Hello, everyone. If you are completely new to Unreal Engine Five, then this tutorial is made for you. In this tutorial, we will go from knowing nothing about Unreal Engine Five to creating this beautiful world you see right here. Now, I know this might look intimidating, but do not worry. Every step in this process, from sculpting the landscape to creating the houses will be shown in detail. This video is pretty long, but unreal engine five is a big program and we have a lot to cover. So I divided this video up into individual chapters. You can find links to all the chapters in the description below this video. In this tutorial, you will learn how to install unreal engine five and create a project. How to navigate and move objects in your 3D world. Create materials and import 3D models. Go over unreal's amazing new lighting system called lumen. Sculpt a landscape and paint foliage. Download free nanite content from the Epic Games mega scanned library. And finally, we will briefly go over how to program a game using blueprints and create the forest world you see right here before we began. It is important to know that unreal engine five is currently in early access. This means we can expect some glitches and also maybe some major changes going into the future. So if those changes make this tutorial out of date, you want to double check and make sure I haven't already uploaded a new beginner tutorial series so you can look at the description and if I have, it will be there. So with all that being said, let's jump into Unreal Engine five. OK, so first, before we can learn on real engine, of course, we have to download urneal engine And to do that, you need the epic games launcher. You could go download the epic games launcher from their website. And once you have it, you want to come all the way to right here under the unreal engine tab and click on UE5 And then all you have to do is simply click on, download early access. And then if we jump to our library, you should see the download right here and wait for it to download. In the meantime, if we go to UE5 You can also come down and download the sample project showcase. So it's a project with the giant robot right there. Now, we're not going to be going over that project within this tutorial because that project is one hundred gigabytes large and not that many computers can run it. And I want this tutorial to be accessible for everyone. So we're just going to start off with Unreal Engine. Once you have a downloaded, you can launch unreal engine five by clicking on the launch button or within the dropdown, we can create a desktop shortcut. So this will create a shortcut right here and now. We don't have to go to the epic game launcher every time we want to launch Unreal Engine five You can just simply click on that icon on your desktop. So this is what you see when you open up a range of five. Basically we can create projects right here on the left and we can select previous projects on the right. So, of course, if you're completely new to Unreal Engine then you won't see any projects right here. So from the left, we can select a bunch of project templates. For example, let's say if you're in the automotive industry and you want to render out a car, you could come to the car right here and you can select a template that's already been created, a starter project that's neatly set up for whatever industry you need. But for our learning purposes, I just want to start off with a blank project. So I'm going to go ahead and click on games, and then I'm going to make sure that I have a blank selected. As you can see, we already have a bunch of templates here. You can start off with a first person shooter, a third person game, a car racing game and so forth. But I'm going to stick with blank for now. And then down here we can select a project location. So where you want to save this on your computer? I'm just going to say this to my desktop, and you can click on the little file icon right here that will bring up your computer's file browser and you can select what browser you want to say it to. So I'm going to select my desktop and then click select folder. And right here, we can set our projects default settings. So we want to start off with a blueprint since we're not going to be going over coding within this video. And then we also want to make sure that starter content is enabled. So make sure that is checked on, because that will give us a bunch of assets that we can play with while we're learning unreal And right below that, we have raytracing So we're just going to keep that unchecked for now, since we're not going to be going over hardware, Ray tracing within this video. So I'm going to call his product name, first project, and then I'm going to press crates. So you'll notice when our urneal is initializing right now that it didn't create an executable file, it created a folder. So an unrelenting project is actually a collection of assets that is located within your folder. So before we go over what all of this right here on the screen is, I'm just going to go ahead and exit out of my project from the top right right here. And now, whenever we want to open up that project again, we could go through Unreal Engine five double click it and then find our project with our project browser. Or I can navigate to my project folder and click on the executable file right here, just like that. So there are two ways to open up an unreal project. You might see some notifications on the bottom right hand corner. You can just click on dismiss and update. OK, so first off, what immediately probably catches your attention is the middle screen right here. This is the viewport. The viewport is literally just a window into a world from which we can create our worlds and manipulate objects. So do not worry. We're going to go over what the viewport does in just a bit, how to control and change objects. So just above the viewport, we have our toolbar. So the toolbar is a collection of useful tools and options. So, for example, we can select different modes. Right now, we're in the police mode. But if you're going to, let's say, create a landscape, then we could select a landscape mode. And now we're in landscape mode. We will go over landscapes at a later point. So let's just go back to select mode. And pretty much all the way back here at the far left, we have the create option. So if I select on the create option, we have a dropdown of a bunch of actors we can drag into our world. So, for example, let's say if I want to box it here, I come to shapes. I have a cube and I'll have to do is just left click and hold down my left mouse button and drag it into my world. Now I'm dragging this box in. I could just let it go just like that. I'm going to press the delete key, because that was just an example. And now at the top right here, we have the world outliner. Essentially what the world outliner is, it's a collection of all the objects that make up a world. So it's a list of all of our objects. And we can even if I move this down just like this, we could even organize our objects into different folders. And of course, you see that we have an icon where we're highlighting an object if we collect this. So let's go down here to the chair. We can hide and hide this chair. We can also select objects just like this. So let's say if we're really far away and we want to select a specific object, but that object is, in our view, to select, we could come here and let's say wants select a statue. I can simply click on the statue. So that's also helpful. Real quickly, to create a folder, all you got to do is right click and go to create a folder. You can name this folder anything. I'll just call it my folder. And then we can select multiple actors by holding down the shift key just like this or another shift. Let's select both of these chairs. And then I can drag it into my folder. So that's a great way to just organize your scene. Now I'm going to go raise my window right here and right below the world. Outliner is the details, panel. So whenever we click on an object in a world, let's say this table right here, we get access to all the different properties that make up this object. For example, I'm going to come over to this chair and let's say I want this chair to be twice as tall as it already is . Well, I can just click on this chair, scroll up, and within scale, I'm going to move it out so you can read this under transform scale. We can increase the Z axis. So the Z size of this from one to two. So now it is twice its height. I'm going to go press control Z, because now that chair looks dumb. So you might be wondering right now, where is this chair stored? Where is the statue stored and where is the entire level? Our entire world as a whole stored? Well, everything in unreal engine is stored within the content drawer. And you get your Contadora, you could come down here and all you do is simply left. Click on this button and then you get it. You can also hold down control and space. So that's control and space bar at the same time to bring up your content jar. So whether the content or you can see all the content, all the assets that make up your project. So just like how on your computer's operating system, where you have folders and in those folders you can have other folders. And finally, in those folders, you actually have assets, you have files. And data's same thing within Unreal Engine. So you can have separate folders with sub folders. And in those folders, you actually get the unreal engine assets like objects, materials and levels. So if you come back with my content draw, we can see that I have a folder right here called Starter Content. And if I double click on this folder, we get a bunch of other folders. And finally, I think I'll go into the folder that says props. I go into it and we can see we have a bunch of objects. Now, I can just come out here bits, press control and space to bring back my content drawer and merely just drag in my object just like this. And I can place it in my world. Summer press, delete. Just delete that. Bring back my content drawer with control and space. And I can even double click on this asset. And go ahead and make some adjustments, make some edits. Don't worry, we'll go over what this window is and just a bit, but just know that this is the object editor. The static metadata. So I'm going to go click on this X right here, and we're going to close that window. Now, press in control and space again. We can also navigate right here. So let's say if I want to go up and folder, I could come here to content so I could click here or I can also navigate by using this left bar right here. And in case you forgot to add in the starter content. Don't worry. You can always add in starter content after the fact by going to add add feature or content pack, come all the way to content pack and then click on star content and add to project. So if you ever get to add starter content when you create your project, don't worry, you can add it right here. Now let's go over how we can organize our user interface real quickly. So let's say you're tired or pressing control and space to bring up your content browser all the time. Well, no problem. You can come here to the right hand side and we can click on doc and layouts. So now this content browser will always be here within our scene. Now, you'll notice that this tab here, it does take up a lot of space. So for all these tabs, you can always right click on a tab and then go to collapse to tab well. So that will just hide it right there if you want to get back your tab after hiding it. You can click on this blue triangle in the top left hand corner and that will bring back that content browser, something that's really fun and something that you can do that you can right click on it on any tab and then go to move to sidebar. So I will just move our content browser to the side. And now if I click on it right there, then we get a vertical content browser. We can do the same thing right here. So I can right click. Let's go move to sidebar and move to sidebar. So now we have a completely clean scene, a completely clean UI. And if I really need to, let's say, edit my statue, I can click on my statue and then click on the details panel, and then I'll get all my statuses properties. So let's say we edited our UI to the point of no return. And you hate it. You want the default UI back. Well, no problem. We could come up to window and all the way down here. You want to get a load layout and then click on default editor layout just like that. So that will restart Unreal Engine where the default user interface. So what I'm going to do is I'm a press control in space and I'm going to dock this user interface just like that, because I want to go over the settings. So let's say if you have a hard time seeing your assets, you have a hard time seeing your folders. Don't worry, we could click on settings and we can change the thumbnail size. So right here, right now, it's a medium. We can make this large or we can make this really tiny. And that's really tiny. So I'm just going to keep it at medium for now. Also, we can move all these windows around. So let's say, if I want the world outliner be down here, I could just move it just like this. So now we have both of those. And you can bring up new windows because by default, unreal engine doesn't show all the windows that are available. So we could come up here to windows and we could add a new window, let's say, if we want to add a place actors tab. I could just click it like this. And now we get the place actors right here so I can drag it, let's say. Actually, we can drag it around and I can snap it to different locations or I can snap this to another tab just like this, where we can move in between the two like that. So I think what I'll do is I'll move my details panel down here. That's how it's below my world outliner again. And then with the place actors, we can place it right here. So this is actually what my original user interface used to look like before moving over into on religion five. Now, it's important to know that the place actor's window has been basically moved to the great tab. So create does all the functionalities that the police actor's window used to do. So I'm just going to go ahead and click on the X icon to get rid of that window. And I think for now, I'm going to come over to the content browser and click on the X together this window. Here's a shortcut. If you hover over tab, you can press the middle mouse button and that will get rid of it of any window. Also, the perrino that sometimes I'll press control and space to bring up these assets and sometimes I'll just have my content browser docked just like that. So, no, throughout the tutorial, I'll be using both user interface layouts. Now that we have the basics of the user interface all the way now, it's also really fun stuff. And that is how to move our camera around, how to fly around and look at our 3D scene. So navigating within Unreal Engine is actually really easy. So to start off, you want to make sure that your cursor is inside the 3D viewport and then hold down the right mouse button where the right mouse button held down . We can look around our scene and still with that held down, we could use a WASC keys to move around and e and cue to go down. So it'll go up. Cue to go down, Dubi, move forward, move backwards and A&E to move to the left and the right. All the while we are holding down our right mouse button. So we hold down a right mouse button to move around. And then we let go and we get back our 3D cursor. So that is pretty much the gist of moving around within Unreal Engine. Now, we're going to go over some complicated stuff, and that is we can control our camera speed. So let's say our camera is a bit too slow right now. Well, I could come up here and we can change it from four, let's say, to eight. So now we go really fast. And I can also bring this down to one. And now we're going really slow. So I'll bring this back to where I was at four. And let's say if you zoom in on an object, but you want to slow down your camera just temporarily. What you can do is are holding down the right mouse button. You can use your scroll wheel to lower your camera speed or you can raise the scroll wheels and move up to go even faster. So the scroll wheel is a nice shortcut to change your camera speed. Another thing you should know is let's say we're going really fast and then we lost our world. We get scared, like, oh, where are we? Where's my geometry? Where's the bulk of my creations? Do not worry. All you have to do is click on any of the objects within your world outliner, and then press the key. So the key is going to focus to that object and we'll snap back to where we want to be. So you can click on any object in the world. And then if you press F, you'll just snap to where that object is located within your scene. So if you've ever played any first person video games, you should be right at home with these controls. Since we already have the muscle memory there, also, it's important to know that I can pivot around any object. So let's say if I want to pivot around the statue on the table, all we have to do is click on the statue and press F again to focus to that statue. So to snap my camera to that statue and now hold down alt, I can use the left mouse button to rotate my camera around the object. We just focus, too. So here I am. I'm rotating my camera around it, using it as a pivot and still holding down the alt key. I can use the right mouse button to zoom in and out. So left mouse button to rotate around and object and right mouse button to zoom in and out all the while holding down the alt key . So, for example, let's go and pivot around this chair. I'm a press f alt left mouse button. Move around, right. Mouse button. Zoom in and out. Now it's on to the viewport control. So up here we have a bunch of different buttons. We can see that right now we're in perspective mode. Let's say we want a top down bird's eye view of our world. I can come up here and then click on top. And now I get a top down view. So the controls here is that you want to hold down the right mouse button. And we can drag racing around. And I can also use a scroll wheel to zoom in and out. So this is a top view. We can also go to the left or we can click right here and go back to perspective. We can also see that pretty much a lot of buttons within a real engine. If we look to the right of that button, we can see a shortcut. So the shortcut for perspective is alt and G at the same time. Also, we can see different modes so we can go into lit. And then we can go into Unlet. So this is our world with no lighting, or we even go into wireframe mode to see all of our edges and vertices. So this is pretty fun. We're going to come. Interview mode. A bunch of times, because the remote is great for debugging our scene to make sure that nothing is going wrong. Now, this is the shortcut I probably use the most in Unreal Engine, and that is G for game view. So up here, we click it and we can see that down here we have an option for game view, which is G. So pressing G will show us what our world would look like if we're playing in game. So it will hide all of those ed widgets. So all of these other widgets aren't here for the player. They're here for us to play around with and change different settings of the world. So, of course, if we want to get rid of these ed widgets, if we want to hide them and just see what the player is seen, you can press the key. So RSG and bring back all those widgets, fack. Next up is the show flags. So right here, if I click on the show Flags, we can see that we get a bunch of options. So these are on or off options. Let's say I really don't like this grid right here. I think this grid is annoying. I could come up to show and uncheck the grid. Now, that grid is no longer shown. So let's say if you really mess up your show flags, don't worry. You can always come back up here and click on use defaults, which will bring everything back to how it was beforehand. So now that we know how to move around our scene, it's now time to go over how we can create new objects and move them around. So we're going to go over moving, scaling an rotation. So to start off, I'm going to press a key to get rid of all these EDAR widgets. That's how all we see is the world. So to move an object, all you have to do is click on an object. And by default, you should see these three arrows. If we hold down a left mouse button on one of these arrows, we are able to move it around. So by default, you'll know that this chair is snap and it's not really smooth when we're trying to move this. And that's because if you come up here, we can see that grid snapping is turned on. We could turn that off. And now we get some smooth movement. It's also a porno that if I turn it back on right now, it's snapping every ten on real units, on real units are centimeter. So let's say if I want to snap this chair every one meter, that would be one hundred centimeters so I could click on the ten right there. And with the snap sizes, I get changes to 100. And now we snap every one meter. So I'll just bring that back and let's turn off snarfing. So to rotate, you want to come up here and click on that rotation icon. So now I'm able to rotate this around. And we are also snapping. If we come up here every 10 degrees. So I don't like that. And I'm just going to turn off rotation. Stop in. And now we get a smooth rotation. I can rotate my chair around and have fun. So I'll just press control and Z to undo those rotations. And of course, we have scaling. So if I click on the scale icon right here, we're able to scale in different directions just like this. And then if I move my mouse in the middle of the scale widget, that's how it's over the white box. I'm able to scale all of them together just like this. And of course, we have snapping and we could turn that off by clicking on the snap scale icon right there, just like this. So now we get smooth scaling our press control and Z. And it's important to know that there is a bunch of shortcuts. So the shortcut for this is w so w to get our move e to get a rotation and R to get our scaling. So again, that is W to move. E to rotate and R to scale, so I'm a pest control, Z a bunch just to undo those. And let's say we are moving Ardeshir right now, but let's say I want to move my chair directly this way. So in the direction of the chair within the chair's local axis, we can do that by going into local space, by coming up here and clicking on the world icon. That's all. Now it's a square icon so we can move our objects within the direction of that object just like that. So it's important to know that that exists. So I'm going to place my chair back here and I'm going to go back in a worldspace by clicking on the box to bring back my globe. Once again, it's also a piano that if I come over here and pressing W to make sure I have my translation widget up , I can lock my rotation depending on the access. So if I hover over this little square, we can see that I can lock the movement into the X and Y axis just like this. So now I'm only moving along those axis. I'm not moving it along the Z access, or I can do the Y and Z axis just like this. So press control and Z, and that is locking. So now you might be asking yourself, well, how do I create an object? One way to create an object is to duplicate an object with any object selected. I get press control and w. And that will duplicate that object. You notice that we didn't see a change here, but within the world outliner, we did get a new object. And that's because that these two objects are overlapping with each other. So if I move it like this, we can see our new objects, which is great. I'm impressed. The Leki. Because there is another way to copy objects. And that is if I click on this and make sure you have the translation widget and holding down the alt key and left mouse button, if I drag from it, we can drag a new chair just like that. So again, we need to hold down the Olcay again and then drag from it to create another copy of the chair. So that's a shortcut of duplicating objects. So sometimes let's say if you want to move this chair really far away, then we have to move it like this and then we have to move the camera. We have to move it again. And then we have to move the camera. And that's just a hassle. So one thing we could do is that when I start to move, I can press the shift key so I can hold down the shift key. And now we locked our camera to that movement. So hold on shift. We'll just lock our camera to any movement we are doing, which is a nice shortcuts. Another way to create objects is, of course, to just come up here to the correct dropdown and then we can drag in any of these objects. So let's say if we want a new light, we could come up to lights and I can drag in a point light just like this. And now we have a new light to illuminate our scene. I'm going to press the lights and I could come back up here to create and shapes. And we do not have to drag out an object. All we have to do is merely just click on an object and that will spawn it right in the middle of my screen. So you can see it just spawn right there like this. Also, if you want to spawn multiple objects, we could come up here to create and then in shapes we could hold down the control key and then I could spawn a cone. And still, with the control key held down, I could spawn a sphere. And now, since those spawn over there, we can see that we got two different objects into our world. So I'll delete both of these like that. So it's important to know that you can select multiple objects. So to select multiple objects, you just want to select an object and then hold down the control key to select another object. So hold down control will allow you to select multiple objects and still with a control key held down. You can select an object that is already selected to select it from the list. So I can go ahead and I can select. This table just like that. So I think what I'll do is I can select both of these chairs and they're holding down control. Let's select this chair right here. And then I'm going to hold down the shift key. I actually am going to hold down Alt and then I'll drag from here. That's how we have some new chairs. And then I'm going to hold down the shift key. And now we can move the chairs all the way over here. So I think what I will do is let me just click on this chair. I'm a press e and let's rotate this chair just like this. Same thing right here at my press e and rotate the chair just like this. So now I'm going to press both of these shares and I'll make sure you press W. That's a you get the translation widget. And with AltX held down, I can copy a bunch of these chairs just like this. So we can kind of create a little dining table with this table selected, I'm going to press are and then I want to scale it just like this. So I want to elongate the table and then I want to press E. And just move my table that I was actually facing this direction. And also let's go increase it just like this, and that won't be big enough. So let's hold on Alz. It was drag out another table and hold now control. We'll have both of these selected. And move them here just like that. So not only can we grab our drafts, create objects from the great menu, but we can also go into our content drawer by, again, pressing control and space, which will bring up our content. Let's go to starter content and then props and let's see what props we have. We can see that we have a ASRM underscore lamp ceiling. So I could just drag this into my world like this. And we get this light, so I think what I'll do is I'm going to go rotate this and I want to rotate this directly, 180 degrees. So press control of Z and make sure your rotation snapping is turned on by pressing the button. And now when I move this, we can see that over snappier 10 degrees. And right there, we can see that it's telling me that I just rotated a negative 180 degrees. And I'm let go. So now my lamp is up here like this, I want to move it all the way down, so I'm a hold on shift. That's one of the cameras following it, and then I'm going to try to line it up. That's how it is exactly lined up with the floor. So this is a hassle. That's why in Unreal, there is a way where we can directly snap any object to the floor. That's what's left of the floor. And that is the end key. So that is E and D for the end of a sentence. So end. And it's not as good as in the letter N in the previous Tetora. A lot of people were stuck on that. And we're going to press anche just like that. And it's got a snap it down to the floor. So now if press are we can scale this with the Z axis just like that, and scale in X and Y axis. And let's go and move this like this, let's hold on all it will drag this and then hold down control, I can select both of these . Also, it's a porno that you don't even have to hold on control. You can also hold down shift to select multiple objects so both control and shift work and then hold down alt again. Let's copy these. All the way over there. So congratulations, you just made your first level in Unreal Engine five. Now we're going to jump into the post-process effects and how to change the exposure of our viewport camera. So while in the process of creating our first level, you might have noticed that if we zoom into the shadows, like, let's say right here, our screen keeps our game brighter and brighter, brighter. And then if we zoom out, our screen gets darker and darker, darker. So this is automatic exposure. And what automatic exposure is trying to do is was trying to simulate the way that human eye works. So have you ever been in a dark room all day and then you jump out into the bright sunlight. You'll notice that your eyes hurt and everything's really bright. And slowly over time, everything starts to look normal and your eyes adjust. Well, that is exactly what our religion is doing by default. So before we play with our exposure, let's first save this level. So if I press control on us, that will save this level. And we know what level we are on. In the top left hand corner, we can see we're on a level called minimal underscore default. And you might be wondering, where is this level stored? Well, of course, it is in our content drawer and it is under starter content then maps. So it is right here. Now, with this level selected, I can press control and w to duplicate this. So let's just call this my new map like that. So if I click on minimal underscore default, let's go save this. This was the level we are on. And then let's go controlled space and let's go into our new map that we just created, which was a duplicate of our previous map. So now I want to go through and let's go delete all the static measures. So first, I'll start off with these lamps. So I'm just selecting them and pressing the leki on my keyboard. So send right here. Let's go delete these and. Let's delete that statue, and here is a shortcut so we can select multiple objects in our world outliner by holding down the control key so I can select all these chairs. Or here's a shortcut I have to do, is select a first chair in this list. Hold down shift and select the last chair to select everything in between the two selections. So with everything selected, again, that is control to select individual objects and hold down, shift, select one and then selecting the other. Still a hold down shift to select a list of objects. So I'm going to go delete that. And now we have a semi empty world. So I think I'm going to come up to create and let's create a little house. So this is probably the worst house in the history of Unreal Engine. But it will help teach us what exposure is and how to edit it. So let's first start off by creating the walls of our house. So I'm a press R and let's scale this just like this along the X and let's scale it on both the Y and Z axis by hovering over this line right here and just scaling it like that's that's all. We have a nice wall. Press w let's move it to this side. Then I going to hold down alt. Let's create the other side. I'm a hold on alt again on our rotate this 90 degrees. So up here I want to make sure rotation snapping is turned on. And then with E! Let's go and just move this 90 degrees. Just like that. And I'm going to hold on alt again. And let's move it to this side. And then finally, let's create the roof, then holding out alz rotate this 90 degrees. And just like this and let's actually give ourselves just a little bit of room, that's how we can move our camera into this box. So welcome to the world's worst unreal engine house. Now. You to hide everything. You'll notice that when I go into my box, the road gets brighter and brighter and brighter. And now we can see whatever is inside our box. But then as soon as I go out, you see the world's bright, but then our camera slowly starts to darken. So that is auto exposure. We can lock our auto exposure just within the viewport by coming up to lit all the way down here and unchecking game settings. Now we have a constant EV one setting, which is our exposure. So if I come into here, you'll see and when I come out that there is no auto exposure changing our screen, is it getting darker or brighter? And we could change that exposure right here by plane with this value. Now, there's just one issue, and that is if I actually play the game. You notice that our player is still getting that audio exposure, so if I let's see if I can fit, OK, I can. So if I go into here, our screen gets brighter and brighter and then it gets darker. So the way we lock exposure for the player and this is pretty important, let's make sure we come up to it and make sure game setting is checked on. That's how we see what the player sees is to come into our worlds, post-process volume. So we're going to go over how to create post-process volume in just a bit. But as we can see in our world, Outliner Menu, that the post-process volume is already created by default within this map. And then if I come into here, I can in a dropdown, click on exposure. And now we get the options to control that exposure of our game. So if I click on embittering mode, we could change it from audio exposure to manual. Now we have manual control over that exposure. So let's leave this. I like let's try this. Eight point one six and if I press play, we'll notice that our world is locked to a specific exposure when I go into this box. My cameras brightness isn't changing. You might notice a little bit of changing right here, and that's just the artifacts being left over from Lumin. Don't worry, we'll go over what lumination lighting isn't just a bit. But if I come out, our exposure is locked to that value. Now, when we're playing with its value, and if you notice in no changes happening within your viewport, that's because within lit, you still have game settings turned off like that. So it's like this. We're not seeing that change because we're not seeing what the player would see. So make sure game settings is turned on. So what is the post-process volume? Simply put, post-process volume allows us to control the effects of our scene, pretty much changing our color, changing the way our world looks from the view of the camera. So, for example, I could come in a blue and I can increase that intensity from zero point six and five and really increase the blooms. So now my world is looking kind of weird, and I can always reset a value to its default value by clicking on the arrow that's right next of the property that we're changed . So if I click on this arrow, we go back to the default value of zero point six seven five. We also scroll down here. We can see that we can add in some chromatic aberration and we can even play with unrealized vignette settings. So by default on Rollins's vignette is already turned on. We can see that it is at zero point four right now. If I bring this up to one, we will notice that we're getting a lot more darkening around the rims of our camera. And if I bring this down to zero, we have completely turned off our vignettes. So by default, a real has just a little bit of vignette with zero point four. So I think I will keep it at zero point four. For now, just know that you can turn off the vignette if it is annoying you Adobe going on here. We can see that we have color grading. So of course, we have all the basic controls so we can activate saturation by clicking on this button right here. And now we can play with how saturated arsenis and I can bring this from one all the way down to zero. And now we have a black and white scene, almost like it's noir from the 1950s. And of course, if I don't like this saturation, I get, come here and click on the reset value to bring it back to one, which is the default value. So let's go over how we can create a post-process volume. I'm going to go select my post-process volume in the world Outliner, and just press the delete key to get rid of that. So now we don't have any post-process volume and I'll press G to bring back my editor widget's. So we can see what we're actually doing within the create tab. We want to come down to visual effects and post-process volume. We can drag it into our world like this. So within here, let's go down to color grading global and saturation once again. And let's bring this one down to zero. So we notice that there is no change within our world. But if I go into my post-process volume, we see a transition. So by default, the post-process volume will only affect your camera when your camera is inside the post-process volume. And of course, if you want to, you can scale this and make this really big and have it accomplished the majority of your level. That's how when you go inside of it, not post-process volume will be working. But here's one thing we could do is that we can move this really far down or we can make this really small. And then we scroll all the way down to here on a post-process volume settings. We can check infinite extent unbound. So now this post-process volume will be affecting our world. And it doesn't matter whether or not we are inside it or not, it will just be working by default everywhere within our level. So for the majority of this course, for the majority of us to Tauriel, we'll just be checking the infinite extent unbound to on. I'm going to press a key to hide my editor widgets. And let's scroll back up to saturation. Let's bring it back to this default value of one. And I think I'm going to go ahead and let us lock the exposure right here. Let's set a manual and let's bring this to eight. Now it's time to go over materials. And keep in mind, materials can be a little bit complicated, especially if you're a beginner in unreal engine. So do not worry. I'll be going pretty slow. But don't forget, you can always go back into a section, rewash that section if you are kind of lost. So without further ado, let's jump into materials. Let's go ahead and let's create a new level. But before we do that, let's create a folder. So I'm press control and space and within the content roots of my project, I'm going to go right click and I'm going to select a new folder. So I'm just going to right click in a blank space with within icon content, draw and select new folder. And I'll just call this my stuff for now. Now, within my stuff, this is where we're going to save all the new assets. We will be creating and our new level. So to create a new level, we want to come up to file and select a new level. We can also press control and end, which is the shortcuts and for new level. We have a bunch of different level templates. I think I will select time of day for now, since I think time of day looks nicer than the default level. And we'll notice that we need to change our exposure. Right now, we have manual exposure turned on and on like that. So what I want to do is come to create. And of course, we're going to add in a post-process volume. And within the post-process volume, we're going to make sure that our post-process volume is affecting our entire world by checking on infinite extent unbound. And then if I scroll up, we can play with our. You're right here, so we're going to change it to manual and for exposure compensation. Let's bring this up to about. Twelve, actually, twelve point five. All right, so I think this is a nice brightness and we don't need this widget right here and we're going to delete .
This text, which is a little bit annoying, so I really like this scene because we can see that we already have a nice outdoor lighting setup that is here by default. And here is a little tip. If we hold down control and yell at the same time so we're not control and all we can see that we get a new widget and this new widget allows us to play with our son's rotation. So that's really fun. And do not worry, we're going to go over how to create a lighting set up just like this in a bit. But for now, let's focus on materials. So to begin, let's go over how we can apply a material to our world. So first off, we need to bring up the content more than the content or has all our assets and our assets include materials within starter content. We could come all the way down here. And we see we have a materials folder, so we have a bunch of materials we can already just drag within our world. Let's say that we really like. Let me look. At this block right here, control and space, let's say we really like this cobblestone, I can just drag it onto there just like that. And we have a cobblestone floor or I can drag on this grass, so underscore ground grass. And now we have a grassy floor. So all you have to do is just hold down the left mouse button and drag any material onto any object. And that will just populate that object just like that. So that's pretty fun. I'm a pest control and Z because I don't need that material on my spear. And I think I'm going to move this. That's how it is in the middle of my scene right now. And I will select my floor and let's press the key. And I'm going to scale it in the Y and X axis by hovering my mouse cursor. That's how it's in between the two arrows. And let's increase it just like that so I can make my grass, my working space just a little bit bigger. OK, so here comes the exciting part, and that is creating our first material. So to create a material, you want to come into your content jar and let's create it under the folder we created called My Stuff. So within my stuff, I'm just going to right click. And actually, before I create a material, let's make sure we save our level under my stuff. So our press control and PSD and let's click on my stuff. That's that's that's going to save to it. And let's call this material level just like that, and then let's save it. That's how we don't lose this level we created. And now if you press control in space, we could see that we have our level right there. So I'm going to go hover over any blank space within my content right click. And if we come up here, we have create basic asset underneath here. We can create a material. So let's create the material. And we can call this material, which is call it first material and support it so that you can rename any of these assets by just hovering over like looking and then clicking on rename. Or you can press F2 if your keyboard has enough to to just rename any assets. So that's fine. Now, I will double click on this material and this will open our material editor. So right here is where we're going to edit our materials and create our materials. So this is really fun. Now, you'll notice that this window is floating out in space. So if we want to it to our unreligious five, all you have to do is left click and hold this tab right here and we can move this around. And we could come up to the tab and just dock it right there just like this. So now we can switch in between our level editor and our material editor, just like that. So you can have several different tabs with several different editors open. And you can switch in between all these tabs up here. So within first material, let's go over the controls real quickly. So in the middle, we have our viewport. This is where we're going to be connecting up different nodes that will eventually all feed into the output right here and create our material. So the controls are if we hold down the right mouse button, I can move this graph just like this. And if I use the scroll wheel, I can zoom in and out. So.
Right, mouse button hold. I can move the graph and I can zoom in and out just like this. And right there with the details, panel, if we select something. So, for example, if we have a node in here, if we select it, then we'll be able to edit that nodes details right here. So right now, since we have no node selected, we are just editing the default properties of this material. Also on the top left, the right here, we have the viewport. So the viewport is where we can preview our current mesh. If we hold on a left mouse button, then we're able to rotate around our spear and we're also able to zoom in and out using the scroll wheel, just just like on our graph. Also, we can change the preview mash. So I say if you don't want to appear, you can make this into a cylinder cube or a plane. So I'm just going to leave it at SPEARE for now. And all the way at the right here, we can have the panels. So if I click on the panels, we can see that we have a collection of all the different nodes we can pick from. That will create our material. So for the first note, we're going to pick. Let's use a color. So in unreal color is called a constant three vector. So all I have to do is left click, hold and dragged into my graph. And now we have a color node. So with this note, I can double click on this node to edit my color and we'll know. So we get a color picker and a color wheel. If I change this wheel around, you'll notice that there is no change happening. And that's because I need to bring up my value, specifically this bar right here all the way up to start to see that color. So if I bring it up like this. And let's go make this a little orangey. Now I have a bright orange color, so I'm impressed, OK? And now all we have to do is drag this pen into base color, because, again, materials are a bunch of notes that will be right here. And all these notes are interacting with each other. And they will eventually feed into the output of our material, which is right here. So I'm going to go hold down the left mouse button on this pen and hold my left mouse button. We can see we can drag out a wire. No, I get hook up this wire into any of these outputs right here. But for now, let's just drag it into base color. And I'm going to let go of my left mouse button. So now my orange is in my base color and we can see in our world. That my material has changed. Now, if I go into material level and let's go bring up our content, jore, let's drag out my first material onto the sphere. We'll notice that there is no change and it's right now using unrealized default material. And that's because we need to first compile our material in order to see it within our world. Sort of do that when you go to first material and press apply to compile our material. And now if I jump back into my world, we can see that we have our material being a nice orange color just like this. So let's go back into first material. And instead of his orangey color, I'm going to double click on this or I could come down here and double click on the color right there. And I can make this let's make this blueish press, OK? And of course, if we go back into our level, will notice that that change hasn't happened yet. And that's because we have to compile our materials before we can see changes within our world. So we go back to material level. Now we can see that that material has changed to a nice blue color. So I think I would change this back to Orange Saum, Press Control and Z to undo that change. And I'm going to press apply. And don't forget, you want to save often. And that's how we don't lose our progress on press. Save right there. And we can save everything if I press control and space and print the content, or I could click on the save all button and that will save all the different edits I made and all my different assets. So let's jump back into material and let's end it some more of these output properties. And one thing I want to do is let's make this material not that rough. Let's make it really shiny. And one week we can do that is by editing the roughness channel. So the roughness is going to be asking for a scalar value. So it will be asking for a number in between zero and one. If we come up to our panels, let's click on this. We can get a number by dragging in the constant Berchtold right there. So left click hold. Let's drag it in. And right here we can edit it. I can make this one or I can make this zero or anything in between. We you go zero point five and zero point five is right now the default value. So if I put this in a roughness like that, we'll notice no change if I make this zero. Well, not that it is really shiny, and then if I make this one, which is max roughness, it is not shiny at all. It's kind of looking like velvet. So I'll just bring my value down. Let's make this zero point one. So it is very shiny. Another thing we can do is play with the metallic. So right now, our metallic value is set to zero. So there is no metallic whatsoever. What we want is another constant scalar node. So I could come to Panal, drag out the constant, or I can go high like this and press control and w to duplicate this constant. So I'll bring it up like this and let's make this value instead of zero point one. Let's bring this up to one. And then drag it into metalic just like this. And now we can see we're getting kind of like a gold metallic material, pretty shiny. If I come into my material level, we won't notice a change. That's because we have to press supply. Let's compile our shaders. And now, as we can see, we just created our first material. So it's important to know that unreal engine uses physically based rendering or PVR. And to illustrate what PBR is, I'm going to jump into another project. OK, so right now I have opened a sample project and I will go over the main values of PBR, specifically metallic and roughness. So let us move the slider from zero point five all the way down to zero. Now, our sphere is completely shiny. There is no roughness whatsoever. And as we move our slider from zero to one, which is max roughness, we can see that we get back that roughness value. So I'll keep this down here at zero for now, and we can see with metalic. It starts from zero and as I slowly increase it, are spear or material gets more and more and more metallic until it's almost like a gold substance. And if you ever want to create a mirror within unreal engine, all you have to do is make a metallic one and your roughness zero. So this is essentially a mirrorball. Now, it's important to know with most materials, materials will never really be in between zero or one for them. Retallack, it's either they are zero for no metallic or one for completely metallic. It will be rare to get a value in between the two. So I'll just keep this metallic, let's say, at one. That's how we notice that we are completely reflecting our world. And as all the poor know, that our values are metallic and roughness values are clamped. So if you input a roughness value of, let's say, negative one, then that will just be clamped. So that negative one will be zero. Or if you have a roughness value above one, that will be clamped and it will just be one. So these values will always be either zero to one. It doesn't matter if you put in a value that's not zero one. It will just round to the nearest number in that range. All right. So now that we've gone over the very, very basics of materials, I think it's time to move on to how we can integrate textures into our materials. So here I am back within my project, and I want to edit the material we just made. And you'll notice that I don't have that material open anymore. Well, that's OK. Instead of having to navigate through my content browser and finding where the material is and double clicking on it, you could click on the spear right here and make sure our details panel is shown. And within the details window, you'll see all the materials that are currently on top of this object that are currently placed on this object. And then we just double click on our material and we're able to pick out the material that way. Also, let me go here and let's right click let's restore tab. And right click and restore tab. That's how we always see our world outliner and detail panel. I just had them collapse right there for the PBR demonstration. Also in Sparano about the PBR demonstration is that the two values we were playing with are literally just if we go back, it's arbitrary, all these values right here. So we were adjusting the slider of our metallic value and the slider of our roughness value. So now I want to drive my roughness by using a texture just to kind of vary up this roughness and make our material look a little bit more realistic. And there is a texture that I want to use, and that is within those starter contents of press control and space, because star content and let's select our textures and is specifically a nice texture. I think it is t underscore Perlon, underscore noise. So to get a texture and bring it into our material, all we have to do is drag this from our content jaw. And instead of dragging it out into the world, I can drag this up here onto my tab. They'll switch over. And now I can drag it into my noad graph. Let go. Just like that. And now we have the correct texture within our material, which is nice. It's also important to know instead of dragging different assets in between our tabs, we can always go down here. And you'll notice that we still have the content available for us. So we can still browse all of our different assets by simply pressing control and space within any of our asset editors. So with control and space, I can bring it up and drag in the Perlin noise into my material just like that. So I could come up here and drag this from B into roughness value. And now we can see that we have really intense varying roughness. This is looking kind of weird with it being metallic. So I think I would change the metallic value from one to zero. We don't need this value right here, so I'm going to delete this node. And it's important to know that we don't even have to just drag from R.G B. We can also drag from our G. Ambae separately, so it doesn't matter which no, you drag from when you are using a black and white tecture. So I'll just let it be at RG B for now. And it's important to know that if you ever want to break the connection of A.. All you have to do is hold down the alt key and left click on the start of that wire or at the end of the wire. So left, left, looking right there. Just break that connection. So I'm going to drag it back into here, into the roughness just like this. And now let's press apply and let's see what this looks like within our world. And now if you look at our material in our world, our material is looking a lot more realistic, especially if we come here. That's what we can angle our camera with the sun right there. So the sun is reflecting from the top of our sphere. We notice that there are areas of intense shine, but also areas of very little shine. So it's almost like dirt has fallen onto the sphere. And that's exactly the look we are going for. Now, this looks like it's been worn out. It's been outside for a while, and it just gives our material some character. So speaking of dirt, let's actually add a dirt texture that will be the color of this material. So the dirt texture we want to use is, of course, located within our content drawer, under starter content and texture. So same location as our Perlin noise. And it's going to be t underscore metal, underscore rust. So if I double click on this, we can actually view what architecture looks like. And if we click on this, will notice, oh, there is nothing here. This is just blank. Well, do not worry. Sometimes when you just see a blank texture, that's because the alpha channel is being used right now. If we come up here, we can deselected. Essentially Alpha Channel just handles opacity. So by clicking on the Alpha Channel, we can bring back our texture. And I'm aware that this is rust. But for a texture, this can also be used as dirt, I feel like. So let's go into our content browser once again. So let's go material level control space. And I'm just going to drag this into our material just like this. Let go and let it stay right there. So now if I drag this into base color. And now we can see that we're using a texture on our material instead of using a solid color. Now, I don't want this texture to be everywhere within my material. I only want this texture to show up if I go back to my level where we have roughness. So, for example, in this spot right here, it's really rough. I want there to be some dirt texture right there on top of that roughness. So not only is this area rough, but it's also a different texture than the solid color. And we can do that by using the lerp note. So we're going to use linear interpolate. Now, if I right click, I can also get up the panel window. So if you don't like coming here all the time and having to scroll through and find your note, you can always right click on any empty part of your material graph. So if I right click, I can type in. Linear and interpolate song, I select this one right here, just like that. So now that I got my linear interpolation note in, I can drag my orange into a and then drag my texture into B. And now for Alpha, let's use r.g B. So essentially we're going to be switching in between our texture and our color. So the A and B inputs, depending on the alpha texture. So I believe right now, if our alpha texture is black, then it's going to pick orange. And then if it is white, we're very rough. It's going to pick our dirt texture. So let's drag this an alpha like this. And the output of this will be our base color. OK, there we go. That looks like it's working if I press apply. And let's jump back into our material level. We can see that within all the rough spots of our material. We have dirt there as the color. So not only is it rough, but it is also very dirty. So if we zoom out now, this looks like it's material straight out of a construction sites. So that's the very basics of materials with an unreal engine. So now let's go over how we can migrate assets in between different unreal engine projects. So we will go over how we can take some assets in one Arun's or project like textures or materials and move them into another unreal engine project. And keep in mind, you need to download some assets right now, link in the description below. They are completely free to follow along with the rest of the tutorial. So you go ahead, download them and let's get started. So this is the zip file you should get by downloading the assets link in the description below. And you need these assets to follow along with this tutorial. So I'm going to go unzip this somewhere, double click and double clicking here, and I'm going to drag these two folders onto my desktop. To unzip them. Once they are unzipped, I'm going to go open up first project, which is the project we've been working on. So now that we have our old project open up, let's go open up the new project we just unzipped called Intro on Real Project. So we're going to open up over this and I will show you how to move assets in between them. So now that we have both projects open, what I want to do is take within the content. I want to take the lion examples, this folder with all the assets that are contained within it and move it to our original project right here. So bring that folder into there. And the way you do that is through migration. So you want to right click on the folder or assets you want to move. So I'm going to right click on Light, an example, and then we're going to come down here and select migrates. So this will find all the assets are be referenced by the assets you are about to move. And we need to locate the content folder of the project we are moving our assets into. And we could specifically find where our content folder is located. By going into the project, we're moving our assets into. Right, clicking on the content folder and then go to show in Explorer. So this will just show where our contact folder is located. And it is located right here. So I'm going to go select all this and control and see the path. So I'm copying the path. And keep in mind that the content folder is simply a folder within the main roots of your project folder. So your contact folder is right there. So just want to find where that is. Copy location and come back here. Let's go click on OK and let's navigate to where that is. So now I'm going to go copy and paste in the path of the content folder we are moving these assets into. And then I'm going to press select folder. Now, it just copied those assets into my new project and as we could see if I go back. Into our first project. We have the lighting examples folder here, and it comes with all the different assets that we're going to be playing with in just a bit. So that's how you move assets in between different projects. And to just reiterate, if you want to find a content folder of a specific project you're trying to move assets into. All you have to do is find where that project folder is. So let's say right here and content will be right there. So it's all these assets that make up the content of your project. So now that you should have downloaded the tutorial content, we're going to go over how we can take those Atauro content and import them as textures into Unreal Engine. So how we're going to move APG into an unreal engine asset. So before we start importing our assets, I want to organize my content browser just a bit. That's how we don't get a really messy looking content browser. So within my stuff, let's create a couple of folders. So to create a folder, you can right click on empty space, come up here and click on new folder. So I call this one materials and let's create another one. Come up here to new folder. Let's call this one levels or actually what's called this remaps. And then let's right click. Let's make a new folder and let's call this one meshes. So in case you don't know, meshes are basically 3D objects. This object right here, this is a mesh. So that's what we call them in unreal engine. And to move an object or to do is left, click, hold and drag. And it lets move our material to, of course, our material area. And let's go move here. And then let's move this map into our map folder. So move it right there. And finally, we're right click new folder. And let's call this one Texture's. OK, so now that my folder structure is looking good, it's looking or nice and organized. I'm going to go import some of those assets that we downloaded. So within the intro unrolls if you want to make sure that you unzip the beginner assets. So within this folder, you'll see we have a bunch of beginner assets. And don't worry, we'll go through what each of these are. But first, I want to import a couple of textures. So to import a texture into a religion. All you have to do is merely select those textures you want to import. And I want to import these Spanish pavement textures right now and drag it into your content browser or your content draw just like this in the location you want to let go. So I want to drag these three textures into my tecture folder like this, and it just imported. And as we can see with your textures, French pavement on Schorno map was imported as ignorable map. That's what we want, Sampras. OK. And we will go through each of these textures. Let's go ahead. And now we see that we get these three textures within my game. We can select all these and press our controls to make sure that they are saved. So if we open up the first tecture. And what's the docket right here? We could see that is just a color texture and all my signs are fine. You can leave the settings as default. The next texture is a normal map texture and unroll a smart enough to know that this is a normal map. So within here, it's that the expression settings, the normal map and unchecked be, which is exactly what we want. So basically, just for beginner purposes, you only want your color textures to be set as RGB. So that means if we open up this roughness mask, unreal. Doesn't know that this is a roughness mask. So the Saji B is checked on. We want check this off. That's a normal nose to use the full range of black and white values which will drive our roughness value of the material we're about to make. So now let's finally create our material. So if I go back into my main window, if I press control and space, let us go out here to my stuff and into our material folder that we made. And let's right click let's create a new material. And I'm just going to call this Spanish pavement material. So with Spanish pavement, I'm going to go control and SW and double click to open up the material editor. So now that we have arbitral Ed opened up, we can go to material levels. So let's go controlled space and my stuff textures. Let's select all these textures, press control on that stuff so we can save them. And I'm just going to drag them up into my sparse pavement tab. Wait a bit. It's switched over. Bring it down and let go of my mouse button. So now we get all of my textures right here. This is pretty nice. So I'm going to move this up like this. And you will notice that if I click on my tecture sample right here, it is set to color. So we get our texture manually there. So let's say if you import a texture, but you want to change what texture it is, you could come right here in the dropdown and select any of the textures you already have within your content browser. So this is set to color, which is what we want. This one right here is set to a linear color, which is also what we want. And right below that is a normal map. And this normal map or a sampler type is set to normal. It's important to know that, let's say if we delete this, we don't have to drag in a texture to get a or sample. All you have to do is right click Antep in texture sample and select the texture sample right there like this and then within the dropdown. So this automatically selected our base color because I'm real smart. But let's say if it's selected something else like this texture right here within the dropdown, you can go search for whatever texture you want. And I know its payments. It is Spanish paper based color and selected like that. So that is another way to bring in a texture node into unreal engine. So now let's start to hook up the wires, rummer textures into our material output. So I'll just hook up the color to base color like this. And in case, let's say if you accidentally hook this up into a different one, like let's say whoops is actually into metallic. Now, you can hold on alt left click and get rid of that note. Also, if you drag it into the wrong note, you could hold down control. So make sure you're holding down control. And then you can drag that wire from it like this. And you can move the wire to another input. So all get rid of wires and control is able to move the wires. So let's hook this one up to roughness. And I'm not going to play with normal mouse right now, because I just want to see what my material looks like as is. So as press apply and let's jump back into my main level, control and space. And we're going to go into where our material is. So right here. Let's save this material and I'm going to drag it onto the floor of my world. So there we go. We just created our first material with textures. And if we scroll down here, you can see that it's looking OK. There definitely is some variation in the roughness, which is what we want. It makes the texture look realistic. But the main issue is that this texture looks really flat. It looks like someone just got some wallpaper and put it on the ground. We don't see any depth. We don't see any shadows. And that's where neural maps come in handy. Neural maps are great because they allow us to fake depth. So even though this model isn't actually that dense with geometry, the material will make it look like as it is dense and give us a nice fake shadows produced by our scenes lighting. So let's go into my material and I'll hook up my normal map and let's see what happens. So I'm going to press apply. We will see that our material looks so much better. And my zoom in here, we can see that there are shadows within the crevices of our material that makes it look like as if this material has a lot of depth. So the sun is casting shadows. And if we come right here, let's go at it in another light. Let's go creates lights and I'll just drag in a. Point lights, we can see that this point lights is also casting shadows. So this is pretty great. It really helps add realism to your materials. And in case you're wondering, in case you're ahead of the curve and you're already a little bit familiar with Unreal Engine five. Yes, we will go over night. And no night doesn't necessarily replace normal maps. Normal maps are here to say and I will explain why when we get to the Nanuet section of this to Tauriel. So take a good look at the setup of material right now. This is pretty much, I'd say, 90 percent of all materials in Unreal Engine. It's just a couple of textures hooked up to the base color roughness and normal. The hard part should be the actual material creation. The hard part should be finding or creating the textures you're going to be inputting. So that's pretty important. Now, if we come and jump to our level, will notice that I think this material is tiling way too much. Let's make the tiling let's make the texture size just a little bit bigger. And we could do that by coming to here and looking. And we're going to add in a texture coordinates. So from the texture, Kornet, I want to drag out and I want to multiply this. So if I just drag and let go, we can type in, multiply and press enter. So I'll bring in a multiply node. And of course, I want to bring in a constant vector so I could come to the palette or right click and scroll down here and find where the constant is. Or we see right next to it there is a one if I hold down one and left. Correct.
And any empty space within my graph, then I could just bring it a constant just like that. So that is a shortcut. And the default value for this is one. So if I hook it up to be so right below the multiply. Now I'm going to take my texture, Kornet. And essentially what we're doing is scaling it on the UVs. So I'm going to drag this into my Uves like this. And then press apply. So, you know, so there was no change, and that's because one is the default value. Let's see what happens if I make this 10. And pay attention to the spear. You'll notice that our tioe got a lot smaller. And then instead of 10, let's make this zero point one. My tails will become a lot bigger. So that's pretty much a small corner of my texture right now. So I think let's try zero point five. So this was default right here. Maybe that was a little bit too small. So I want to make a zero point five just to increase the texture size. And if I come back into my level, that looks like a nice, decent size for my pavement. Another thing we're going to do is add in the ability to tint my material so I could cover the Spanish payments. And I'm going to go highlight all of these. So I'm just going to let click and drag to highlight a couple of notes and move it back like this. So I want to multiply a color onto my base color and the chalk up or multiply instead of having a right click and type and multiply is I can hold down M so the mki and left click to bring in that multiplied note. And I'll just hook it up to the bottom here and at the top the shortcut for a constant three vector. And if you remember the palette, the constant three vector is our color within a real religion. Just hold down three and left click. So that's the shortcuts. And instead of zero zero zero, let's default this to whites. And then I'm going to hook it up to a and hook it up just like this. So impressive play. And now if I come into my tecture, we can let's say we could tinte this like a little bit pinkish and then we will notice, actually, I'll just tend to a lot. That's all we really knows what's happening. Boom. Now our material is looking like a. When principly. Really disgusting reddish hue to it. Now, of course, I don't like this, so I'll just come back here. Double click. And I can reset this value to white by breeding down this bar right here. And now, once again, if I jump back to my level, we still have that tent. We have to press apply again. So right now, our material is looking really nice, but there's just one issue, and that is our material is in real time. Whenever we make a slight adjustment to our material, we have to press apply and then we have to wait for that material to compile. And if we have a really complex material that compile time can take a while, which is why we're going to go over parameters. Parameters will allow us to make those adjustments real time so we don't have to wait for any compile time whatsoever. So let's jump into it. So before we can make a parameter, we need to make a material instance and material instance will essentially hold all the parameters so we could create a material instance of a material by navigating to that material. We want to create an instance of. Now, remember, let's say if we're someone else within our content folder and we don't want to have to navigate all the way to that material, we could just click on a static mesh. We want the material to edit the details and then click on the magnifying glass of this material. So if I click on the magnifying glass, it will snap me to that location within the content browser where that material or asset in general is located. Now, I'm going to right click and let's go to create material instance, and I'll just leave that as is. Which means Spanish pavement underscore enst, for instance. And we're going to save it right here. So I'm going to go drag this instance onto my floor. Now, of course, there is no changes because anemic could changed in my instance. And if I go ahead and open up my instance, we will notice that. And if I move it right here. That we don't have any properties that we can edit, we can't change the tents, we can't change the scale of our material. And that's because we have to tell unreal engine what parameters, what variables within our material right here. Do we want to be editable within the material instance? So to tell unreal that I want a specific node to be exposed to any material instances of this material. Let's say this node right here, which is the size, all you have to do is right click on that node and go to convert to parameter. So now this has been changed your parameter and we can name this Abdeen. Let's just call this one size just like that. So now if I press apply and if we go into a material level and bring back that material instance, we will see that we get a new value called XYZ. And if I check this button right here to turn on size, I can now dynamically change the size of my material. And we don't have to wait to compile anything. We can see the changes as is in real time within unreal engine. So that's how we start to expose different variables from our material to the material instance and make that variable real time. So this is now real time. Let's come up here and let's also expose the color. That's all we content it. And let's right click. Let's go convert to parameter. And I'm just going to call this one color tint. And let's press apply. So now if I come into here, we can see that not only can I change the scale of my material, I can also come to accountants and we could just to just a bit and see what different, huge difference, different values we can make this darker or bright looks like. So that is pretty amazing. Now. There's also something else I want to expose to my material, and since that is, I want to control the strength of our normal map, because right now I feel like there's no map should just be a little bit stronger. And we could do that by using the normal flatness node. So if I come to Spanish payments, I can right click Vladan Normal just like this. And we're going to Brenin flat and normal. Now I'm going to go. Drag from RGV and drag it into the normal section and drag the results out just like that. So flatness is asking for a constant scalar value. And of course, we could bring in a constant scalar value, just like the size of holding down the one key and left collecting. So I'll just bring in our scalar value. And of course, you are right click convert to parameter. And let's call this normal. Latinist. And the default value, if we hover over fluidness, we can see that the default value zero. So let's just leave this at zero. Plug it up right there and press supply. So now, back in my world, let's go drag out the material and stand out to see that we have a new parameter called normal flatness. If I expose this variable and if we increase it, we can see that slowly that normal map goes away until we no longer have a normal map. But if I bring this down into the negative values, you can see that we increase that normal map a lot. And now this looks away to a tense. It's almost like we just entered a war zone. And this material has been very worn out. And the shadows are more pronounced. They are more visible. And, of course, just like with any property within our religion, we can click on these arrows to bring back our default values. So that's just the basic gist of how material instances and exposing variables to make them real time work within unreal. So now that we know how to create parameters and hold those parameters within a material instance, it's now time to talk about master materials. Essentially, a mass of material is one material to rule them all. So you can have one master material and then you have some material instances. Adobe material incents can be anything from wood bark to concrete to a wall. Pretty much any material you can think of. And it's all stored within one single material. And we create those materials by just using parameters. So I know that sounds a little bit complicated, but we'll just jump into right now, and I think you'll get the hang of it. All right. So we're just going to go ahead and edit the material that we've been working on and make this our master material. So I'm going to go right click and click on rename or I can press F2 if we have that input. And I call this an underscore master material. So if I double click on, my master material will bring up the editor, and now basically what I want to do is I want to write, click on my tecture sample and then go to convert to parameter just like that, and I'll call this color. And down here, let's go could also convert this Premiere, let's call this one a roughness and this one a normal map. So convert to parameter and normal. Just like this. And then also, I want to make sure that my size isn't zero point five. Since if you remember, we want to stick to the default and a default right now of tax record, it is a multiplication of one. Just like that and for normal flatness will keep it at zero and our it will keep it a default value of one, one, one, and we will press apply. Now, we will notice that if we go ahead and open up our material instance. That now. We have access to change those textures. So let's say if we have a grass texture and some grass normals and grass roughness and I get a drag in the grass like that, and automatically we will get a grass material, we wouldn't have to create a material from scratch. So that's why mass materials are great. They just help us save on some time and help create materials faster. So. One thing I would say is that this isn't a complete mass of material unless we have an input for metalic. So let's go ahead and let's close this. Let's go back into a mass of material. And I'm going to go ahead and let us duplicate this roughness with control w. And I'm going to call this rottenest metalic. So this will essentially be our metallic map if we really need it. So bring a roughness like this and we'll hook up the UVs. And the metalic right there into the metallic inputs. So they're just one issue right now, and that is our entire material is metallic and sometimes a lot of materials, they don't even have any metallic to begin with. So we want this to be a switch. That's what we get turned on or metallic map if we need it, or turn it off for materials like our Spanish pavement where we don't need any metallic inputs. So to give our self and on an off switch we can use if we right click and go static switch parameter just like this and we'll bring it in and I'll call this is metallic questionmark. So if it is metallic, we want to use our metallic texture. But if it is not metallic, so if the user has this checked a false and by Dipple right now it is false. I want this to be false by default. And if our static switch parameter is metallic is false, then we're going to use on default value for metalic, which is no metallic, and that is just zero. We can get zero by holding our one and left clicking. So I'm going to hook it up to false. And instead of using the texture map, we'll just be using the default value. Let's go back into our level. Let's open up our material instance. And we will see that we get the switch right here, if I check this on and check this right there. We will see that we get a new texture map so we don't have any metallic texture. And then as soon as I click this, then we do get a metallic texture map and I can add in a metallic texture if I really need to. So that's basically the gist of creating a little master material that we can use to create a bunch of different materials. And we're going to use this mass of material in just a bit. So I'm going to go over something most began to realize, don't go over and they really should, because if you're ever going to be using normal maps, then you will come across this issue. And that is, let's say you got some neuromas maps from the Internets and you knows that your shadows are pretty much backwards. As we can see right here are lights is casting shadows on the opposite side of the brick. So the shadow shouldn't be here. It should be on the other side. And that's because there are actually two types of normal maps. So right now, you should see the direct X normal map and the open G.L. normal map. So unreal uses direct X and Blendr uses open G.L.. And as you can see, they look very similar to each other. So if you're ever accidentally using an open GYUL normal map, like right here, you can tell since the shadows are on backwards, there's a really, really easy fix for this. So first, we need to actually find where this normal map is. So I'm just going to go ahead and let us open up this material. And right here we can see those using this normal map so we can open up this normal map. And right now, since I know that this normal map is open, goes since the shadows are backwards to fix this, all you have to do is come into the normal map texture within texture. You'll see a dropdown arrow. You want to click on the dropdown arrow and make sure Flip Green Channel is turned on. So this will convert an open G.L. normal map to a direct DACs normal map, which is what unmoral engine uses. We can press save. And now if we notice that our shadows are fixed, we can see that our shadow is on the left side of this brick and it is following the light correctly. Beforehand, it was on the other side. So if you're ever accidentally using an open geo map, this is how you would fix it. OK, so now let's go over how we can import 3D assets. So a 3D asset in a real engine is called a static mesh. A static mesh is literally just a collection of vertex in space that are then combined to create planes and objects and shapes. So the anatomy of a 3D asset is that, of course, you have your static mesh. And that's static measure will have a material assigned to the static mesh. And from that material, you will have a bunch of textures that comprise of that material. So we're going to go through the entire process of creating a static mesh from scratch. But of course, we're going to have to go and import one first. So some of the file formats for static meshes are 3D object file formats, like an F or an OBJ. Snowing back when then my unrelenting vile and let's go import some assets. So the assets we're going to import are, of course, within the beginner assets that you can download. And we're going to specifically go over how we can import in a static mesh. So if we open up this static mesh. We will see within windowpanes that this is just a very simple little crate's, it's a wooden crates and we have a bunch of different textures for the wooden crates. So, of course, we need press control and space to bring up my content and within my stuff, let's go into mesures . And all you have to do is drag this into it just like this. And now we get a bunch of different import options. I'm pretty much going to leave everything at default except for material. Let's go and let's not create a material and let's not import textures, because I rather create a material and import my textures manually , since I find it easier than trying to get unreal to do it for me. And then I'm a press on imports. And we see no smoking group ever was found in this vaccine, that is completely fine. If I go back into here, we can see if I double click on my crate's. We get our little static mess within our project, and I could even drag this out into my world. And now we have a nice crate's. You can scale it, move it, rotate it, just like any other object within your world. Now, let's go ahead and import some textures on press control and space and let's jump to textures. So I'm going to go ahead and let's. Imports are wood and create normal map. Roughness map or color map and or metallic map. Now, we're going to go ignore this crazy map right here, but we will jump back to that in just a bit. But let's drag all of these right here and let's let go. So let's go. Open up all these maps and make sure everything is saved correctly so in press control and us. And if we open up this wooden crates, everything looks fine as archabbey, make sure it is checked on. And then for our normal map, we can see that our normal map has automatically been imported as a normal map, as RGB is checked off, which is what we want. And for both of our metalic and our roughness, we want to make sure that Assad is checked off. So make sure there's no check right there, because this is a linear color. We want the full range of black and white values, and we're going to do the same thing right here and uncheck it just like that. And now, since we fix all our textures, let's go select these two and save them. Now we're going to use our master material we made in the last section, so let's go to materials and let's right click from here. Let's create a material instance, and I'm going to call this one wooden crate material. And let's drag this wooden crate material onto my crates, and obviously we need to go ahead and we need to fix this by opening up our material instance, and what I'm going to do now is that I'm going to edit these values. That's how instead of using the Spanish payment textures, they are using the new textures we just imported. So I'm a doc of this type right here, and I'm going to make sure that these three textures are enabled. That's how we can change them and with the content draw. So let's bring it up. Let's go in the textures and let's drag in our textures. So color goes in a color, normal goes and normal and wood and create roughness goes into roughness. So now we can see that we have a great texture. But if we zoom in on this, we have some nails and those nails are currently not metallic. So we could bring in our metallic map by, of course, going to metallic and making sure is metallic is set to true. Now, we're going to go into our content drawer and drag in wooden crates right there, and let's make sure our metallic is actually enabled and then drag and wood and create right there like this. So now we are able to see that our wood and create the nails on our crates are really metallic right now. So if I go back into our level, our crate is looking great. Now, there's just one issue, and that is if I press control in space, let's go back into our meshes and let's drag out wood. And crates are wooden crates isn't using this material by default. So we can link up these materials with our mesh by pressing control and e so pressing control and E is a shortcut. Rather than just double clicking on the wooden crate right there, we can open up any asset in our world by pressing control at E and within wooden crates. We can see that we're able to change the material, so I'm going to open up my content drawer. Let's go to materials and let's simply drag one and create material onto our static mess just like that. So now they are linked up. So whenever I. Drag in a wooden crate rationale by default, it will have that material. And that's pretty much the gist of how you go ahead and you create an asset completely from scratch using imported data. So we import this static mash. We imported the textures. We create a material with those textures, and we put that material on the static mash so we can create small crates, big crates, little crates. We could even stack crates on top of each other. And it's just oddly satisfying to go through the process of creating your own unrelenting asset and playing with it with an editor. Before we move on, I think it's important to note what this texture, this wacky blue texture is. So before we do, I'm going to go press control and space and let me drag in this texture just like this into my world. So if we open up this texture, you might be wondering, well, what is this? Well, if I uncheck the Green Channel and the Blue Channel, we notice that our red channel, our red color channel. Good teams are metallic mask. And if I uncheck red and green, our green channel contains our roughness map. And if we uncheck green, our blue channel contains an optional ambient occlusion mask. So if I check all of these again, this is a very, very common use case scenario with an unreal engine. Oftentimes developers, if I bring up my content browser, will instead of importing separate Massow, instead of importing a separate metallic mask or a roughness mask, they will just combine these masks into one texture and hide them within the different color channels. So I'm going to go unchecked, essar GBE, because this is a mask. This isn't necessarily a color texture, and I'm going to press save. So the way you would use a mask like this is let's go back out here and let's create a new material. I'm going to go right click, create new material and call this example, because I will delete this later. And let's open this up. Docket right here and let's drag in with in Texas. Let's try again my base color and my mass and my normal map. So to drag it in like this and hook up your base color like normal. Hook up your normal color like normal. And then instead of dragging out from our chibi, we know that this texture contains different mass within the color channels. So our red channel contains our metallic map and our green channel contains our roughness map. So instead of going through and importing two different textures, we just decided to wrap these textures into one like this. So the reason why I'm going over this, because you might be a little bit confused, is because in most acid packs and a lot of unreligious projects, developers will use textures this way. So they'll wrap different masks that are similar to each other within. One texture and use the color channel to isolate out those mass. So if you ever see a texture that looks like this, probably no, that is a collection of several different mass. Now it is finally time to talk about lighting. And lighting is a pretty big deal if you've ever been following Unringing five, specifically because of our range of five new lighting system called Lumin. So what does Lumin do? Lumin allows global illumination in real time. Global illumination is light bounce. So, for example, right now there's light bouncing on this mouse right here. And since his mouse is red, when that light bounces from the mouse, it will take some of that red color and project it onto any objects that are around it. So you can't really see it right here, but my mouse is projecting just a little bit of a red tents onto this table, and that's where global illumination is. And beforehand, it has been in real time. It's always been with static lighting. And the issue with static lighting is that static lines are just static. You can't move lights around. So you can't get global illumination with, let's say, a day and night cycle where the sun is moving from morning all the way to nights. You wouldn't be able to get global illumination. So that's why Lumin is so important, is because it brought that global illumination to real time rendering to movable lights. So let's jump into it and see a comparison between how we would get global illumination and our roles before and how we could get global illumination now with movable lights . All right.
So if you would remember, we brought in some assets from the migration portion of this material, specifically the lighting examples. We're going to be using the lighting examples. If you haven't brought it into your project, I recommend you do so now. So I'm just going to go click on the maps underneath lie examples. And we're going to go open up the light balance map. So right here, we have a very simple room. As we can see, this world only consists of a little box with a green wall and a red wall to show off, bounce light in. And this light right here that's currently set to static. Also, I've gone ahead and added in a post-process volume since by default, Lumen is turned on. I want to turn off Lumin and go over how we would get global illumination generally back in on for. And then how we can get global illumination with Lumin right off the bat by default in Unreal Engine five. So this is kind of like a demo of both ways of getting global illumination. So let's pretend that we're back in the UN right there for days. And I want to get some global illumination with am I seen what I would do is I want to make sure my light is set to static. And then I would go ahead and build my lighting, which would retrace behind the scene, grab some nice shadow maps and global illumination and overlay them onto my world as a texture just like this. So I believe we are now done. If I click it, this is how we used to get global illumination back in unrounded four. And you know, this looks fine, but we just have one issue, and that is as soon as I move an object, our lighting breaks. Same thing with the light right here. Since this light is set to static as soon as I move it. Our light breaks. And obviously for some scenes, this might work, especially for architectural visualization. But for a lot of our purposes, we don't want to go through the hassle of baking lights or we really want a dynamic scene with movable lights, movable objects that all get global illumination. So this is where Lumen comes in. Now, you want to make sure you have the world settings. If you don't have the world settings, you can come up to windows and click on world settings right there. So what the world settings will do is give us all the properties of our world and within the world settings, within a dropdown, under a light mass. We want to check for snow, pretty computer lighting by checking this on and now by clicking build. We can get rid of the light Baekje we just created. So basically by checking us on, it will tell Arsène our world to use no lighting, to not use any stationary lights. So I'll come up here and click, build all levels, and that will just get rid of our light mass, which is our bakht lighting. So if you go back into details and you'll notice that our light has a little preview word right there. That's to tell us, the developer, that this light is set to static. So it should be built. Now we're going to set it to movable. And let's see what our scene looks like with Lumin. So, again, by default, Lumen is turned on. I went ahead and I turned off illumine within the post-process volume so we could turn on Lumin again by clicking on the post-process volume. And let's go into the details, panel. And if we scroll all the way down here, we'll see underneath the low illumination. We have a method option. So this is movable lights back in Marylander for within our under five using Lumin boom. So that is absolutely amazing. So I'm running for Unreal Engine five. And we can see that when I move this light around, we're getting really nice bounce lighting everywhere. The scene looks absolutely beautiful, and this is really perform it. I'm still at 120 frames, and if I were to basically retrace those beforehand in our religion for using the traditional methods of trying to get global illumination in real time, then this wouldn't be able to run on most computers. This is absolutely amazing. We could even move this sphere and we can see all the nice lighting happening. And we can also, let's say, if we think that this shadow is way too sharp right now, we can increase the. Source radius of our lights to slowly dampen that shadow so we can make this a nice soft shadow just like this and move our light around like this. So this is absolutely amazing. And if I press control and space, if I go into lighting examples, materials, we have an emissive material. I'm going to drag this onto my spear right there and let's delete my light. And we can see that even emissive materials and give off light. So this is absolutely amazing. This wasn't even possible with hardware, Ray, tracing back in our religion for our pest control bunch. And let's bring back our light. Also deport to know that let's say your computer is really handling Lumines that well within a scene. Don't worry, you can decrease the quality of Lumin, but also increase the performance of Unreal Engine five by coming up to settings, project settings. And then within here, we want to scroll all the way down into rendering and within rendering within underneath lumen. We could change it from detail rate tracing to global tracing. So did not racin is basically as accurate as possible, but is very cost heavy and global tracing isn't that accurate? But we do get that performance back. So if your computer can't run Lumin, don't worry. Just make sure you said to global tracing instead of detail tracing Sampras exit. So let's go over the different types of lights. Unrelenting five has to offer. So to begin, all we have is the point. Like the point lies right here. It's essentially just a light and it spreads out in several different directions. You'll notice that a lot of lights have the exact same properties. So, for example, we can change the light color. Right here, we can make a orangy, you know, make it Naani. Now we can also play with the temperature. So if we click on use temperature, we can increase that, make it cooler or we can decrease it and make it warmer. So I'm going to go ahead and let us reset the values. And then we can also control the source radius to give ourselves softer shadows. And then the next light, if I delete this light, let's go into great lights and spotlight. So Spotlight does what you expect is a very specific spotlight that just aims to light down in a specific direction. We can even change if you come right here, the angle of the spotlight, so we can decrease that angle and we can also increase the sharpness of this fall off. So right now, that fall off is pretty intense. So if I increase the inner Conargo, we can get an even sharper. Angle just like that. So that is pretty fun and it has a lot of the same controls also keep in mind all these lights. They'll have an indirect light in intensity, let's say, if you don't like the bounce light that a light is giving off and you want to turn off, all you have to do is come to indirect light of intensity and set that to zero. So get rid of all that indirect lighting. Or you could increase that indirect lighting so we can make it like 10. And now there is a lot of indirect lights. So I'm just going to keep this all at one for now. So it's a porno that you can change how much bounce light is coming from any one specific lights giving you a lot of control over your scene. So let's go into Crate's lights and let's add in a rectangle light. So rectangle light is a square lights. If I move it up, kind of angle, it just like this. It's pretty much an area of light, and we can angle it to look down just a bit. That's how it is really pointing out my spear right there. And we can control pretty much the barn doors, our lights by Covid into here and barn door angle. We can decrease it. That's how we can play with the fall off the sharpness of our shadows, of the light. And we can also increase the barn door at length. And we can make this wider. Or increase the heights. So that's pretty fun. I'm going to go ahead and delete that and then we go to create lights and this light is probably the most actually. Let's start with directional light first. So we bring in directional light and directional light, very self-explanatory as the sunlight. So we can move it just like this. And we see this is a sun is an infinitely large light source at an angle. This light is probably going to be one of the more confusing lights. And I'm going to keep the sunlight existing right now. And that is if I go into create lights, skylights, and you drag it in here and you might be wondering, wait, nothing's happening. The skylight doesn't do anything. Well, essentially, what the skylight does is it captures a 360 degree panoramic view. So captures my entire scene from the position of the skylight and it projects the sky onto your scene as a light. So you get think of this as an HDR image if you're familiar with what that is. So right now, it is capturing my sky. It doesn't look like that, but my sky is nothing. My sky is pitch black. So it's not projecting anything. So we need to give our scene a sky. We can do that by coming up to create visual effects and dragging in a sky and atmosphere system. So if you're dragging the sky, an atmosphere system, nothing will happen. And that's
because we need to tell our directional lights. So you need a directional light in our scene and you can get it by coming up to create lights, directional lights and within the direction of light. You want to scroll all the way down and make sure. That your scheide atmosphere is currently in your scene and within directional light, under atmosphere and cloud, you want to check atmosphere, sunlight just like this. So now we actually have a sky and a sky will be projected thanks to a skylight. So our skylight is going to capture the sky and project the color of our sky onto our scene. So it doesn't look like it's doing anything right now. But if I angau my son, that's how it's not pointed into the room just like this. And with my skylight, I need to come up here and make sure it's set to movable and real time capture is turned on. That's how if the sky changes, then the sky will also change. We will notice that the light of our sky, which is a nice bluish tense, is being projected into our scene just like this , and it's giving us some really nice soft shadow lighting. So it's almost like it's kind of like an overcast day. We see if we can move it just like this. So that's what a skylight is, a skylight is pretty self-explanatory. It captures the sky and it projects it onto her as seen as a light. So in case you're wondering, yes, the process that we just did is what you would use to light an outdoor scene within Unringing five. So essentially what you would do is that you would add in a directional light and set your directional light to movable and all the way down here, make sure under atmosphere and cloud that atmosphere, sunlight is turned on. Then we would drag in the scheide atmosphere to make sure that we actually have a sky to project. And then we would bring in the skylight and set the skylight to movable with real time capture. And congratulations. That's how you would light an outdoor scene within Unwrite and five. It is that simple. And what's really cool is that this is all by default. So you don't have to change any settings within our religion. Lumen is already turned on. If we go into our post-process volume, when we originally entered this level, I did have a lumin turned off, but I did that as an example to show everyone why Lumin is a big deal. OK, so right now our scene might be looking a little bit weird, and that's because we have reflections. Turn off Lumin. Lumin also works with the reflections. So within here, I'm going to change this from Nune back to Lumin. So on real uses Lumen as its reflection method also by default. And then we create Almagro and let's create a new shape. So I'm just going to drag in the spear right here. Move it like this. And then we can cover the entrance. So I can scale it up just like this. And let's scale it like this. And we will notice that when I slowly start to move it, my scene gets darker and darker and darker and darker until it is completely dark. And that was all at 120 frames per second. That was really performance. That was near impossible. Within the last unrelenting four, without using expensive hardware, ray tracing, and just as a reminder, even if you're on a lower end computer, you can still use Lumin by coming up to settings, project settings, scrolling down to rendering and using. And of detail tracing, using global tracing under Lumin. And you can also go into your post-process volume and under global illumination, under Lumin global lumination, you can check this right here. So final gather quality and you can bring down the quality. Obviously, you'll get a lot more artifacts or you could increase the quality so you can kind of control the quality right there. And I'll just reset it back to one. All right. So that's the basics of lighting in Unreal Engine five. Now we're going to move on to a case study of lighting and architectural visualizations. First, we're going to be lighting it with movable and lumin, and then we're going to light that same exact scene by using static lights and bakht lighting. So we'll be able to compare the pros and cons of both methods. Also, if you want to stay up to date in the world of unrelenting five news, then don't forget. Check out the annual Sensa newsletter, link the description below. It is a weekly newsletter that goes over all the big news within our religion five and also has some exclusive details. So go ahead and check that out. Now, with all that out of the way, let's jump into our architectural visualization scene. So the particular archivists say we're going to be lighting is if I go control and space is under lighting examples, maps, and it's right next to the map that we've been edited. It is the archivist room. So if we double click on this, that's going to save selected. We will notice that this archives room is completely black. There is nothing inside of here. But if we go into let's go on mode of remember, we can see our different view modes by coming up here. We can see that our scene is actually populated. It just there wasn't any lights within it. So let's start to slowly add in some lights. So, of course, let's first start off with a directional light. So I'm going to come up to create lights and directional light. And let's just drag it in just like this and let's rotate around until it's actually going into my scene like this. And we'll notice that immediately. Our global illumination is working our direction. Light is coming through our window right there and is bouncing all around the room, lighting my room up. So we get maybe Angola. It's a bit like this. And let's make sure we set this to Immoveable. And let's give ourselves let's give ourselves a sky, because that's kind of weird. You know, we're minding our own business within this room and we look outside the window and it is pitch dark. So to do so, of course, I'm going to come up to create. Let's go out in visual effects and sky atmosphere. And then within my sunlight, I will click on my sunlight, scroll all the way down to atmosphere and clouds and make sure atmosphere sunlight is checked on that. So we will actually be able to see our sky. And as soon as I check the sun, we get our sky. So this looks pretty nice. There's only one issue, and that is the bottom half of my world. It is completely black. So we can fill this black void with some befog by coming up to create visual effects. And let's drag in an exponential height, Foxo. There we go. I could just leave it as is. And now my scene. It's just looking like. It's white and that's just a generic sky outside of my scene. Also, you might notice and that is. If I hide and hide this expenditure, high fog by clicking on the icon so I can hide it and hide, hide it and hide, that fog is actually within my room right now, and we don't want fog within the room. So I'm going to come into X high fog and all the way up here where it says start distance, I'm just going to increase the start distance to its max of 5000. That's when I hide and unhide this fog. There is no fog within my room, and we get that full range of colors. Now let's go out in a skylight, that's how we can continue to add some more light bouncing into my room from this window, so I'll come up to crate's lights, let's drag in a skylight and let's make this skylights. When we increase it right here, let's make it movable and real time capture. And then under the intensity scale, we can increase the intensity, the brightness of our skylights. So let's try one to four. And I think I like it at four. So I'll just leave it there right now. And that's all.
There's more skylight within my scene and let's increase the quality of my lighting right now. So let's go into create visual effects. And of course, we'll drag in a post-process volume. I will go all the way down here and within. Infinite extent, unbowed. I'll make sure that this is checked on and that's on my post-process volume is affecting everything. And then within global lumination, let's increase the final gather quality from one to two. So you might have not noticed that big of a difference. But if we increase this so if we increase this from one all the way down zero point to five, we notice our room looks extremely noisy, but our room is probably a lot more performant. Now, we're probably getting some more effervesce. So it's a trade off. But I'm going to keep that to right now because I want the max quality possible. Then I'm going to go ahead and let us lock our exposure values so the metering boat, let's change it from auto exposure histogram to manual and then for exposure compensation, I will increase this to, let's say. Twelve point twenty five. OK, so that is pretty much the gist of how you were later seen using completely just using movable lights and lumens. If we see right here, if I zoom in, we get some really nice indirect shadows. And even if I move this around, we can see those shadows moving with it. And if I add in a sphere, so let's add in, his spirits might seem just right. There was good control space materials. And I'm going to drag on the color red right on that sphere. We will see that this spear is projecting light, especially right here, it's really noticeable. We're getting a lot of bounce light all over my scene completely in real time. So that is amazing. But we can improve this scene. So let's say if you're in architectural visualization and you don't plan on using any movable lights. Well, you can get better quality still out of baking your lights. So keep that in mind. While Lumines is amazing. If your lights are going to be completely stationary, your objects are moving. You might as well make your lights because you'll get a lot better quality shadows and color maps while at the same time drastically increasing the performance of your game. So that's what we're going to do right now. We're going to convert the scene from lumens to a stationary light build. Also, you probably notice, especially, I think right here. Pay attention to the top right hand corner. There's some weird artifact in, especially right there. That's because illumine isn't perfect. Of course, they're going to have a lot of trade offs when you're getting real time global illumination. Lumen is a combination of several different global illumination techniques. And it works pretty well. But of course, it's not perfect. So baking lights in a texture. Maps have been here since forever, and they're still the best way to get global illumination. So I'm impressed. Control and space. And let's go to maps and I'm going to go duplicate this archivist. So Tomago press control and W to duplicate and let's call this Archness room bakht just like that and let's double click and let's go into here. So now I'm going to go select my lights. So let me select my directional light. We're going to go into details and I'm going to set it from movable to stationary, just like that. And I'm also going to go ahead and let's grab my skylight and also set this from movable to stationary. Since then, nothing will happen if you press Bakht, because we don't have any lights to actually make sense when we have a light set to movable that won't be baked. Now, if we go into our post-process volume, we can scroll all the way down here and let's turn off lumens. So I'll select a method lumen and I'll select none. And also within reflections, let's also select none just like that. And now I'm going to come up here to build and build all levels. And let's see what lighting we get right off the bat. And this lighting looks absolutely terrible. This is what we're going to be going over with in this part of the tutorial. We will go over all the different settings we can adjust to make our stationary light builds better. So we're going to first start off by telling unreal where I want my light rays to be directed at, because right now, unreal doesn't really know where they should send their light race. It's just going to send light rays all over my world. And I specifically want them to be directed at this window, since this window is where the vast majority of the lighting of my scene is going to be coming from. And we could do that with light mass importance volumes and light mass portals. So I can add a light mass importance volume by coming up to create under volumes. I could just drag out a light mass important volume right here. And I want to make sure that this volume is encompassing my entire level. So I just press G to get back all my editor widget's. And now I'm scaling my box. That's how it will encompass my room just like this. Now I'm going to add any light mass portal. So I'm going to come up to create. And then under all classes, I have to scroll down just a bunch until we get to the. Like M.S. and within here, we'll see that there's something called Lemass Portal, and it's going to drag this out into my world and I want it to encompass this window right here. So I'm going to make sure that my snappin is turned on to every 10 degrees and rotate this 90 degrees just like that and scale and move it. That's how it encompasses my entire window. So what the white man's portal is going to do is that it's going to tell unreal to direct a light rays right at this window here. So one is roughly covering my window. I'm going to come back into here and now let's build our lighting. OK, so this was a little bit of an improvement, but obviously we still have a long way to go. One thing we could do is change some of the light mass settings within our world settings. So if you do not have a world set in stop, you want to come up to windows and click on world settings right here. And within world settings, we can control the settings of our BAKHT lighting. And keep in mind, an unreal engine. The process of making light is called a light mass. So under light mass, in light mass settings, we get the option to control just a bunch of different parameters. So one thing I think I'll do is I'll increase the number of indirect bounces from three to 10. And then I will increase the bounces of my skylight right here from one to 10. And then we can drastically increase the scale at which on religion is tracing with light photons right here with the static lighting level scale . So one is pretty big. What I want to do is I want to bring this down from one to zero point one. Now, this is going to cause a lot more artifacts. So the way we could compensate for this artifact is that down here with an indirect lighting quality, I will change this from one to 10. So that will increase the quality and get rid of some of the artifacts that are being produced from the static lighting level skill being decreased from one to zero point one. And then just for the same, I found an indirect lighting smoothness of one point three to be really good. Now, once we build our lighting, our lighting will take a lot longer to calculate. And that's because we drastically increased our settings here. So depending on your computer, this might take a while. So I'm going to come up here to build and let us build my levels. And I'm going to go skip ahead, because this might take a while. Now we are back and the lighting does look a little bit better. But I think I'm going to have to come in a post-process volume. And within the details, panel, let us decrease this exposure, because that is a little bit to attend. So I think I'll keep it at eleven point eight for now. And now if we zoom up, especially on like my objects right here, actually, let's go into lit and let's go to lighting only. We will notice that our like big still look really bad. And that's because the resolution at which are like fakes are being saved. That is really, really low right now. And we can see what our resolution is by coming up to lighting, only coming down all the way here to optimization, demotes and then clicking on light map density. So by clicking on this, we can see the density, which are light mass are shadows and bounce lighting is being saved. And this is insanely low. So this is why our quality is pretty much looking really bad right now. So the way we can increase this is that we want to click on the objects, that we want to increase our resolution. And if we scroll down under lighting, we could do override light map resolution. So if I check this like this, we could increase it from, let's say, sixty four to 128. And keep in mind, I'm going to be increasing these powers of two, because unreal recommends to say that my powers are two. And it's just better for memory if we do it that way. You don't have to. You could let's say you can make this something like 148, but I think I'll just keep this like one twenty eight for now. And if we now click away from this chair, we can see that we went from bluish green all the way to red orange. So I'm just going to increase all the static measures here. That's how they look. Either red or orange. So we get some more resolution out, which we can save our shadows at. So for the floor right here, let's change this from 64 to 256. Actually, I make this one 512. And let me click on the wall. Let's go make this one also 512. And then there's a little pattern in the back where it was at 256. Let's also make this 512 the roof. I think I will make this 256 I don't have to be that dense with the roof and then with the baseboard. Those increases from 64 to 256. And back here, I'll just click on this analyst also increases one to 256. And for the door, I think I'll bring up the door to 128. And for this table on twenty eight, let's make this table 256. OK, so now my scene is looking a lot better. Actually, I think I'll make the bottom here instead of 512. Let's make this one thousand and 24. And that's just because I want to really show off the indirect shadows that will be produced from our light mass. And now that our light map density has been drastically increased. Now let's build, but we're higher quality shadow maps and bounce light in. So it will come up to build better levels. And now this should take a while. And my light baking just finished and we will notice that my scene looks a lot nicer if I come in and let let's go into lighting only. And if I zoom in here, we can see that we are getting a little bit of indirect shadows. And there are some changes I can do to go ahead and increase the lighting. But I think right now I will come into my post-process volume. And let us scroll all the way up here to. And underneath rendering features and bit occlusion, I'm going to come in here and I'm going to turn off my Ambien occlusion. Take it from zero point five all the way down to zero. And the reason why is because I'm letting Ambien occlusion be baked by our light mass so we don't need some Ambien occlusion turned on within the post-process volume. And I must scroll back up here. Let's go into exposure. And I'm going to lower this from one to 10 actually to ten point five, ten point eight. OK, I think I'm going to keep it at ten point eight for now, and then I'm going to go and add in a reflection capture, because we'll notice that if we zoom in, especially on our chair and on our little props, the reflection on them looks absolutely terrible. And that's because our reflections aren't taking into account the actual room that they're in. The reflections are just grabbing whatever reflection is being captured by the skylight, which is not what we want. So we want to override the skylight reflections with if I come up to create visual effects and speare reflection capture, so I'll drag it out and immediately that's been fixed. So instead of grabbing the reflections that are being produced from Skylight, it will grab the reflection that is being caught by the reflection and capture. And the reflection capture is similar to the skylight in that this is going to take a 360 degree panoramic view of my scene and then project that view as a reflection onto any objects that are near it. And we can also override this one right here with a smaller one. So I'll just drag from here and I'll just add another reflection capture. That's going to be over my prop's, that's how our elections are, just a little bit more realistic. So I believe now it's time for our final break. So before we do a final big, keep in mind that this will take the longest break out of everything we've done. So if your computer has been taking a slow time baking all the previous ones, this one is going to be a little bit longer. So instead of going up to build and going to build all levels, we can go into lighting quality and increase the line quality from preview to either medium high or production. So each of these will be drastically increase our time, but at the same time, they will increase the quality of our bake. So I think I'm just going to keep it as a medium for now. So make sure I select a medium and then I'm going to come up to build. And we're built, set to medium. We're going to go ahead and build all levels. And this should be the final build. OK, so our light bag looks a lot better. And I think I'm going to come in my post-process volume and let's increase that exposure compensation to. Eleven point five, so I'll just leave eleven point five, you can choose whichever one you want. And actually, let's make this eleven point seven. And I'm also going to go ahead and let's increase the bloom just a bit from zero point six seven five to one. So now here is our final quality light build. We can see if I come up right here, we get some really nice soft shadows, really realistic. Everything's looking great. And pretty much this is the gist of how you would go ahead and like big ACENE using stationary lights. So this is another way of getting global illumination. And honestly, this way of getting low illumination while all the lights are stationary and you can't move objects around. If we go into my other scene. My stationery, late scene obviously looks a lot nicer than just using Lumen, but it's good to know that there are two options to get global lumination, you will pick one depending on the need of your project. So that's just the gist of getting global illumination within on religion, using those two methods for the rest of the material, we're going to be sticking with illumine. So that's lighting in a nutshell within Unruled Z5. So I hope you enjoy that part. And now it's on to the fun stuff, and that is the world curation portion of this tutorial. So we're going to start off with landscapes. And of course, landscapes are really important because you will always see a landscape most of the time, an unreal engine. You're probably standing on top of a landscape. So let's jump into it. So let's create a landscape by first creating a new level. So I'll do that by project control and space. And let's go into my stuff maps and let me write click. Let's create new level and let's call this landscape example. Press enter. And I'm just going to jump into a just like this. Let's go save selected and we will get a completely blank world, as we can see in the world, Outliner. There is nothing inside of it. So I'm going to press this button right here to enter into landscape mode. Now we will see that we get a green grid and this green grid will be the basics of our landscape. And we see that we have a bunch of options right here. So these options can be pretty complicated. And I'm going to go just use the defaults right here for now. But in case you want to change what your landscape looks like, I highly recommend you go on the unreal engine documentation, specificly the landscape technical guide. And at the very bottom here, they have a bunch of recommended landscape sizes. So depending on how big you want your landscape to be, I recommend picking one of these templates and just inputting those numbers into your new landscape right here, just like that. But for now, I'm going to give it a default. And let's press on Crate's. So this will create a landscape. And of course, you don't see anything because we have to light Arsène. So we're going to go over the basics of how I would go ahead and light an outdoor scene just like this. So I'm going to go back into place actor's mode by clicking on this button right here. Or if you probably notice, I use a shortcut. So shift f want to go to this mode, shift up to four landscape, three, four foliage, four, four match Petain and so on. And don't worry, we're going to go over what the Forestal is in just a bit. But let's go back into our place actor's mode and we're going to come up to create lights and simply drag in a directional light just like this. So I'll just bring it up. And now that we have our directional light, let's go bring in our sky. So we're going to create. Visual effects, sky and atmosphere. And and we're going to go click on a directional lights to movable scroll all the way down and make sure. Atmosphere and cloud atmosphere of sunlight is turned on just like that, so there we go, and now if I let's go out in a cube, Sariego shaPe's Cube will drag it in. And while we are getting that bounce sliding from the direction of light, we're not getting the lighting from our sky. And that's because we need to add and go to create. Lights are skylights are just set in our skylight, set our skylight to movable and make sure Real-Time capture is enabled. That's how if we move our sun down, it will also carry that. And actually, I'm going to go ahead and uncheck our grid, snap our angle snappin. And then if I hold down control and l I can move this sun around and we can see that my sky dynamically changes color depending on the position of the sun. So this is absolutely amazing. And our skylight is also being updated at the same time since we have real time capture enabled. So. Congratulations. This is pretty much how I would light an outdoor scene. You just lit your first outdoor scene in our religion. There's really is no other difference other than we can go into these settings over a skylight atmosphere and sun and just go ahead and maybe change some settings for our own purposes. Well, this is what I pretty much would do. So there's one issue, and that is we would notice that, again, we are getting just a black void within our sky. This is no good. So we can fill the black void with fog. So if I come to create and then if I go to visual effects, let's add an exponential height, fog that would just fill our black void. But then we have the issue, and that is if I lower my son. So in press control and all at the same time, if I lower my son. Our scene should be completely black right now, but our fog is lighting up our scene and this is no good. So the way we would fix that is that we have to go into our settings and project settings. And I'm going to type up here in the search bar fog and make sure support sky atmosphere effective. High fog is turned on. Now, I was going to ask you to restart your engine. You're going to have to restart and recompile a lot of your shaders. So this might take a bit. Well, I'm going to hit restart now. And let's save selected once unreal engine opens up again, you'll notice at the bottom right hand corner it says compiling shaders. This will just take a bit. So we're going to wait until it's 100 and then we'll jump back into here and go into our landscape map. OK, so we are done compiling shaders, so control and space. Let's go into our landscape example. And here we have our fog. Now, you know, this didn't immediately fix the issue if I hold down control and all at the same time. And keep in mind, you want to hold down control that is on the right side of your keyboard, not the control on your left side, and hold down that control button and all at the same time. If I move it down, that did not fix the issue. And that's because I need a click on my hiq fog and come down to fog in scattering color will bring this from blue all the way down to black. And then right here, Oscar, all the way down to directional and scattering our Rinus from this greenish all the way down a block. So now if I press control and L, I can increase my son. So like right here, right now, we're at nighttime. And slowly the sun starts to come up. And now I turn to daytime and hour fog is working great. And it's not giving us any annoying emissive values while it's nighttime. So that's how you would go ahead and fix the fog, making it compatible for your sky and atmosphere. So before we start working on our landscape, I think now is a good time before I even start working on an environment. And that is to get in a human reference. That's how I understand the scale at which I'm working. So to bring in a human reference, you want to press control and space and then click on ADD. And we want to specifically go to add features or contact back at the very top here. And then we want to select on third person. And that's what we could get in this mannequin character and select add to project. So this will just add the third person template to our project automatically. And then if we go into Mannequin, let's go to a character mesh and we can drag out and ask underscore a mannequin. And we can drag out as underscore mannequin female. And now we have some human references to give us some scale for the environment we are going to create. Now, keep in mind that this human is about I believe is one hundred and eighty three centimeters tall, and that's around six feet tall. So that's the average human heights. And the female is around, I think a hundred and seventy five centimeters tall, which is the average female height. OK, so where are these tabs? Right here. I think we're right click and let's go to move to sidebar. Same thing with these two. So right click move to sidebar, right click, move to sidebar. Now, if we zoom out, I can press shift and two and we will jump into our landscape mode. Or I could come up here and click that button. So shift into is your landscape mode. Landscape mode is pretty nice. And you'll notice that by default we're in sculpt. We want to go from managed to sculpt. So make sure your sculpt right now and we get a brush. If I place my brush anywhere now, we all know. So we immediately start sculpting our landscape. So sculpt brush. It will just increase that heights. And then if we pressed shifts, that will go in the opposite direction. So I'm going to come up to show let's go and hide my grid right now. I don't want that. And now so pulling now the left mouse button will increase my height. Hold it down. Shift will decrease it. And we get some tool strength. If I bring it up to one, this is really powerful. If I bring down to let's go zero point one, it's a very light touch. Also, you could change our brush fall off. So right now, it's a zero point five. If we bring this to one, then we get a very harsh brush. And if we bring this all the way up to one, we get a very soft brush. Also, we can change our brush size right now.
So 2048, we can make this insanely big or we can make this really small. So you can always press on this button right here to bring everything back to its default values. Next up, we have this new brush. The smooth brush does exactly what you would expect. We could just start holding down our left mouse button and we can start to paint a way. We could start to smooth our landscape. Also, it's important to know that you can change your brush size by using the bracket keys. So, Lefrak, it will make our brush size go down and RIPT bracket will increase our brush size exactly. In Photoshop, if you've ever used it. So this is pretty fun. You can come through. You can sculpt and then you can smooth out your scene. You can also use the flat and brush. So the flower and brush is pretty good because let's say if you have some gameplay elements and your landscaping needs to be completely flat , especially up here, then you just come in with a flat and brush. You can decrease the size and you can make a flat play area. For your gameplay elements, so that's pretty nice. So these three sculpt smooth and flat and are probably the brushes that are used the most of the other brushes, we will not be going over right now, because those are four very specific case scenarios. Also, it's a point to know that right now the workflow for creating landscapes in a real engine, normally we don't create the landscape or we don't manually go through and sculpt the landscape with an unreal engine. Instead, we will use a very specific program like Gaia or World Machine that specializes in generating landscapes and take that landscape and imported into unreal engine as a height map. So as of now, generally, we create landscapes within other programs. Now, this is slowly starting to change. Unreal Engine has been adding in a lot of new landscaping features that are grates. And slowly and surely, these landscape features will eventually replace those programs. And you can play with those landscape features by coming up to settings, plug ins. And it's specifically called land mass. So you can enable this and you can play with some of the features. We won't be enabling that right now since it's in beta and is just really complicated. We will save that for another tutorial since after all, this is a beginner tutorial series. Now let's jump into how we can actually add a landscape material to our landscape. So let's go back into our select actors mode by pressing shift and one at the same time. Now, if we select our landscape and then if we go into the details, panel will scroll all the way down here and we can see that under landscape, we have landscape material. So we can't just drag a landscape material onto our landscape. We have to actually drag it into this little slot right here. And landscape materials are a little bit different from normal materials. So let's actually create our first landscape material by coming into my stuff materials. And let's right click let's create new material. And I'm going to call this underscore my landscape just like that. And let's control as and open it up. So the big difference between a landscape material and a normal material is that the landscape material will have if I right click, we have landscape. Layer blend in, if I select the right here, this will basically tell unreal real that this entire material is a landscape layer. And if I come into here and if I press a plus button, we can add different layers. So we can have several different layers. Let's say we have a grasp layer, a stone layer, a dirt layer, and then we're able to paint those layers within the landscape mode. So that's why we have layers. So let's create two layers right now. Let's call this one. If I have the dropdown, let's call this one grass. And then let's add another layer and let's call this one right here, dirt. Yes, like this. So essentially what we're going to do is we're going to blend in between two different tecture sets, a Tector says progress and then a texture set for dirts. And we could do that if I press control and space. Let's go grab some textures from the starter content and then let's go into textures. And for the grass, let's drag in this grass right here. And this normal map. And then for the dirts we're just going to use, I believe it is going to use the rest for now, so we're just going to like Russ right there and like this and also drag these two in. So just like that. So it looks like these textures don't have a roughness map, but that's fine. We could just use a constant value for the roughness right now. So. Or this round dragon grass like this, and then we'll put our dirt right there and drag in our dirt into the lair blood. No, I'm going to have to select this and press control and w to duplicate this layer blend. Now we're going to go switch in between the layer for the grass and then for the dirt, specifically for the normal map. So we'll plug up the normal map right here, and then we will plug in the color right here, just like that. And for the roughness, I would hold out one and left click to bring in a constant scalar value. And let's bring this roughness from zero to one to make our material completely rough. And then I'll hook it up to roughness just like this. And now I will press apply. Safe. And now we made our first landscape material, so if I go back into the landscape example, we can't just let's go back into where that landscape material is located. So a shortcut is sort of having to navigate through my content door and find where my landscape materials are located. I could come up to when I saw my landscape and click on the browse icon that would just jump to the location within my content jaw of the specific material. So now if I come back into my level, I could press controlled space. And I already have my landscape material selected for me so I can drag this into my scene and nothing will happen. And that's because I need it specifically if I right click on details, let's restore this tab. I need to drag this into the landscape materials slot right there, just like this. And now we will notice that our landscape looks immensely, immensely glitching, we see we get a bunch of weird shading issues, and this is on purpose. This is because we need to assign a landscape layer to our landscape. So to do so, we need to jump into our landscape modes and make sure we go into the paint tab right here. So in landscape mode, paint job, you want to come all the way down here and you will see that we have different layers. These are the layers that we assigned within our landscape materials. So we see that we created a grass and dirt layer, and within here we have grass and dirt, respectively. So I'm going to click on the plus icon to create a layer, and then I want to click on weight blended layer normal just like this. And we can see that it's going to create a landscape layer for us and it's going to automatically create a folder called landscape example, underscore shared assets. That's fine. And the name is going to be grass underscore layer info. That's also fine. So now I'm going to press save. And we can see that we just created that layer, it saved right here automatically. Let's press control and us to make sure it's saved. And down here, we can see we have our grass. And also, I can add another layer. So let's add in the dirt layer by using the same process. So I'll click on the plus icon weight blend layer normal. Let's save it. And let's click on dirt right here. And if I lower my brush size, I can start painting in dirt just like this. I'll take a bit to compile and we won't be seeing anything right now. And that's because we need to bring up the tool strength from zero point one to eight all the way up to one. And now we can start seeing that we're painted in that dirt layer into our landscape just like this. So that's the process of creating landscape materials. So if we jump into our landscape material, let's go ahead and let's edit the actual size of our landscape. So to do so, we're going to do the same exact thing that we did back in the materials section of this tutorial. And that is we're going to create a coordinate texture coordinates and we'll drag from here and let's use them. And then I'm going to hold down one. Let's create a constant scalar parameter, right click convert to Premiere. And let's call this grayscale and let's make this one by default. And we're going to plug this into microstructures just like that. And I'm going to go highlight both of this. And press control and w. To duplicate them, and then I won't name this one from grayscale to let's call it dirt scale, just like that, and we're going to drive from tecture coordinate. And put this one into our dirt and the dirt right below it, just like this. So I'm a press apply. And now we will notice within here. Let's go and create a material instance of this material, so with my landscapes selected, I'll come to my landscape material and we will jump to the location of this landscape material within my content or by clicking on the magnifying glass right next to this era, just like that. And I'm going to right click let's create a material instance and let's drag this material instance onto our landscape material just like this. So that's how we're using the material instance instead of the actual material so we can control its parameters. Now, if I open up my landscape material instance that we just made, we can see that we have those two parameters. So I'll just undock this from the tab. And now we can see that I can increase my grass scale. Or I can decrease it to like zero point five to make my graphs bigger, and I could come to the dirt, let's say this dirt is tiling a bunch. I could come here and make this let's go zero point five, just like this. So it's important to know that we can increase the size of our landscape by coming up here into the landscape mode's or pressin shift to and come in to manage and then selecting the ataU. And now we can add even work opponents to our landscape and increase the size of our landscape after credit. And it's also if we go into our landscape material. So let's jump back into here. So you'll notice that right now, all we have our two tecture sets, we have color and then we have our normal map. And right now, this is fine. But imagine if we had a Ruffner structure, then we would have to duplicate layer blend again and then plug up the roughness into our layer blend. And that can just be a complete hassle. So one thing I prefer to do so instead of setting up my landscape layers like this, is that I like to use material attributes. So I'm going to go and delete this bottom one right here, and I'm going to hold on Alt. And we're going to break the connections just like this. And I think I will go separate them out. That's how the top is grass. And the bottom is dirt. So I'm just highlight both of these. And let's bring it down just like this. And then let's make the texture to go further back and let's bring it like this. So. Instead of individually blending between each of these different channels, I'm going to just blend between the material as a whole, and we could do that if I hold on Alz and let's break it. Make sure I select somewhere empty, so that's how we have the details panel of our material as a whole. And down here, I want to click on use material attributes. So now if I drag from here, I can go make a material attribute and instead of. Making the material with an actual material attribute, we can make a material after the fact and this is what we're going to use. We're going to make two materials and then blend between the two materials. So this one material will have a bunch of subh materials within them. So, of course, I want to hook up color to base color and normal to. Our normal just like this, and let's make our roughness one. Or complete rough. Right there. And then down here listed the exact same thing, so I'm going to go highlight the one, let's go control W and then we're going to plug in one right here to roughness, color to color and normal to normal, just like this. So we have one material and then we have another material. So now we can blend it just like this. So we're blending different material attributes instead of a single channel. And then the output will go into my output just like that. And it's important to know that I can highlight something and I can press the C key to commit this. So I press C and I'm just going to call this grass material. And below here, let's go highlight this again and let's go see and let's call this. Dirt material. Just like that. So accommodating is pretty good if you want to organize a group that's a you know exactly what is happening. So essentially what we did was that we decided to create two different materials within one material. And then we are blending those materials with the layer blend. And we are outputting that material as a material attributes. And again, we can switch in between different outputs by coming down here into the details panel and selecting use material attributes on and off, on and off and selected just like that. So our principly. And we won't notice any change. Our scene looks exactly the same. So this is personally how I like to make my landscape, where materials my neatly organizing them into a bunch of some materials. So that's the very basics of how to make landscapes in Unreal Engine five. And if you've been following this channel for a while, you know that you can really get complicated with landscapes, which is why I have an entire tutorial series you can check out on how to create really good landscapes within our real. And I also have a free landscape master material that will be updated, unreal engine five. So stay tuned for that. So we're not going to keep on talking about landscape right now because we have a bunch of our topics to go over. And specifically, Mega Scan's Mega Scan's is a free library of thousands of free assets created by epic games for us to use. So let's go over how we can enable that within our runs in five. So before we move on to mega scans, I don't really like this material, so I think I'll just remove it from my landscape from now by clicking on the landscape and within the details panel. Let's click on this arrow to reset it back to the default landscape. So I'll just leave it at here for now. I think another thing I'll do is let's go lock our exposure value by coming up to create visual effects, post-process volume, drag it in . And of course, we've already done this a bunch of times. We scroll all the way down here, make sure infinite extent unbound is checked. It's true. That's how it affects my entire world and come back up here to exposure. And we're going to change this to manual. And we what just bringing up let's make this. Around 11 for now. OK, great. So unlike previous unrelenting versions on religion, five already has mega scans built in. So we don't have to download a separate program to be able to get those mega scan assets. So to do that first, I'm going to right click. Let's go. Move this to sidebar and to get up the mega scans window. All you have to do is press control and space to build up your contact drawer. And with an ad we'll see up here, we have ad quicksort content. So we can just select out right there and a new window will pop up. It might ask you to sign in so you can just sign in to your epic games account. The same epic games account you're using to use Unreal under five. And now we have access to we could see right there, fifty thousand two hundred and forty two free assets that we can use for Unreal Engine. And a lot of people wonder, can I use this for games and movies? Yes. Yes, you can. What matters is that you need to keep everything within our religion so you can't just download these and then use them in 3D, sMax or Unity. Now let's go and download an object. And let's say I want to add in this rock to my world. All you have to do is merely just drag it into your world just like that. And it will start to spawn and it will start to download. And as it is downloaded, we can move this rock around. Place in our level, which is a great feature, because if we're downloading a really large asset, we can still use that asset before it's finished downloading. Now that our asset is done downloading, if we open up our content drawer, we can see that we get a bunch of new folders. And specifically, we get the mega scans folder and the RMS presets folder. So the mega scans folder will contain all the different mega scans we download from bridge. So all your materials, decals and meshes will go into this folder. And right below that, we have mega scans, preset folder. So this contains all the different master materials that Megas scans will use. For example, I believe the default mass of material is just MSG underscore default material. If we double click on this and double click right here, we can see that this is the material that our rock is currently using. And we could go through here and see how they created that material. So I'm going to go exit out of this. And let's say I want to jump to where this asset is located within my content browser. Instead of having to go through and try to find where this asset is, I can press control and be at the same time. And I'll just jump to that Assad's location. So, for example, if we want to go to where the mannequin is stored, I get to select it and press control of be at the same time. And it will jump to that location and highlight it for us. So that's a neat shortcut. I use that shortcut all the time. And that's just control B. So we control B, we can get my static mesh. And to the left of it is our material instance. Let's go open up and see what parameters we have available for us to play with. So here is our material instance, and I'm going to go undocking the details panel now so I can go through all of these details and see what Magu Scan's allows us to change by default. So first off, we have albedo tente. This is very self-explanatory. This is just the tent of a rock. So let's if you want to give it kind of like a bluish feel to it, you could just come right here and change the color just a little bit more to blue. And if you don't like that, you can set all the values to one to reset that back to whites. And right below that, we have albedo controls. So orbital controls are special because we could increase our saturation. We can decrease our brightness, let's say if our rock is a little bit too bright right now, we could bring that to zero point five. Or we can increase the contrast so someone we can make this to really increase that contrast. So I'll set that one right now. So I use albedo controls, and albedo is probably the most out of all these parameters. And then if we scroll down, we see that we also have controls for metallic. I'm not going to be playing with those right now, because for our rock, it doesn't have any metallic values. And for the majority of mega scan's assets, they don't use metallic, if not often. And finally, we have specular. One thing I like to do for all my natural assets, such as rocks, cliffs, dirt, landscapes, is I like to increase the specular value, since right now I feel like this rock is a little bit too shiny. So if I come to specular from albedo override, make that true and let's trade it from zero to one. We get rid of a lot of that shininess to Iraq, which was feeling unnatural. So this was before. So this is devolved specular and this is specular override. So if Iraq's Clift's I'm just going to keep my specular, I'll be to override at one. And then, of course, we could play with the roughness and the normal strength so I could increase our normal strength to two or I can bring that normal stripe down to zero and have it be no normal. So I'll just leave that one for now. That was a really quick overview of all the different parameters this rock has to offer. And I feel like the parameters that Mega Scan's has by default are good enough and pretty much get the job almost all the time. Again, if you really need to edit this material, you can come down here at it, open the parent of this material instance, which was the material we were just in right here, and then you can make your own edits. But that's pretty advance. This is a porno, let's say, if we exit out of the details, panel, and if we open up this Roarke's material instance right here, you might be worried since we don't have our details panel anymore, we can't play with those parameters. Don't worry. Of course, we could come up to a window and then we get other details back just like that. And I'll dockett right there again. So let's save and exit out all sorts of porno that we don't have to drag our mega scan assets into our world in order to get those assets. You could. So I'll come with the content and you can also open up quick bridge right here. You could come in here and let's say for this material, we could click on it and then simply click on download. So that will download a material for us. And once it is done downloading, all we have to do is press on the add button. And every breath, control and space, we will notice that within mega scans, we get a new material instance right here, that was our material under a new folder that was created called Surfaces. So this is the asset we just downloaded. So you don't have to drag your asset into your world. You could just manually download it and add it through a quick Seabridge. OK, so now it's time to go over foliage. And of course, on religion has some of the best foliage that is located within our Mega Scan's library. So let's open up Breg once again. And with Enbridge, let's decide on a Fullers that we're going to use just for demonstration purposes. I believe I'm just going to look up Fern and let's use this fern right here so we could choose a quality. I'm just going to make sure that this is high quality and we can either drag this out into my scene or press dialog. I think I'll just press download now that it is done downloading. All I have to do is press on ADD. And this will add it into my content browser. So for press control and space, we can see that we have a new folder called 3D Plants. And I don't need 3D plants. We have a bunch of different foliage and parties drag in my little fern right there. We can see that our fern already has by default some nice subsurface scattering. So our foliage is feeling oddly stale right now, and that's
because it's not moving in the wind. All isn't just still like this. Sometimes is swaying back and forth because the wind is pushing on it. So let's activate wind right now. If we go into our material instance, we'll see that we have a lot of material instances that are similar to our rock material right there. But if we scroll all the way down, we have a new setting and that is enable grass wind. So I'll just click it. Let's make sure we enable it. And now I'm going to go exit out of my material instance. We get some nice grass wind that is moving our fern back and forth as if this world actually has a wind inside of its. Now we could. Just simply drag out our firns copy, it's copied again, rotated, scale it and create an entire world that way, but that is way too slow. So instead, what I'm going to do is let's delete these ferns and go into my foliage mode up here. It's a little grass icon or I can press shift and three as a shortcut. And we'll see that we have our foliage right there ready to go, ready to be painted. And so normally if we're creating foliage and we're importing it ourselves, not through mega scans, you wouldn't see these objects here ready to be painted with. So if you don't see your objects here, you want to press control in space and you want to find out where your static meshes, where your object is, and simply select all your foliage by selecting one point down shift to select them all and then drag it into this location right there, just like that. But I'm not going to because unreal is smart, especially with mega scans, to know that this is foliage. And I wanted to already be within my Folch tool, ready to start painting with. So right now, if we try to paint, will notice that we don't get any brush. Well, that's because when you tell unreal which one of these measures we want to paint with. So I'll just select the first one right now. And we still can't paint. That's because in the top left hand corner, we need to make sure that the checkbox is checked on. So now if I place it down, we can see that I'm painting just like that. We have our nice little foliage and we can make a force, a grassy field that way. So if I come all the way over here. And this is pretty important if we can increase the paint density, which will increase the density, so that was the density of zero point five. And now this is a density all the way up to one. We can even increase that density more down here. So each of these objects have some settings we can play with right here. So right now, this density is one hundred. If we increase this, let's say five hundred, and then if I'm just going to lower my brush size and remember, we can lower and increase my brush size right here. Brush size or we can use the bracket keys just like the landscaping tool. And now if I left click, we can see that we get a lot denser location so we can play with our density down here for individual objects. And we can play with our density as a whole up here for my brush. So I'll bring this back down to zero point five. And let me go click on the first one and let's change this back from five hundred to one hundred. So if you want to delete objects, we want to make sure that the object you want to delete is selected right there. And then we're going to hold on shift and simply. Or raise them like that, so remember, another five is an alpha. I'm surprised we haven't run into that many bugs so far, but I'm guessing this is a bug we're going to have to contend with right now. By the time you're watching this, you probably won't see that bug. So. If we want to play with a size, because right now, all this it's a set size right now. Well, it was never just a set size. We have varying size. We have small birds and big ferns we could come into here. And with this object selected, we could do scale X and make sure scaling is such a uniform. We can scale this with varying degrees. Let's say we can maybe go from zero point five to two. And now if I pan down, we will see that my ferns, we see that we have small ferns and big ferns. So that's a way to vary the scale. And of course, we can check multiple objects to paint multiple ones. So I'll just set this back to one. And now I could go through each one and check each box, or I could select one or downshift to select a bunch of them and then check the box just like that. So that's a little shortcut if we select multiple ones holding down shift. We can check and uncheck them. So now, with all my objects activated, if I place them down, we can see that we are putting all of our fern. Just like this. And if we really want to, we can edit individual firms, so let's say, if I don't like the position of this one firm right here, I could come up to select and then select that individual firm and move it around like this. So you're not just limited to the paint tool, you can also select different foliage actors and move them around your world. And it's important to know that if I go back in the paint, A by default, if we, let's say, paint some foliage right here, that foliage will be painted on top of our object, on top of our static mesh. If you don't want our foliage to be set to a static measure, and even if I press shift AF1 to go into select doctors, and if I move this around our foliage, we'll follow it. If we don't want that to happen, we can go to shift three to go back into my foliage mode and I could uncheck static mesh. So now if people don't shift and let's actually let me check static measure real quickly and let's delete all the folds right there. And then if I uncheck static mesh and I try to paint, we will notice that we are no longer paying on top of that static mesh. So that's how you paint foliage within Unreal Engine. Now we're going to talk about Nanuet. So I brought in five is a big deal because of two things, Lumin and Ninni. Now, we've already gone over Lumin, but we haven't gone overnight. So you can think of Nanuet as a virtual geometry. It's a new way to look at static meshes. That allows for way more polygons than has ever been possible in real time. So we can have movie quality assets writing in real time in on Rojin five. So let's jump into a project and I'll show you what I'm talking about. So right now, I have opened the epic game sample project. You can download this sample project within the Epic Games launcher under the U.S. five tab. You just want to scroll all the way down and you could download it right there. Keep in mind, it is 100 gigabytes large. So if we zoom out right here, we can see that this is an entire large desert. And we can visualize what Nanai is doing right now by coming up to Lytes Nanai visualization and clicking on triangles. So every color you see right here is an individual triangle, is an individual polygon. So this is really close to one polygon or one triangle per pixel. And to see that in a game engine running in real time is absolutely amazing. And we can see that when I zoom in on any specific asset. Are probably going to get denser and denser and denser, and that's where the dynamic factor comes in. So far away, it won't be rendering as many triangles as it could by then if you get closer and closer to an asset than those triangles start to come in. So let's go get out of Nenets. And there's just one downside right now, and that is that it only works for static measures. So this is great for your rocks and your cliffs, but it doesn't really work for anything else, which is why epic games decide to show off tonight with a desert. And that's because a desert is pretty much only comprised of rocks and cliffs. Also, this is really interesting to know is that they're not using any landscape. Everything you see here are just static measures even down here. If we start clicking around, we can see that all of these, especially right here, we can increase this. All of these are just individual static measures. So now let's jump back into our original project and see how we could activate that lights. So to activate nanobot on a static mesh is very simple. All we need to do is open up a static mesh. So I'm going to select it right now and press control and as a shortcut to open up this static mesh. And then you'll see right under material slots will have noontide settings and we will switch it from not enabled to enabled just like that. And we're going to press apply changes. And now we have a Nimesh. It is literally that easy. And we can tell that it's an Nimesh by coming up to let go without a buffer visualization. And I visualization and clicking on triangles so we can see it's right there now. So if we zoom far away, those triangles will start to decrease and change. So keep in mind that this mesh was wasn't really that dense to begin with. But this will be very helpful for messages that are really, really dense, or it would still be helpful for messages that aren't dense, especially if we copy a bunch of these around. Since it is Nanoha, it will still be a lot more performant if they weren't there. And there's another way that we can activate DeKnight, and that is if we press control and be to find out where the static mesh is. Within my consin browser, all you have to do is right click on a static mesh. And up here we have Nanai. And you can enable to disable it also right here. So we don't even have to open up the static mesh to enable Nenets. So let's go import some mantid meshes. And luckily unreal engine already comes with a bunch of nanai measures from, of course. QuickSort Bridge, so we're going to open up QuickSort Bridge, and if we scroll down, we will notice that let me find a nice rock formation like this one right here. Not on the quality, we could change it from high quality to Nanai, so this will be the most amount of quality possible and then we can simply download. Now, though, we had to download it. And keep in mind, I might take a while since this is a very high poly mesh. I'm going to click on ADD. And now if I press control and space we see on our 3D assets, we have this massive Nordyke. So Cliff, and if I drag it into my scene, it might take a little while and it looks like we're inside. It's of zoom out. And here we have just an absolute massive static mess. And if we go into let Nanai visualizations triangles and it looks like that there was a glitch worman. I wasn't activated on this mesh. If I go into al2, we can see that Nana, has it been activated? If Nanuet is activated and we won't see this mesh. Instead, we would see that it's kind of darker right there. Nanai doesn't work for wireframe view mode right now, but no problem. We can activate this by pressing control. Be right, clicking nanai and enable. And we go back to let's now if we go into Nanai visualization triangles, we can see that we have a nanny in here. And this is just an absolutely massive mesh, really dense, especially if you come up to it like this and scrolling all the way out. We can see those triangles slowly start to get bigger. With that dynamic resolution. So this is absolutely amazing. We could copy thousands of these assets around my level and it would just be very performant. We wouldn't notice that much of a performance, Deb. So that was a brief introduction to Nenets. So now it's time to start programing and unroll engine five. And in case you forgot, Origin five is a video game engine. So, of course, programing will be a pretty big part of it. So I'm Roger Viviana's programing, a little bit different from other video game engines. Instead of having lines of code, we have blocks of nodes that we can put together and create really complicated programing that way. And these blocks of nodes is called blueprint, which is unreal engines of visual scripting language. So in my opinion, blueprint is a lot more intuitive than traditional coding, because it's a lot easier for a beginner to get their mind around it. So even if you don't plan on programing games or just programing in general, I highly, highly recommend you still know the fundamentals of blueprint, because blueprints are connected everywhere within our rule engine. Eventually you're going to come across blueprints. So it is an essential skill to learn if you're ever going to be using unreal engine five. And keep in mind, we still have our traditional C++ coding that you could do. But for our purposes, we're going to start off with a blueprint for this material. So before we can begin to create our small game, we first need to import the third person character content. Now, if you've been following Long Vista, Tauriel, we've already import the third person character content right here if we press control and space. You can tell we did, because all the way down here, we have a folder called Third Person Blueprint. And within here, we get the third person character, which is the character we're going to be using. And the game mode, if you haven't imported this content and you could come in to add add, feature a content pack and then select third person character and click on add to project. So once you have this character in, if we press play will notice nothing happened. We're actually playing Endgame right now. You can exit this by pressing escape to exit out so you can play a game by pressing play, and then you can start playing the game by simply pressing escape. So we need to tell unrelentingly that we want to use this third person character, specifically this blueprint right here as our starting point for our game. So to do so, we need to click on world settings. So, again, world settings are the settings of my entire world. If you don't see the world settings window, you need come up to Windows and select world settings right there. And actually, I'm a right click here and restore all my tabs. That's how I will always see them in my game. Now, within world settings, within the dropdown, we want to select this game mode right here, because this game mode will tell Unreal Engine that I want to use the third person character. And in case you can't see, if I go to settings thumbnail size large, the third person character is just that character right there, and we'll be able to move around within it. So I can drag my game mode right here just like this and let go. So now if I press play, you can see we get a third person character. If I use WASC Keys, I can move around and the spacebar to jump. So just a really simple template. If I press escape, we stop playing the game just like that. So let's open up that character if I press control in space. We see that the third person character is in the folder. Third person blueprint and blueprints. So double clicking on us will show us the blueprint. So I'm going to talk this up here, just like this, and then I'm going to select the viewport right here. And we can see all the components that make up those blueprints. So the control of this blueprint is exactly the same as it is within our level. We can move around, hold down the right mouse button. And if you press F, we can focus to an object and hold down alt and a left mouse button, we can rotate around it and use the right mouse button. And to zoom in and out just like this. So the exact same controls and we'll notice in the top left corner right here, we have a components tab. These are all the different objects that make up my current blueprint. You could think of this as pretty much the world outliner. But for our small little blueprint right below that, we have all the different variables and events that make up my blueprints. And don't worry, we'll go over what those are in just our bits. And to the right. All the way right here, we have the details, panel. It works just like the details, panel in my world. I can select something and then I'll get some properties that I can change within the details, panel. So, you know, I just selected my skeletal mesh, my character in the middle right here, and we can even change a skeletal mesh. So let's say if you don't want to use the department again, you can click on this dropdown and then select S.K on a square mannequin female. And now if you press play, we can play also. We don't have to press play when we're in the level, Ed. We get press play right here. And our character is falling down into the abyss. And that's because we don't have a player start location. So let's come up to crates and then we're going to come down to player start and drag it right here. And now if I press play. We will spawn at that location. So if we come back into third person character pressing play, we'll just stop right here and you will notice that now we are the female mannequin . So that is where you would change it. But I was going to change it back into the default mannequin for now. So if we click on the event graph, we can see all the different blueprints, all the different nodes, the programing that makes up my character. So everything you see right here, such as the walking, the camera movement, the jumping, that's all being handled right here. We won't explain what all these different blueprints I know they're doing right now, because then that will add another hour to this beginner course. And it's big and of course, is already very long as is. Don't worry, we'll go over what all these nodes are doing in eight different videos. So the controls are exactly like your material graph. You hold on the right mouse button. You can pan around and you can use a scroll wheel to zoom in and out just like this. Also, this is a pretty important let's say you ever accidentally close your event graph. Now, do you know where you could get back that of a graph by coming to the left here and selecting of that graph right there and double clicking? So that's how you would open it up again. So all these red nodes right here, these are event nodes. These nodes will basically fire out whenever something is happening. For example, right here is jump. And right now jump is linked to our space bar. Whenever we press jump, then there's no right here. Here will fire out and then any nodes in sequence will be activated. So when we press the spacebar, then it's going to tell our character to go ahead and jump. And then when we let go of the space bar, it's going to tell our character to stop jumping. So right here, this logic is literally just. So this will run whenever we press a spacebar, we jump. Then our character will jump. And real quickly, I'm a press shift and AF1 at the same time, and this will bring back my mouse cursor now up here. I'm going to select my third person character and then we're going to go ahead and open up this window once again. And I'll drag it right here so we can see what's happening. And now we can actually see the nodes that are firing and what's been activated. So if I press a spacebar boom, we can see that our space bar is jumping. So jump in and let go and it stops jumping. So that's a good visual representation of the actual programing that is happening right now. So let's create our own events. If we come down here, I can right click and write clicking will give me a list of all the different nodes that I can use right now. So I want specific one, and that is keyboard and then F. So this is an event and this event will run whenever I press the key, and to show that this event is run in, I'm going to drive compressed. And now we're going to type in print string and we're just going to leave it at hello for now. You could change this. Actually, I'll just change it to f is pressed. Exclamation points. So now when I press play. And whenever I press, if we can see that on the top left hand corner is pressed. Is being shown, so that's how I know right now that my event is firing and everything is working fine. Just like that. So now all the nodes that are connected within this sequence will be ran. Whenever I press F on my keyboard. So now let's actually give our mannequins some logic when we press F. So I'm going to delete this print stream right now. As we know, F is working and I'll drag from here and I'm going to type in setts collision enabled. And I specifically want to make sure I select a mesh. So in case you don't know what this mesh is, it's getting a reference to this character, which if we look at the left hand corner, it's called mesh . So another way to do this is I could have dragged out Meche from Mikovits right there and let go like that. And then it's the same thing sort as silly right there. And like that, when we press F, we're going to tell the mesh. So our character right there to set collisions enabled to let's go query and physics. Now, do not worry about the exact specifics about what is happening right now. We're just trying to go over the basics of how to navigate and create blueprints. Now I'm going to drag from here and let's go set simulate physics. Mesh just like that. And I want to make sure similarly physics is enabled, and then from here I'll drive from here and go set physics. Belén weights mesh just like this. And I'm going to make them one way to one. Essentially what I'm doing is I'm telling Unreal Engine to allow collision on my on my character, and then we're going to tell unreal that I want to start simulating the physics on my character, and then I'm telling unreal to use the bones of that character when I'm simulated by physics. So maybe you can guess right now, but these three nodes are going to create a ragdoll effect on to my character, just like from GTA or any other video game. So if I press play and now if I press F, my character drops just like that. So you can have fun with this. For example, I could jump around that. I could jump over to that block right there and midship. I could press F. And he just flies and his physics is flying all over the place. So that is really fun. Also, we kind of organize our nodes right here by dragging from mesh. Since these three messages right here are the same reference to this mesh right there. So I can delete these two and simply drag from this like that. And if I double click just like this, we can add a re-route node. And this is just really good for organizing. So, again, you can hover over any wire and then you can double click to add a rewrite node just to better organize your graphs. And then I'll drag from the re-route node. Into sat physical and weight. Double click and move it down just like that. And now our graph is looking even nicer. So this is pretty fun. OK, so let's create a little obstacle course for our character. So let's come back into the landscape and I'll just fly back up because I was in the middle. I was below my scene right there. And let's come over here and let's actually let's start off right here. So I'm going to go into my landscape, Mogis shift to and then sculpt. I'm going to slowly increase this just like that. And let me increase the heights. And then I'm going to use the flat and tool just flatten out an area that would be the play area. So right here will be the play area. And I'm going to go ahead and let us move, my players start actually, I'll just delete the player starts. Come up here. Let's go creates. Players start and drag it in just like that. Now, when we press play, we spawn right here. I want it where the player has to walk all the way over there and he has to avoid different obstacles until at the very end. He will get a reward and the game will be over. So this will be the quickest and worst game ever design in history, but it will get the point across a what blueprint's is. So let's actually create an obstacle blueprint by going control and space. And I'll just create it in third person, BP blueprints and a right click go blueprint class, and we're going to create an actor, everybody right here and actors, an object that could be placed first spawn in the world, which is exactly what we want. And then I'm going to call BP underscore obstacle. So normally this is just a convention. You don't have to name a BP underscore, but I tend to name all my blueprint's started off where the BP underscore, and that's just a general convention that most people use. So now, as we can see, this is an empty blueprint and nothing is inside of it. So I want this obstacle to specifically be, if I come up to add right here, a cylinder. So we will add in a cylinder and this cylinder is too thick. So I'm just going to stretch it out like this and I'm going to go scale it with an X and Y axis and also move this up. Just like this. And let's make this a little bit skinnier, so now, if I can, pile's save by come into my world, I'll press control on space and I'll drag this out just like this. And we can see that our blueprint is within our world. Also, keep in mind that whenever we do make a change, you should press compile in order to actually see that change. But whenever you press play, all the blueprints will be compiled automatically. So what I want to happen is I want to press play. And when my character touches this obstacle, then my character drops dead and he plays that functionality we just created within the third person character. So to do that, we need to go in a third person character, and we need to turn this into events, not only when we press f will our character start to doll, but also if we right click go custom events and we're going to call death. So if I plug it into this now, we can call death from other blueprint's. So I'm going to go into BP, underscore obstacle and let's add in a collision. So that's how whatever my character touches this poll. A collision will handle some logic. And then that collision will call death within our third person of character. So when you come to add and let's type in collision and we're going to use a capsule collision. So I want this collision. To just be a little bit bigger than. Then this obstacles. I think I'll go to decrease it just a bit and we can increase the radius of this collision right here. But I think I'm going to keep it at. Twenty three. Just like that. So now with this collision selected, if I scroll all the way down here, we see that we can create some events. So I want on component began overlap to activate. So now whenever an actor is overlapping with that collision, then this will run. Now, I don't want it to overlap with everything. And then it always runs. But I want to overlap specifically just with this third person character. So we want to check if we are overlapping with a third person character by dragging from other actor and type in and cast to third person character. So this will just cast a third person character, see if we are overlapping with the character. And if we are, we're going to drag from the third person character and we're going to call the events we just made called death and death will run all these nodes that we made previously. So now if we press play, if I walk up to this poll, I'm not going to press F and boom, automatically he rag dolls. So that is exactly what we want. So let's go back into BP, underscore obstacle and to just recap what is happening whenever something is overlapping this collision. I'm going to go ahead and check if it is a third person character. If it is a third person character, then I'm going to tell that third person character to call the function called death, which will Ragdale our character. And then if it is not, then whatever is connected to this right here will be fired. But I'm just going to leave that blank. Right now, our obstacle isn't really that fun. It's just standing there, it's not really doing anything. So let's give this obstacle a spin, how we could do so with the right click event tick. So the event take is a little bit different from other events in that the event it will run every single frame. So every single frame, any nodes that are connected to this will be activated. And from here, we're going to do drag and let's make this ad. Actor, local rotation, just like this, so every single frame I want to increase the rotation of this obstacle just a little bit, and I specifically want to increase the rotation, let's say, right here, let's make this five degrees. So now if you press play, we can see that our obstacle is rotating five degrees in the X axis every single frame. And that's fine. But they're just one issue right now. And that is we are frame dependent. So we are dependent on how many frames our game is currently running. So let's say if someone is running this game on a system that's only 30 frames per second and not 120 frames like how it is right now. Well, if I press the back to key, that is right above the top keys. If you press back tick, you'll get the console commands and then we get type antiqued max ups three. And now we're going to lock into 30 frames and we will see that. Now, our obstacle is a lot slower and a lot easier. So we want this to be frame independent where our optical will spend the same amount no matter the different frames. So I'm going to go press the back to key again. And let's go to on max f zero to bring back my default frames and then I'll press escape. So from Delta rotation, I'm a drag from here and then we're going to go make rotator just like that. So now we can set five right here. But that's not what we're going to do since we need two times five by Delta seconds. So if I drag from here and go times, we're multiply, we can multiply this by amounts. So let's multiply this by five and now. Because we're times in five by Delta seconds, a Satchwell Delta seconds will do is that it will cancel out the differences per frame. And now all this logic is frame independent, which is exactly what we want every press play. This is going pretty slow right now. So let's increases to one hundred. And press play. And we can see that this is spinning, but now it is frame independents. So even if we lower it to three frames per second, it'll still be spending the same exact amount, which is exactly what we want. Now, we have a really nice obstacle. And if it goes boom. It will just destroy our character so we can go back into our level and we can copy and paste this around just a bunch, you know, scale it, it. And now every press play we see that we have an obstacle. So we have to run through here, but this obstacle is it's really boring right now. So the reason why it's boring is because they're all speaking at the exact same rates. So I want to wait to go in here and an individual set the spin rates right here within the details panel so we can do that by using variables. And real quickly, I'll just adjust the different angles at which they are spinning because they're all spinning at the same angle. And now if I press play OK, we can see that they are at different angles. And if I go back into BP, underscore obstacle, I want a way to be able to control this amount right here, which is our spin amount within my details panel of this obstacle. And we first need to make a variable from which it will contain this amount. So you could think of variables as basically containers of data. So we're going to make a variable that contains this number right here. And this number is a float. The reason why it is a float is because we are going by decimals. If it was just 100 by itself, then we would be using an integer. But because we want the decimal, it's a float. So to create a new variable, I want to come over here and click on the plus icon. So they'll just create a new variable. And we can call this something I want to call this spin speed, just like that. And then I'm going to change it from a boolean to a float. And I could do that right here. I could click on the boolean icon and then I can select float just like that. And we'll see here that with my variable selected right there where are unable to change the value. And that's because we need to compile first. And now we can change the value. So this will be our default value. And I'm just going to keep this at, let's say, default of one hundred. Now we have to hook it up right here so I can drag from spin speed. Let go. And then I want to get spin speed. And then I'm going to simply just drag that. Right there into my multiplication. So now if I compile and save, if I press play, we will see that. Everything is still working great. And then if we go into the landscape examples and if we select these obstacles within their details, we are still unable to change that spin speed. And that's because within the blueprints I specifically need to make sure this icon is turned on. Any variable with that icon turned on. Means we can edit that variable within the details, panel. So now if I come back into landscape example and make sure you compile and save, we can see that we have spin speed right there set at the default of one hundred. So let's say we can make this one really slow. We can make this 150. This one right here, we could make this one five hundred. Let's make this one right there, something random, 75. And this one, let's make this 300. So now if I press play, we can see that I'm able to control the amount. All of these obstacles are spinning independently of each other, which is great, and allows for a lot more customization than just having one spin them out. Now that we have our obstacle all set up, I think it's time that we add in a goal. So the goal specifically is at the very end of this obstacle course. Let's grab a statue. So within here, let's go into our star contents. Props and allowed to drag into the statue right here, and I'm going to go increase the size and let's make this statue of gold by a gang going into starter content and within materials. I believe that we have. And let me go change the thumbnail size to medium. We have a gold material right here. So I'll drag gold just like that and I'll drag gold onto the bottom here. Actually, I'll leave that as silver. I like the contrast between the silver and the gold. So. I want it where and if I I could just walk around here right now. I want it where as soon as my character gets close to the goal, then a user interface will pop up that will tell us that we won the game. So first, we need to create that user interface. And let's go into third person BP blueprints and we'll create right here. I mean, right click and under user interface, we could create a widget blueprints. So I'll just call this one windscreen just like that. And within here, I'll double click here. And this will just be very brief since we're not going over how to create user interfaces within this video. But know knows that I can drag in a text into the middle here. And if I click on anchors, I want to anchor this right into the middle of my screen. That's how this text will always be in the middle of my screen. And within the details panel of this text, let's change it. That's how it says you win. And a bunch of exclamation points. And then under font, let's increase that size just a bit like this. And let's try a middle of this that's out in the middle of my screen, and then I'm going to compile and save. Now, let's add in a collision within our world. So I come up here into crates and within all classes I just type in box and I want a box trigger. So I'll just drag from the box trigger right here. Let's scale it up just like this. So I want it when ever our character overlaps with this box trigger. Then the windscreen will show up on the screen. To do that, we need to enter the level blueprint. So, yes, you heard me correctly. Our entire world has a blueprint to itself, and we come up to blueprints and then select open level blueprints right here. So I'll delete everything that's in here right now. And you want to make sure that our box is selected since this little blueprint is context sensitive. So since our box is selected, our level, Bergren knows that we want to do something to this box. And specifically, if I right click, we could call a function on our trigger box. I want to call I want to add at events. Let's go to collision. And let's add on actor began overlap. And I want to make sure we are overlapping with the cast to third person character. That's how if a bird or some other object or even an obstacle crosses paths with this trigger box, then our windscreen won't show. And now if I drag from here, we can create a. And we will be specifically creating our windscreen. We're like that. So we're selected from the dropdown. And then we will add to viewport. So if I press play. And if I go around my obstacle course. So obviously that's a pretty big bug that we have in our game right now and come up to it just like this. We see that. We get the you win. So we just won the game. And that is how you create the worst game possible in the world. But it was a good demo to show the power of Blueprint's. So we can actually refine our game just a bit by coming into Flaten. And I'll just select right here and then slowly start to decrease the size of this valley. So now if I press play, we only have one option we can't go round and we have to try to navigate this obstacle course and try not to get destroyed just like that. So play around, try to make your own games, see what you can come up with and have fun. So now it is finally time to work on our force world. So there's going to be really fun. But before we can do that, a quick word from our sponsor. Just kidding. We don't have a sponsor. Well, if you do want sport the channel, then you can check out the unreal Sensa Masterclass. The master class is an ever expanding collection of tutorials for Unreal Engine. And do not worry. There are a ton of free tutorials and free assets still plan for this channel. So if you want to check out the masterclass and support the channel, there is a link in the description below. So with all that being said, let's jump into our forest. So let's create a project completely from scratch. I just opened up on religion five here, and let's go to games and let's specifically use the third person template. That's because I want our little guy within our scene to help give our scene some scale as a reference for when we are creating our little village. And then it looks like it's automatically going to save on my desktop, which is what I want. And then I'm going to name this creek beginner and I'm going to uncheck starter content since we don't need that. And I think all the defaults right now are completely fine. So let's create this project. So this is what you should see when you create your project. Keep in mind that we did edit our user interface just a bit. I added in the world settings that you can get the world settings all the way up here within Windows World settings. And I collapsed all my panels to the right, right here by right clicking and clicking on collapse. It says product falls out of date, would you like to update now, let's just update it. And if I press control be to bring up my content, your let's organize my project is a bit since by default, this created four different folders. And I just want to use one folder right now. So what I'm going to do is I'm going to grab my messages from here and let's move them into third person BP, just like that. Let's grab the mannequin and let's select both of these hold down shift and let's also move them into third person BP. And geometry. Let's grab these measures and move them into third person. Just like that. So now you notice that these folders are still here. Whenever I move a lot of content within a religion, you want to right click on the content folder and then click on fix up, read directors and folder just like that. So now that we fixed up our directors, I'm going to go select these three folders and press to delete key and just delete them like that. So now we have all of our third person content within one folder, and we don't need this overview. So I'm just going to delete it right now. In case you don't know what directors are, basically whenever you move assets around, sometimes they might leave an asset reference behind. So in order to fix that up and actually be able to delete some my folders, you need a right click sometimes on the content browser and then click up fix up directors. So now that we're done organizing our content, I think it's time now to bring in some assets we're going to use to create our environment. So the assets we specifically want to use were included within the downloadable content you should have already downloaded. If you've been following along with this tutorial. So it's specifically within the intro to a real project. And if you have a Dalara reminder link in the description below. So let's open this up and let's migrate some of our assets into our new project. OK, so once you open up to download a project, you want to right click on the folder that's called Charyk Assets just like this. And then you want to come up to migrates and we'll just select all the different assets we need to bring into our new project and press, OK? And then we're going to navigate to the content folder of this project. So just as a reminder, we can right click right there on the content folder and then go to show in, explore, control, see. So copy the location of my content folder. And now when I'm migrating my assets, all I have to do is come up here and control to paste in the location on my contact folder, press enter and now click on select folder. So they'll just copy all the assets from our download project into our actual project. And we can see that they're right here and they're ready to go. So keep in mind, in order to follow along with this material, you need to download some assets. And the specific assets we're going to download is this one right here. So we're going to download the QuickSort Mega Schansman evil game environment. So you want to come into your launcher marketplace and type in medieval game environment? Exactly. This is an amazing map and a bunch of amazing quicksort assets that was created by epic games for us to use. So go ahead and check this out and make sure you download it. There should be a download button right there, and then you're going to want to create a project. So make sure you create the project. And keep in mind that this project was made for unringing for. But that's no worry since we're going to update this project, too. Unreal Engine five and to update product on another five. It is very simple. All we have to do is find out where that product is. So let us launch Unruled at five. Right here with an unreal rail project browser, it should be there. So we're going to type in evil and we can see them at evil game. Environment is right there. And in really small letters, it says four point two six. You can ignore this one since I already updated on runs and five right there. But if you want to update this, too, on Roger five and it was made in our budget for all you have to do is just double click on this and then it will ask you if we want to convert it. So you could convert this in place or you can create a copy. So Andro will automatically create a copy of this project and then convert it into Unringing five. That's what you don't actually break your project. Another way we can update this is that if I right click and let's actually show this and explore. So if we manually navigate to the location of the project, you download it, we can right click on the executable file and then click on switch on real versions. And then we can switch just from four point two, six to five. And then when you switch it, you could just simply double click on the executable file and open it up. So those are two ways to update your project. So I think what I'm going to do right now is I'm just going to double click on this and let's go open a copy within Unringing five. So this is what you should see when you finally download the project, as we can see, it's a nice little medieval village and you might be wondering what all these red blocks are. So these red blocks are basically player blockers. So they prevent the player from going out of bounds, from going outside of the map. Well, that's fine. I'm going to go ahead and press a G to just hide those and go into a game view of what our player will actually see. So I want to bring all this entire map so all the different assets that make up this map into my new project. So to do so, arm press control and space, to bring on my content browser. And then we're going to go to maps. And it is specifically the medieval village underscore P. Some a right click. And there we go to asset asset actions and migrates. So this may take a while because Unreal Engine is right now going through and finding all the different assets that comprise of this map. And now that on real has found all those assets, which it is a lot. I'm going to press OK and do exactly what we did beforehand. Let us navigate to where our new project is and simply copy everything. So now is going to be copying the files. This may take a bit. So here I am back in our original project. And as we can see, we get a bunch of new folders that we copied over from the medieval asset pack. Now, before we open up the medieval level, it's very important that we come up to settings, product settings, and we need to enable some things. So the first thing we need to enable is virtual texture. So make sure enable virtual text to support is turned on. Since some of the assets for the medieval pack are using virtual textures. Don't worry what virtual textures are. I do have a video that goes over it. So that video should be in the top right hand corner right now if you want to dove deeper into what virtual textures are. And then what I'm going to do is that we're going to go to fog and we're going to turn on support Skyy atmosphere affecting height, fog. So if we don't do this, then our fog will look really weird, especially with the sun is at nighttime, especially at Engle's. Since our fog will be emissive by turn this on, our fog will no longer be a missive, which is exactly what I want. And now I'm just going to go ahead and let's restart now. So now that we restart our project, if I press control and space, we should be able to come to maps and then we're going to go ahead and open up our medieval village. Underscore Pete, right there. So this is what you should see when you open up your project, as we know, is our scene is very laggy right here. And at the bottom right hand corner, it says copilots shaders and we get a bunch of errors. This is all fine. This is expected. What our role is doing right now is that it's recompiling the shaders to get it ready for Lumin and Night and Lumin. And I wasn't activated in the previous project since we updated it from Unreal Engine four. So it needs to activate it now. So this is what the scene looks like when it is done compiling. Obviously, it doesn't look as good beforehand. Something's broke, but that's OK, because we're just going to be grabbing individual assets. We're not using this scene as a whole. Also, if your game is logging one, then you could do is come up to settings and under engine scalability settings, we can lower the quality of everything. So let's say if your game is really laggy, you could come here and select medium. And then that will just decrease the quality of everything for you automatically, so that is really, really nice. So I'll just come back up to settings. Let's go and let's. So that at Epic. Which is where it's at by default. So if I go into unlet mode, we can go round my scene a lot better and we know so there's a massive glitch and that is my objects disappear when I get far away from them. So this is a glitch right now with unrounded five. You might not have this issue, but if I click on this asset right here and let's go into the details, panel, I'll scroll all the way down. And I believe it's under let me type in. Let me type in Élodie. We're there we go, so it's under rendering Élodie and we can see desired max draw distance is set to three thousand seven hundred fifty. So that is what's causing the issue where we scroll way and that static mesh disappears. So the way you would fix this on all your meshes is to go through and simply reset its value back to zero. So now if we look at that actual individual mesh, we scroll back. It's not disappearing really fast. But obviously, I'm not going to go through here and change that for every single match, and keep in mind that this is a glitch. If you're watching this in the future, this is probably already fixed by now. So what I'm going to do is press control in space and within Greek assets. I already created a blueprint that will do everything for you. So if we just double click this blueprint. And keep in mind, you don't need to know what is happening right here, because this is just a temporary fix for glitch. But when I drag my blueprint into my world, it will go over all the static measures and then it will set its max draw distance back to zero, which is the Devar value. So that will fix everything. And it'll prevent me from having to go through each and every static mesh, go into details, battle, and then manually have to click reset right there. I'm going to drag out fix desire, draw this. It's right into my world, Lego. And now I'm going to delete it because I don't need anymore. If I scroll back, we could see that my static meshes are fixed. So I'm press control on us to save this map. Also, in case you don't know how to change your view modes, you just want to come up here and change them there. Or you can press alt for three two as a little shortcuts. I think I'm going to go ahead and let's create our world completely from scratch, so let's make a new level. I'm going to come into Charyk assets and let's create. Right click new folder and I'm going to call this mouse. And within maps, if I go into it, let's right click and let's create a new level and let's call this creek and a double click on this. Let's say if selected. And now here we are within our completely blank level, we know it's completely blank, because if we look at our world outliner, there are no objects in here currently. So from this level, we're going to create our environment completely from scratch. So the first thing we need is, of course, a landscape. I'm I come up here and click on landscape mode and then within manage and do let's create a new landscape. I think I will make sections per component instead of one by one. Let's make it two by two. That's how we have some more resolution to sculpt with. And then I'm going to press crate just like that. So that will create our landscape. But of course, we can't see our landscape because we need a sun. So going to create lights. Let's drag in a direction of lights and let's also go to create. Visual effects and let's drag in a sky and atmosphere to give ourselves a nice guy, but we have the issue, and that is our light isn't hooked up to the sky. So click on our light. I'm going to come into details and let's set our light to movables. If they want us to be fully dynamic scene and every scroll all the way down, we should see the atmosphere, sunlight. I'm going to check this on. That's how our sun is coming through the sky just like that. Now we have that nasty black void right there. And we could get rid of that black void by dragging it. If we go to create visual effects and exponential height. Foxo, just drag us in just like this and we'll have one issue. And that is if I hold control and l at the same time, I can move my son down. And my ex, Pedro Heimbach, is still a missive, and this is why we went into project settings. And we changed the fog right there and we turned it on. Because if I click on my high five right now and I'll press on the details, panel, I'm going to change fog and scatter in color all the way to black, and then I'm going to scroll down and let's also change directional in scattering color all the way to black, too. So for press, OK, and now hold on control and l to move my son down, we could see that our scene goes completely black. And that's exactly what I want. This is why we enable that setting within the project settings. And another thing I will do is let's add in a character for scale. So we're going to go into our content draw. And third person, let's go into character. Mesh and I'm going to drag in ask underscore mannequin right there, just like this, and we need some light from the sky. That should be projected onto our scene. So I'm going to go to create lights, drag in a skylights. And I was at the skylight to movable just like that, and make sure real time capture is turned on. So there we go now. If I press control and now we can move our son around, and I'd say that is about it, we are done with lighting the sea now. We're going to have to go into set dressing because lighting scenes in the outdoors are very easy. Pretty much all you need is fog, a sky and a light and a skylights, and that's it, because 90 percent of outdoor scenes are pretty much just lit by two things. And that is your sky and your son. So now what we're going to do is I'm going to go ahead and let's place a landscape material onto my landscape. So I've already made a landscape material for you if you press control and space. You should come to Creag assets and then materials. And is this one right here? Am I underscore auto landscape, underscore creek. So we're going to go into the details panel for some reason on real as in letting me have these two windows open at the same time. So I'm going to go right click. Let's restore this top real quickly and then press control on space and let's drag our landscape creak onto it just like this. So keep in mind, if we open up this auto landscape, this is the same exact auto landscape that you could download right now from my Gumm Road. And I also have a bunch of videos that go over what each of these features do. So I can't go over this entire landscape because then I will add two hours onto our tutorial and we're already pushing it as is, if you really want to. I have an entire landscape series that you can check out that will go over all the basic features of what this landscape material is doing. But for our purposes and for this be it's a real series. If I open up the instance of that landscape material, we can see that I've already set up some variables that you can always come back in and play with them if you don't like them. But I think all of these settings are good enough. What we need to do that we need to come through and we need to populate these with some textures from our medieval environments that I like. So those textures are specifically located within mega scans and then surfaces. So we can see if I open up these services, we can see each of the textures of them. So I'm going to drag in some of these right here into my material. And since and we will start with a underscore material. And I believe that this is a cliff texture. So we could go through each one and let's say double click on. Mossy creek stones and then drag it in that way, or Iggy, come outside of surfaces and then go to filters and select texture just like that. So what's happening now is that it's filtering through all the different folders of surfaces. It's grabbing textures and it's showing me it like that. So instead of having to go through each of these folders, I could just see all the textures like this. And this is especially helpful. Let's say if I'm set decorating my environment, I go into 3D assets. And instead of having you click through each one like this and go through all the folders, I've come up here to filter's and select static mesh just like that. And that will show me all the static measures that are from mega scan. So this is amazing. And I always use filters all the time. And if you want to get rid of a filter, you could just press the middle mouse button and that will get rid of it. So you could turn on like this and off like that. So let me go back down into. My services and within here, we're going to activate tecture, and for the top one, we're going to add in Creek Stone just like this on normal roughness. And next up, we're going to use t underscore force ground. So this one for my B material. And then for my C material. Let me use heavy mud right here. Or that the material we're going to having no variation of our grass layer just to give ourselves more options. And I don't know where this one is located, because if you type in t underscore grass. Let me go to content. OK, so Tiana's Gregoire layer is located in the landscape section. So I'm to drag with this one right here. It wasn't located within the mega scan's folders. And this one right here and right there, just like that. So I'm dragging the normals onto normal's a roughness on roughness and color onto color. Pretty self-explanatory. If you've been following along within this tutorial, and then we're going to go to the material. So it's this one right here, and it's located materials landscape. So I'm a drag to underscore dry soil. Intercalary. And dry soil, normal and to normal, and roughness into roughness. So essentially what we just did is that I went through all the different assets we had and I populated my landscape material with some textures. And if you notice, I've already preplanned these textures to be used. And I have some nice settings that I like all reserved for all these textures. You can always change these settings yourself if you don't like them. So we were pressed. Save. Let's go out. And now within the creek, we'll note that our entire landscape is completely black. And that's because we need to come up into landscape mode and paint. And now we need to give our entire scene a landscape layer. So I'm going to give it the first one, which is our material blend layer. And go wait. Blended layer normal. And press save just like this. So this landscape material is a little bit special because if we click on it right there and actually if I go into sculpt with sculpt selected, if I start sculpting, we will notice that we get some auto material going. So on the really sharp edges of our landscape, we get some cliffs. And on the non sharp edges, we get, of course, our grass. And I think now is a nice time to add in a post-process volume just to lock our exposure values. So we'll go back into place actors' mode. We'll go crate's and let's add in a post-process Vinewood and visual effects post-process volume. Drag it in right there. I want to make sure infinite extent bound is checked, and that's what's affecting my entire world and for exposure was changes to manual. And I'm going to give this ten point five. Just like that, so actually, let's try ten point six. OK, maybe this is a little bit better. And while we're at it, let's add in some clouds somewhere I come to create. And let's go to visual effects, volumetric cloud and just drag it in just like this. And in case you don't know, unrelenting, it comes with clouds right out of the box. And if I increase my camera speed right here from four all the way to eight, if we come up to these clouds, we will see that, yes , they are actual objects. They aren't just a pain in the sky. This is in a skybox. The sky is real. So gone are the days of skyboxes and Jahri. Now, everything you see in an unreal engine seeing is an actual object in the distance. So let's start to actually create Arsinoe now and we're going to start off our scene. So the really big details. And then over time, we will go from big details to medium details to small details, because first, of course, we want to block out our scene before we start diving into the really detailed areas of it. And to do so, let's bring in some of the bigger mesh and that specifically some of the mountains that will be off in the distance right here. So I'm going to press control on space. And let's go into 3D assets. And I'm going to go ahead and let's make static mesh filter turned on. So under mega scans, 3D assets, we can see all the different 3D assets we can use. I specifically want to use one called Let's Go Volcano. Icelandic Volcano Terrain. And you can drag it in just like this. And this is one of my favorite stock measures, or adding in some really large details in the background of any scene. So I'm going to turn off my grid snapping, angle snapping and scale snapping. And I'm also going to go ahead and let's open up this material's instance. And I think for. Albedo intensity of rain is down from two to one. And so it's not as bright as it is. And we're going to scale up. I was looking good in the background, and I think now is a good time to establish our main camera shots. So I want my main camera shot to be. Let's try right here, so right here with my main camera shot, so you can imagine that the forest path is coming down into here and somewhere over here we start to see our houses and the creek and the water. So on press control and one to bookmark this location. So now if I want to go bring back my camera speed back to four, because I was going way too fast. So if I fly away, if I press one, I snapped to this location so I could also come over here and I could do control and two. So now I could go one and two. So one, two. And using the controls is a really good way to bookmark certain locations. You also don't have to use a shortcut you could come up to here. And I believe that if you kind of bookmarks, you can edit your bookmarks right here. But I tend to always use the shortcuts for this. So let's move this guy. Right here, smack a little bit farther in the background. And let's move it like this. And we can copy this mountain and move it around so we get kind of like a little mountain range going on. I want this mountain to be the tallest. And. Just like this, we're making a little mountain range around ourselves as the creek is almost like it's inside some sort of valley. OK, maybe that's a little bit too close right now. And before I mess with this a little bit more, let's go work on our landscape. So let's go to landscape Mogis shift into and with a scope brush activated. I'm going to come back here and I'm going to increase it with my right bracket key and just start to paint around just like this. She gives some weights. So my world. And I think right here. Let me make a little Hill area. Armbruster shifts because I made that far too big. And of course, you could come in here with the smooth rush and smooth everything else out after the fact, I think we're smooth out this area right there. And that's because I want to build a little creek area. So I want a river to come down from here, from this direction and slowly come into here. And that river will eventually fade off into a little pond. So I'll go back into my landscape mode and let me decreases brush. And let me make a rush outline for that river is actually more of a creek, so it's not really a river. But if I hold on shifts, we can start to dig into. The terrain and I have to change back to sculpt, I was on smooth right there. So that's why I wasn't seeing any difference. I think I'm going to go ahead and let's increase brush and hold on shift. Let's start to. Dig into our world just like this. And then right here, I'm going to increase my rush so we can really just. Bring down this location. And create a little path for our water. And while we're at it, let's actually add in our water plane. So I'm press control and space. Let's go into freak assets and other materials. I'm going to go and uncheck static mesh and uncheck this search. And now we're going to get everything that's where the materials we see that we have an underscore Water Creek is the material I want we need to add this to a flat plain . And of course, we can create a plane by coming up to create shapes and dragging in the plane right there. So I'm just going to drag in that plane and what's lifted out of the ground. I'm going to go ahead and let's increase that scale. Let's go control space again and then let's add an for Water Creek onto it. Just like this. And we'll wait a bit for the shaders to compile. And you note that there is a glitch. There are some glitches with the landscape right now, landscape isn't completely ready for on religion five. So you'll notice right here we have some issues with the shadow. So I found that the way to get rid of these shadow issues is you want to go all the way back and then you want to come back like that. So you want to go away from the shadows and then come back to the shadows and those weird shadows will go away. And you notice that right now we have a nice water plane and is ready to go to simulate our water. Keep in mind, we're not going to be using the actual water simulation on religion has we're just using a little plane that I put together. That is a good simulation of water. So just like this and the reason why we're using this and not the actual water features, it's because the actual water features are still in really , really early access. And. I think this material is already getting pretty long, we will have in our tutorial in the future that will go over land mass and all the nice water features. OK, so now we have some nice water into my scene. We see that this one and that by a little creek, a little river that's going to come in and slowly come out into a massive pond. That's right here. It's important to know that if you cannot select your water and let's say if you keep trying to select a water but you can't selected, that's because you don't have transparent selection turned on right now and you could turn on transparent selection. I believe in settings and right there. So you want to click allow translucent selection or you can also press t. So now you're able to click on that water right there. Let me go ahead and I want to decrease the size of this or decrease the size of this river, because I feel like this is too big, I want to make a kind of small like right here. Because I don't want it where if someone tries to cross it, they drown. I want to where if let's say this person tries to cross it, then they could easily cross it by just walking over it. By themselves, so we're just going to increase the size and not make it so deep. I think I'm going to move my main camera angle from there to here. So just come right here and let's press control and one. And now for press one. I start my camera right here. Stuff like this is the good spot for it. And, of course, let's move this, because that's way too harsh right there. Especially right here, those press moves of this area. OK, so I think I'm sort of like the form of this. And as you can probably guess, if we look at our water, what's wrong? We have grass under water. That's not very realistic. So let's add in the mud layer. So I'm going to come up to I'm going to click on my landscape. Let's go in a landscape mode and within paints. I'll scroll down and let's add material, see? So I'll click on ADD and let's create weight blended layer normal. And we'll just save at the default spot. So press save just like that. And before I forget. Got to make sure we want to save everything. That's what we don't lose our progress. That be terrible. So let's come back into our dirts. And now, with my dirt selected and where my full strength all the way up to one, I start painting in that dirt. So that little mud. And I'm going to come back into sculpts and let's move out this location right here, so small brush. We are going to spit it out. And, of course, if you don't like how much this texture is tiling right now, you could open up your landscape material instance by selecting on the landscape and going down into the details panel and selecting it right there. And then within the material instance we can come down to. R. C underscore material. And that with Tily near, we get changes from zero point five to zero point twenty five. And I will just increase the size of that mud and not make it that dense. So I think I want to keep it out. Let's try zero point four. They're going to keep it out there for now and then press safe. So let's try and make sure we finish the landscape before moving on foliage. So I'm going to go ahead and let's move to sidebar just like that so we can see more. And I think right here is a really good look. So let me grab this right there. And. We'll go increase its size scale just a bit like this, scale it up right here, let's scale this one up. Also increases. Just like that. And right here, let's rotate it, and so it's not so perfect. OK, so that's looking good. Maybe this looks a bit unnatural, so let's go back into a landscape was going to smooth and let me just smooth out this area so it makes more sense why it would be coming out and would it be so perfect like beforehand? Like right there. So that's better. And I'm actually going ahead and let's increase this, because this is a little bit too deep. And I don't like how this cliff is just quickly transitioning from cliff to water. I think there should be more of a fall off right here. So what I'm going to do is I'm going to come to the flat and tool and I'm going to flatten out this area right here. That's what there's a little bank before it hits the water. So to use a flying tool, and that's the way to attend. So let's bring our source rank to zero point two and then use the fly until just like this. And now I'm going to. Press on the brush and let's smooth this area right here, just like this. Tiger, that's how I wasn't as harsh as transition as beforehand. Also right here, I do want a little hill. There our houses are going to be on top of cities, increases size. And one thing we could do, if you really want to, is we can go control B, let's find out where this static mesh is within my content or right click, we come up to Nanuet and click on enabled. Wait a bit for everything to build. And it did not work. So I found out what the issue is, if I press control and be to jump to that static Meche location within my content, or we will see that we have a material instance. So I will double click on this material instance. And I decided to open up the actual master material of this material instead. So I just clicked on this. Keep in mind, don't worry, we don't even know what's happening right here. But I came down here and he knows that there's a ditherer blend and we're not going to be using that. They're blending within this to Tauriel. So I just held on Alt and I broke the connection right there because we don't need to use it. And then I press principly. And it looked like that was the issue and we got back our Nantwich static messages and if I come to let then I visualizations triangle's, we can see that everything is working as expected. So let's bring it back into Litz. Now it's time. I think we should add in the medium details, and that is some trees and the actual houses. And before we do that, I notice that there is some green right there. That's some leftover artifacts from the slope. I mean, and I want this to just be completely like a cliff. So I don't want it to have any of this green right here. So what I will do is let's go back into our landscape painting and let's create a material layer for material a. And we blandly, Norvel, set everything to default. Let's save this. And now with my material selected right there, I'm just going to decrease my bra size and paint over it. That's how this is completely a cliff. We don't have any of that greenish leftovers from the grass. Just like that. And then let's go. Shift F. Let's go control space and let's find out where our Folger's. So one thing we can do right now is I'm going to dock in layout. That's how I have my content browser always below me. I'm a right click. And let's go to collapse of Tableau. So to find where my trees are located, I could come all the way down here and it's going to be in the fall were called third party. PKN underscore interactors, Spruce Forest. And then we're going to go to measures. So we're going to start off with the really big trees and slowly escalate our way down into we get smaller trees until we're handling the full load, which is the grass, the flowers, the ferns. So we're starting with the big details and ending with the small details. So it's going to fall and then high. And let's drag in these three trees we see right here just to see what they look like and immediately will notice that these trees are really, really glitchy. They aren't working well where you live. So if you're watching in the future right now, maybe this bug has been fixed. But if your trees are glitching out, flashing in between their actual color and its blackness, then I just have a really quick fix that we're going to go over. So first, we need to navigate to the material that is handling our trees. So let's go and let's go into parts for interactor, spruce forest. And it's going to be our materials master materials, and it's going to be may underscore summer. So we want to open this up. Now, what we want to do is if we want to come all the way back up here into creek assets, blueprints, we could see that I have this little asset right here called fix WPRO underscore when someone double click on this and I'm going to highlight all of this and control . See, I am going to come right here and control it right here. So I found that the problem that the trees have right now is that within its material, it's something to do with the way that the wind is moving back and forth. So it has something to do with the wind animation. And this wind animation is being handled right here. So we're going to replace this really complicated wind animation. We have the really simple one right here. And I'm going to drag out, let's say, from simple grass wind. Into my world position offset, and I'm going to click on Enable Glassware, because right now it's disabled by default to true. And you want to make sure that you drag this into world position offset. So now we get a lot simpler when animation. And if I apply and go back into my creek, we can see that our trees have been fixed. So that's a really quick and dirty fix to get my trees working. And keep in mind that if you're watching this in the future, you might not have to do this. But if you do have this issue, that is how you fix it. Again, you revives an early access. We can't expect some glitches. So now that we have our trees fixed, let's actually start to populate our world and paint in our forest. So with this tree selected, I'm a pest control and B. To jump back to where this tree is located on my continent browser and then press shift and three to jump into my foliage mode. So when you drop some Folarin and we can see that we do have the static measures that are blue, but we also have this green thing right here. And if we hover over it, we can see this is actually a static mesh foliage. So there is no difference between this and this, except if we double click on this, it already has some foliage parameter set up for us. So we don't have to play with the settings right there. So the settings are already set up for us. Downshifts. Analysts like both of these. Let's drag it into foliage and let's go out into matches. And let's also go to half and high. And let's select these four right here. Let's also drag that into my mesh and then let's go out to mesures. And we're not going to be placing our small little ferns in yet. And that's because I want to start off with the big trees and then we will handle the small trees later. So by volume shift, we can go and select all of these. And on the top left hand corner, I can activate them all. That's all we're able to paint them. And now if I left click, we can see that we paint in a little forest. Also, I noticed that one of the trees, if I go into mesures, fall high, one of these, is it being used. So I believe that the tree that's not being used right now is this one right here. So I'll just drag that in like that. And let's see what the density is set for this sort of density right here set to zero point two. So I'll just control see this and let's go to like this one and let's change this from one hundred to zero point two. That's about the same density. So keep in mind that we had to change the density right there because this mesh that we just dragged in didn't have a full asset. So you can save this as a forged asset by coming up to the right hand corner and clicking on the Safe Forge asset button. And then you can select the location and save it. We could just save it at this location right here and press save. And then we can see that we do have that VALGE asset. I must select everything again. Make sure that they're all activated. And now let's start to paint in a forest. So to start off, I'm going to paint my forest next to the playable area or the area where the camera is, because we want it to be the most dense there, since that is what the player is going to be saying. Now, I do want to clear out an area that will basically come from this way or my little force road. So slowly going to go and here. I will hold on shifts and let's get rid of those trees. And I'm going to hold down control and allow to rotate my son this way, just like this. OK, so that's starting to come along nicely. I think what I'm going to do now is let's decrease this paint density from zero point five zero point one, and then I'm going to increase the brush size. And starts at pantry's just like this all around the place, and you can even paint some of the mountains on the back right here. So it's important to point out right now that we do have a glitch, and that is if we come really far away, our trees disappear. So our trees are disappearing, they're being called from the environment way too fast. And that's because we're having the same issue as beforehand with the static measures in the medieval environment, in that when we transition from unrounded four them under five, some things then are carried over. So we need to specify if I go back into my foliage editing mode, if I click on a foliage, it will come all the way down here. We need to change this whole distance from 3000 to zero and zero, which is its default value. So I'm going to select all the other trees and within called distance right here, let's click on this arrow and we're just going to set it reset it back to zero, just like that. And now if I move away, my trees don't just immediately disappear. So there are some small things we can do right now to improve this scene. What I'm going to do is press on the skylights. And I want my shadows to not be that dark, because I feel like especially if I look in here, that is very dark, very spooky. So I'm going to come into details and with an intensity scale, with my skylight selected right there, I'm going to increase this from one to three. OK, let's go to three. And then we will immediately see that. This water right here immediately increases and this looks completely fake. So one thing we could do to fix this water right now is use a plain a reflection. There just one issue, and that is if I go to create. Visual effects. And if I drag in a plainer reflection. It will say right here that playing a reflection global Klip needs to be enabled within the project settings to work properly. So essentially what playing reflection will do is it will reflect a perfect mirror. So this is great for mirrors and it's also great for water. So what I do is come into settings. Project settings, and I'm going to look up later. And click yes, right there, and then we're going to restart now and save selected. So keep in mind, it will take a while for your Qader Sarika pile, but when you're done, this is what you should see. So you might be wondering, what is this plane right here? Well, this plane right here is our plane, a reflection. And right now it's in preview mode. So if you press G, we can actually see where this reflection is doing. And we can see the cut off right there. So this is with plane a reflection. And this is without obviously playing a reflection makes a pretty big deal. So what I'm going to do is if I press G again, if you don't like this preview plane, you can come into details with your plane, a reflection selected. And within details, you can uncheck show preview plane. So that would just get rid of it. And now we can kind of like adjust a reflection like this. And I think we're going to go ahead and must scale this up. That's how it encompasses the majority of my water. And we're just going to fix our water just like this. So now if I come down here, we can see that. Our water isn't looking terrible, it looked way too bright beforehand, but now it's looking a lot better. But we just have one issue, and that is if you control shift and H. We can see that right now we're hovering around 55 frames per second. If I hide my plan of reflection with age, we can see that we jumped to 82 frames per second. So if I press control and age to bring back my plane reflection, then our frames drop. So you will see a slight performance decrease when you're using plane reflections. But I think in this case, it's kind of necessary. I think my shadows are a little bit too bright right now. So I'm going to click on my skylight again and I go into details. Well, let's change this from three to two, and I'm going to press control shift age at the same time to hide that afps counter on the top right. Right there. Because we don't need that anymore. So unfortunately for us right now, Lumin isn't really making that much of an improvement and a control shift age to bring up my frames again, because I think that's important right now. It's not like 45 frames if I turn this off to none. And if we go back, we can see that that is boosted about 15 frames. So the reason why Lumines is really making a big effect right now, and that's because of landscapes as of the time of recording this video, do not work with Lumines. So landscapes will not give off ray ptrace global lumination. Now, it does give off screen space, global illumination. So what I want to do is I want to come into details and make sure post-process volume is enabled or is selected. And then we're going to come into global lumination method and changes from Lumines, which is which is what it was at beforehand, to screen space, global lumination. So I found screen space, at least for this scene, gives the best quality global illumination. And in case you're wondering what's greenspace, global lumination is you demonstrate what screen space, global illumination is. I'm just going to come right here and within world aligner. Let's make sure we have post-process selected. And what's going on here? OK, we do have screen space turned on right now. So I'm going to come up here and let's create a little sphere somewhere to drag out a sphere, and then I'm going to increase its size. Just like this. So now. We can see that at this point right here, that we do have a little bit of green reflections, let's go into let and lighting only or deto lighting. And so we see what happened. So right now we are getting some screen space, global illumination in that what it does is that it takes only the pixels that you can see in your frame and it takes those pixels and then it projects it onto an object. But as soon as we raise our camera away from those pixels, it no longer has any pixels to project on that object. And as you can see right now, since we're not looking at the ground that's directly below the sphere, we're not getting any global illumination. But as soon as we look at that ground again, we get that global illumination. So if we go back into our post-process. We can see that Lumin is losing a little bit of that global lumination method we just talked about. So if I change its illumine, we are still getting that bounce sliding by that bounce sliding isn't from wrage racin, it's from screen space. So if we're only getting screen space, global lumination to begin with, we might well just pick screen space, global lumination right there, just like that, just to save on frames. And was Lumin doesn't work well right now with foliage. And there's going to be a lot of foliage in our Arsène. So that's just an unfortunate side effect of using really new tech. Keep in mind that this tutorial will be remade when our one to five is officially released, and hopefully by then, some of the kinks of these features can be worked out. So I select my mesh and I'm just going to delete it right there. Now, my scene is looking really drab. It's not that colorful. And I want to increase the color of this scene. So let me select my directional lights. I believe it's right here. And then when in details, if I scroll up, let's make this a little warmer than it actually is right now. So let's make this. Five thousand seven hundred. There we go. That is going to make my skin a little warmer. And then if I look at my sons and my sons right there, I want some light shafts so I could give myself some light shots like I'm in the details. And then let's scroll down here to the live shots and let's select both of these on. OK, so now we're getting some nice light shafts. And I think I also want to go in here and let's kind of tent this. OK, so let's tinta orangy like that's OK. There we go. Sauciness slowly starting to come together. This looks really nice. And then I think my fog is way too intense over there. I'm going to go select. My fog is right here. And let's. Scroll up and I'm going to make this one. Zero point zero three. OK, I made it a little bit more tense. Let's try. Actually, I want to leave it as there was there on three and within a start distance are going to increase the start distance. At 5000. OK, so that was what was causing it. So this was before. And this is after. So as soon as I increase, I start distance where our fog won't start until we're about 5000 centimeters away from the camera then. Our scene is starting to look a lot brighter, a lot more vibrant, and of course, we could go into World Outliner and I'll just manually increase the brightness and then we'll go into details within calibrating let's change the global. So I'll just drop down right here. I'll check saturation and contrast and then I'll bring up my saturation to let's try one point zero seven five. OK, maybe that's a little bit too intense, so let's go 1.0 to. Officer three OK, I'm going to keep about three, and then for my contrast. I'm going to increase this to one point zero five. So this increase actually one point zero two. So just bring my contract up just a little bit. OK, now I'm going to come back into full fledged mode, and I want to hide some of the trees right there, so I want to add some more trees onto the slopes as I feel like it's missing some. So I'll just come back here. Let's select all my trees and let's make the paint density zero point to five, and then we'll just paint in some more trees right there. Also, I want some more trees at the very edge somewhere. Somewhat decrease this and try painting some more trees right like that. OK, this is great. So we can see that slowly and surely are seen as start to come together. It's starting to look really nice at this moment. And they're just one issue. And that is we have a fall feel to it. It feels like autumn because some of these trees are not green. They're orange or they're brownish or even over there, they're brownish, yellowish. And personally, as my personal opinion, I don't like this color. So we could change the color on these trees if I press control and space. Let's go back to where our trees are located. And don't forget, you always have to save that so we don't lose our progress. And let's go into pien underscore interactors, spruce forest under third party, and that if you go to materials and then master materials, actually first we're going to go into mesures and let's just open up one SRIs material. So I'll open up this tree and let's go open up this leaf right here. So whenever we're in a static mash, Ed, you can see what materials affect what part of the mesh by clicking highlight right there. So we can see that this material right here are the leaves of the tree. So I'm a double click on this and then we can change the leaf tent right here, down there. So let's go find and let's let me move it out so we can see what tree we're going to be affecting right now. And if I zoom all the way up. Right here. If we start to play with this tent, we can see that we're affecting that tree specifically right there. So I want to pick a brightest greenish color like this. OK, so I really like this color right here. Maybe it's a little bit too saturated, a bit too green, so does bring it down like. Right here. Just like that. So what I could do is that I could go through every single one of these trees and manually find the material that is on its leaves and then change the leaf tent right there. And, you know, we totally could do that, but that is super, super slow. So instead, what I'm going to do is I'm going to right click. Let me copy this tense. Ahmed jumped into this material instance and then I'll jump into its master material. And now within here, I can scroll all the way over here, so let's see where the color is being handled so I can press control an F. At the same time, I will see a search bar and within a search bar, I'm going to type alif tense. So let's see where that parameter is. It's right there. So I'm a double click on. It will jump to where that's located. And we can see the locator right here. I think what I'll do is I want to hold down three and left click so three and left click to bring in our constant three vector. Again, you can also right click and just type in three vector right there and you can grab it that way. And and now I'm going to come over here and right click and paste. And now we can see that the color that we chose is right here. So I'm going to go and replace this leaf tent with this one right here like this. So now this is going to be affecting all of its material and sensors. And this material right here is the master material or our entire forest. So when I press apply, all our trees should be a nice greenish color that we picked right there. So I'm going to press apply like this. Now that we can see that our scene is looking a lot better, it's looking a lot more bright, a lot more colorful. And this is exactly what I want. So before we move on, this is something I'd like to do with all my projects that I am only using dynamic lighting within is I like to go into the world settings and within world settings. Under Lemass, within a dropdown, I like to select a force, no computer lighting. And press, OK, that's how if I accidentally press a buildup here, then it won't build my level. So if I press build, I'll level, you'll see that nothing happens. Now, I believe it is finally time to start populating this world with static measures and start handling that medium sized detail. So first thing we're going to do is let's establish the road back here, because right now it's just it's just a grassy area. And I want to be a little road past. That's how we actually have a location that people can come from when they're trying to get to the homestead. So to do that, let's first actually let's first build a bridge and a prepress control and space and content under meshes. And then if we go to house houses right here. Click on the filters. I'm gonna give myself the static mesh filter again, we can see we get a bunch of modular assets and the specific modular asset I want to use is. Some underscore border window, some a drag this out like this and this little static mess right here will be used as my bridge. That will be going across the mouth. So I'll just bring it up like this and I'm going to deactivate snapping up here. And now let's build our little bridge. So it makes it a little bit bigger. Like this. And I'm going to come up here and make sure local rotation is turned on as I can actually rotate it along its axis. Just like this. And then we can hold on Alz, we'll drag out that static mash. And if you notice, I'm kind of scaling, it's like this. Just to give it some variety. So what I'm doing when you scale is that you're basically mirroring the object. So they don't look so perfect. And right there and also there's the issue that those do look perfect, so just change it back like that. And I think this creek might be a little bit too big right now, so I'll grab these four right here and let me try to move them down just like this. And I'm going to go into. My landscape mode and with the Sculp brush, I'm going to drastically decrease the size because that's way too big. And I'm going to try to blend the landscape better with my bridge. And now it's time to finally add in our little path, our road. So I'm going to come in to paint. And I believe our road is material. It's the last one. So we're going to have to create a layer for this and save it defaults. Now I'm going to select this and I'm just going to start painting in that path. So the path will lead into a little homestead area. It will go across the bridge. And it will be emerging from the forest. So it's like a path and it's coming from a dense forest. And finally it ends up in the homestead. And keep in mind, whenever we're paying layer's, you can always hold down shift to get rid of that layer. Just like this. And then I'm going to go ahead and I'm going to go scour these trees around because I thought these trees are a little bit too close to each other, so I'm just going to go into foliage mode and I'm going use a select tool. So I'll just be selective and trees and simply just move them around like normal. Let's come back in a paint, and I only want to select the thick trees right here because I want to use this to basically paint a little tree wall right there. So that's how when we look down this path. We don't just see. A little grass field, I want it to feel like that we're in a dense forest, so all the way out here where these trees selected. I'm a rinus down from paint, say, zero point five. Let's make this earth went to and I'm going to paint some stuff right here. It's just block that exits. And then not going to do is let's go and copy this mountain right there. All the way right here, that's all there is, is some visual elements. To look at back there. OK, there we go on birth control and be let's go into my. Mega scans and then 3D assets, let's activate our static mass filter. And I want to use the Icelandic terrain. Some scroll down and I want to use. This mess right here, some drag it out. And then I notice that it seems like it's broken right now, so I'm going to come into the details and I'm going to open up this material. And let's go into its parent material. OK, I think that's why because we have. Runtime, virtual texture blending right now, we are not going to be using runtime virtual texture blending within this Vitorino says this is a beginner. So we need to disable it somehow. OK, so it looks like there is. And so we're going to have to kind of fiddle with the nodes right now to get rid of this runtime virtual texturing. So in case you're curious or runtime virtual texturing is, I have a tutorial that's on my YouTube channel that you can check out. And we go over what pretty much what a lot of nodes you see right here are doing. But I'm going to highlight everything and I'll just click on the delete key. So this is the issue. We're kind of using pre created assets and templates is that sometimes it doesn't do exactly what you want. Now, I'm going to hold down control and I'm going to grab the top. So the top wires up here and I'll just delete these. That's all I know. Which wires actually work and delete these re-route nodes right here just like that. So let us hold down control. And I'm a drag this into albedo, drag my specular into specular, drag my roughness into roughness. And then let's go down here and let's drag my normal from this line right here. All the way up here. Into normal, just like that, and now our press apply, and hopefully this should work. OK, and now it appears it is working. So in case you're confused, what just happened, I started to go back here and really walk through what just happened. So beforehand, we had a bunch of nodes down here that were controlling the runtime, virtual texture blending. Now, we are not going over that in this material. So I decided to delete those nodes and then hook up my color roughness and normal as if everything is happening correctly back here. So we don't need these loops right here. A, delete them and I will grab. And also, I could delete this zero because by default metalic is set to zero. So I don't need a constant there. And then I could simply bury my virtual attributes all the way back here. And I'm going to move these re-route nodes around just to make my graph look a little bit nicer. I feel like we don't need this, does someone delete this and delete all of these? And then we're going to hook up Saturday right there like this. And what is this? OK, rockiness. OK, that was the fuzz, so I'll also delete these right here. And here you go. If you want to take a. Look and copy this material verbatim, go ahead. Essentially what we just did was that I went through and I made this material a lot more simple than it was previously. I got rid of a lot of features that we won't be using. And I just deleted them and hooked up all these notes just like this. So feel free to go into this material, which is on underscore blend master and do the exact same thing until your material looks like this. Also, if you're still confused, do not worry if you press control and space to bring up our content. Sure, you will see that I just added a new asset right here with increased assets, blueprints. So you should also see this when you download the content. And this is fix remove our V.T.. So if you click on this, we will see that we just have what we made right here. So you can highlight this control. See? Go into specifically and underscore Blun Masser. It has to be an underscore blend master. And then you can paste it in, delete everything else in your graph and hook it up just like this into your Blende master. So this one right here, we're going to your base color. This one, we're going to roughness. And this won't go to normal. Very simple. So if you're still confused, you can just copy and paste all the notes into a score blend master just like this. So, again, that's the issue with using asset packs. Is that a lot of times these assets aren't set up the way you want them to. So you always have to edit them. And I really like this rock mash. And the reason why I brought in this rock mesh and as a reminder, this rock mesh is called ASRM underscore iSelect rain is because it's really big. And I love to just use it to just very up my terrain and just break it up with some rocks. So, for example, I could put my rocks down here like this. Move around and then give my creek. Some rocks to them. Or one thing I do like to do, I like to add it up here. Just like this. So essentially what I'm doing with these rocks is that I'm making it look like these are some geometric cliffs. I think I'm going to go ahead and let's open up this material instance right here and I'll notice that. Specular set to one point two, I don't want that, I want to decrease the specular just a bit, so I'll bring this to zero point five. Actually, let's go to zero point two. Just like that, because I know my rock was a little bit too shiny and I don't want that. So now we're going to bring it back down. And I'm going to place this rock like it's a rock formation right here. And use the select tool to raise my trees. OK, so this has been a while, but I believe we are finally done with the large details. We have a nice block out of our location. We have a little road is leading from a forest, and it's going to slowly come out and then it's going to show a little homestead with a house right there and a little house up here at the top of that hill. So this is going to be pretty fun. And now
it's time to actually build our house and we're going to build our house using modular design. So what is modular design? If I press control and space and this is one of the reasons why I decided to go through and use this specific asset pack is because quicksort epic games, they've already set up a nice modular pack for us to use. So if I go to meshes and I come all the way to houses, we see that we have Modula underscore assets. And then if I click on Static Mesh. We can see that we have a bunch of different modular parts that we can put together on our house. And if I go to mega scans. And then type in modular. We can see that we also have right here a bunch of different modular assets that we're going to use to create a medieval house. So I'm just going to drag all of our little pieces out here, though, so we can all see them. And I think I'm going to lay off for now. So modular pieces are static measures that are meant to be put together like Lagos. So as we can see, we have a bunch of static measures and they're different, but they still have the same form. They have the same form in that if I put them together like this, move it up. You can see that they can all fit together so I can swap them out for them and arrange them in different orders and creates a bunch of different houses from a select few static meshes. So that's a power modular design. You can basically think of it as Legos, but in 3D. Also, keep in mind that I'm going to be going through my content browser and grabbing a lot of different static messages. So up here, let's say if I go through and if I select. Let's say this acts right here. So whenever I'm going through my content browser and trying to look for a static mesh, if you want to follow along. Exactly. And see where that specific static mesh is, you can see right here we have the file path. So it goes concept magazine through the acid acts. And then this is where that access or if you really want to get a static mesh and you know its name, but you don't know where its location is. You can scroll all the way up here and click on contents and then you can just type in the name of that specific static mesh. So I can type in some underscore ax and then you can find where access. And just as a recap, real quickly, let's say if you want to get all the static measures within our content folder, we can click on static mesh like that. And now we're going to get the list of all the different Digg messages, because we are using the filter right here. So you can click up here and you can choose different filters for different assets. So if you want to get static mesh and textures, then we can also select texture like that. And you can click and uncheck to turn on and off those filters. So those are just some pro tips on how to navigate your content browser. Also, don't forget, if you select a static mesh and if you press control and B, you will jump to that location within your ACEP browser. Oh, let's build our first house using model design, using all these pieces we have out here. And just as a reminder, we have some more pieces, specifically some good pieces. If we come up into meshes. And I'm uncheck stag Mashiro quickly, because I want to go into houses and within houses we have roofs, and then if I check static maps, we can see all the different roof types. So we need to build this house around a specific rooftop. So let's see what roofs we have right now. Madrak from here. And we have this roof. So what this roof is. This one. OK, I like this one, it's not as crazy as these two. So this roof is an option. OK. I'm pretty sure I'm just going to stick with this roof right now, so here's this roof is ASRM underscore house four. So I like the way this roof is structured. So let's build the house right here. And I think just for now, I'm going to go into crates and I'm going to drag out a cube. That's how we have a flat plane to build a house on. And I do not like the color of this cube. So let's come up to. Greek assets and with a material folder was going to right click, let's create a new material. I'm just going to call this gray and within gray. Of course, it won't hold out three left click and let's make a great texture. Let's go zero point four, five. But that in the base color and then within roughness, I don't hold on one and make this completely rough just like this. An principly. And safe. So I'm just going to add gray answer like that. And now actually, or make this more gray. So it was bringing down like this and press, OK. And that apply. Because I would rather build this house on top of a flat plain than are really bumpy terrain that we have. OK, so first off, let's start with the door. We have a couple of door options, and I think I will use this door and let's add a back that is basically like a barn door. So this one right here. So we'll use these two. And I will move them up. Right here like that, our the end key to snap these to the floor. So they're flush with the floor. And. That's how this door be in the in the middle, exactly. And I'm going to move this one. To the back. Actually, we can make this one to the side. I just checked on Àngel Snappin right there, that's OK. Snap it to 90 degrees just like this and move forward right there like that. And of course, we need something to fill this with, so I think I will select this one right here. Hold on, Alz. Drag it like this was. Rotate this 90 degrees. And I'm going to move it up and try to scale it. That's how it's at the correct proportions of this roof we are using. There we go, and keep in mind, it doesn't have to be super perfect right now. Of course, we're going to come in and we're going to fill in a lot of the holes with wood and some other assets. Then let's use some windows, so let's use these two right here. And we can always flip a mess. So I want this side right here to be on that side. Some press are, and let's go scale it in the opposite direction just like this, and we're going to move it back here like that. Now I'm going to grab this. And we're going to move right here like this. And purchase their. And keep in mind, I'm being very rough. I'm not being very specific about matching up these vertices exactly, because I feel like especially for Med.. You don't need to line up the vertices. Exactly. If it looks right, it just looks right. Now, there are ways to vertex snap. I'm aware of that. But we're not going to be going over that within this tutorial, because I feel like that's not necessary. And the vertex snap controls. Are pretty crazy. So hold on, Alz, let's drag this one right here and let's use this to fill the corner. Piece, and then I'm going to have to scale this in place, I want to scale this a little bit back. You know, it's a little bit Ford. There we go. Now at the back here. Let's use this. These two measures. Though I spent up the rest of the process here because what I'm doing is that I'm really just moving mesures around, I'm moving, rotating and scaling them around. And you'll notice that for pretty much the rest of this tutorial. Now, that will be the majority of this course, because I was just placing objects and removing objects, because we've already gone through the really hard, heavy lifting, the technical stuff of this environment. Now, you can pretty much sit back, play some music and just enjoy building your environment so highly, encourage you to not follow me verbatim for the rest of this course and to stray off a bit, to create your own house, to use your own designs and play with the modular features. And if you don't like something that you can always just go back and delete it. So this is really important. Don't forget to save your world now, because that was a lot of work. So here, you know, this this house is it's OK, but it's looking kind of boring. So we could come into don't forget, we have even more modular designs so we can play with if we go into scroll below mega scans into mesures and then houses. If I click on static mesh, we can see all these other modular design. So for example, we get a smaller scoreboard windows, that fun fact we already use right here to make this bridge. But that was just temporary. So am I going to stick it right here just like this? And then you're able to move it out like that. So we could go through and we get even let's go, we could even. Bring this out and you can maybe kind of like overlay it onto the roof like that's. So that's pretty much what I'm going to be doing right now, who's going to go through and. Add some would very everything up. Hide some of that nasty holes within my house and. Definitely add some wood frames right here to cover up these seams. Well, as you probably saw from the time lapse, you saw a lot of backtracking. You saw me take a lot of measures and basically just move them around and see which location looked best for them. So that's part of the fun is this. You want to experiment, see what you can do, see what you can come up with. And now I think that our house is pretty much done for now. Of course, we can always go back and change things. But let's take our house and let's move it right here. So I'm gonna go through and delete all of our meshes right here. And and now I'm going to grab my house and I'm specifically going to move it over, press one with a snap back here. I'm going to move right here. So that's how it's facing that direction. Also, you can always to control an owl to play with the lights. I could go through and hold down, shift and select everything, and once I select everything, I could bring it back here and then deselect. But then there just one issue is that what if I want to move this house again, then I'm going to have to select all the meshes all over again. So that's where groups come in. So first, we have to select all the measures I want to group together. Now, I could come through and select everything individually holding down shift. But that's just a hassle. Or I could come up to perspective. Let's go to top. And now I could go highlight's all my messages right here, just like this. And I want to hold down control. I don't want make sure I deselect my landscape. This plane. And this reflection capture right here, so under control, let's make sure we deselect everything that's out. Now, if I go back into perspective, we can see that if I click on Global, because beforehand it's going on this axis, I wanted to go on the global axis. We have everything selected, which is nice. So now I'm going to right click, go down here, press on groups, or I can press control engie. And now if I deselect. And let me delete this box. So now I can move my entire house around. No problem. As if it is one static mesh. So I'm going to go rotate this like this. And I think I'm going to place my. House right here. Just like that. And let's see what it looks like from the main camera view. And I believe that looks great. So once we're finally done with our group, I have to do is right click, go down a groups. And finally, one group. So now we can once again individually select individual messages. So that is absolutely great. So one thing we need to do real quickly is that we need to go into landscape mode and within sculpt. I want to flatten brush with tool strength, zero point five. And sometimes you just have to come through and kind of flat in the area around your house, just like this. And then I'm going to go shift three and I want another house specifically right here, so I'm going to use the select tool and select this tree right here, and I'm going to move some trees around just to make some room for a second house. And before we had a second house, I think I'm going to add in some foliage just to get a better sense of our world. So to do so, let's press control and space. And we already have a bunch of foliage within mega scans under 3D underscore plant right here. If I click on static mesh, we can see some foliage. So I'm going to go into my foliage editor and within my content draw, I'm just going to dockett in my layout for now. That's I can easily drag in my forge right here. I'm going to select all my trees and unselect them. That's
how we're no longer painting trees. And then we're going to drag in some village. So I like all these ferns. I'm going to drag them in just like this. And then I also like these dead grasses. The grass is right here. Basically, you could just pick and choose what you like. All of this foliage is selected like this. And make sure they're checked. That's how we can start to paint. Now I'm going to exit out the content browser. And if I. Thank down right now, I feel like it's going to be way too dense. And yes, that was way too dense. So I don't have to go through here and we're going to have to edit each of these. Which is unfortunate. But what you could do and I'm not going to do that, but what you could do is that you could you could go through each of these and within density, you could decrease the density, let's say 10 .
And then within uniform scale, I would normally scale this from something like zero point eight to one point five. And now if we're just going to. Be looking at this and keep in mind, eige pest control and a two select everything. And that could deactivate everything by just clicking like that, so control and will select all your village and let you select this footage right here as an example. So what I would normally do is that I would go through and I would refine the paint tool. So I would give this a random scale by scaling right here from zero point eight to one point five. So they'll just vary our firns just a little bit, and then I would decrease it from a course 100 to something more reasonable, like 10. So that's generally what I would do. But for the purposes of this tutorial, I'll just keep everything as is for now. So I'll select all of them and let's activate them just like this. And now I'm going to go to the sides and just paint it right here like this. And it's also pants right there, right here. And I do not want this over the path. Someone hold on, shift and delete those like that, just like this. And then I'm going to deselect the ferns. Right here to select this one, hold on ships, select that one, deselected right there, and keep all my other little grass things also selected and just go through and less paint and some grass right here. Now, I notice this is way too white right here, so I can just individually delete only the white foliage by coming in here, let's deselect everything by pressing control and a and a top left hand corner. I'm just going to click on it, activate button to deselect everything. And then I'm only going to select the white flower one. So this one. This one, this one leaves these two. And these two. Have them be selected. And now I'm going to hold down shift, and that should just start deleting some of them. So just a little bit of them should be deleted. Also, I think I'm going to paint in some ferns. On this side also. Just like this. And we are forgetting something, and that is the small trees. So let's go down all the way to here and let's go in a P and underscore interactor, spruce forest. Measures small and these trees right here. So once again, I'm going to dock this in my layout, that's it's easier for me to drag this into my Follett's tool. And we're going to select our full assets so the green ones and drag it in just like this. So now that we have these available, let me go check all these actually lost control. And let's deselect everything. And then I hold down, shift and select these and place them here just like a little bit a little bit too much right there. And keep in mind, this entire time I've had my paint density to zero point two. Obviously, if you if you had your paint destiny all the way up to one, that would be a lot of follows you're trying to handle and also forger's pretty expensive. So if your computer can't handle it, I would limit the amount of force that you're going to be doing right now. So originally I planned on just making one house and making a second house, let's say, right here. But by looking at right now, I really like the way that this looks, just one simple house and with a path just leading to it, just like that. So I think for this build, we're only going to be making one house right now. Also, for the rest of this material, it will be timelapse, because I'm not doing anything technical. I'm not teaching anything new. All I'm doing is just grabbing and placing objects around my world and playing with a full Fullers tool that is literally it. And I might decide to download some assets from QuickSort Bridge if I really need to. But right now, I feel like this is good. So I'm going to go skip ahead and we will timelapse through this entire thing. And this is literally just a refinement stage. So I'll be, let's say, added in some more meshes right here. I'll be moving the trees around and adding foliage, more rocks, maybe some pebbles along this creek right here and some stabilization for my bridge, because right now my bridge is just floating. So that's pretty much it. And this mannequin is very menacingly just standing there. That's pretty scary, so I'll move my mannequin right here. Just as a human reference for us. So without further ado, let's begin. So before we move on to a time lapse, let's go over some quick optimization features. And if you notice, I press control shift and at the same time. And doing that will just give us an first counter, which will give a good indicator of our current performance. So first off, I sent my C into scalability of high. Right now, if you remember, if you come into settings all the way down to engine scalability settings, you can choose one. So by default, it's on Epic. And I just decided to move it back to high because I was recording using obese and obese started lag. I know it was lagging with the videos. So I decrease that quality right there. Another thing we can do to increase the quality, and this will definitely increase it, is that if I delete my plan, a reflection. And if you remember, we added the plane a reflection to give ourselves some nice reflection for our water. But if I just delete it right now, our frames went from about forty two frames per second all the way up to eighty frames per second. And that's because what plane a reflection is doing is that it's rendering your scene twice. So, of course, if we delete it, then we're going to drastically increase our performance. Right now, our water reflection looks absolutely terrible, but we can fix this by using the traditional reflection methods. And that is to become a great visual effects. Let's add in a spare reflection capture just like this and move it up like that. So then I can hold out alt and move this reflection and capture all around and fix it. So that's probably the biggest way that you could improve your scene is just deleting that, playing a reflection. I will add it in later when I'm about to get ready for a final shot. Next up, we will notice that if we come up to our grasp right here to our foliage. Especially with our firms, that the back side, the bottom side of our firms are really, really dark. So this is no good. It's not a press shift. F3 within here. I'm going to go select all of my firms. Just like this and down here. Underclass contact shadows. I'm going to turn that off. So this is off. This is on. So keeping it off definitely makes my scene look a lot better. Keep in mind that Folger's, it hasn't really been working well with them. Roger five. So some of these issues might be fixed when you start. Also now let's select my post-process volume in the middle of my map. And then within the details, panel, we come here and we see recurrently inch screen space. So our frames are about 80 frames per second. If I changes from screen space back to Lumin, which is on real default light. Then we can see that we dropped to about seventy five frames per second. So that was a five frame difference. I think that this is personally fine, and we might as well use Louvain for the rest of the video, since after all, Lumin is an ongoing five feature and this is an ride and five tutorial. And finally, if we come up to our trees right here, you remember that we fixed the wind on our trees by copying and pasting and some wind nodes. But now if we look at our bark, this looks very scary. Our wind is affecting our bark right now. And this is no good. So we need to turn off the wind on our bark. And we can do that by we can open up the specific tree. Just like this, let's go find where it is. Let's open up the static mesh ed and then I can see what is the bark mesh. And it looks like the bark mesh is this one right here. And some of the branches are. This one right here, so these two elements, zero and element one. So I'm going to open up both of these. And within both other materials, I'm going to click on Enable Grass, Win and disable it like that. Same thing right here, enable grass to disable it. And I'm going to save and now if we look at our static mesh. We can see that our bark is no longer swaying in the wind like the leaves. So that just fix the issue. But I'm going to have to go through over all of the different trees and do that same exact process, because as we can see right here, some of the trees still have a wind on their bark . OK, so to start off, I decided to add in some wood impulse to help elevate that bridge. That's how that bridge isn't just floating there. And I also added in some wood boards to help blend a bridge and a little better with the landscape. Then I started to add some props around the house, some basic props. So I looked I saw and lived there. And I was also covering a hole. I found out within my house. And then I realized I don't have rocks in my scene. So, of course, water is going to go through. A slew of rocks are available and start placing them around my map. And I also decided to add some pebbles to the creek right there just to give some variety. If someone decided to look into the water and finally I thought that my road was looking a little bit too bland, so I decided to paint on some foliage, specifically dead brush and twigs. And copy around some more. And if you notice right, right here, whenever I would find a mesh that have really bad allergies, then I just charge up to and then I mesh because I don't have allergies. And then again, still playing with the Fords right now, trying to paint. And I notice that the trees are really empty right here, so I start moving trees around just to cover that area. So if someone did decide to look down the creek, they wouldn't just see a grass field. And then I thought that my scene had a little bit too much shadow, so I start moving some trees around just to let in some more lights. So finally, after about five hours, this is our finished result. This is our finish scene. And if you really want to, you can come up here to the three drop downs and then you could change the field of view to see if you don't like this field of view. You could change it up and make it look something completely different. I'll leave it at ninety four now, which is the default. And one reason why I like this composition is because at the sides here, we have some trees and bushes, and these trees and bushes basically create a natural vignette. So our eyes are naturally caught to look at the house in the middle right here, especially with the path that is leading our eyes to the house. So this is why I really like compositions like these very simple compositions. And finally, for some finishing adjustments, I'm going to come into my world outliner. Let's select the post-process volume. And then within the details, panel, let's go into exposure and let's increase this from ten point six to 11 just to make my scene a lot brighter. And then within bloom, let's increase our bloom from zero to. Let's go one point five. OK, to just give our scene a very phantasy look to it. And not only is this a really nice thing to look at, if you remember on religion is a game engine, so we can even create a game within this scene. So within world settings, I'm going to come into the dropdown and then I'm going to select third person game mode, because if you remember, we built this off of the third person Gambo template. And now if I press play, we can see that I can walk around as my character, jump around and explore my environments. Which is absolutely amazing. And you see, if you just come up here. You can play with his workbench and go back into his house and take a nap. And as always, if you haven't started with the scene, I highly, highly recommend or you do not just follow what I created right here, but to actually go through and create something entirely new, create maybe a new house, maybe entire village, grab random mega scan assets and start putting them together. Just be creative and have fun, because these tools have never been available until now. We have so much power in our hands. And you see it right here. Within five hours, you're able to go from knowing nothing about unreal engine to having the skills to create something like this. And that is only possible with Unreal Engine five. Well, I guess now this is the end of the tutorial. Thank you very much for watching this video. I hope you got something out of it. And don't forget to like comment and subscribe. Also, if you really want to support the channel, don't forget to subscribe to our newsletter link in the description below or on religion five News Weekly. And also, I plan on uploading a new video every week, so stay tuned for that. So without further ado, I'd say this is goodbye.
Holy crap lol this is amazing!
I have been a web developer for almost 10 years. I recently left my job and plan to go down the game dev path to try and find my creative side again. Stuff like this keeps me motivated to bugger on!
I can't wait to try UE5
Hey man I haven't watched this video yet but thank you so much for making great content and especially for not being annoying, constantly patreon begging, hiding things behind a paywall and so on. Your lessons really helped me a lot when I was first learning, will check out this one when I have time.
I see some people complaining because it's only landscape stuff with no blueprints, maybe it would have been good to mention that, but if that's what you're looking for I guarantee this will be a great lesson.
youtube link
https://youtu.be/gQmiqmxJMtA
Hey man, I'm watching this now and just wanted to say how much I appreciate you doing an overview of controls and shortcuts. A lot of people who do "tutotial" videos skip things like this, taking them for granted. And those things are absolutely necessary to follow along with everything else.
I appreciate your teaching sensei. How would Lumen handle the day/night cycle?
I'll have to check this out after work. I have been itching to jump into ue5 since the beta release
Thanks for doing this! I eventually want to learn Unreal when my current Unity project is finished, so I'll bookmark this for later!
Nice work! Thanks!