping going on. To control the viewport and orthographic view mode, hold down the right mouse, button the pan and use the mouse scroll wheel to zoom in and out. Also, an important thing to know is that each of these large squares, so the squares with the bright I'm slightly bright gray, not the dark gray represents one meter. So that's a cool feature. And a human is about one point eight meters. So human will be from here all the way to here. And I can leave. Orthographic view mode by clicking on the car, iconic clicking on perspective again, if you've been flying around the level of bonds, you probably notice a screen getting brighter and darker as we zoom in on an object or zoom out on an object. For instance, I can actually do that right now if I zoom in on these tables. The screen gets brighter and then if I zoom out, the screen gets darker. So brighter. Darker. So what is happening right now is called exposure, and what exposure is, is it's your eyes adjusting to the environment around it. So if you ever been in a dark room with no windows. And you jumped outside, everything gets a lot brighter and your eyes start to hurt. But over time, your eyes dilate and all the colors come back to normal. Everything gets darker. And now when you go back into the same dark room, your eyes have to have an adjustment period until you actually start seeing better in the darkness again. And this is what unreal is simulated for our purposes right now as level designers, this is really annoying. And we can actually disable it temporarily only for ourselves. So the player will still see exposure, but we won't by going up here. Back to The View panel at the very bottom here and exposures. We can uncheck game settings. Now, as I zoom back into the set, it is bright. If I zoom out, it is still bright. The brightness is remaining the same. We can also adjust as brightness, the exposure manually by going back to where we were. And in every one hundred, I can bring it down to increase brightness or bring it up to decrease. And I make my scene darker. Now, the point of this is that editing any lights in our scene, this is only affecting our camera. So for now, I'm just going to leave it at one. Show flags are neat because they allow us to uncheck and check what we want to see and what we don't want to see. For instance, if this grid is in the way right now, I could come up to show flags, go down a grid and make sure that checkboxes unchecked. Now, I can't see the grid anymore if I want to bring it back. I could go back here and make sure the grid box is checked. So if there's ever a point when you're editing your level and you don't see something and you know it's there, check all your show flags and make sure that objects type is set to true. You may have noticed by now that my scene looks a little bit different than you're saying. Your scene has all these edits, these little ed widgets being shown. These are widgets that only us, the editors of our scene see. The player never sees this. So to see what the player actually sees, you can press G to go into game view mode. And I do this all the time. So when I open up this level, I've just subconsciously press G to get rid of all of these editor clutter. You can also manually turn this on and off and not press you by clicking on the arrow and clicking on and off game view. Another cool thing is that in the same menu, you get to buy this arrow. You can click on immersive mode to bring this in a full screen. And then we can click on a MIRVs about to bring it back here in the engine. I'm going to press G to get rid of all the Ed widgets. And now I'm going to zoom in to this set. You guys don't know. We are currently editing a map called a minimal underscore default. So we actually go to a minimal underscore default within starrer content maps. And this is it. So whenever you make an edit, you want to have control s. So then those edits will actually save to minimal underscore default. To begin, let's go over how you can actually move an object backwards and forwards or anywhere in your map. If we left, click on this chair here. We'll see a 3D gizmo. If you don't see the arrow gizmo, make sure the left mouse button is clicked. So with this gizmo, I can move it left and right, forwards and backwards and up and down. Now you'll notice that when I'm moving it, it's kind of Janki, it's snapping right now. That's because snappin is turned on. So it's moving every 10 centimeters. To actually turn snappin off, we can come up here to the right and make sure this great icon isn't orange. Now snipe, now snappin is off. Snappin is pretty cool when you have Modula assets, but for this purpose, we're not working with any module tools right now. But if we did and we want to increase the snappin range, I get turn snapping back on. And right next to the icon is the snap sizes. So I can have a snap every one meter. So now if I move this chair, it will snap once and snap twice. And now I know that I moved it exactly two meters to the right. I'm going to turn this off for now. Now, coming back here, I could bring up the rotation gizmo by pressing on the rotation icon right here. So this gizmo looks a little bit different. It's also self-explanatory. You can go in the X axis, the Y axis and the Z axis. And what's interesting right now is that snappin has turned on for rotation, so it's knapping every 10 degrees. You can probably guess that it's right up here. We can turn it off by clicking on this icon. Now we have snoozes, smooth snap enabled to scale. We come up to the third button in this list and click it to bring up the scale gizmo. And as we scale this up and down, you'll see if snapping. As you can probably guess, you could turn off snapping by clicking on the icon on the top right here. And now we have smooth sailing. So one thing I notice is that this chair is hovering a bit off the ground. So I can't come in here and drag this down and try to get it exact or the shortcut eager to key. And I would just snap whatever object I have selected down into the ground. It's a little bit cumbersome to have to go up here and click on these buttons. Each time I want to change my gizmo. The shortcuts for these are. W, E and R, so if I want to move this, I could just head W with that, I get the move gismo e. To get the rotation gizmo and R to get the scale as. So again, it's W for move, E for rotation and R for scale. It's pretty cool. And I pretty much always use the shortcuts, I never use the menu up here. So I want to get the chair back to its original position, but I think about the point of no return with this message here. So what I will do is select it and hit that the key to delete it. And I'm going to go into starrer content. Go down into Prop's and drag out a new chair. I could just position it with the move gizmo. And here's a tip you'll notice in between these arrows, we get a little square. If I select these squares, it will move it only along these axis. So it's only going to move it on the Y axis and the X axis and not move it up and down on the Z axis. So I'm going to grab a square. Move that into position. Hit E to bring up the rotation and rotate it in like that. So that's one way to get assets into your level. Is it just drag it from the content browser or we can duplicate already existing assets. So I'm hit delete. And with this chair selected, if you had control W that will create a new copy of that chair in its place. So we don't see it right now because both the chairs are are overlapping. If I grab this Y axis and drag it out, you'll see that the chair did duplicate and now we have a new one. Another way of duplicating is to hold down the alt key and make sure you have the move gizmo up. So holding out alt, you can drag out a new copy and let go. So using AltX is a quicker way, in my opinion, to get. So now is a good time to actually create a small level and bring in more assets. So I want to delete all three of these chairs right here. Now, I could click on each one, hit delete, click on it, hit delete, click on it, hit delete. Or if I had control Z to bring these chairs back, I can select all of them at once to select multiple objects and make sure you hold control down and click. So in control, click wholy control click. Now all three of these selected I hit delete and they're gone. So. I want to make a copy of this table. Hold down alt, drag it out to make a copy. And I want to longet this copy so my press are. Scale and in the X axis, I had E to just rotate. That's how it's pointing in the right direction. And along delete this statue by clicking on it, hitting delete. And I want to copy some chairs across this long table. So what I will do is hold down control, select this chair, hold down control, select this chair. Now, holding out AltX, I will drag out multiple chairs. And now I think that I can use a really long couch right here. So go in and historic content props. I see. I have asked them a underscore couch. Drag this out at the EKI. Rotate this. And now my scene is looking a little bit better. What I also want to do is have some ground lamps like torches on the corners here. I can do that by dragging out a lamp and we'll notice it's in the wrong direction. I want to rotate this 180 degrees. Now I can hit E! Rotate this. And try to get it close to 180 degrees. Or I could get it exact by turning on snapping. And rotate this until as 180 degrees. And with this selected, instead of moving it down and trying to guess when it hits the floor, I get hit and and snap that lamp to the floor like that. So in the corner here, that scale it up at Alz. And move it. OK, so now we just made our first scene an unreal engine. Granted, our first scene doesn't look too hot right now. It's pretty bad. And also if we zoom in. You'll notice the statue we deleted has some leftover shadows. We can tell that because on the top right here, you'll see this big red Texas as lighting needs to be rebuilt. That's because all of these objects actually have no lighting or no big lighting on them to fix this and get rid of that shadow and get rid of this warning. I can press build up here, so I'm going to press build. And it's actually go through and calculate where the light should be in this scene. Now we can see our level looks really nice. The warning at the top left here is gone and the shadows have been fixed. And not only have they been fixed, but we get new shadows on these chairs. So if you select this chair and press H to hide it, you can see it leaves behind a shadow pattern. If you want to hide it, hold controller had H. So I know you're probably a bit confused right there at the end when we started going over leiding. Do not worry. The unreal lighting section will go over everything you need to know about lighting at Baekje Lighting. But for now, we first need to go over materials. Before we can go over materials, let's organize our content browser and also create a new level to do so. I'm going to go up a bit to content. And within the root folder of a right click, come up the new folder, click that and I call this my stuff with double click to go inside of it and it's empty. So to create a new level, you come up here to file click on new level. And now we have a selection of different templates. I'm just going to click on the default template. So now we made our first level. The only issue is that it's not saved anywhere. To save a level, it control us. And I'm going to save this and my stuff and give it the name first level and hit save. Now, we just created a new level, and this new level is located in our content browser under the folder. My stuff, now that we have a level, let's place a material on this floor. Luckily, the starter content has a bunch of materials for us to choose from. And going to content, then I'm going to go into materials to drag a material onto this floor. It's just like dragging an actor from the place actors. So hold down, left click to drag an actor into a world. Likewise. Hold down a left mouse button and drag a material onto our plane. And now we have Garrus on our floor. We also have a selection of different materials so we can add cobblestone. Rust. And Moss. But I'm going to stick with grass for now. I notice that this grass is way too dark. So what I will do is come up to lit, go down here and I see game settings is unchecked and every 100 is set to one. I'm going to bring that down to zero just to brighten my screen. There we go. Much better. Another thing I will do in this level right now is add some objects. That's all. We have a place to put our materials on and see how it functions in an actual level. To do that, I'll go start content props and I'm going to drag in Matt preview mesh so barrel. And immediately I notice it's too big. So I'm going to hit R and scale that down. I'm also going to move it a bit into the middle. And another thing I'm going to add are three spears. So in my place, actor's tab, I'm going to drag in a sphere. Move that up. Hold down, Alt. Should I get out and hold down alt again to drag out another sphere? You could have three spears here. These will be used to showcase how reflections of working on real unja and a bit. And now I think I'm ready to start materials. So at this point, unreal can seem a lot harder than it actually is. What I will say is do not worry. We will go through everything step by step. And if you're ever confused, just go back, rewash. That's section. And when you feel comfortable with that, jump to wherever you left off at. So with that being said, let's create our first material. To create a new material, I'm going to come out to content. Go into my stuff. And in any of the blank spaces I can right click and under create basic assets, select material, or I go to add new. And click on material here. We can name this material. I'm going to call this first material and double click on it. We'll bring up the material graph editor. So right now, the window is floating in space. If I want to dock this too unreal engine, I can just hold down left mouse button on the tab and move it up here. So now I have two tabs at my level tab and my material tab. In the middle we have the graph editor by right click and holding my mouse. We can pan around and using the scroll wheel, we can zoom and or zoom out and zoom in. To the left of that, we have a preview window for our material. It's a black right now because we don't have anything going into these output's below that. We have the details, panel. It functions similar to the details panel and our level editor. This is context sensitive. So if we have something selected in the graph, it will show up here. And to the right we have the palette. This is a collection of all the notes, unreal engine house. And what we're going to do right now is we're going to take all these notes, mix them together and output them to this section right here. And that will actually create the material the way you add a node to the graph as you just drag it into the graph over and let go. I don't want hard light in there, so I'm going to hit delete. But what I do want is a color where we can get the color node by coming down here. And the node is called constant three vector. So if I left, click, drag this into my graph and let go. I now have a color node in my graph. If I double click on this car node, I get the color picker. And if I move the dot around, you'll notice right here that the color is not changing. That's because our value is right now set to zero to bring our value up. I can come up to the left bar and drag these arrows up all the way. So now when I move my dog around in the picker, I'm actually able to select colors now. So I'm going to go to orange and hit, OK. Also, I didn't have to double click on this note to bring up the color picker. I could have made sure that the notice selected and go down the details. And here I get all the same properties that I can at it. So to actually hook up this node and bring it into my cereal, I have to hover over this circle with the arrow icon and left the mouse button hold. I will drag out a wire. And with this wire, I'm going to hover over base color and let go my mouse button. What this is doing is it's feeding the color into my material output. And now if you look at the preview, you'll see that we have a material with the color we selected on it. Let's see what this material actually looks like in our level. I'm going to click on the first level tab, and within here I'm going to go down to my content browser, find my material. Remember, we named a first material and I'm a dragon to my spear. And you'll notice it's this weird square pattern. That's the default material. And that's because we didn't compile our material yet in order to see our material in our level. I have to come over the first material and hit apply. This will compile raw material, and if we go back to our level, we'll see our material colors there. If I go back to first material and if I change the color, let's say blue. Go back to my first level, and that change isn't shown. For this material to change and apply to all the materials in my world, I have to prepress apply. Now the material is blue. I don't like that I'm going to go back to my material, change the color back to orangy red. And now on to roughness right now, this is half roughness. So if you want to make this more rough, I have to increase the value here. To do that, I need a constant one vector. So in the palette, I'll come down here, find where it says constant, drag it in. And now I have a single scalar value. And I can set this from zero to one and drag this in a roughness. Now we have a material that's completely rough, and I set this to zero. Now we have a material with no roughness. So when you apply. We could see a really shiny material now. Also, we can change how metalic our material is. By adding in another scalar value, by coming into the palette, dragging and constant or delete, I could just control W. And it will copy whatever knows I have selected. So if I drag the scalar value of zero into metallic. You'll notice no change. That's because by default, metalic is set to zero. If we bring this up to one. Now we have full metallic. We get a really weird gold like substance. OK, so this is called physically base rendering or PBR for short, and it's essentially how metallic and roughness values interact with each other. And it's what unrealized entire material system is based off of. So I have opened up another project right now that will explain the differences. So in this project, you can see that all I have is a spear and this spear has a metallic and roughness. Slider's roughness is right now set to zero point five. That is the default. Metallic is right now set to zero. That is also default. So if we don't put any nodes into those slots in our material, these are what unrelenting will default to. As you can see, when I drag my roughness up. It gets rougher and it loses that shine as I drag it down. It gets shinier and shinier and shinier until it's squeaky glossy, clean, and we can actually see the world being reflected in our speare. Likewise if a drag Mattel likeness off. We will get a more metal ball until we get gold, like if I drag it down. It's going to be zero. So both metallic and roughness operate from a zero to one scale. If I go above one or if I go below zero, the values will just clamp down. So negative one will just be zero and one thousand or 1000000 will still just be one. Also, another important thing to note is a very rarely will we ever see a metallic value that's in between zero and one. It will always almost be zero or it will always be one. It's either or. So our material looks fine and all. But there's one issue, and that is everything is uniform. The base color is uniform, the roughness and Metallica. And this just isn't realistic. So this is real life materials always have a breakup to them and there's always variation. And this is where textures come in handy and is why they're so powerful is because they will allow us to give that variation for the color, the roughness and the metallic values. Back it on real on what I want to do now is add a texture to drive the roughness of my material. I already know that there's a good texture in the starter content, so I'll go to content, starrer content. Textures. And down here and textures, I want to use the Perlon noise. Now, I've noticed that I must have accidentally clicked out of my material. No worries. I don't have to navigate to materials within content browser to open it up. I can simply click on my asset. And then in the details panel, I have quick access to all the materials that are currently on this object. And I can see first materials right there so I could double click on it to open it up. Now that I'm in my graph editor, I want change metalic from one. Two zero. Remember, very rarely when you get a metallic that's in between one or zero, it's either zero or one. In my case, I'm just going to keep it as zero for now, for no metallic. I'm going to come back to my content browser and to get Perlin noise into our material. I can left mouse button holed and instead of dragging into my level, I want to drag it into my material tab, switch over and drag it down into my graph and let go. On real smart enough to set up this material with all the correct details. So have the correct texture and I also have the correct sampler type. Now that my textures in, I'm going to drag out from the RGB and roughness, or I can also drag out from R, G or B individually. It really doesn't matter for black or white texture. And I'm going to apply. And now at my level, we can see that we have a really nice looking, rough material that already feels a lot more realistic so we can see areas of intense shine, but also areas of intense roughness. And that creates a nice breakup, like almost like this material has been through a lot. It's been baking in the sun and it's been touched by a lot of people. So it's gotten dirty. We can take our material a bit further and add in dirt. So where ever there is a patch of roughness. They'll also be dirt. So to do that, I'll just do the same thing I did with a Perlin noise, that is, drag it up into the material and then drag it down and let go. And Unruled automatically set up everything correctly. So to actually use our Perlin noise, to drive the dirt and the color, I will use a linear interpolation node. I could come here and type in lerp to bring it up, or I can right click and I'll also bring up a pallet and type in lerp to bring up linear interpolation. So I'm a click here and added in. Now I'm going to connect orange to a and dirt to be. And I'm going to come down here to our Pearla noise and drag this into Alpha. So what is happening is that wherever there is a black spots, the orange will show and wherever there's white spots, the dirt will show. And I'll take the output of all of these and put this in a base color. And hit apply. So now we have a nice shiny orange material, but also on top of that, we have a layer of dirt. So it's almost like this material has been outside for a long time and has been kicked around before. We can continue our journey into Unreal Engine. We first have to download some free assets I made. That will help us learn how to import objects and textures into unreal how to create three assets. And this will also be the same assets we will use for the last and in landscape. So to do so, you want to head to Gumm Road? There will be a link in the description, so make sure you check that out once your income road under. Name a fair price. Just put zero. I'm not asking for money. And then click on Add to cart. And once you have that is going to ask you for your email. And from there, you can download it. If you don't want to use Gumm Road, if you just want direct link to the assets. You can come down here and there will be a here link if you click on this. So we'll bring you to a mega upload of the files. Once we have the file downloaded, I just dragged into my desktop and now within to download a file I click into, it will see an unreal engine project that we will open now. This unreal project contains some assets we want to port over to our first project now. The assets a while right now are lighting examples to take this folder and bring it into my first project. All I have to do is right click on the folder. I want to move over. Go to migrate. Click OK. And then navigate to my first projects on the go desktop first project. And then content. And click on select folder. Make sure you select the content folder. So if I go to the first level now, whether my content browser, I'll see a folder called Line Examples that contains all the assets in my original project. So, well, migration literally did was that it took this file and copied and pasted it over into my first project. So that's how you move assets in between projects. So to summarize what we just did, if you want to take some assets and bring them from one rural engineer project to another, you have to highlight those assets, right click and use the migration tool. Then you want to direct it to the project you want to import the assets into and make sure you pick the content folder. Now that all of that is all the way. Let's go over how we can use some of the textures we downloaded to create an advance material and unreal engine. Before we start importing textures, I just want to organize my content browser a bit. So in content my stuff. Right, clicking on empty space. Hit new folder and let's call this maps. Do it again, right click new folder materials. Then right click new folder textures. I did select multiple assets by holding control. So when you click on the level and the levels build of data registry and drag this into maps and click move here, I'm going to do the same with materials, drag that into materials and click move here. Now let's import our materials. I will be using the Spanish pavement textures within the beginner assets folder, so I will select base color normal and roughness and import. I have to do is drag it in. That's it. And unreligious also smart enough to do some of the setup, so if we open up our normal map, we will see Unreal Engine already knew it was a normal map, so it checked it there and it also uncheck the SAGD. If going to base color, all the settings are the same and make sure SRT B is set to true because this is a color and within roughness. S.R. GBE is set to true. We actually don't want this. The only time SGB should be set to true is when you're working with a color. So we're uncheck that. Onto creating the Spanish pavement material. I head out to my stuff materials. Right click new material. And of course, I'm going to name the Spanish pavement and open it up. So to actually get the textures and we could do what we did beforehand. And that is go out here to texture's select all of these and then drag them in and drop them and unroll will automatically set out everything up for us. But I think it's a good exercise to just set them up normally without dragging them in to do that. And right click to bring up my palette and type and texture sample and select that. So it automatically picked base color for us. That's because when the first level we have, base color is selected. So that's a neat trick that I'm real does. But if we did have base colors selected, I would come under here and in this dropdown type in Spanish payment and select base color manually. So I duplicate this to bring out the roughness. So come down here Spanish payment, and I'm going to select Spanish payment roughness. And automatically unreal switched it, switched our sampler type from color to linnear color. I'm going to do the same with my normal map. So control W to copy A.. Come back here to the texture, click on it and select normal and on real change the sampler type from linear color to normal. I'm going to connect these up now to the material input. So go to RGB, drag this in the base color, drag our roughness in a roughness. And before I add my normal map in, I'd like to just show you guys what this texture looks like without the normal map and what it looks like with the normal map . So I might hit apply. And in our first level, I'm going to go drag our material into our floor. So wait for the shadows to compile. And now we have our material on the floor, and as you can already see, we get a nice roughness to it. So the crevices of this material have no roughness or have very little roughness while the peaks of it have more roughness. So we get a nice texture feel. But there's one glaring issue, and that is this doesn't feel like actual payment. It doesn't feel like the payment is sticking out of the floor because we get no shadow information. It's more like someone got a wall poster or just plastered it on the ground. And that's where normal maps come in so handy. Normal maps allow us to fake depth. So back in Spanish payment, if I grab my normal map brain, that's a normal channel hit apply. Go back to the level and immediately we notice such a difference. Now there's actual depth to our texture, and we didn't waste any memory on extra vertices. All we did was add a normal map. And it looks amazing. So that is it. That is the majority of material creation, a good material. All it needs is a color map, a normal map, a roughness map, and maybe a metallic map if it needs it. What dictates a good material from a bad material are the textures, not the actual material process. Now we can add some fancier things to it, like we're going to add a color tent and we're also add the ability to size our material. But other than that, materials can be really simple, complicated. It is just an issue of whether or not you want to or not. So to illustrate that point again, back it on real here in the material graph. Take a good look at this material. That is all that is 90 percent of materials with such a simple graph, we're able to get such a detailed and complex material that looks photo realistic when nice reflections, nice shadows and a photo realistic base color. The hard part is actually finding textures and creating textures. So now that you know how 90 percent of materials are made in unreal engine, let's actually adjust the size and add a bit of color. Tend to do that with a right click and bring in a texture coordinate node. And then I'm going to add a multiply node. So with this multiply note, I'm going to add a constant scalar vector. And change the value to one. This stair here and connect it up. Make sure this output is being put into the texture samples, UV. And now with this node, we can adjust the size of our tecture, so patent to the spear. If I make this from one to 10. We'll see our tecture retired a lot more. And if I changed this from 10 to zero point one. Our texture is a lot bigger, so big now, all we get is two tiles. So I might put this zero point five and hit apply. First level. And now my tecture has, in my opinion, a better skill to it, it feels it was feeling a bit too small beforehand. Let's go ahead and give us some more control by adding a color tent. To do that are kind of Spanish pavement. And I'm going to add in another multiply node. I could do that by right clicking and typing, multiply or shortcut. I can hold out and left click and I'll be able to multiply node automatically. So take Derg Worby output into the B. And I'm going to add a color node. I could again come to constant three vector and drag one out, or I could hold down three and left click to bring that in. So with this selected, I'm going to come down to Constit and leave it as white for default. So let me drag this in a year and drag this into base color it apply. And there is no change right now because again, white is the default. So we're times in all the tecture channels by one, which just gets itself if we actually want to give it a tent. Now, let's make it more red in the channel. I can drag his daughter over. That's a pink to it. And now hit apply. This texture is a really, really gross Blood-Red. I don't want that, so I'm going to come back here and change that to white. So we just added some customization to our material, and it's pretty good. But the only issue is that this is a pretty bad workflow. Whenever I change the scale or change the color, I have to wait for my material to compile. And this could take seconds, but on a larger, more complicated material. This can take minutes. And this is where material instances come in handy. Is that an instance of this material will allow us to change these parameters, scale and change the color in real time. And we don't have to compile, so. We can create a material instance by going to where our material is. Real quickly, I'm going to press supply. And now the rate has gone by going to our material, right, clicking on it and going up here and pressing create material instance and we'll just leave it at the default name hit enter. So now instead of dragging in our material, we will drag in the instance of our material. And if we open this material up. We'll see there's nothing here. We there are no properties for us to change. That's because we need tell unreal engine exactly what properties I want to be able to change in real time. So to do that, we have to create variable instances or parameters. You can right click on anything within the graph and click on convert to parameter, and we're going to give this a name color. And I also want to shoot up the size here and allow me to edit that in my instance, so I'm going to right click on this, go to convert to parameter and call this size and here apply. Now, if I open up my material instance, we can see. That both the color and the size are present and we can edit these by hitting the same the checkmark right here, so checking both of these. And I can drag my mouse across here and in real time, change the size of my material and change the color of my material. And that's why material instances are so powerful that they give us a new workflow for us to work with. And by not talking my material instance to the tabs off here, but instead having a float in front of my level, the changes I make can't be viewed in real time in my level. Obviously, this new color I change it to is really gross. So I'm just going to leave everything at default for now. So there and put this at zero point five. Now, there's something else we can do to give us a little bit more customization over our material, and that is add a new parameter that will allow us to change how powerful or normal map is. So our normal map strength slider to do that, I'm going to get out, go back and dispatch payment and right click and look up a new node called Flaten Normal's. There we go. I'm a drag igby into the normal input and create a new variable, rename this to parameter and call this variable normal strength. Keep it at zero, since that's Defour, that indicates that there's no change to the normal map and drag this into flatness, drag the output of these two into normal and hit apply. Now, if I go back here and bring up my Spanish pavement instance. I have a new slider called Normal Strength going to activate that, and if I increase it, we see my strength goes away and now it's flat again. And if I decrease it. My neural map will get stronger and stronger and stronger. So now it's really rough. Almost like it's been through a war zone. But I'm also going to just leave this as as default at zero. So let's take our current material now and let's change that into a master material, and what a mass of material will allow us to do is create new materials without ever having to touch the graph editor. So we're only going to be creating materials through instancing. I know this can sound a bit complicated. But bottom line is, we're going to create one material to rule them all that will be able to fit 90 percent of all materials. So going back into Unreal. I will exit out of the material instance and open up Spanish payment. Actually, I'm going to rename this. Renamed to master material, because this isn't just Spanish payment. Other materials will be made from it. So now whether the master material, I can right click on these textures and click on convert to parameter, call this color. And I'm going to rename the color up here to color tint so I don't get confused. Right click here, convert to parameter, we call this roughness. Right click convert to parameter normal. Also, what I'm going to do is I'm going to set the size from zero point five to one. That's because if these are connected to begin with, they'll just be one, and we want that to be our default. We don't have to. We don't want to change it always back to one. So I'm just going to keep it to one for now and hit apply. So now within first level, if we open up our Spanish payment enst. We can see we have three new parameters, and that is swappable textures. It's pretty hard to call this a complete mass of material without any slot for metal. So to add metal, I'm going to come here to master material and then. Click on Ruffed, a controlled W to duplicate that and change this from roughness to metallic. And I'm going to go move all of this down to make room for a metallic area, bring this back here, connect it up and connect this to our metallic. So big learned issue now. Our Spanish payment as metalic. And we don't want that. We want to switch. That's how some materials have a metallic map and some materials don't. To do that, I will use a switch parameter known so switch. Statics, which parameter? And I'm going to call this is metalic questionmark. So if it is metalic, I want to use this metallic map. If it's not, I want to use zairo, which is what unreal engine is by default, and drag this into metallic. And by default, I want this set to false, and it's already set to false down here. So I will hit apply. And back in Spanish payment and we'll see we have a new parameter is metalic, which is a boolean activated. And then if I click yes, it is metallic. A new map will show that will allow us to import any metalic, maps if we do have it. So I'm going to keep this deactivated for now. And that's it. Now we have a fairly complete mass of material. We can go through this and add even more customization. But for the purposes of this tutorial, this is enough. You need to know for now. All right, so that concludes the ending to the material section, but before we jump into important 3D assets, I need to go over something very important that almost no beginner tutorials are mentioned, and that is there are two types of the maps. You have direct decks, normal maps, and then you have open G.L. normal maps. And which stinks is that they're both pretty similar. They look exactly like, but they are different. So unreal uses direct X while Blendr uses open G.L. And you can tell that you're using an open G.L. normal map within unreal if all the shadows and lights are flipped. So where there should be shadows is actually light. And where there's light, there should be shadows. So I have open up right now another project where I'm going to jump in and show you how to fix this issue. If you ever do come across it to do so, you want to find the normal map that's open GL and causing all the issues. We can actually see the issues within this project. We have a light that is located right here, and you can see that there are shadows in the direction of the light. These shadows should be on the other side of the brick, not on this side. So, again, to convert, go into whatever normal map is causing the issue. And within Texture's click on the arrow to drop down advance options and an advance click on Flip Green Channel and then save. Now we see that the shadows are on the correct side of the brick and the top sides of the brick are getting that nice brightness to them. So before we go into how to import three assets, let's go over the anatomy of a 3D asset. So this is really important in a real 3D assets are called static meshes and static meshes normally have a default material assigned to it. Also, sometimes it can have more than one material assigned to it. And this Devall material will be associated with all the normal maps and all the base color roughness and italic maps that we have already gone over. So. Let's import a three asset into unreal. Before I could do that, I'm going to create a new folder. And nameless static measures under this and within our downloaded content, I want wouldn't crate dot SBX drag is at a content browser let go. And I'm going to keep everything default. So click reset the default. Except I'm going to change great material to do not create material and uncheck import textures. Click import. And sometimes we'll get this warning. No smoothing group information was found. This is fine. So IDEX. And now if I drag this in, I have a nice, nice, nice. 3D asset and. You'll notice this weird material on it, this grid that is just the world grid material, which is unrealized default material, since we have yet to assign a material to this static mesh. Let's create a material for this. But before we can do that, we have to import our textures. So let's go to textures. Back to the downloads folder and select one and create base color, metallic, normal and roughness. Ignore the image that says metallic roughness occlusion. I'll get to that in a bit and drag it in. Let go. And we have our files in. Don't forget to double check that all the settings here are correct. So within base color, our job is turned on. We want that with a normal. SRB is turned off and compression setting is set to normal. We want that. Intermetallic says this is in color. We have to uncheck Saji be. And do the same for roughness on s r g b. Everything looks right, so I'm going to go save all assets by clicking on the save all button and click save. Let's actually now create our material. So I'm going to materials and I notice I don't actually have to create a material. I just use the material instance of our master material and save time so I can essentially create a material without ever having to touch the material graph. So right click on my master material. Go to create material. And since I'll call this a wooden crates. Map. If I can, I actually spoke right enter. Double click to go inside of it, and I will hit all these, make sure these are all activated and drag in the correct textures, so I will navigate textures. Bring this back here. Scroll down. Add wooden crate to color. When create normal to normal roughness of roughness and remember, we don't have any metallic maps because we need to activate it up here, so make sure it is metallic is set to true. And we get a metallic map, a quick metallic and added in the metallic map is just there to give our wood and create some metal nails sticking out. And hit save. Instead of going through the materials and trying to search for whatever material we have open, we can also click on the browse button, and that will automatically jump our content browser to that assets location. So I have ward and create map. I can drag it on in my box and we have just successfully made a 3D asset. What is cool is that when Craner Acid, we didn't have to touch the material graph, Ed saving us time. To make this asset truly complete, let's link the static mesh permanently to our material. To do that, we have to open up the wood and create static mesh. I could come here and double click on it. And now within the wooden crates, static Ed. I can drag wood and create material onto this. And now it is permanently connected to that static Masari click save. Go out, go out and go to where my static matches and I can drag in as many boxes as they want. Rotate them. Scale them like small boxes, big boxes, medium sized boxes, long boxes. Any boxes you can think of? Well, there you go. It's just like any 3D asset that was already within a real engine. So that is one way to go about creating your material. Another way people go about and create materials, and this is use a lot of video games to save memory, is that they take the roughness map and the metalic map and they combine them into one texture using the separate RGB values or RGB channels. And now I know that just sounds really confusing. Taking two textures of making them into one. But it could be really helpful if you want to save time or just save our memory space. So I think it's important to go over and show everyone what that entails. Back in the texture folder, I'm going to import the texture that I set beforehand called wooden crate, underscore metallic roughness occlusion. Drag it in. And if we open this up, we get another funky blue looking texture. Each channel is its own individual texture, so we can actually isolate Interrail and view each channel independently of the others by going to view. If I want to see red, I can turn off green and turn off the Blue Channel. And now you can see there's the metallic channel for want to see roughness. I'm going to go to the green channel. So uncheck red and then green. And now we have the roughness map. And I can uncheck green and check blue, and we have an Amber Occlusion map just in case if we need it. Also, again, this is technically not colored. This is a collection of linear grayskull maps. So we want to uncheck s rj b. Let's create a new material so you know how to work with this texture. So got a first levels back to materials. Right. Click and create new material and colors of wood and create. Go into this and we're going to set up the traditional way we are texture's and all we need is the base color. The texture and the normal, we don't need metallic or roughness because again, these two texture maps are being slammed together into one texture, which is which is the packed one. Alan, drag this in. And hook up RGV to base color normal map to normal. And now for this, we can select individual channels. So the green channel is roughness. The Red Channel is metallic. And the Blue Channel is Ambien inclusion. If we really want to, I'll just add it and for now. And you can see which just one texture we can get the functionality of three textures. And not only does this save time, but there's also saves a lot of memory. So you see this happen and a lot of video games, although if you're going for a visual fidelity, like in the movie industry or architecture, you won't see this too often. You'll just see the individual texture maps because they can be easier to work with when you're actually creating the textures. Some hit apply. The first level and go back to materials, apply this to one of the crates, let's apply to the small crate, and we can see there's virtually no difference. Before jumping into lightning, let's go over how reflections work in Unreal and also how the post-process volume works. So post-process volume is cool because it allows us to get color grading effects and really take our scene to the next level. And reflections in a real can be a little bit tricky because they aren't real reflections. Now we can get real ray ptrace reflections in Unreal by using RTX and ray tracing. But the vast majority of people don't have RTX cards yet, so I'll save that tutorial for another day. So jumping back into Unreal Engine. Let's add some reflective materials to our scene. That's how we can actually demonstrate how reflections work. Luckily, star recontact comes with a bunch of reflective materials. Some of the historic content materials and I'm going to add the burnished steel to the left ball chrome to the Middle Bowl and create a mirror material for the rightmost ball. So right click material mirrorball. What are this? Hold down three and left click to add in color, double click doesn't make this pure whites connect us in a base color. Hold down one and left click to add a scalar value. And I'm going to switch this to one connect connected to metalic. So our material is pure metallic and maker material have zero roughness. But hold out one left click connect that into roughness. And now we have a fairly reflective. Now we have a pure reflective material. I had apply apply. Save we get out of this and apply my mirrorball to the rightmost one. So now we have three pretty good reflective materials. Right away, we know it's an issue with our reflection, and I'm glad unreal did this because it helps demonstrate how reflections work, and that is we can see some graphs in our reflections. And if we look around, the floor is made of grass. So where is this grass coming coming from? Also, we'll see that as we back out and as we go back in, it's transitioning from grass to pavement. This is because to reflexion methods are right now fighting with each other. We have a spare reflexion capture and we also have screen space for reflection. So for now, I just want to talk about speare reflection captor's. And to help illustrate what that is. I'm going to deactivates green space for reflection for now. To deactivates greenspace reflections, we need to use a post-process volume. So in place actors, I'm going type in post and drag in a post-process volume. And it just moved to really far away for some reason, so I might drag it back in here and I want the post-process volume the square to encompass my entire level. I wanted to accomplish my entire level. That's how it's always affecting my camera. Since the options we choose with our post-process volume will only work if we're inside of the post-process volume. So now within the post-process volume and the details, panel, I'm going to come down and then under. Screen space reflections. I'm going to click on a tent city and set it down to zero to turn off screen space reflections. And I'm going to get a better view. That's how you can see what's happening. I'm we're hit zero. We don't see any of our Spanish pavement now. So I know for a fact that the only reflection that is being used by these three spears is the reflection capture in my scene. And if I look around, there are no other reflection captures. So what the reflection capture does is that it literally takes a photo, a 360 degree photo of where it's located. And once it takes a photo, it projects it onto all the textures. And that's why right now are spears are reflecting. Grass because our floor, if you remember, was originally grass, and that's when it took the photo. Now it doesn't know that the floor is pavement because it hasn't taken another photo yet. So to take photos at Unreal, what you want to do is come up here to the build and in the dropdown of the Arrow. Click on Build Reflexion Capture. Now a reflection captured just belt and a reflection is somewhat correct now, at least we're not getting the grass anymore. We can see the regain the payment, but also we can see the three spears within our reflection capture. We could get rid of these three spears by adding in a new reflexion capture that will only affect this individual spear to do so, I'm going to come to place actors type in reflection and drag in a spear reflection capture and position it inside of the spear. That's how it takes a picture inside of it. I'm going to decrease the radius to 100. And we know there's some issues we can probably fix that by rebuilding our reflexion captures, so it takes up photo again. And now if we look at it, we have a nice, accurate reflection of the world within our mirrorball. And what's happened is that this small reflexion capture is going to override this larger reflection. Reflexion capture cities now is a smaller one will be more accurate to the individual objects it wants to effect. What I will do now is copy that reflection and add it to the other Speirs. So going inside, click on the reflection, hold down alt dragging of that one. Hold on all, Dragonette, that one that saw all three of these have physically accurate reflections. And I'm going to rebuild them. OK. Reflections are looking nice on all three balls, also on the left here we have a box reflection capture and a plainer reflection capture the off of this so box reflection capture is good for boxy rooms like for architectural visualization and plainer reflections is great for flat reflective surfaces like water. And we're actually going to use one at the very end on the creek water. We have spare reflections now, now. I'm going to go bring back screen greenspace reflections and just explain why it's doing it. So I'm going to click on the post-process volume. And then under screen space reflection, under rendering features, I'm going to bring that back up to 100. And now we get some nice screen space reflections. And what screen space reflections are doing is that it's taking the renders of whatever is around the reflection and literally just copy and pasting it onto the reflection again. So that's how we can get some of that nice Fresnel effects around here where we can see some of the clouds as the spirit gets more angled. So screen space reflections are amazing and they're especially good when you combine them with reflection captures. So that's how if unreal doesn't know what to take for screen space reflection, it will always default to that reflection and capture. While we're on the topic, let's talk about the post-process volume and the post-process volume is pretty cool. It allows us to add color grading. So if you're using the venture resolve, you know, immediately what that is. And it also allows us to add some cool effects. For example, I can increase the bloom and really blow out my scene. So I've got intensity. Bring this up now, we have a really lazy scene. I can also come down here and increase the slope and tow. If you really want to give it a more cinematic contrasty feel. Also. We can color great it, just like any other color grading you've ever done. So like I could go to global and within saturation I'll get this. We'll very similar. This is very similar to how Da Vinci resolve works. And I could bring down the one to a zero to get a black and white effect. And you'll notice as I leave the post-process volume. It goes back to normal, and when I enter, all those effects are applied. So that's great. We can control where in the level we want these effects to apply. But the only issues are what if we have a post-process volume and we want it to affect the entire level and we don't want to go through the process of scaling up the post-process volume to make sure it encompasses that level? Well, that's fine. Unreal has an option called infinite extent unbound. And if I check this now, the post-process volume is affecting my entire level and not just the area it encompasses. So there is a bunch of sightings in the post-process volume. I'm not going to explain each one you can experiment, see which ones you like, or just dial back. Each of the sliders and see how it affects the world. But for now, I'm going to delete it and explain the best use case for post-process volume. And that is controlling our exposure without having to come up here to lit. And manually changing the exposure settings here, so I'm going to read the post-process volume. Add it in, come down here and make sure infinite extent unbound is checked. So the exposer settings we change right here will only affect us. The editors, the actual player will still get that exposure. And with a post-process volume, we can turn off that exposure and find to it so that the player can also see it. So under lens and exposure, we have a bunch of exposure settings. I'm not going to go over each one. There's a methodology to it. So if you're used to using physical cameras in real life, a lot of the settings will be exactly the same. So you could get physically accurate shots. But for now, the three essential sliders here are in brightness, max brightness and exposure compensation. So if I take min brightness to one and max brightness to one, we aren't noticing any change right now. And that's because our viewport is overriding whatever changes are in the post-process volume. So I want to bring back game setting exposure by making sure this is set. There you go. So now when we adjust these, we will see the effect take place within the level. Again, I'm going to put these. Both back to one. And exposure, compensation, and here we get a new slider. That will allow us to pick our exposure and. The player will also see whatever changes we make. So in a real lightning can mainly be divided into two main categories, you have your static lighting and your have your mobile lighting. Now, the main difference between the two and the most obvious one is that one is stationary can't move. And the other is movable. So it can move. Now, you might be wondering, why would we ever use stationary lights? Well, static lights have the benefits of being able to emulate global illumination or bounce lighting. Now there's a global illumination. This bounce lighting isn't rendered in real time. Instead, what happens is that before the player ever sets foot on our level, unreal, bakes out all the textures on real calculates, all the light photons are bouncing around. And it puts that information into a texture called a light map. And this light map is overlaid on our entire level. That then gives the appearance of shadows or light bounce being there, even though the light isn't actually being bounced around. So to demonstrate that. To better illustrate what I mean when I talk about global illumination and bounce light, let's head over to our download of content. So go to lighting examples and underlining examples, go to maps and click on like Bounce. This will bring up a really simple scene that I created. And you'll notice in the middle, all we have is one light and a bunch of objects. This light is set to static. I know it's set to static. And other details, mobility static is checked on. And if I zoom in here, you'll see that our shadow is pitch black. That indicates that there's only one bounce of light. And this is unrealistic, since in real life the shadow will be more of a gray or it would be more illuminated. So it's a light ray would be shot from this light. It would hit the wall. And once it hit the wall, it would shoot back or bounce out, and then it would hit the shadow and illuminate the shadow. Also, you'll notice that we get some words here, some letters you probably can't read or write. Our sense is flirter, but it says preview. This is just unreal. Real saying, hey, don't forget your light right now is set to static. So make sure you build a light to actually see what it looks like. So let's build a lighting. And before we build it, I'd like to explain that when you build lighting, what unreal is doing is it's going through all the lights and it's calculating photons. So sometimes a build can take a while, can't even take up to a day or a couple of hours. In our case, within this small scene, it should only take about a couple seconds. So I hear Bill. And we can see immediately Arsene feels a lot more realistic and we get that global illumination, that bounce light when the shadow where before it was pitch 100 percent dark. Now we can see that it's illuminated with the light that's produced from bouncing off the walls. And what's really cool about it is we can actually get some color bleeding effect. So light hit this red wall from this red wall that bounce off and hit this spear. And now we get some of that red ball on this spear. So that's really cool, and just to illustrate what movable lights would do if I said this to movable and then if I hit build. We're back to where we were originally, and it looks a lot worse, but the benefit is our endgame. This like a move back and forth and I'm real won't have any troubles. So now you know that it's really in the pennies. Sometimes you want static lighting, sometimes you want movable lighting. It depends on your scenario. Now let's talk about what lights unreal has to offer. Now, I'll go a bit quick right now, because, quite frankly, a lot of these lights are self-explanatory and you could tell what they do by the names. So if we go in place, actor lights, first up, we have the point light and I already have a point lighting here so I can always bring a new light in by dragging into my scene. Or here's a shortcut. If you hold on L and left, click anywhere we can bring in a new light that way. And point lights are cool because are just one point in space. And from that point, space light is being set out in all directions. We can control the intensity. And details and also the light color. These two settings will pretty much be the same for all the lights, and also if we go down, we can change the temperature if we click on set to true use temperature. We can make this either warmer or cooler because of real life act. The actual bulbs in your house have a warmish tint to them, and you might not be able to see that because your eyes are adjusted to it. But next time you see a light where you're coming from the outside and going inside, just look at the color of the lights and you'll see that the air have a cool tent or a warm tent. Some are delete these lights right now. And we're going to move on to the next one, which is the directional light. As you can guess, if I zoom out here, this is literally just a light in space. That just shoots down infinitely, and this is amazing because this is the sun and this is the only light source we're going to have at the very end when we create our final landscape showcase. So honestly, in a lot of scenes, all you have to do is put this light down, build your light. I'm a builder right now. And immediately you'll notice that we get a nice sun effect and we get all the nice bounces of that sun also entails we could control the Luxo, the intensity of the light, and we can also control the angle. You can do that by just manually rotating the sun around. I will delete the sun, and you notice when we delete a stage, very light after it was built. We still get that bounce. And now the scene looks weird because it's like, where's that light coming from? We don't have any direct shadows. So it looks like someone's coming in here and just artificially raising the brightness of everything. So to get rid of this, we can press build. And since we have no lighting right now, I'll just clear the scene, make it pitch black again for us to showcase the rectangular light and the spotlight. So let's get a spotlight, drag it in. And as you can guess, this is just a spotlight with an angle. What's cool about this is we could control this angle. So we make it a wide angle like 80 degrees or make it really sharp, 10 degrees. Another thing we could do is adjust the fall off of that light by plane with the Intercon angle so we can make that fall off sharper or bring it back to blurry. After that, we have the rectangular light, and this is just your basic area light. If you've ever done photography or you've done a photographic shoot of someone. This is what you would use for your three point lighting setup. And we can also just like everything else, we can just like color the intensity. But we can also adjust the fall off of this light with the barn door properties so we can make these barn doors sharper. And it can also increase them and really try to dial in the perfect settings for my rectangular light. I want to lead this light now. And next up is a skylight. And this is probably the most confusing light there is if I drag it in to my scene. You'll notice no change. And that is because of what the skylight does, is it simulates the light being produced from the sky because of real life when you go outside. Everything has a slight bluish tent to it since the sky, all the blue. The atmosphere is casting like down as well as the sun. So if we look around, obviously we don't have a sky in here, so to just demonstrate this, I'm going to bring in a sky to Adobe sky in an unreal. You can go to play soccers and type in atmosphere. We're going to use sky and atmosphere. So if I drag Assen. You'll also notice no change this is because what the atmosphere needs is a sun that will actually then scatter its particles all over the atmosphere and give it that bluish tip. So my head back and bring in a directional light. And we notice not another change. Still darkness, no sky to fix that. I need to tell the sun, hey, I want you to affect the sky, an atmosphere. Make that a real atmosphere. So within the sun, go down here. And right now, I have my vast property shown. If you don't see these extra settings. Make sure you click on this arrow. So if you click on show advance and under show advance, you want to check atmosphere, fog, sunlight. And now we get a really nice, physically accurate atmosphere. And still, you'll notice no change within the skyline. This is because Unreal Kinney's updates are just quickly change any of the settings within Skyline just to tell on real, hey, update the skylights, I'm going to change. Cue map revolution resolution from one twenty eight to one twenty seven. They'll bring it back to 128. And now you can see. Are seeing gets a slightly bluish tint to it, and that's actually the sky. All the blue, the sky coming down and bouncing around the scene and giving it a nice bluish hue. OK, so one very important thing I forgot to mention or go over is the difference between static lighting and stationary lighting. So to begin, both of them are static, but one is able to cast dynamic shadows and other can't cast dynamic shadows. So I already beg to scene with a single directional light set to static. And if I add in a new object. You'll notice there is no initial shadow being casted from this object. And if I set this object from static to movable and if I still build. You'll notice that still there is no shadow being cast off from it. And this is bad because what if we have a player? Players aren't static, they're movable. This sun that is baked won't be able to cast any dynamic shadows. And that's where stationery comes in handy. So if I said this is stationery. And then if I build again. Now we get the nice bounce light from a static light, but we also have the ability of movable objects also being affected by the light. So that's pretty nice trick. If you're ever creating a level and you have a player running around, but that player isn't being but a player doesn't have any shadows on it or isn't casting any shadows. Make sure you go check your directional light or whatever light is currently near the player and make sure it's stationary and not static. For architecture, this really doesn't matter since you won't have a player, so I just said to static. So let's go through using a real life example to apply stationary lights and bounce lighting to a really simple architecture scene that is provided within the free content. Now, we're specifically using an architecture saying because we're going to light it in a way where it's impossible or would look really bad if we lit the scene with only movable lights. So hopefully it will get the point across. Why global illumination and static lights are so powerful and why you should be using it, even if it can be a little bit harder than just sticking with movable lights. So back in our real engine. To actually open my scene, I'm going to go to a lighting example, maps and go to archivist room. I already have archives room open, and when you open it, you'll notice pitch blackness, darkness. That's because we're going to be lighting this scene from scratch. So to actually see by seeing them going come up here to lit and select unlet. And in the middle, we have some basic furniture. To the right, we have a door. And right behind us. We have a window. This window is where all the lighting will actually be coming in and filling up my room. So we can come back to it. And then I'm going to add in a sky. So click on and atmosphere to drag it in. And we don't see it because, again, we need a directional light to drive our Skyy atmosphere. So I'm going to drag it a directional light and rotate this in a way that's so I know the directional light isn't going into my window because I want to demonstrate what indirect lighting can do. And within this directional light, make sure you check atmosphere slash foch sunlight. To actually get that sky here and then within here, I'm now going to add a skylight, so drag it in and now that light from that sky will be coming in here and bouncing around. So this is set to preview to again remind us, hey, we're using static lighting right now. But you have it bakht your lighting yet, so let's bake it and let's build it. But before I build it, I want to click on this arrow. And for architecture, for anything where you want a more high fidelity build, you want to come to lighting quality and select medium, not preview. So now Procyon build. Now that the bill is complete, I can immediately tell that this looks amazing. Just kidding. This looks absolutely disgusting. I don't even know what's happening right now. There are so many errors. We zoom in here, we can see black splotches everywhere and even some weird patches of light. This is the part where we're going to have to start optimizing our bill to make sure that we have the nicest quality, big lighting possible and to begin. Let's start off with light mass imports volumes so we can place actors type in like mass. And I'll just drag in imports volume. This is great because it will tell unreal. Exactly where should the bulk of our baking be located. So I'm going to drag this out. Make sure compass's my entire seal. So now this is just telling our real, hey, make sure you bake only this area, so if you had any other objects outside, it would lessen the breaks on those. But focus all the quality on what is encompassed at them. And then I'm going to add a light mass portal. So drag this in. So, again, what Lemass portals are doing is it's going to tell all the lights, all the photons to focus their energy into this area. And since we know the majority of our lighting will be from this window, we want all the photons to be focused at this window. And this will help eliminate a lot of that spottiness. So I want to make sure the portal encompasses my entire window. It doesn't have to be 100 percent accurate. It could just be a bit accurate or accurate enough. There we go and let's build it and again, reminder, make sure you build on. Medium quality. Pressing G to get rid of all these icons and immediately will notice such a better bake. It's already getting a lot more realistic feel to it. And we got rid of all those black splotches, but there still are some black splotches and we'll get rid of them in a bit. But before we do, I just want to fix the outside of our window right now, since when we look outside our window, it looks weird because the there is no landscape and the horizon is just darkness. So our house is like floating in a dark void. We can fix this and actually give some color to the blackness by adding an exponential height fog. So this will add fog everywhere, but the issues that it's even adding fog inside of our room. So it's giving everything a milky tint to it and decreasing the contrast of our architecture. So we could fix this by having the X Metro high fog selected going into start this nice start distance. And I'm going to change the star distance to 500. There we go now we have some nice contrast in the room, and if I look outside, we don't get that weird blackness that we were getting beforehand. Now, this is probably the best representation of why exposure can be so helpful to adding an extra level of realism to your architecture. So if I'm in my room right now, we can see everything is nice and light. But as soon as I go outside the building and look into the window, everything gets darker. Go back in lighter. So this is exposure, and I actually really like this effect because if you've ever been outside in real life and then you decide to look into a window, you'll see everything appears so much darker and then when you actually go into that building. Everything lightens up, so I'm going to keep exposure the way it is. And when your eyes adjust here and you turn around, the sky just looks blown out. And that's what we want to see. And that's physically accurate to what we would see in real life. Before we can improve on our BAKHT lighting, something's just really not looking right, and that is the reflections on our objects. Reflection looks like this. It's looking pretty bad, really glossy, because we forgot to add in a reflection capture. So in place, actors are going to type in reflection and just drag in a spare reflection capture box. Reflection capture will also work well for the scene. But others use spir reflection capture for now and immediately our scenes reflections are fixed. So let's improve our lighting. And firstly, I notice if I zoom in here, we can see some I maybe it's not noticeable, but we can see that there's squares and these squares are then blurred. This tells me that the light map resolution is too small because remember, big lighting is literally just creating a shadow texture that will be overlaid on our models. And right now, that shadow texture resolution is way too small. So if I click on this wall. And then if I scroll down to lighting, we can see that we have a overridden light map press option if I check this. I can see that the light mat resolution is right now sixty four Axel's or 64 pixels. That is way too small. So I'm just going to bring this up to 512. And now if I press a build. We will notice immediately those black splotches are gone because we increase the texture resolution, but if I zoom in really close, we can see those black splotches never really left. But they're now smaller and more accurate to what the shadows will actually be in real life. What I will do now is go through all the objects in my scene and change their light map resolutions just like what I did on the wall. But this can be a bit of a hassle since they have to click on an object, scroll down and check what their light map raises. Because on some objects, I may not have to increase their resolution. This is fine because we can actually view each object resolution in the viewport by going to lit and then going down to optimize view modes and clicking on a light map density. Now we get a new view of our scene. And each of these squares is a pixel of our bakht lighting texture. And we can see that's kind of a gradient. So blue means low resolution. Green means higher resolution, yellows higher. And finally, we reach red for a really realistic architecture, saying we want everything to be in the yellowish reddish range. But for our purposes, I'll try to make sure everything gets into the yellow range. So first thing I'm going to do is increase the light mapper resolution on the ceiling. So click on this. Override Lt. Matt. I'm just going to change this to 128 or 256. Change the bottom here to 256. And the baseboard can also have the light bumped up just a bit, so it changes the one to eight. And then I'm going to change this low grade stuff, this grid wall pattern, up to zero to I'm just going changes to five. And also change the chair to 128. I will ignore changing the light map resolution of the furniture right here. It looks pretty good, actually. I think votable. I will increase that to 256. And now let's see what our lighting looks like when we build it. You notice two things just happen. Number one, the bill took a lot longer. That's one of the issues with increasing light map resolution, since now it has more textures and needs to calculate, resulting in exponentially higher bills. And that's why for some architecture, since you can have a bill to go in up to a couple hours to an entire day. Also, our lighting looks a lot nicer, so much nicer. We can actually start to see those small details of this indirect light shadows coming from the window over there. But we still have some issues, for example, right here, we could see some light bleeding, so some whiteness where there shouldn't be any right here, right there and all throughout the room. And also our light is still our shadows are still kind of blurred. We can now fix this by actually adjusting the settings of how the lights are baked themselves, and to do that, we need to open up the world settings and by default on real doesn't have world settings. So, again, going back to our UI section. If I come up to Windows, I can unhide hidden windows. So I'm going to go click on world settings to bring that back. And now, in light mass under light my settings, we have all the settings that unreal uses when baking our lights. So what I will do now is adjust some of these settings and then rebuild and see how it improved my scene. So first now I will just is bring down the static level scale to zero point one. The lower this level is that the more detail we're going to get out of the shadows, only issues that, again , this will increase build time. We also need to compensate for lowering the static lighting level scale by increasing the indirect lighting quality. Some are bringing that up to 10. Another thing I would do is increase the number of bouncer's to 10 for skylight and also 10 for indirects. And then I'm going to go to lighting smoothness and bring this to one point three. So you're probably wondering, how did I go about and get these values? Well, before I started this tutorial, I went through and I did a whole bunch of settings and I played around a bit just to see which lighting would look the best. Now, for an actual methodology, I increase the balance on both the indirect and the skylight bounces, because more light bounces would mean more light overall. So a much more accurate scene. And then I decrease the static lighting level scale. What this does is it just decreases the range at which the lights are looking for objects so we can actually get a lot more shadow detail. So when it's a lower, you get more shadow detail. The only issue is that this can cause like bleeding light map issues. So then in response to that, you want to increase the indirect lighting quality. So a general rule of thumb that epic games recommends is that you take the static lighting level scale and you times that by the indirect lighting quality. And that should equal one. So that's why would I decrease the static lighting level scale to zero point one? I increase the indirect lighting quality to 10, because if I times those two together, that would equal one. Also, before we build, make sure we're set to either medium, high or production, I would say for experimental purposes, just set your scene now to medium production will probably end up being like a two hour long bake. So let's back and click built. OK, I just skip ahead 10 minutes and now the Bacons complete it honestly depends on your computer. Your computer might be longer or slower. And we'll see all these. Ed Widget's, I'm just going to hit you to get rid of this. And we can see that. We have such a nice break. Everything looks right. There is no light bleeding. We can't see any really noticeable dark splotches. And if you actually zoom in and hide this chair by pressing each, we can see some really nice indirect shadows coming from our skylight. I'm going to hit control edge to bring back my chair. And this can use some last second tweaks using the post-process volume. So in place, actors type and post. And I'm a drag in a post-process volume and make sure underneath all the way down here, make sure if it extends down, is selected. That's why I don't have to go through the process of scaling up the post-process volume to encompass my entire level. And first thing I notice is our ambient inclusion is way too high right now. And we invade. Occlusion is a post-process effect which basically mimics the way shadows congregate into small spaces. And the best way no is within this corner right here. So if I come up to it, you notice this spot is really dark. And if I keep zooming in, we can see the shadows actually oddly adjusting to where my camera is for realistic scenes. I don't want this. So what I will do is in the post-process volume, go to render settings and read occlusion and bring down the intensity from zero point five to zero point to five. Next year will do is brighten up my scene using the exposure. So go to lens exposure and check min brightness, max brightness. And we will set to a constant exposure by setting both of these to one and adjusting what it looks like with the exposure compensation. So I'm just going to bring this up. Two about. There. And there we have it. This is pretty much the gist of working with static lights and baking lights within a real engine. And it's just it's so amazing that in real time we could get high fidelity rates, rates, lighting by just retracing everything before the player ever sets foot in a level. And I would highly encourage everyone watching this video to go through this level and make your own adjustments. Make your own changes. Let's say if you really want to, we can grab the light and angle it in a way where it's going through the window if you want to. And how that light hit the furniture. And create some nice balance that way. Or if I come over to one of these furnitures, all of these objects are created in a way where you can customize the colors using material instances. So, for instance, if I click on this phone and if I open up the material here. I can adjust the color of that phone so I can make this a deep red or a green and all the objects here, you can adjust. So just play around with the colors, play around with the lightings and see what you're able to achieve. Using big lights in Unreal. OK, so Mega Scan's integration with unreal mega scans is an amazing asset library of real world physical objects that have been scanned into unreal and they're all free and using a program called Bridge. We can automatically get these assets into our own real project without having to go through the hassle of the unreal marketplace or importing every texture and every object manually. So first you have to install bridge. Once you download and install Bridge is going to ask for your epic games to count. Just put in the same information you did on the epic games launcher. And now you have access to QuickSort Bridge. And as of August, it's twelve thousand nine hundred and twenty two assets. So pretty cool epic games of putting it out there. So let's say I want grass in my project. I'm type in grass and I want these grass clumps of my projects. I'm going to click on this. And now I need to specify what are the rules that what unreal engine version I'm using and what project I want this grass to go into. So first you have to download it much like download settings, and pretty much the default it has here is good enough. And I'm going to click Élodie zero for now. So when I click download and now that I have a download it, I'm going to go to export settings. And choose unreal engine and the unrelenting version you're using. And now we want to select the installation folder. So what you want to do is you want to navigate to where you're unreal engine version is. In my case, it's located in my F drive. So go to epic games. Then I go to Yuy on a score four point twenty five. And within the unreal engine installation folder, you want to go to engine and then down a plugins and select this folder. So my click on select folder. Now it's going to install the plug in and install successfully. Also, you want to make sure that you're exited out of unreal before you do that. And now within Project Location, I'm going to select. My first projects, I go to desktop and then Fuseproject. And just here, this is fine. So the first project folder and selected. And now I'm going to click on Export. Back in our real engine, I forgot to mention that you want to make sure your project is open while you're Enbridge and while you click exparte, if your project isn't open, that bridge won't work. So back in the project will notice that after I exported, I have PMS presets and mega scans. These two new folders, if I go into mega scans, 3D plants, grass clumps, we can see the static messages, we import it. And if we drag it in, unreal engine already set up all the materials for us automatically. So that is pretty cool. Now, if I go back into bridge. I want another material that we will use to blend with our landscape we're about to make. So and by the way, this is in our final landscape. We're going to make this just a landscape test to go over all the landscaping tools we need to know. So I'm gonna go back to grass and then I'm going to go to clover patches on grass and download this asset. And once I have this asset, download it, I'll click export. And wait for everything to import. And we can see automatically it sent me to the folder where our new material is located. And here we have clover patches on grass, if I could drag Alison. We have a nice photo scan material automatically in Unreal. And we didn't have to set up any materials whatsoever. And what's really cool is if we go to Emma's presets. We can see a bunch of folders with master materials at them, so mega scan comes with our own master materials, just like the master material we created for this payment and honesty. And their mass of materials are really cool. They're like ours, but they also add other features to it. So that is bridge in a nutshell. Before we jump into landscapes, let's download some more textures. So I got a grass and I want a dirt texture. So just pick anything here I like. Hmm. I like this rocky dirt texture, so I'm a download that, and then I also want another Grasse texture. Also, instead of coming down here and export, when we hover over an asset, we download it. We get click on this arrow here that will also export it. And remember, your unrealizable project has to be open for bridge to be able to export into our project. So after we Rocky Dardan, let's get another gracen or let's go grasse dried. And I'm going to pick this one and download it. And then I'm going to hit on the arrow to bring it into Unreal. Now, back in April, under mega scans surfaces, we have three scanned materials, so I'm going to go dry rock, drag us on a here. You go back and I go to Fresh Harvest's, drag that on a hair. And this is such a great new way, a new workflow for Unreal that automatically allows us to focus on the art and not the technical mumble jumble of materials and static messages and importing bridge does this all for us. Landscapes, they are pretty important since they take up the majority of a scene. So if you have a bad looking landscape, you will probably end up having a bad looking final product. So don't worry, on real comes with a bunch of tools to help decorate and fine tune our landscapes for our perfect needs. Now, it's important to know that the landscape we're going to be creating right now is not the final landscape. This is just a test of armor to help get us situated with the tools. So let's go to my stuff maps and let's create a new map. Let's go to file new level and let's select time of day. And I'm going to control us to save this. And I'm going to call this. First landscape and make sure you're saving under my stuff maps or I don't know, you can save it anywhere. All right, safe. And now we have this nice looking map and the lighting is already set up and set to movable for landscapes. You want to use movable lighting sense if you're going to bake your light. It's going to be a really big hassle since your light map is going to be huge. Since we have to break the shadows on an entire landscape that could span anywhere from one kilometer to eight kilometers. Summer, delete everything. So to create a landscape, what you want to do is come up to the Mode's tool and then select it and go down to the landscape and select that, and that will take us into landscape mode. And immediately you'll notice this preview mesh of our landscape. And to the left here, we have a bunch of details to initialize our landscape and create it. We can change a bunch of these details here so we can like change a number of components. Doubling the size, the number of components, the total overall resolution. And this is just a bunch of technical details. And you don't really need to know this stuff. What I almost always do is go to a landscape technical guide on the unreal engine documentation and scroll down here to recommended landscape sizes. And I almost always keep it to one of these. Get out. And now I'm going to click on carets to create our first landscape, and immediately this will put me into Scott mode. As you can probably guess, to sculpt down on the landscape you want to love, click, hold. So give us a sculpting ability, and if we want to sculpt in the opposite direction, you can hold down, shift and left click hold or left mouse button hold. And now we're going in the opposite direction. So the brush we are currently in is in the default brush, which is sculpt. And this is the best way to just quickly create good form for landscape. And some other settings we have as strength. So I can just the strength right now, it's set to one. I can bring this down to zero point three, which is the default strength. And now we get a much lighter touch to to this landscape. Another thing I could do is increase and decrease the radius here so I can make this large. Or I can make this really small for some fine details. We can also adjust the falloff, which is the edge strength of our brush. So I could bring the falloff up to one. To make it really safe, so a really soft addition to our landscape or I can make this fall off really strong by going down to zero. So you can see the edges are harsh, and I can also bring the strength up to one. To really get a gross, disgusting look in patches on our landscape. So I think this looks really disgusting right now, and the next bus we're going to go over is smooth. So if click on smooth. And also going to bring the falloff to zero point five again. I can quickly come in here and just smooth out my landscape. And this is really nice for getting rid of any weird artifacts you might have if you imported this landscape from another program. The next brush we have is in, which is pretty self-explanatory, that's just flat into your landscape. So it's good if you like, have a gameplay area and you know, you need an area to be flat in order for that game to work. You just come in the flat and broad brush. And just paint a flat area, this is also good for making like mesas or plateaus. So now we have several levels of landscape in. And we have a bunch of other brushes, I won't be going over these brushes since they're very specific. If you want or you could play with them and see what each one does. But real quickly, a really good shortcut to know is the bracket keys. So if I left hold down the left bracket, I could bring my cursor down. I could bring the size of my rush down. And if I pull down the right bracket key, I could bring it up. So down and up just like Photoshop. We were right then on the sculpt tab. Let's go over to the manager tab. This adds some more technical detail to our landscape. So our landscape is created of components. And if we hover over each component, we can see a Orange Square. And this represents what our component is. We can actually increase our landscapes. Let's say if you make a landscape and you realize, hey, my landscape is too small, I want to increase it. We can go to the ADD tool right here under ménage. And now we will see a green outline. And if we left click hold, we can drag out new components of our landscape just to increase it, or I can delete components. So let's save. Our landscape was too big by using the delete tool and just going in and deleting random squares like press control Z, because I don't know why I would ever want to do it. But you can shave off the sides. So that's nice. Landscape materials are really complicated because they can either make or break your landscape. And what stinks about this is a good landscape. Material will take hours to create and even more hours to explain. So I will save that for another tutorial. What you need to know right now is a landscape material is like a collection of many materials. So you have your grass layer, dirt layer, stone layer. And together, these many materials are put into one larger landscape material. So to actually showed that back in a real engine. Before we jump to materials, let's add a 3-D character to our world just to help give us scale, that's how we know how big the mountains are and how the grass and textures should be scaled. So to do so, I'm going to get out of landscape mode, go back to select mode, and that I'm going to click on add new go to add features or content pack under blueprint feature. I'm going to click on third person and then click on Add to Project. Now we have some new folders in there, and we also have a good mannequin that we can use right here and that I could drag this mannequin into my world. So if I go to mannequin character MASH Escalante's caramanica and drag it in. Now we have a human reference to see how large our world actually is and. This is probably a lot larger than you actually imagined it to be. We can also run around our world as this mannequin by going to world settings and then go to game mode, override. Select this and then select third person game mode. Now, if I press play. We have a little guy in this world. And if I use a WASC Tiki's, I can move around and explore this world for myself. So this will be great once we're going over blueprint programing and when we actually scale the textures of the ground to our mannequin, to our character. Let's create our landscape material, and to do so, we are going to use the textures we already downloaded from mega scans. So if you have a download of those textures, go back to the mega scans section and see how to download them. But for now, I'm going to go to my stuff. Good on materials and a right click here. Got a material. And I call this my landscape and I'm a double click to open this up. And drag a docket up here. Now I'm going to go grab those textures, I'm going to go to mega scans surfaces. Clover patches grab these textures, specifically the albedo normal and roughness. You might have more textures, but you could just ignore those. Drag it into my landscape and drop it and kind of dropped it in to close there and that I'm going to go to dry rocky ground. Grab these. Go to my landscape. Drop them and go back to fresh harvest and grab these. If you don't know, I'm pressin shift when I select them and to select multiple drag in. As I mentioned before, you can think of landscape materials as a collection of many materials in a larger material as a whole. So we have three main materials. We have grass there and dead grass somewhere to organize this. Right now and create these put these into materials of their own. And I can actually do so by. I got to keep organizing. Yeah, the thing about landscape materials is they could get messy really quickly, but I could create many materials by using the make material attributes. So now I'm going to plug this into base color, plug this in a roughness and plug this in a normal when I come back up here, right click and click on make material attribute . Do the same base color roughness. Normal, come down here, do the same. Base color. Roughness and normal. Now we have three little mini materials, and the outputs of the material attribute is immaterial in itself. So you might be wondering, wait, wherever I go, I'll put this into here. There is no slot for just material. Well, we have to change our material output. So to do so, I could just click anywhere in my graph and then go to the details panel and check used material attribute. So now we have a new little material attribute, and I could connect this up like this. Hit, apply, go back to first landscape. Go to my stuff or whatever you or whatever, you save that material to actually select my landscape. Go to details, actually drag us into landscape material. And that is one of the downsides of using landscape materials is that it can take a while to compile. So just keep that in mind. Now, if I go to Mode's, go down a landscape and I click on paint. We have no paint layers. We need to add paint layers within our landscape and tell our landscape which materials will be those layers. So if I hop back into my landscape to do so, I'm going to use a landscape layer blend note and drop this in. Now, it has no layers, so I can add layers by going into the details panel and clicking on the add element. So I'm going to add three, one to three. I might name the first one. Grass. Keep everything is default. The second one as rocky dirt and the third one as dead grass. So now I'm going to hook in my grasp material to grasp layer dirt matir dirt material to dirt layer and dead grass material to dead grass , and take the output of all three of these and drop this into my landscape and had apply and wait for it to compile. It might take a bit. So I just kept the head and ooh, scary. Our landscape has turned completely pitch black, but on the target layers, we have three layers. And the reason why our landscape is pitch black is because we don't have any layer assigned to it as our base layer. So as our default layer to add a layer, come over here and click on the plus icon and I click on wait blended layer normal. Now it's going to ask you where you want to store this landscape layer. I will just keep it as default and it will create a new folder for me. So automatically it will organize the layers for me and I'm going to hit OK. Now if we wait for it to compile. We can see we have grass as our default layer. And if I go to rock there, add a new layer, got a weight blended layer. Have I got a dead grass? The same thing. Click plus click on white blended layer. Click OK, now if I select Rocky Dirt and if I hold on my left mouse button. Still have to wait for it to compile. And boom, we can now paint on our landscape. Our different material airs so good paint our rocky dirt, and we can also paint our dead grass. Right off the bat, I noticed two issues. Number one, there's not enough geometry to actually paint my materials on, so we get some weird stuttering effect. That's that's the actual pixels. And number two are skills of our material are way too off. So to fix the first one, I'm going to come up to manage, go to resize, change section size from 63 by 63 to. 255 to 255 and change resize mode to re sample this are just give us some more geometry to work with while we're painting and have it apply. Nothing happened, but if I now come back here and repaints some Iraqi dirt, all my landscape, we now see a really nice. Smooth dirt to it without that stuttering pixel in effect. And another thing is, especially now, it's prevalent, if I zoom in, our texture of size is way too small. So to fix the texture size, I'm going to go to my landscape. Come here. And a right click and type in landscape. I could spell landscape cord's. And I'm going to add a multiply note by Holy Dot M and left clicking as a shortcut, drag us in and we're going to create a parameter to control the size. So I'm going hold on one and left click to bring in a scalar parameter. I'm a right click and click on convert to parameter. I'm going to call the size and the default will be one for now. Drag this into be an hour, connect us up to all my materials, UVs. So we're going to get a lot of noodles now. Just keep connecting these. And hit apply now going back to my landscape. It's compiling right now when I go to where my material is located, and I could do that by first. I'm going to get out of my landscape mode. I'm going to click on my landscape, go down a landscape material and click on the magnifying glass to actually jump to where my material is located in my contact browser. And I'm going to right click on my material, click on correct material instance. And I'm going to drag our material and into my landscape material. So now, instead of the main material, my landscape instance is being used. So I'm going to double click open this up. Don't talk. Go back to my landscape and move this window to where I can see it. Click on size. And now I can control the size within my actually. I can't control the size. Oh, no, it is working just wasn't real time. So I'll just bring this down a bit to zero point five. That looks like a reasonable size. And now we have a kind of decent landscape. So, again, the controls, if I go to Mode's landscape and they go to paint, I can add layers. I can buy just hold out left clicking to paint some more. If I hold down shift. I can delete those layers. So cut into them. Also, the bracket kids can decrease or increase, just like in sculpting. And that's pretty much it. That's the very basics of landscape correction and unreal. And all I see, this landscape is pretty bad. No. One, we can notice the texturing really bad. So we have some really bad tiling effects right now. And if I look at my landscape from an angle, our landscape doesn't feel like actual dirt or actual grass. It feels more like plastic. And there are ways to get around this. But that would be a tutorial for another day since. Now we're going to move on to foliage. Before moving on to that, I want to briefly talk about organizing our materials. So if I hop back into our material, we can clearly see that it's divided into three sections, into three mini materials. And I can make that clear for myself and anyone else who is going to open up this material in the future where these sections are by just left mouse button holed and dragging over my materials, actually dragging over my materials. And then if I hit the Saeki, I will create a comet. Going to call this grass material. I misspelled it, but whatever this is for demonstration. And now our collection of nodes right here are within a larger node that can help us organize. So if I go down here, same call this dirt material and down here to the same, we call this that grass. So this is pretty helpful for organization reasons. If you look at any of the materials that are included within the starter content or the BEGANTO total assets, you'll notice that almost all of them have comments to just help the reader or whoever opens up his graph, know where the general stuff is going on. And it's also just good organization practice. And it's pleasing to the eye. Before we move on to foliage, it's important to point out that landscapes are rarely made within unreal engine. Normally landscapes are generated inside another program like World Machiner, Gaia, that specialize in simulating millions of years of erosion. And this landscape is then imported into unreal engine as a hype map. And the only time I find myself using the sculpting tools is when I'm trying to create a stylized environment like Fortnite or I'm trying to touch up some areas for gameplay purposes. So bottom line is, if you're looking to create really realistic landscapes, I will look into fighting hyp maps online or generating your own using other programs. So the fourth tool is pretty powerful, but they're also also quirks to it, before we can begin with the false tool, we have to select what assets we want to paint on our ground. And in our case, it's going to be Garrus clomps underscore zero zero that we downloaded from mega scans. So if you don't know how to get these assets into unreal, just hop back in the sections, go to the mega scan section and see how we download it and exported it automatically into unreal. Now, I'm going to go to Mode's and Rambo's. I'm going to click on foliage. As we can see, mega scans of smart enough to automatically take our fuls messages and place them within the foliage paint option. I can also, if you don't see these messages and there you can just select all of these and drag them into there. Now, if I press down with my mouse, we can see we're able to now paint foliage and it automatically clumps things together. So, again, just paint us a bunch of foliage everywhere. And we can also change the density of this foliage. So to change the density of the foliage. I'm going to click here, hold down, shift, and make sure I have all of them collected and now under density. I could increase this from 100 to 1000. So now. I get paid some ridiculously dense grass everywhere, and slowly over time, I keep on painting. I'll probably get a really big slow down, too. Unreal. But if we want to remove grass, it's just like pain materials in our landscape. You want to hold down, shift and paint these away. That's pretty much all there is to forge. Probably the most important thing to know is that you will only be editing the footage that you have active. And if you hover over these photos, you'll see these check marks. These indicate that the fault is active. So if I uncheck this. Now, if I try to go in with my paintbrush, actually, I actually can't go in my paint brush because I've been selected. I'm only going to select one of these. So if I go in with my paintbrush and hold on shift. I will only be deleting the foliage that was selected here. But if I select all of these now, activate all these people downshift, I'll be deleting everything. So just keep it. So just keep that in mind that you can actually just paint in individual foliage. So if you, let's say, paint in a bunch of grass and you realize you want to delete that grass, but there's also some flowers you have painting down beforehand that you want to keep there. Don't worry. All you have to do is activate your grass and make sure everything else is deactivated. And now you get Covid your press shift and only delete that specific foliage brush. So if you want to know more about foliage, we're going to be using the force tool a lot for our last landscape. So just skip to there or wait for that section to come up. But for now, let's go and move in. Blueprints. Blueprints. They are the most powerful tool of unreal engine since they allow us to program entire video games without a single line of code. And not only is it easier, but in my opinion, it's faster than traditional coding. So it's a very important, though, that if you've been following along this tutorial up to this point, that you know everything you need to know to complete our final landscape. So if you're not interested in blueprints, you can skip this section. But I highly recommend you still learn blueprints if you don't plan on creating a game, because we can use blueprints to create tools for use within the unreal engine workflow. And I have another senatorial. The link should be somewhere right here that goes over how you can use blueprints to create tools for unreal. Now, with all that being said, let's do a brief introduction into blueprints. So let's open up a blueprint, and the first blueprint we're going to open is the third person Manakin group blueprint. So if I go to content, third person BP, then go into blueprints, you'll see third person character. If you don't see this, they come up to add new. Our future content pack and then click on third person. So if we open up our character. Doc, this right here, we can see all the graphs and notes that make up our character. So all the logic we have for this third person character here. Oh, I'm falling. Going to play. I was moving forward backwards, left, right. Panning the camera and jumping. All that logic is being driven just within here. And we can add our own logic right now by adding in new notes. But before we had our own notes, I noticed an issue that when we pressed play, my players just falling through the world. This is because we have yet to set up a player start location. So it just picks location zero zero as our player starting point. We can add in a player start location by going into our place actors. And type in a player starts and I Jackson. And if I go back to third person character in press play, we will start where we want it right here. So Node's work on an event system, so something will happen in the overworld or the player will press a keyboard and then an event will then shoot out information and everything within that event line will be called . So, for example, when I'm jumping, if I go down a jump, you can see that when the player presses jump, which in this case is spacebar, the press node will send out a signal and the signal will tell the character to jump. And then when it's released, another signal will be sent out and it will tell the player to stop jumping. So we can actually set up our own event by coming down here. And I forgot to mention controls are the exact same as the material. So zoom in. Zoom out. Middle mouse button. Right click to bring up a search bar for all the nodes and you can pan with left mouse button. Some are right click and type in keyboard F for a keyboard AVF. And now whenever I press F, a signal will be shot out from the pressed portion and we can check this by dragging this out. And now typing in print string. And we could put out our message, I want to say hello from blueprint's exclamation points, click bio, go back to first landscape play. And now if I press F, you know, nose on top left, there we get a hello from blueprint's print screen. So that's how you set up an event. So right now, our event is pretty boring, and so what we will do now is add a rag doll effect. So when we press F, the physics of our players body will take over and we'll see the player pretty much drop dead and have a ragdoll effect going on. Well, we can do that by first leaving this dragging on a new line and type in and set collision enabled and choose a mesh. And within this dropdown, I'm going to set collision enabled query and physics. So what has happened is that when you press F collision will be enabled on the mesh. And if you don't know what the message is, if we go to our viewport, the mesh is our actual character. And we know that the meshes are character, because if we go over to the components, which is which is basically the blueprints world outliner, we have a mesh also highlighted, also selected. So going back into that graph, I can drag out another line and I want to set simulate physics. On the mesh. And then I want to drag out another line and do set physics Belén weights. Also on the mesh. I want to check this and click one. You don't really need to know what is happening right here. All you need to know is that we're disabling the player's input and then we're going to have the physics of the actual character body drive, what our character is doing. So if I hit, compile and press play now. If I just walk around due to do to do our players minding his own business and also an F. Rest in peace. So, again, if I press play. And the characters walk around and pressive F on a technical level, will deactivate the player's movements and have the physics of the player's bones take control. So walk around and then jump in person f. And he falls down as some nice rag doll to him. So let's add in an obstacle that will actually activate the death of the character. And this gets into blueprint's communication. So first, I'm going to create a blueprint and we could create blueprints by. Right, clicking on the graph, clicking on Blueprint class. And then I'm going to select actor. Now I'm going to call this obstacle. Double click to go inside of it. And this will open up our blueprint viewport. What I want to add is a static mesh obstacle, and I know which one I want. I'm going to go first landscape in example's. Then we're going to go to like bounce mesures and cylinder. This will make for a good obstacle. I'm going to drag this up. And drag it in a year and hover over a default seam route and make that a child of the default state route. Here we go, so now we have a nice obstacle in there, I'm going to actually shrink this on the X and Y axis to make it much sharper. And then I'm going to add in a collision to it, so I'm going to come up here to add components and type in collision. And I want a capsule collision, so I'm going to select this. And now with the capsule collision selected, I'm going to bring this up and scale this up. That's how it goes a bit. Over our main mesh and scalars in the Z axis. Shall I get this a line right and maybe scale this a bit back? So what I want to happen is that whenever the player comes into contact with this capsule collision, I want this capsule closer to then tell the player, hey, you're now dead and we can do this by with the capsule collision selected, going down into details and clicking on on component began overlap. Now we have a big an overlap event that will be called whenever an object hits that collision. But we have an issue, and that is even if a bird flies into a collision or a or grass hits the collision, this event will always be called. So we want a way to check that. We will only call all the logic of this event when the player is hit. So to do that, I will drag out another actor and I will go cast to third person character. So now this will only execute when a third person character heads to collision. And this also gets out of benefit of getting a reference to that third person character. So now we have access to all that character's variables and events. So if I drag out, I can just call an event. And we have one big glaring issue, and that is we mapped the character's death to the event of F, and we can't really call the keyboard event. We have to create a new event and map that logic to it. So I'm going to a third person character right click type in custom events, and I'm going to name this death. I'm going to plug death into SEC collision enabled. And hit, compile. So now, whenever death is called, all this logic will also be called just like AFH. So I go to obstacle. I'm going to call the death of events. Nice. So this is very basic bluebear communication. So now we have two separate blueprint objects that are able to communicate with each other. I'm going go back to my blueprint where that is located. By clicking on the magnifying glass, I can hop to where that blueprint is located in the content browser and not have to arduously search for it. So there drag this out and. Press play. If my character walks up to this obstacle, boom, he gets hit, and I didn't even have to press F so again, casually walking, he's not looking around outside of this obstacle, comes in, comes in his way and hit. So this isn't really much of an obstacle if the obstacle isn't moving around, so let's add a spin to our pipe. So if I jump back into the obstacle, we can do this by using the event tech. If you don't see the event, take care. You can right click and type an event tech. But the event tech is already included within our blueprints by default. So what advantage does is that on every frame your game runs, this event will shoot out information. So if you have a print, let's go out of print string and let's just keep asking. Hello. If I press play now, every single frame that our game runs hollow is being ran. And this is good because now we can have a constant spin to our object. We can add spin by dragging out from events. A delete print stream dragging out from a bentek typing at local rotation. And now we have Delta rotation with a bunch of scalar values. I want this to rotate five degrees on the X axis every event. OK, we can see that on every frame. Our object will rotate itself five degrees. So this is great. But there's only one issue, and that is our object is frame independent. So if we're running this on a slow computer, then our obstacle will be running really slow. If we run this on a faster computer or off school will be spinning super fast. And that's not good gameplay. We want our game to run the same on every single machine. And there is a way to fix us by using Delta seconds. So what Delta SARS-CoV-2 will do is it will convert our five degrees every frame to five degrees every seconds. To do that, we need to multiply this by five. So we can just drag this out and type and multiply. So float times float. If you don't know what a float is, a float is a value that also contains decimals. So it's like one point one, two, point three. All of that. And I must send us to five. Now I'm going to connect this into my X and we can't do that. Now, we could change Delta rotation to scalar values by. Right, clicking on this on this input. And clicking on Sput struck Penn. Now we can drag us into X. So ideally are obstacles to rotate five degrees every second. So now for play. And yeah, that's five degrees every second or really slow. And we have the ability within our game to increase that. So let's go. Three hundred and sixty degrees every second. So one spin per second. Now, we got it pretty fast. One 1000 to 2000. Looks like it's working. So now I can just place around my level and create a really quick, awesome obstacle course. So I don't want my player starting in the middle office, of course. She can move this around. Skill this one up. Back on another one, rotate this around. Another one, rotators and another one. Rotate this summer, press play now. There it is. And we have a pretty wacky obstacle course. But there's an issue and there is no variation to it. We can tell that this is just going on one rotation per second, and that's boring. But there is a way to make each of these obstacles. So each instance of this awesome of this obstacle blueprint spin a different way. And we could do that using variables and instances. Just like materials, so just to get that one thing out of the way, all of these obstacles are instances. So each of these obstacles can contain their own variables. So if we go back to obstacle, I can create a variable by going down here to honor my blueprints and or my variables. Click on the plus icon and we just create a new variable. Let's call this speed. Now under speed, it's at the Boulianne That's true or false by default? I'm going to change this to a float. And hit, compile. So now I can change his default speed and let's have the default speed be one hundred and eighty degrees per second. So now I can drag speed into my graph. I will select get. And I can drag this into my Delta seconds. So now if I can pile, press, save and play. We can see and nothing changed, and that's because we need a change. Are obstacles within the level, Ed? So go back here, click on this, and we will not see an option to adjust our speed. That's because we need to tell our blueprint. Hey, speech should be editable on all of our instances. So we need to check instance edible and expose on spawn within the speed details now and compile save. Go back to my level. We can see that. We can adjust the speed here. So let's make the first one 180 degrees. Let's make this one 360. Make this war and 90. Twenty five degrees a second. And finally, the last one, let's make this. I don't know something ridiculous. Seven hundred and twenty degrees a second. So now when I press play. We have different variation for all of our obstacles. So now this is an actual course and this is actually gameplay so I can try to go through this obstacle course to make the other side so. And that did not work out well. But bottom line is, we have an obstacle course and is working. So let's actually create a goal for our player and let's have that goal be a golden statue. So once he crosses or she crosses the obstacle course, there will be a golden statue waiting for them to pick up. So I want to go to start a content. Props and then statue dragged out in a scale this up. Go back to star content materials and let's use gold dragged out of that. There you go. Let's also make the base gold. So a really nice trophy for our character and let's have it where? Wherever the character gets close. To the statue, a screen will appear telling the player, hey, you won the game, congratulations. To achieve that, we need to create a user interface. So in Unreal, I'm going to go back to third person BP folder in unreal user interfaces are called widgets that are right click the user interface. I will collect. I will create a widget blueprint. And I'm going to name this you windscreen. I'm a double click on it, go into it, and now we have the widget editor, I'm not going to go over the controls. That's a tutorial for another day. But what I will do is go to text, drag a text into the center. Let's go and. Change this text to you when exclamation point, exclamation point, exclamation points. And I will increase the size of this Sonder font size Sergius, I don't know, 110. So now we have a new windscreen. That can pop up whenever the player interacts with the statue. Take a pile, go back here. And this entire time, we've been editing blueprints within blueprint objects. But one thing that will actually blow your mind is that our entire level is actually a blueprint in itself. And we can edit this level blueprint by going up here to blueprints and selecting open level blueprint. So this is the level blueprint we have right now and. This is here by default, I'm just got to leave it there if I go back to first landscape. I will add in a trigger volume. So box trigger and I was around my box trigger to the statue right there. Skilled up like cop the statue. And I want this box trigger so whenever the player enters this box to display that, you win screen. So to do that, I want to make sure my box is selected. Go into first landscape. Right click and it's right click is context sensitive. I can come down at event for trigger box one, go to collision and I click on add on actor began overlap. So now this box will activate whenever an actor is inside this box. And again, we've explained this will activate whenever there is a bird or whenever it comes in contact with like a bug or just any actor, even an obstacle. This will trigger. So we want to explicitly point out, hey, I only want you to trigger these logic when the player is in contact and we'll do the exact same thing we did with the obstacle that is drag out cast to player that to third person character. And there we go. So now we're just going to check that it's the player. So now I'm going to drag off of this and go create widgets. Must select the U.N. screen widget. Drag out from here, but gone at Viewport so our player can actually see it. And now if you play our game and go through and complete our obstacle, there's a bug right now. And that is I could just go around the obstacle course. We'll get a U.N. screen, so congrats. We just made the most basic bad game possible. And that's Blueprint's in a nutshell. Well, congratulations, somehow you're about to listen to me for about two hours and 30 minutes right now, I'm guessing. And now it is finally time to create our final landscape. So we're going to take everything we've learned and apply it to a beautiful photo, realistic scene, only using three assets by epic games. So there's going to be pretty cool. And before we can jump into that, let's first create an entirely new project that will just be our creek. So you want to exit out of our original project we've been working on? So it's a brand new project, I'm going to go to games and then I want to select the third person to play because I want this little guy right here as a human reference to see how big our objects and our landscape are within our level. I'm going to hit next and make sure you select a place where you have easy access to. I'm just going to save it to my desktop again and then leave everything as default. And I'm not going to use any of the starter contents. So select no starter content. And I'm going to give this a name correct landscape because I'm very creative and hit Korei Project. Now, Craig Landscape folder was created right here and it should load. So this is what you should see once you open up unreal with a third person template. And we have a cool map right here and a little guy, we get control, walk around, jump and just do all the good stuff with some hit X. And down here in the content browser, if I click on this icon here, I can see all my folders. And Unruled generated already a bunch of folders that contains assets to actually create this map here. And in my opinion, this is kind of annoying. I want just my own folders in the content location. So what I would do is I'm going to click on geometry, hold down control, click on a mannequin and third person PvP and drag this and move them into the third person folder just to hide them. I would move here. And if you notice, that didn't really work, we still have the geometry folder, and if I hit delete and click on the key, we say, are you sure you want to delete these assets? And they come with one meter cube and a template flaw. And the classes object re director. I'm not going to go over what directors are right now, since all he knows you ever get this issue. You could cancel. Right. Click on your content folder and I click on fix up, read directors and folder. Now if we delay geometry. We won't get that issue. So let's create our creek map. I'm going to go to contents. Right click new folder, and I'm going to call this maps. Now I'm going to go right click and click on new level. And we're going to be creating this level from scratch. That's all you could see, the entire lighting process. And I'm going to call this creek, double click on it. Safe, selected and blankness. Darkness. Nothing is here. Let's start by adding a sky. Some go to play soccer type in sky atmosphere. Drag that in and then I'm going to go out of that and type in directional light. Dragged out in and out to see our sky and the directional light, I'm going to come down a light. Click on the arrow to show advance options and I click on atmosphere slash fog, sunlight. Now we get a nice light and we still have a dark void in the horizon, so I'm going to go at an exponential height, fog to hide that and drag that in. And now our sky is pretty much done. What I want to do now is import my landscape. So again, if you don't remember, landscapes aren't made in unreal. They're made in other programs like World Machine or Gaia. So I made the current landscape we're about to use in Gaia. And that landscape is located in our beginner assets folder. And it's this one right here, Kurichi Map. And if we double click on it, we can see the high map for our landscape. Sorry, X. Go back into unreal. And to get a height map in, what you have to do is go to Mode's landscape and is set up, create new we want to select import from file and keep everything default. So if you have us separate. So if you have different values, just change them to the values I have right now. And for the map file and let's select on the three dots and navigate to desktop beginner assets and select creek height map dot pinscher. Some I select that. And now I'm going to click on import to get that head map in and immediately will notice that this map is just surrounded by fog, a lot of fog, and I don't want this I want this landscape to be kind of clear. So I'm not using I'm going to get out of landscape mode by clicking on select what I just did. There was hold down shift and one as a shortcut to get out of landscape mode and drag my landscape up to just get it outside of the fog. And now we have a much clearer view of our landscape, and the only issue now is that if I zoom in, we can see our shadows are pitch black and we don't want that. We can get rid of that by using a skylight to illuminate those shadows and give it a bluish tint from the sky. So place actor type skylights and drag that in. Now our shadows look a lot more realistic. OK, so I notice unreal Asain lighting needs to be rebuilt here, and that is because our lights aren't set to mobile. So I want these lights to be mobile because again, I'm lighting a dynamic scene since I want to move the sun around and not have to worry about rebuilding each time to do so, I'm going to select all my light. So much to start with the skylights and click on movable. And then I'm going to select the directional light, click on movable. And now that warning went away. And we know that our landscape, our world, it has complete dynamic lighting to it. So in terms of light in what we just did is that we added in a atmosphere and that we added in a directional light to act as the sun and then to make sure our shadows aren't pitch black, we added in a skylight just to capture the color of our atmosphere and projected onto those shadows. And then we set all those movable. And that was pretty much it. That's our lighting for forseen. So besides a couple of changes here, there are lighting is done. And that's why I love Unreal Engine. We could get really realistic results fast. So now I actually want to see what the scale of my landscape is in relations to a person. So that's why I imported the third person character. So I'm going to a third person that a mannequin they go to a character mesh and S.K underscore score mannequin. I'm just going to drag this somewhere and. Immediately will notice our landscape is out of size. This is a this is definitely not a small creek. This is more like a. Canyon. So what I will do is I'm going to decrease this, so I'm a selected go to scale and make this 10. By 10 and also on the Z axis, I'm going to make this scale 10 to now, I'm going to press F to snap to it and. Now, if I drag in my character. All right, we can see a much more realistic scale, and this now looks correct. Now I think it's time to import some of the downloaded assets to be used within this creek landscape. So to do that, I'm going to go into. Begetter assets. Remember, we downloaded this from Gumm Road, and then we're going to click on introd on Real Project and open this up and we're going to do the same process that we did and the texturing section. So we're going to select some assets and hit migrate. So with this open now going to go show my folder's, I'm going to go right click on Greek assets and then go to migrate. Click OK. And then navigate to desktop and then wherever you saved your projects, okereke, landscape. They go to content and hit select folder. Now, if it says that's OK, now I'm going to go xsara this and open my Kreig Landscape Project back up. And if we go into content, we could see Creek Assets is already there and looks like all my materials are correct and mesures textures. There we go. We're going to use all these assets to start creating our landscape right now. So included within the creek assets is a really powerful, multifunctional landscape tool, specifically designed to be used with mega scan materials. So if I go to materials and I can see that I have m underscore auto landscape and if I double click this. We can actually open up the material and it's. It looks complicated right now. Honestly, it's. Yeah, it's very complicated, but you don't even know what's going on at all within here since I was able to create this and make it into a nice material instance. That's highly customizable and also has all the correct values set up right now, so we don't have to go through the boring task of scaling and color Tenten. I hit X and I'm going to apply this to my material. So I'm going to come out and now take the auto landscape. So am I on a score auto landscape, on a score creek and drag this on a landscape material? Again, we should just get pitch black because we need to add a layer. Some are going to Mode's landscape paint and then paint. I want to add the first layer. So material blend right here. This first layer hit on the plus icon and I click on wait blended layer normal. And just leave it there is fine. Click OK. And wait for Schrader's to compile, and there we have it. And right now, this is looking pretty bad. So this brushes pretty big right now, so I want to decrease the relief racket. And what is special about this landscape material I made is that it is an auto scattering landscape or a auto slope, so it automatically textures the landscape based on the slope of the landscape. So you can see whether it's steeper. We get a cliff. Or I mean, that's supposed to be a cleft texture. And then when it's not steep, when it's just flat, we get our grass. And also, you know that automatically we have grass populating this landscape. That's a cool, neat feature where in the material you could set a material to have assets being populated on top of it. That's how you don't have to go through and add in all the assets manually. But right now, this is looking really bad because I made us to be used with mega scan materials, not just these default test materials I was using right here. So we're going to go into mega scans right now and download some materials to be used for this. So in bridge, the materials I'm going to be using is grass uncut. So I already have this download as I click on this icon here to export it. And then I'm going to use grass dried for my dirt expert that then for my cliff material. I'm going to use rough rock wall. And I'm also going to use a grassed ride. And a gravel on soil. So the way this landscape material is set up is that the first material material, a, this is our cliffe material. And that material B is our grasp material and material C is our dirt material. So the dirt material is basically I don't know, maybe you can see right now, but it's the blending material that's in between the grass and the rock slopes. And then we have material and material e, which will just be some extra paint layers. That's how we can paint the gravel on the bottom of the creek here to just give it a nice water effect. So what I will do is open up my material and start placing my mega scan textures into my material. So I'm going to drag this out here, try to get it at a good angle. Stretch it out. At first, let's add in our Clift's. So under surfaces, I might go to rough rock wall or. Yeah, rough rock wall and to drag out albedo into my color section, normal and roughness. And immediately we're noticing a change. Our texture, our material is starting to look a lot nicer. That's because megastar materials are absolutely amazing, since those are real materials they scan in real life. So that's how, you know, they're physically accurate. And then I'm going to go to surfaces and let's use grass. So grass on cut. Dragged out here. There. Here. That I'm going to go back to surfaces and let's go. I said grass. OK, yeah, for my dirt, I use grass dried two by two. So drag it there. Struck by normal into this one and drag my roughness out here. Double check again. OK. And then for material, that's going to be our gravell, because that's going to be the essentially the lake bed actually for the Stones and Stoya. And roughness. You know that and finally here, I'm going to use this grass dry, so grass dry, it underscores zero zero albedo normal and. Roughness. So everything is looking correct right now, so I'm going to go save this and exit out. Before we continue on this landscape and I explain some other tools this landscape comes with, I'm actually going to get out of here and I notice everything is overexposed. Everything is too bright. So what we're going to do is use a post-process volume to type in post drag it in. First thing I do is enable infinite extend bounds. So you don't have to be in that post-process volume to make it work. And then I'm going to come up to exposure. Good women brightness max brightnesses set these both two, not 12, one and one. OK, so now our landscape is starting to look really nice and really realistic, thanks to mega scans. And let's actually go over what is included within this material. But first, let's go add some material layers, some exit out that kind of modes, go to landscapes. And within here, I'm just going to fill out all these material layers. So clicking on the plus icon. Wait, Valetta, layer it, OK. Plus it, OK. Plus it, OK, plus normal rock. Plus, wait, blood layer, normal hit, OK, and for Folies Remover, very important when you click the plus, do not click and I repeat, do not click , wait Bleaney layer normal click on non weight blood layer. So this is the only time you would click the second option and hit OK. And I'm going to go save everything, so save all. Now I can go in and override some materials, so let's say, hey, I don't want this to be grass right here, I want this to be my stone, I could just click on the stone and paid stone again. It's going to compile each time you paint in a new layer to a section. Or I can pay dirt somewhere. I have access to my gravel. And my dad grass. And these materials are flooded really nicely with each other. Some here control C, control C, control Z. And finally, that brings us to the Folies Remover. So if I select this and let's just go over to an area and if I paint down. I can remove the foliage that is there, so again, sometimes a lot of people, they could find this automatic foliage spawning and being annoying. So this just gives us an extra level of control so I can paint away. And then if I want to bring back the foliage, I can hold down shift to bring back the foliage where that falls remover. So I will get out of patent mode right now and go over what the material actually entails or just a bit of what the material has. I'm going to double click and read that said. And alternatively to the falls remover, if you ever just want to get rid of all the foliage entirely. You can come down here and have the option right here. Xena's underscore foliage material affords people. Just make sure all of these are unchecked and nothing will spawn on your material. Also, if we go through here, we see that there are five different materials here. We have A, B, C, D and E. And they all share the same property. So initially go through it. You might be overwhelmed, but just know a lot of these properties are duplicated for material specific reasons. In terms of what each property actually does or why I did it and the reasoning behind them, I will save that for another tutorial. Since then, there will be an extra three hours long. So I'm making a secretive landscaping tutorial. So if that's out right now, top right hand corner, you should be able to clicks up there. But for now, everything is looking good. Everything is set up in my material. And I encourage you to use this material in other scenarios so you could use this for a desert environment or snow environment. All you have to do is just switch out the material textures here. And remember, they're specifically made for mega scans. So make sure you using it with those assets or if you want if you have a color, texture or a normal and a roughness texture, you can use your own textures or other textures you found online. So I'm going to go back to Creak and get out of there. And now let's bring in some more assets into our sea. Also, if you do not like the current grass static measures that are spawning right here, you can always go to a content creek, assets, materials, and then go to L.G., underscore B. And you can actually switch out the static measures that are spawning here, so if you have another static message or another grass. Object that you want to use. Feel free to just drag it out and replace the current grass objects. Now what I want to do is add in the actual creek, so let's get some water and fill up this area for a day that I'm going to move this guy so he doesn't drown. Right here and remember, this is a shortcut all the way back three hours ago. If you hover a static measure in the air and click on the end key, they will snap down. So you don't have to. Really go in there and try to fine tune it. So the water is allocated and creek assets, mesures and esim underscore water plane. Drag us up and make sure my rotation right now is set to snapping. So with this water plane, I can rotate this 90 degrees and then I want to increase the scale of it. That's how it encompasses pretty much my entire map. Again, a short reminder, W four remove E for rotation and are for scaling. So now I'm going to try to read my watered down. Like this and. Right, there's pretty good. Now, what I will do is come in here. Go click on the landscape. Go to Mode's. Landscape. Paint. And I'm going to bring my strength to one and I will select material, which was my gravell, which was my Gravell tecture, I just had a voice crack and then I'm going to increase the brush size. I just go in here and make sure the gravel. Is in the area of the water since, as we all know. Grass doesn't grow in water. What we would see is a little gravel texture within it. Just keep painting. Trying to get everything or at least the main ones. OK, nice, so now we have a nice gravel texture that represents what our waterbed is. And it's also. Actually, I'm gonna go increase this a bit more. That's how the water is going around this little area. So I'm going to select the water and it's important to know that sometimes. You can't select the water, you're like, why can't I select it? If you can never select, if there's anything a moment where you can't select the water or you can't select a glass object. Make sure you hit T. So that will turn on the ability to select transparent objects. So you have that turned off. So I just press t. And I can select my water again and bring that up just a bit. There we go. And I'm going to go have to repaint here. Oops. It's shifty as a shortcut to immediately go into landscape mode. OK, so now if I go shift one back to selects like my water age immediately without even knowing, like you can just assume that there would be water here and we had control to bring back that if this was an actual level, it would be pretty apparent that this landscape is literally just floating in a void. So we can actually give the illusion of it not floating in the void and being a part of a larger system by adding a background mesh and also artificially expanding out this landscape. So real quickly, what I'm going to do is it shift two to again, go into landscape mode and hit select under manage and just drag out to actually add and drag out some more components for a landscape. Just to give it a little bit more. Area to work with. But delete that one right there. And I'm going to sculpt smooth, and if if something's bothering you on this landscape, you can always go in and smooth out details. So if these lines, these detail lines are bothering you, you could just go over the smooth brush and take that away. Or you can fine tune this to your own lichens. OK, there we go. Now we have shift one to get out of that. And now let's add in the background mesh. So under creek asset mesures, you want some underscore background land and drag it in and are meshes. That's not big enough. So I'm going to go to scale and type in twenty five by twenty five by twenty five. And I'm going, hey, controls you to demonstrate something right now. Instead of clicking each one individually and typing twenty five, I kind of hit this little lock icon and that had twenty five and it will automatically put 25 and all of them. So that's a shortcut and bring this down. Maybe angle everything in a way where. I want to increase my camera speed. And then positioned this landscape. So like. Hmm. Right here. I bring it up a bit. Fly back in and see what it looks like when I'm in the landscape and. Decrease camera speed again. OK, and that was pretty good. So from this angle. And bring us up. It really does give the illusion of this landscape not just being a floating island in space, but actually being a part of a larger ecosystem as a whole. Before we out in the mountains, I just want to point out a really cool shortcut or thing you can do in the viewport if you hold down control one and fly away from that location, if you hit one, that set a viewport. Bookmark and this works for all of the control, no, so if I go over here, I do control to add that if I go up here control three, I got one, two and three. That's just a cool, quick way to navigate your world. So now I think it's time to redo the mountain. So I'm drag is mounted in it and already it's pretty big, but it's not big enough. So I'm going to make this one hundred and twenty five. Scale. Then I click on F snapped them on just to bring it out quickly and I'm going to make camera speed eight. I'm going to drag them out and really far out. And one to go back, I see I see what it looks like, and I'm going to rotate this. OK. That's right. That looks nice. Also, keep in mind, in real life, mountains are rarely just by themselves, they're always a part of a chain. So I'm going to add more mountains next to that one. Different angle. Control. On a scale this one down and rotate that one. Like that. She wrote this, and I make this one. Fairly large. She scale this one down to skillet it out. OK, there we go. I mean, I could be fiddling with these all day, but I should probably go quicker right now because this is a story. So at this point, editorial, all the technical stuff is out of the way. Now that what is left is going through mega scans, finding objects I like and bringing them into unreal and just playing with them. So it might be born on your end, just watching me place objects. But I highly encourage you not to follow me directly, but to create your own scene, take in different objects, placed objects in different areas, and really make the art your own. The best analogy I could think of is this is just like playing with Legos as a kid. We could find cool new pieces and we could put them together and create something new. So back in, unreal. All right, really quickly, in case you forgot, the way you duplicate a static mesh is that you hold down alt and with the move gizmo, you drag out one of the arrows. So that is how you can duplicate an object if you forgot that someone hit delete. So now let's actually create a house and bring in some modular assets. So I'm going to go use these evil modular wall assets. And the Lego analogy is really strong, is really strong here, since these assets are largely created to be snapped together and create something of a larger hole. So these are just pieces that we're going to place together. So I'm going to export this one. That one. That's one. That one, that one and the roof. Obviously, if there are any other pieces I want right now. Actually, I want this worn wooden beam, one Simon expert, that one to. And we just export a lot of assets, so it will probably take a while for Unreal to pass through everything. OK, so I skipped ahead to where everything is important, and I'm going to click on Save All and Save Selected. And before we move on, I just. Oh, OK, my camera was set to speed at hour redesign a three one to snap back to my location. So before I move on, I just want to play with the lighting a bit and also try to fine tune that reflection. So right now, we actually don't have a reflection capture. So if we start placing it in reflective objects, they'll look really weird. So I'm just going to drag in a reflection captures a spare reflection capture. Bring that in and then I'm going to hit the arrow next to build and then click on Build Reflection, Capture. And then I'm going to go play with the lighting of my son. So this is a really neat trick. If you hold down control and then hold out l, we get a new gizmo and still win control and L held down. We can now rotate our son so we don't have to go and find our sun in our world. We could just rotate it wherever. And it's actually easier to rotate than the rotation gizmo. So I was find a. Right there, that looks like a good location. And another thing I would do is add in a plainer reflection, because remember, plainer reflections are really good for flat surfaces, so mirrors and water. So and played a reflection and we got an arrow. It says Claytor reflection requires global Klip plane project settings enabled to work properly. So this is actually going to take a while. But what I'm going to do is go to settings, project settings, type and planner. So support global Klip plane for planner reflections and click. Yes. Now it's going to ask me if I want to restart. I'm a click restart now. If you don't want to, that's fine, because this will probably take like 30 minutes uploading. But it's just something good that can really take our reflections to the next level. So I'm going to click restart now. And I will get back to you in 30 minutes. OK, I take that back, that was 30 minutes, that was five minutes. So it really depends on how many assets you have in content. So if you have a lot of assets, it will take a lot longer for everything to compile. But now we have a or reflection within within our level. So I'm going to go scale this up so that it encompasses the entire visibility of my water. So like that. And now we get this weird. Reflection going on. This is not what the player would see in game if I press play that we could see that it's a really nice plane, a reflection. So this I have it selected. So this weird mirror thing right now is actually a preview of what the reflection is. So not the actual reflection. We could turn this on in details and go down to show preview plane and unselect that. So now we have really physically accurate reflections on our water. Let's take all the mega assets we just downloaded, all the Modula medieval assets and put them together piece by piece to create a house just like Legos. And the way we will do it is I want a house right here. Or I'll first build it over here and then I'll move it there, because this area is flatter, so might be easier. And under Mega Scates 3D assets, we can see that each of our assets are contained within their own folder. So there's one here's one, there's another one. And this could be a hassle. So whatever we we want to grab an asset. We have to navigate to the folder, grab it out, and then we have to go and navigate to another folder and drag that out. But there is a way to show all the static meshes at once without having to go into each folder. And that's with filters. So I'm going to click on filters here that I'm going to select static mesh. Now, nothing happened, but if I select three D assets, it will show me all the static messages that are under through the assets. And if I select content, it will show me all the static messages within our project. So I go back to three assets, and now I have a really quick and easy way to select three assets without having to navigate the folder system. Now I will take these assets and kind of snap them together and create a larger house. So I'm going to move the store and I want to make sure that my rotation snapping is on snap this. Nineteen ninety degrees said that I'm going to take this piece. And move it, that's how it's kind of connected to the door there, and here's a really neat trick that I do often, is that you can actually kind of mirror an object. So I want this side with the actual what it beam to be on that side. And one way I could do that is to go into scaling with our at all the X axis drag, drag, drag, and then keep dragging until it flips. And now I could connect it to the door. So that's unique tip if you have an ace. A symmetric static mess, and you want to kind of flip it around and move it to either side. And I don't move this down and this one also down to it. OK, now what I want is a roof, just so I can know the approximate width of this house. I'm a drag in my roof. Rotate this one around and bring it up. Put an end to it. And we can see this gap right here, this is why I wanted the war and what it became. So that's why that's how I can fill in that gap there. I kind of have the roof be extruded outwards a bit. OK. Scale this one out, that's how it encompasses the entirety of the roof. OK, there we go. And that's looking nice right now, so I'm going to select both of these and move them up. Just so that we could get some of the wood at the top of showing. And now another thing I will do is add in this kind of window boarded up window looking piece. I'm going to connect up here and we can see that our scales are off. So what I will do is scale this down a bunch on the X axis and try to now get it into the corner. Go back to this pace and scale this one down. That's how they. Don't really intersect that much. There we go. I'll bring this one down. Now I will take this corner piece, drag it in there rotators and try to connect it up here. And again, this corner piece is also a bit too large scale on the Y axis. Bring this one down. OK, there we go, and we have the front of her house stud. Now I will work on the size of this house. So going over here, I want to use two of these pieces. Ragnarsson. Kind of maneuver it there. Bring it down. And hold down alt and drag out another one of those pieces. No, actually, that's too repetitive, so I'm going to try another piece, this one right here. So that's one theme in modular buildings, is that you want to try to hide anything repetitive because that could break realism. OK. This looks nice, and one thing we can do is that we can take these wooden beams and kind of create our own structures to blend in with this. Static mesh, so something like that. So from a distance, you want to know that that's just another static mesh sticking out. So that's a whole dalts. I'm going to add another one and slightly in the middle there, but a bit off center. Hold down altogether again, drag this one out and rotate this 90 degrees. Bring it up a bit. Scale this. Right. That's. OK, nice, and to actually get a feeling of what the length of this house should be. There's one issue, and that is the mega scan's didn't come with a roof asset to actually go over and connect the roof like that. So what I did was I create my own roof asset. So when I click our content again with the static mesh filter selected. And then I added in a roof module's, I'm going to drag this one in and we don't have a material for that, we'll fix that in a bit. Rotate this 90 degrees. And try to connect these up. Somebody like. This. Okay, there we go, that's looking nice and the scale looks correct, but what I can do is just scale this on the X axis a bit. OK. Yeah. Just to give us some leeway. So now I'm going to find a nice material that will help blend in this roof with the front of the roof right here. So if I go back in a bridge, I already found one, and it's called Slate Wood. Old roof two by two am. And since I already have download it, I'm going to click on the export button. So let's go find our new roof material, and if I go in there surfaces and I have a bunch of boring folders, I have to click on each one and nothing to show. And that's because I still have the static mesh filter enabled to turn that off. All I have to do is click on this button and now I can see all my stuff again. So I could just go through here and try to find which fuller it's in and that drag it on here. But again, that's kind of boring and that's really slow. So we can use filters to filter out materials and buccleuch materials and nothing happens. Nothing shows here. And that's because Mega Scan's isn't using these materials as it is. They're actually created its own mass of material. So these are material instances. So instead of going materials, I'm a deselect that I'm going to go filters. Materials and textures and then material instance. So right there is my slate, what I'm going to drag it on to my. And I can see that it already does kind of London, but there are some issues with this, and no. One, this is scaled way too large. I mean, these are some large roof tiles to be able to do that. Also, I can see the sides showing a bit. So I'm going to move this first. And you're still in a bit. Yeah, I like that. And then I'm going to open up this material instance. And within the material instance, I will find where the sizes. So the master material of mega scans is instead of using a single value for the size control, they're actually using a collection of vectors. So this might be intimidating at first, but don't worry, all you have to do is check tiling, slash offset that hit the arrow. And now we can see we control tiling X and tile it Y. So what I want to do is. Increase X a bit and then also increase on the Y axis a bit just to get some more tiling. OK, that looks nice, and another thing I will do is bring the color of this down since the colors aren't really matching right now. I could do that with the albedo tents so much like that. And open this up and just make this darker. So just make it a lot darker. And right there now, it's really looking like it's a bludgeon in and from a distance you couldn't even tell. Those are two separate messages. Oh, another thing I will do is increase the normals of this material. So we have. Let's see, where would that be? OK, here it is, normal strength. I'm going to bring that to two. And yeah, that's looking good right now. OK, before we finish this house, I just want to customize my user interface a bit just to get my viewpoint more screen space. So what I would do is I will come to all the open tabs and right click and click on hi tab. Just to give you more space, and I'm going to drag this one down. So make the content brother smaller. Make the place actors, they're smaller and then I'm moved like this. Also, one thing I like to do is show place actors again, take the place actors and drag it on and talk it into this area. So now I have a kind of widescreen version. Of my scene, and I think I'm actually going to leave it like that for now. So now let's finish our house, but I'm actually going to cheat just to save time and I'm going to duplicate all of these pieces and just rotate them 180 degrees and place them there, so. If you're doing this and if you can have a player walk around, don't do what I'm about to do, since I would be very noticeable. But now I have everything select him and hold alt duplicate everything, and I'll rotate this one hundred and eighty degrees. Now I'm going to connect this back up again. Trying to get the. Everything working correctly and. OK, nice. We just quickly were able to duplicate one part of this house and place it on the other side. So if you don't like what just happened and don't do it, I'm just doing it to save time since I'm trying to go kind of fast right now. Nothing I will do is take these beams and duplicate them to be on the corners. I saw there's a better blend between some of the measures that's being put in the corner. Bring us up and actually bring a scale out of it. No. Scale is out of it, and I'm going to take this one and actually. Duplicate that and bring it here to just fill in that hole and actually select all the static measures here. And bring them in some more. OK. Yeah, I like that. Then select this beam. Hold out. Drag it right there. She scales out a little bit more. OK. I like that. And hold control like both of these beams and hold AltX and drag them up to the front here. OK, I just like that. It's actually going to make this one a bit smaller. OK, there we go, and we're almost done. Just as an issue, and that we can see straight through the house, sometimes at certain angles. So like right here, let's fill up this part and to hold all duplicate the wooden beam. Rotate this nine day, bring it up. And just fill in that area. Now we're going to move it to the middle. And scale this and easy access or in the objects of locals, the access. And hold on, I'll bring it over to this side and. OK, new shortcut when you're moving objects, sometimes you are moving really far and you have to go move it there. They have to fly over and keep moving it. But if you hold down, shift and move it, your camera follows the object. So that's something I do all the time. And. Nested in like that. OK, that looks good. Now I'm going to select the front row of here and the roofs, what a beam. Duplicate this in the back. And rotate this 180 degrees. And put it back here. Just like that. OK, let's. Fly around, see if there's anything wrong, and. These corner beams are kind of sticking out of the roof there. Right here. Oh, no, actually. Oh, no, that's the spin. I've read that in. And come here, click on that and bring that in. So, again, I can just read this forever, but for now, this looks like a pretty nice house. And I'm going to just select this and that piece right there and delete it. Now I want to duplicate this building around and create multiple versions of this house. But the only issue is that whenever I want to move this house, I have to select all these pieces and then I move it. And if I don't like the location again, I have to select all these pieces again. So what I'm going to show right now is a way to group objects together and have them be treated as one segment. So to do that, I first have to select all the objects. So this might take a while. And this is a good example as of why you don't want to select your static measures all over again each time you want to move this group of objects. And then I'm going to go to rush wireframe to see if I miss anything. And I did miss the structural beams of this house. I don't want to select the landscape. OK, there we go. And that I select everything, let me move this up. And yes, I did. Looks like I select everything. Now, what I will do with this house is I'm going to press control G and I will put all this into one group. And if I go out of game mode, you can see that I have this greenish box around it. And this tells me, hey, you just selected one object that contains a lot of objects inside of it. So now I could move this around and not have to worry about selecting each one all over again. So I will move one, obviously. I had one. And OK, so I'll move on to the side here. Just like that, it could be inside the hill. Rotated that that way. Let me get out of snappy mode or rotate this. That if I hold on Alz, I could just duplicate all the objects at once, and it keeps that group. And rotate this around. Put it to the side there like that. OK. And I remember move this up. And if you ever want to edit an object or add in more objects to this group, you can just right click and go down to groups and click on Unlock, not on group. I'll just get rid of the group, but unlock. So now our green box turn to red and we can move pieces around and make any changes, add new pieces. And then when we're done with that, I could just right click on any of these objects, go down to groups and then click on Lock. And now these are all acting as one group again. So before we get to Penfolds and Rocks, let's import some trees into our scene now, unfortunately, mega scans doesn't have any trees as of now. I know they're going to add trees, but for now, we could use some other free assets created by epic games on the epic games of Marketplace. So the first we're going to use is from the open world demo collection. And what you want to do is it's located the marketplace. So click on Marketplace and then search for open world demo collection. And then you want to click on ADD to your project. Find your project. Click on it and I click on ADD to your project. I'm not going to vote, but no, I will add to it and then it will automatically download if it has a download it already. The next tree we're going to add is the temperate vegetation spruce forest. And this is also permanently free. And we're specifically just going to use the baby trees. So I'm going to click on ADD to Project. Greek landscape and also add to project. And wait for it to download. OK, once you have everything downloaded, let's add in some trees. So I'm going to go to demo and then to environments. Trees and I want hail tree tall O2 and drag this in, and then I want some of the baby ferns. So I'm going to go to. Interactive spruce forest then to meshes and small. So I want to use these I just drag these in here. Yeah, just a small ones. Just the really baby ones, not these big ones. Although you can't use these if you want. And now I'm going to go scale down this tree because this is way too big in my opinion. So I'm going to go to details and changes from one to zero point five. So what I want to do is actually open up this tree and change the color from green to orange. And we're going to have to get a bit creative about this. So first thing I'm going to do is come down here and see what materials this static mass uses. So I can see that. Hillary Allwine leaves Mattu is. The material that controls all the leaves, so I'm going to double click this. And go in here. So just looking around here, I don't see any. Yeah, I don't see any parameters that would allow us to change the color. So what I can do is just added it. So, yeah, drag this out. And again, this looks really, really complicated right now. And Ötzi, I think it's just the way that the set up is that complicated. So all the nodes are crossing. So it looks like spaghetti. But bottom line is, remember, pretty much the most important outputs are base color roughness, normal and maybe metallic. In this case, there is no metallic. So I know that I could just add a tint overall to the base color, and we could do that here. So I'm a whole down to three to add color in. Right click go to convert to Premiere, as I recall this. Color tents and change the default value to whites initially hold down em and left Klickitat in a multiply. And drag these together like that. And then I'm going to hit apply. So drag this out and try to get it in a way where I can still edit the colors and look at the tree. I'm gonna go to a game for you by pressing G and a double click and. Make an orange, they try to find nice color and. OK, I like this color and then I'm going ahead, OK, and hit apply. Save. And exit out of that. So now we have a really nice orange tree, but there's still one issue, and that is when I back up, we could see a kind of turns darker and then when I back up further. The tree just turns into a weird greenish blur, and that's actually the level of details do that so well that details are is that it's basically static messages are made up of several other static messages, and these static messages decrease in detail or decrease in vertices count. And that's how we're able to get a large amount of objects on screen. And the further the object is, the less detailed house. So I just want to deactivate that, so I'm going to go into the static mesh ed by clicking on tree and then I'm going to hit control E to quickly bring up that trees, Ed . So that's a shortcut. And I'm going to dock it up here. So here in the static measure, Adobe can remove all the ladies by going into each one individually and select and remove lytic. We can do that within the élodie picker. So I'm in the dropdown select three Remove. Yes. Two. Remov. Yup. And then one remove. Yes. Save. And now within our level, if we go away, our tree does not lose any detail. And that's exactly what we want in an actual game environment or open world we will want to live on. But since I already know that this is pretty much going to be a static shot, keeping everything as high of detail as possible will be nice. Also, if you ever want to view your holidays, you can come up Tillet, then to level of detail coloration and go to mesh élodie coloration. All right, so I just got out of that and now I'm going to go. Duplicate this tree around, but we have one issue, and that is honestly, this tree isn't that dense, so I'm going to go duplicate this, rotate this around, trying to get it back in there. Keep rotating and maybe Berean down the scale a bit. Just to make the tree a little bit more dense, and I'm going to do it again a third time. So we're really packing on geometry right here. You don't want to do this and maybe keep the Eltis or just delete the last couple. If your computer can't handle it and bring that down. I create this vacuum like that. OK, now we have some pretty dense, really nice fall trees. So selecting all three. Brant had to move them. Now I'm just going to place them, scatter them randomly around. In this little area, so this area is like a mini forest. Kind of. So like that duplicate. Rotates. Duplicate. Still duplicates. And that looks nice for now, and I notice that this orange is too orange. It's kind of gross. And in my original, the project I made to go test out the scene. It was more yellow. So I'm going to give it more of a yellow. Tent two, it's actually yellowish greenish. Yeah, like that. And I had a pie. OK, so it looks like our scene is coming along pretty nice. Now I'm going to go add in some of the little baby trees over here around in this area. I will actually speed up the video. That's how you don't go through the process of just watching me duplicate stuff around and place it. OK, so I think I'm done for now, and you should probably spend a little bit more time than I am. I'm just going super quickly and yeah, that's why I'm kind of super quickly. Now, look, there's like a floating tree. OK, so now I think I'm done. So again, you should spend some more time on this. I'm just going quickly because this is a tutorial and retrospective. I probably should have used the Folies tool to move these trees around and place them. Now I think we're ready to start adding in foliage like flowers, clovers and rocks. So what I'm going to do is I'm going to go and open up back and bridge. I'm going to use these flowers right here. And it's important to know that when you're downloading foliage, what I normally do, especially for a scene like this, where honestly performance isn't really an issue, I'm going to go to expert settings. And actually, when I download this, I make sure to only download the first élodie. So I ignore all the other Allardice. Now, maybe you want those melodies in if you don't really have that power of local computer. But for me, I'm just going to keep this at zero for all of these. Download it. Now, I already have these downloaded, so I'm going to go export this fern. This flower. Why, when flour. Purple with sorrow and what this has added benefit of being purple flowers and clovers. And this small rocks pack. OK, so that took a while, so I skipped over it. But we have everything in there, so I'm going to hit save all. Don't forget to do that and look at all these assets. This is insane. And if I go into modes. Foliage and mega scans, super cool, automatically populated my foliage types with all the foliage we just downloaded. This is the fun part. I'm just going to start randomly placing foliage everywhere, so and creating little flower patches. So I'm going to hit shift and select these ferns first and hit the checkbox right there to activate them. And now if I paint them in, we got way too many ferns. Also, I still needs to compile our Control Z and change this density right here. From 100 to let's go 10. Now, if I say, OK, that looks like a good amount, maybe a little bit too much, so five. OK. Yeah, that's pretty good. So my go round is. Randomly scatter this around. Especially in here, we want a lot of. Actually, whether they're going to bring that up to 20 cents, I imagine there would be more firms in this general area. OK, that looks good. I'm going to select these firms and I'm going to add some little flower patches. So paying this down and there are way too many white flowers, some here controls maybe breed this to 10. Actually, I bring it to 15 and decrease the size so we can decrease the size of the flowers being painted or the foliage by going on a scale or make sure it's still such a uniform, and I want it in a range of zero point six to zero point seven, actually, zero point five. Now, if I put this down. OK, there you go. That's much more realistic scale to it. And. Another thing I notice is this is way to grade so I could make this less green by actually going to where this material is and I already have that open. It's right here. Double clicking on it. And within this material instance, we can make this. Less green and blind and more with the ground by going into color overlay. Overly attached to keep that one and bringing that down to. Actually, no, not even black. So the issue is it actually the texture itself, but the subsurface scattering. OK, really briefly, what subsurface scattering is. It's basically when light bounces around inside object and illuminates the object from the inside. So the best explanation and best demo you can do right now to see subsurface gathering in action is to take your finger and the light on your phone and just hover it over your finger. I don't know if you can see it and your finger will turn red. That's actually the light bouncing around inside your finger. And that's exactly what's happening with the foliage right now. So we can decrease subsurface scattering by going to the SS TICT and bring that down from white to black. And now we just decreased it and it looks a lot better. OK, going back into the foliage mode. I'll just start actually increasing my density to twenty five and start painting little patches of whiteness. So right there, maybe right here, all the way over there. Right here, let's do the same for the. Dandelions, so select this once like that one and hit the check button. And I'm going to paint down days. Let's go right here. And actually hundred. It looks like a good scale because I want this to be more pronounced. So right there, right here. I just pretty much anywhere. This is your project. And again, I know this issue of the subsurface scattering and being way too intense so we can actually see the subsurface scouring fi angle. Yeah, like this. So we can see the subsurface scattering right now. So what I will do is within a dandelion to select one of them. Now, click on the magnifying glass to jump to that location in the contact browser and go over. Let's open up the material instance for this dandelion. Go down to SS tents and bring that down to really dark. Just turn that off. There we go and get out of that. OK, so now that blooded, it must be much better with the landscape. Next up, I'm going to add some rocks, so select all these, hit the checkmark. And if I just put a place down. Hmm. That's way too many rocks, and the rocks are also too small right now. So going into scale, we're going to bring this scale to two and then the max to three. Snabe puts down the stocks. The rocks are much more noticeable. And I also know the issue of them also being too bright. I mean, of course, this is a subsurface scouting issue. This is just a color issue. So, again, I'm just going to select one of these rocks, hit the magnifying glass, jump to that location. Let's open up this rock instance. And I will scroll down. Two color tents and bring this down just actually now don't don't make a right. Those an accident. OK, that looks I actually I want to make it in a way where it can blend in with the gravel here and OK, that looks really nice. Yeah, it's blended in really well right now. So I've had OK. You know that, and now I'm actually going to erase these rocks because I just painted way too many. First, we're going to go over a general rock pass. Over the entirety of the ground, so one hundred is to dance. I will bring this to, let's say, 10. OK, ten's good. So I'm going to bring up my brush using the right bracket key and just go over this. Oh, tennis still to that's. Let's go four or three. OK, yeah, that's good. There. And be careful because sometimes when you're place, it rocks the fullest tool is not landscape independent. So if I come over here and click down, we can see we could even get rocks on the roof right there. I have no idea how that I mean, maybe you want rocks on the roof. I'm not going to stop you. Think controls need until that one. And I want a bunch of rocks on the lake bed or river bed right here just to help blend in that material with the environment around it. So I'm going to set this from three to 20. OK. Yeah, like that. And just do a rock pass on the water area here. OK, that's looking good, we have nice rocks and some nice flowers. Now I want the purple flowers so these so select all these are then on activate them. And go to the purple flowers, I'm just going to select these all and hit the active button. Actually, I'm only going to select these purple flowers, so select all those, because those are just Clover's, there are no flowers with them and deactivate them now with all these selected paint down and to dance, some bring up to 20 . PIN it down. And we still have that sub-surface issue going on right now, and I'll actually bring that to 40. Select one of them. It the magnifying glass, then open up the material here. Fine where the SS SS right there and bring that down just to deactivate, lower that. Do we have any. OK. Right there. And yeah, that was looking pretty nice. It's blended in well, so let's start painting in little patches. Of purple. Yeah. Forty years was. Yeah, I'm mean, a segregated any so purple there. Purple over here. People right there. Some purple here and I don't know just anywhere. And that looks good, and now I want to do a general clover pass, so add a random clovers everywhere. So to select these and activate these. And brain density 210. Increase my brush size again, using the fracking keys and adding random clovers. Also, one thing you could do, a little touch of detail is I Clover's right next to the water area. So that's one thing you can do. Also, this is really helpful to know if you ever. Let's say I placed on a rock and I love all the rocks, but there's one specific rock that I really don't like being placed somewhere. I can go into this select and select any individual rocks and move them. So you can individually select foliage if you don't like the location. So that's pretty neat. And these like these. OK, so before we move on from foliage, I notice that my foliage is still way too bright compared to the material. So one thing I can also do is instead of if I go back into the clover material, instead of just decreasing the subsurface, I can also decrease the actual color. To also make that dark, so there we go, so that's one way to blend it in better with the landscape. I won't do that now because I need to move on. But let's leave Foljambe mode. Go back to select. And now let's add some clouds and give this area some more mist to it, because we're really missing that. So first off, I'm going to go and fix the next batch of Haiphong, because right now our high fog is way too low. I actually want to be able to see the fog and we can't sit right now. So I don't know where that is. So in the world, Outliner, I got to type in exponential height, fog. Click on this and f to jump to it. OK, now we you notice the expanse of high fog is I mean, increase my camera speed all the way down there. And why I like the exponential height fog is because you're able to just control where the extra natural height fog starts by just moving this widget. So I'm going to increase my exponential high voltage, bring it up pretty far like. Probably to there that looks good, that if I go back in here, there's not that much I missed, I could keep increasing and actually. Yeah, right, that's pretty good. Now we got some fog in our world. Next up, I'm going to add some clouds. So unreal and unreal by default actually comes with some clouds. So the way you get them and this is kind of cheating. Real quickly, I'm going to save. Is that you go to file new level, select time of day and then select these clouds up here, so just select anywhere, you'll probably see you get a spear at underscored time of day and control. See, now I'm going to go back into my. Map, if I can find a good map and actually pass it. OK, Maps Creek. And control V. So now we get our sky inside here, and there's one issue, and that is the sky is way too big and our mountain is overlapping with that sky. So Crane, a weird little effect. I think we could get rid of this by artificially just moving our sky up. So what I would do is increase this to eight. And let me fly out here. And this guy doesn't have a guest right now, and I was like, well, can move this up. And I can snap back here. OK, now the sky is up and actually above the clouds now. Next up, we can add some fog planes. So we're just save and then go to creek assets. Mesures BPE unescorted, Cloudstreet, Trigorin. And if you zoom in on this, you can see this artificially just a 2D cloud. And I mean, obviously, this is way too small. I don't know any clouds like this. I mean, maybe this could be like a puff of smoke from a gun. And I'm going to go increases. Two on a really high. Let's go. Let's try 100. OK, that's more of a sky texture, and actually I'm going to go 200. OK, that's better. That's actual fog. Bring this back up to like five. The camera speed and. Let's just move this off into the distance, and by default, this is way too opaque. So I will drink, so I will bring that down by going under opacity and let's make this zero point three. OK, that's more Fargas like. And I'm just going to scale this. Like that. OK, and what is really cool about this texture is that it is moving ever so slightly. So I can't move that there. I can. OT copy out another one that they're all to copy out, another one without their. If someone's even further back, every scale this up. And yeah, just play around with the see what you like. Also, there are other fog textures of I come here and hit the magnifying glass on jump to that into the content browser. And we have a lot more fog texture. So I could just select one and drag it on to just change out the texture if I don't like it. Some of us zoom back in here. OK. What is really catching my attention right now is the fact that over here by the homestead, you wouldn't expect there to be grass around these areas since people will be walking back and forth, back and forth. And it's hard for plants to grow in an area like this. So it would probably be dirtier than anywhere else. So what I would do is go to Mode's foliage, actually, no Mode's landscape paint and then select a material and set this down up from strength one, because, look, that's way too intense. I'm actually going to make this probably zero point three. Just slowly go in here with the brush and make this area darker. Actually blend us together. And I use materials, see, just add some more variation to this area. OK, yeah. Now we're really starting to see some. Kind of Holmstead like. Ground material and. OK, yeah, that's looking better. One thing we could do is actually I'd like a little dirt road go into this homestead, so decreasing my brush. I'll just. Go out like that. And we didn't say, I think, as I increase my strength. So now I'm drawing a little dirt path that probably a lot of people have taken to get to this area. There you go and. Now I'm actually going to come in here and go into these skop brush smooth jazz. Oh, no, smooth. To smooth it out like that. There we go. OK, so already that was a nice improvement. And now it's time to actually start going in and set dressing this area. So just really going through mega scans, seeing what looks nice in this area and just place it at it and playing with it and see what we can create, then that's the beauty of mega scans. And unreal is that really if you don't like anything, that's fine. You could just delete it and download something new and play with that. So back in bridge some assets I noticed that work really well with this scene is. Pretty much everything here, so we only have wooden beams, we already have the modular kit. We can add some dead trees. We can also add a hitching post right next to the houses there. So that indicates that horses have been there some barrels. So like the people are storing stuff. A workbench, just a regular bench, some wooden beams and just some larger rock. So right now, we don't have any large rock pillars. We can add that. And right now. And even a large volcanic cliff. And that's really nice when you try to blend in and make this cliff area more poppy and more geometric. OK, so what I will do now is download all these assets and speed up the video, that's how you don't have to watch Rageous arduously, play stuff around and move stuff around for like 30 minutes. But also, another thing I will do is go through all the foliage and try to fix their colors by just playing with a tent and decreasing them. All righty, so we are nearing completion, a couple of things I need to point out. Number one, when I was trying to get these cliffs in here and this was really helpful and I should have gone over this, but there are a lot of women with us here. Yeah, just a little water, there are kind of two different type of gizmo votes. You have world gizmo. So basically, if we're going to move this, we're moving it along the world axis. But you can also move this along. The objects own local space by coming up to here and switch in the world icon to the square icon. So now we can move this along the axis of this object. Like this. So now if I rotate this, I go back into the gizmo, we can see that our move gizmo follows the rotation of our object. So this was really good and trying to get the exact rotation of the cliffs, trying to blend them seamlessly with the material. Also, I don't know why maybe this is mega scans or maybe it's the way I set up this scene. All of my rocks were way too bright. So I basically went and went into all of this and the content I just decreased the value to make these blend in better or not stand out as much as they were beforehand. And finally, if we fly over here, we can see what I used the wooden poles for. I use them in a kind of unconventional way as a substitute for broken down fences. So even though let me see what this is called. So even the old wood boards are old wood fences. I was still able to use them creatively and turn them into fences. So with a lot of these assets. See what you could use them as. Sometimes you can use them as unconventional ways and it can actually improve on the art. Also, I just wouldn't and I flat in some areas of the landscape just to have my static measures blend in better. Also, you're probably noticed that I place my mannequin around my level just to give my sense some scale, and I know how big these objects are in relation to come in on the topic on the topic of mannequins. One cool thing you can do is come over to world settings and game mode, override select third person game mode and then press play. And we can see our level is completely playable and we could have a character walk around or create your own characters that walk around if you know how to use blueprints and just explore this world for ourselves in a game like scenario. So that's pretty neat. And if I hold down F 11. I can go full screen. And actually play this like it's an actual video game. Now, I think we're ready to make some last final adjustments by using the post-process volumes, and I come over my post-process volume and click on that. And within the volume, I'm going to come down on details and I'm just going to edit the slope and the toe. So if I just maybe. Increase this kind of increase that we can get a more contrasty look and feel to my scene. And if I go down to. Color grading, I can change the white balance so I can make this scene. Warmer or colder? Or I could just mess around with the tent and give it something weird. I'm not going to do that. And under Global. Saturation. Maybe we can bring this up a bit to one point one. OK, and that's why it it turns out one point zero five. So before or after. OK, I like what saturation is doing and pretty much post-process volume is one of the more artistic tools of unreal. So we could just go in and play with different values, different settings and see what you like. OK, so finally, we are going to delete these guys right here. I'm going to go into full screen mode with F 11 press G, and I would say now we are done. We have literally went from opening up unreal for the first time to creating this. I don't know. I think it looks pretty nice. Sane and final shortcut how this material hold down all press P and you can play this world like it's a game. Run around it, explore it. Admire the vegetation. Maybe go into this little forest area and walk back. To the home state, it is turn around in. Admire the world you created. So we are finally now done. So congratulations. Make sure to like and subscribe because in the future there will be a lot more unreal content, especially with the upcoming release of Unreal Engine five. Also, make sure you look to the sides of me for links to any tutorials if they are up. So go and check those out. And I would say all I have to say right now is goodbye.

Channel: Unreal Sensei

Views: 536,727

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Id: _a6kcSP8R1Y

Length: 259min 50sec (15590 seconds)

Published: Thu Aug 06 2020